Assignment On Malaysia

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Table of Contents
CHAPTER 1: MALAY HISTORY .................................................................................... 11
1.1 The Malay .............................................................................................................. 12
1.2 The Theory............................................................................................................. 13
1.2.1 Proto-Malay Models ........................................................................................... 13
1.2.1.1 The Yunnan theory Mekong river migration (published in 1889) .................... 13
1.2.1.2 The New Guinea theory (published in 1965) ................................................... 13
1.2.1.3 The Taiwan theory (published in 1997) .......................................................... 13
1.2.2 Deutero-Malays .................................................................................................. 14
CHAPTER 2: LANGUAGE AND LITERATURE ........................................................... 16

2.1 Introduction ............................................................................................................ 17
2.2 Austronesian Language Family Chart ..................................................................... 18
2.3 History Of Malay Language ................................................................................... 19
2.3.1 Old Malay (682-1500 C.E) .............................................................................. 19
2.3.2 Early Modern Malay (1500-1850) ................................................................... 19
2.3.3 Late Modern Malay (1850-1957) ..................................................................... 20
2.3.4 Contemporary Malay (after 1957) ................................................................... 20
2.4 The Grammar ......................................................................................................... 20
2.5 Word Formation ..................................................................................................... 21
2.5.1 Affixes ............................................................................................................ 21
2.6 The Evolution Of Writing And Alphabets System In Malay ................................... 22
2.6.1 Rencong .......................................................................................................... 22
2.6.2 Pallava ............................................................................................................ 23
2.6.3 Kawi ............................................................................................................... 25
2.6.4 Jawi................................................................................................................. 27
2.6.5 Rumi ............................................................................................................... 33
2.7 Classic Malay Language ......................................................................................... 34
2.7.1 Ayatnya panjang dan berbeli-belit ................................................................... 34
2.7.2 Banyak menggunakan ayat pasif dengan pendepanan predikat. ........................ 35
2.7.3 Banyak menggunakan gaya bahasa istana. ....................................................... 36
2.7.4 Menggunakan kosakata klasik ......................................................................... 37
2.7.5 Kebanyakan kata pangkal ayat yang sering digunakan ialah seperti syahadan,
alkisah, hatta, adapun. ..................................................................................... 38
2.7.6 Penggunaan ayat yang banyak menggunakan partikel pun dan lah. .................. 39
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2.7.7 Penggunaan banyak kosakata daripada pengaruh Arab dan Parsi dalam pelbagai
bidang bahasa seperti ilmu keagamaan, undang-undang, kesusasteraan,
perubatan, falsafah, tasawuf dan pemerintahan. ............................................... 40
2.8 Borrowed Words .................................................................................................... 41
2.9 Dialect In Malay Language ..................................................................................... 44
2.9.1 Perak ............................................................................................................... 44
2.9.2 Penang, Kedah and Perlis ................................................................................ 45
2.9.3 Pahang ............................................................................................................ 46
2.9.4 Kelantan .......................................................................................................... 46
2.9.5 Terengganu ..................................................................................................... 47
2.9.6 Sabah .............................................................................................................. 47
2.9.7 Sarawak .......................................................................................................... 48
2.9.8 Johor ............................................................................................................... 48
2.9.9 Melaka ............................................................................................................ 49
2.9.10 Negeri Sembilan .............................................................................................. 49
2.10 Malay Proverbs And Idioms ................................................................................... 50
2.11 Traditional Malay Poetry ........................................................................................ 51
2.11.1 Pantun ............................................................................................................. 51
2.11.2 Syair................................................................................................................ 51
2.11.3 Gurindam ........................................................................................................ 52
2.11.4 Nazam ............................................................................................................. 53
2.11.5 Seloka ............................................................................................................. 54
2.11.6 Dondang Sayang ............................................................................................. 55
CHAPTER 3: MALAY TARDITIONAL GAMES ........................................................... 57

3.1 Introduction ............................................................................................................ 57
3.2 Advantages Of Traditional Games .......................................................................... 58
3.3 List Of Malay Traditional Games ........................................................................... 58
3.3.1 Wau ................................................................................................................ 59
3.3.2 Congkak .......................................................................................................... 64
3.3.3 Batu Seremban ................................................................................................ 70
3.3.4 Sepak Takraw.................................................................................................. 73
3.3.5 Gasing/Top Spinning ....................................................................................... 77
3.3.6 Sepak Raga ..................................................................................................... 80
3.3.7 Kaki Gajah ...................................................................................................... 81
3.3.8 Konda-Kondi................................................................................................... 82
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CHAPTER 4: MALAY TRADITIONAL WEDDING CEREMONY .............................. 84
4.1 Introduction ............................................................................................................ 84
4.2 Highlight In The Malay Weddin Process ................................................................ 86
4.2.1 Merisik ............................................................................................................ 86
4.2.2 Meminang ....................................................................................................... 87
4.2.3 Akad Nikah ..................................................................................................... 89
4.2.4 Adat Berinai .................................................................................................... 90
4.2.5 The Bersanding Or Hari Langsung .................................................................. 91
4.2.6 Sambut Menyambut ........................................................................................ 92
4.3 Tepak Sireh ............................................................................................................ 93
4.4 Malay Traditional Wedding Attire .......................................................................... 97
4.4.1 Groom ............................................................................................................. 97
4.4.2 Bride ............................................................................................................... 97
4.4.3 Henna .............................................................................................................. 97
CHAPTER 5: RELIGION FOR MALAY ......................................................................... 99

5.1 The 5 Pillars Of Islam ........................................................................................... 100
5.1.1 The Fundamentals Of A Muslim’s Life ......................................................... 100
5.1.1.1 The Declaration Of Faith ............................................................................... 101
5.1. 1.2 Performing The Prayer ............................................................................... 102
5.1.1.2.4 The Ablution.............................................................................................. 109
5.1.1.3 Paying Charity............................................................................................... 114
5.1.1.4 Fasting The Month Of Ramadhan .................................................................. 115
5.1.1. 5 Pilgrimage Hajj .......................................................................................... 116
5.2 6 Pillars Of Iman .................................................................................................. 117
5.2.1 Fundamental Of Pillars Of Iman (Faith) ............................................................ 117
5.2.1.1 Belief In Allah............................................................................................... 118
5.2.1.2 Belief In The Angels ..................................................................................... 127
5.2.1.3 Belief In The Holy Books .............................................................................. 128
5.2.1.4 Belief In Prophets .......................................................................................... 129
5.2.1.5 Belief In Day Of Rising/The Last Day ........................................................... 130
5.2.1.6 Belief In Qada’ And Qadar (Divine Will And Decree) ................................... 130
5.3 The Meaning Of The Mosque ............................................................................... 132
5.3.1 The Oldest Mosques In Malaysia ...................................................................... 135
5.3.1.1 Tengkera Mosque, Melaka (1728) ................................................................. 135
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5.3.1.2 Kampung Hulu Mosque, Melaka (1728) ...................................................... 136
5.3.1.3 Kampung Laut Mosque, Kelantan (1730) ...................................................... 137
5.3.1.4 Kampung Kling Mosque, Melaka (1748) ....................................................... 138
5.3.1.5 Abidin Mosque, Kuala Terengganu (1808) .................................................... 139
5.3.1.6 Acheen Street Malay Mosque, Georgetown (1808) ........................................ 140
5.3.2 State Mosques In Malaysia ............................................................................... 141
5.3.2.1 Sultan Abu Bakar Mosque, Johor Bahru, Johor ............................................. 141
5.3.2.2 Masjid Zahir, Kota Setar, Kedah.................................................................... 143
5.3.2.3 Masjid Muhammadi, Kota Bharu, Kelantan ................................................... 145
5. 3.2.4 Masjidal-Azim, Melaka Tengah, Melaka ................................................... 147
5.3.2.5 Masjid Negeri, Seremban, Negeri Sembilan .................................................. 149
5.3.2.6 Masjid Negeri Sultan Ahmad 1, Kuantan, Pahang ......................................... 150
5.3.2.7 Masjid Sultan Idris Shah Ii, Ipoh, Perak......................................................... 152
5.3.2.8 Masjid Negeri, Arau, Perlis ........................................................................... 154
5.3.2.9 Masjid Negeri Pulau Pinang .......................................................................... 158
5.3.2.10 Masjid Negeri Sabah, Kota Kinabalu, Sabah .............................................. 160
5.3.2.11 Masjid Sultan Salahudin Abdul Aziz Shah, Petaling, Selangor ................... 162
5.3.2.12 Masjid Abidin, Kuala Terengganu, Terengganu ......................................... 164
5.3.2.13 Masjid Wilayah Persekutuan, Zon 6, Kuala Lumpur .................................. 166
5.3.2.14 Masjid Jamek Negeri Sarawak, Kuching, Sarawak ..................................... 169
5.3.2.15 Masjid Jamek An-Nur, Labuan .................................................................. 171
5.3.2.16 Masjid Putra, Putrajaya .............................................................................. 173
CHAPTER 6: TABOO IN THE MALA CULTURE ...................................................... 177

6.1 Introduction .......................................................................................................... 177
6.2 Elements Of The Taboos ...................................................................................... 177
6.3 Signs And Address ............................................................................................... 177
6.4 Elements That Will Discuss In This Part:.............................................................. 178
6.5 Birth ..................................................................................................................... 179
6.5.1 Taboo For Pregnant Women: ......................................................................... 179
6.5.2 Foods For Pregnant Women .......................................................................... 180
6.6 Babies And Children ............................................................................................ 181
6.6.1 Taboo For Babies .......................................................................................... 181
6.6.2 Taboos For Children ...................................................................................... 181
6.7 Boys And Girls ..................................................................................................... 182
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6.7.1 Taboos for Boys ............................................................................................ 182
6.7.2 Taboo for Girls .............................................................................................. 182
6.7.3 Taboo during Meminang ............................................................................... 183
6.8 Sitting And Standing ............................................................................................ 184
6.8.1 Taboo During Sitting ..................................................................................... 184
6.8.2 Taboo During Standing ................................................................................. 184
6.9 Sleeping, Waking Up, Showering And Eating ...................................................... 185
6.9.1 Taboo While Sleeping ................................................................................... 185
6.9.2 Taboo For Waking Up ................................................................................... 185
6.9.3 Taboo For Eating........................................................................................... 186
6.9.4 OTHER TABOOS: ....................................................................................... 186
CHAPTER 7: FESTIVALS AND CELEBRATIONS ..................................................... 188

7.1 Hari Raya Aidilfitri .............................................................................................. 188
7.2 Hari Raya Aidiladha ............................................................................................. 194
7.3 Celebrating Prophet Muhammad’s Birthday (Maulid Rasul) ................................. 197
7.4 Awal Muharram Celebration ................................................................................ 200
7.5 Ashura Celebration ............................................................................................... 201
CHAPTER 8: WORKING INDUSTRY .......................................................................... 204

8.1 Agriculture ........................................................................................................... 204
8.2 Fisheries ............................................................................................................... 204
8.3 Handmade crafts................................................................................................... 204
CHAPTER 9: MALAY CULTURE ................................................................................. 206

9.1 Folk Dance ........................................................................................................... 207
9.1.1 Mak Yong ..................................................................................................... 207
9.1.2 Kuda Kepang ................................................................................................ 208
9.1.3 Zapin ............................................................................................................. 209
9.1.4 Tarian Lilin ................................................................................................... 210
9.1.5 Tarian Gamelan ............................................................................................. 211
9.1.6 Tarian Cik Siti Wau Bulan ............................................................................ 212
9.1.7 Tarian Ceracap Inai ....................................................................................... 213
9.1.8 Tarian Ulek Mayang ...................................................................................... 214
9.1.9 Dabus ............................................................................................................ 216
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9.2 Court Dance ......................................................................................................... 217
9.2.1 Asyik Dance .................................................................................................. 217
9.2.2 Layang Mas ................................................................................................... 218
9.2.3 Terinai........................................................................................................... 219
9.3 Traditional Malay Theatre .................................................................................... 220
9.3.1 Bangsawan .................................................................................................... 220
9.3.2 Jikey.............................................................................................................. 221
9.3.3 Mek Mulong.................................................................................................. 221
9.3.4 Menora .......................................................................................................... 221
CHAPTER 10: MALAY ARCHITECTURAL HOUSES AND DESIGN ...................... 223

10.1 Description And Its Main Features ....................................................................... 224
10.1.1 Anjung .......................................................................................................... 224
10.1.2 Serambi Gantung ........................................................................................... 225
10.1.3 Rumah Ibu .................................................................................................... 225
10.1.4 Selang ........................................................................................................... 225
10.1.5 Dapur ............................................................................................................ 225
10.2 The Kampung Layout ........................................................................................... 226
10.3 Climatic Design Of Malay House ......................................................................... 227
10.4 The Influence Of Traditional Malay House Architecture ...................................... 229
10.5 Uniqueness Of The Traditional Malay House Building ......................................... 229
10.6 Traditional Malay House In Malaysia ................................................................... 230
10.6.1 Kedah ............................................................................................................ 230
10.6.2 Perlis ............................................................................................................. 231
10.6.3 Perak ............................................................................................................. 231
10.6.4 Pulau Pinang ................................................................................................. 232
10.6.5 Selangor ........................................................................................................ 232
10.6.6 Negeri Sembilan ............................................................................................ 233
10.6.7 Melaka .......................................................................................................... 233
10.6.8 Johor ............................................................................................................. 234
10.6.9 Kelantan ........................................................................................................ 234
10.6.10 Pahang ....................................................................................................... 235
10.6.11 Terengganu ................................................................................................ 235
10.6.12 Sarawak ..................................................................................................... 236
10.6.13 Sabah ......................................................................................................... 236
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10.7 Mosque Architecture ............................................................................................ 237
CHAPTER 11: MALAY TRADITIONAL FOODS ........................................................ 239

11.1 Daily Foods .......................................................................................................... 239
11.1.1 Nasi Lemak ................................................................................................... 239
11.1.2 Nasi Dagang .................................................................................................. 241
11.1.3 Nasi Kerabu Kelantan (Herb Rice) ................................................................ 243
11.1.4 Satay ............................................................................................................. 246
11.2 Festivals Foods ..................................................................................................... 247
11.2.1 Ketupat.......................................................................................................... 247
11.2.2 Ketupat Palas ................................................................................................ 247
11.2.3 Lemang ......................................................................................................... 248
11.2.4 Rendang ........................................................................................................ 248
11.2.5 Nasi Himpit (Compressed Rice) .................................................................... 249
11.3 Snacks .................................................................................................................. 250
CHAPTER 12: BIRTH AND DEATH ............................................................................. 252

12.1 Birth ..................................................................................................................... 252
12.1.1 Cutting Umbilical Cord ................................................................................. 252
12.1.2 Azan/Qamat .................................................................................................. 252
12.1.3 Opening The Mouth (Tahnik) ........................................................................ 253
12.1.4 Confinement .................................................................................................. 253
12.1.5 Hair Shave / Cut Crest ................................................................................... 254
12.2 Death.................................................................................................................... 255
CHAPTER 13: COTTAGE INDUSTRY ......................................................................... 258

13.1 Food Industries ..................................................................................................... 259
13.1.1 Chips ............................................................................................................. 259
13.1.2 Budu ............................................................................................................. 259
13.1.3 Lekor............................................................................................................. 259
13.1.4 Dry Fish ........................................................................................................ 260
13.1.5 Sago .............................................................................................................. 260
13.1.6 Belacan ......................................................................................................... 260
13.1.7 Cencalok ....................................................................................................... 261
13.2 Textiles Indutry .................................................................................................... 262
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13.2.1 Batik ............................................................................................................. 262
13.2.1.1 Types Of Batik .......................................................................................... 263
13.2.1.1.1 Batik Blok ( Block Printing Batik).......................................................... 263
13.2.1.1.2 Batik Skrin ( Screen Printing ) ................................................................ 263
13.2.1.1.3 Batik Lukis (Hand Drawn Batik ) ........................................................... 264
13.2.1.1.4 Dye Batik ............................................................................................... 264
13.2.2 Songket ......................................................................................................... 265
13.2.3 Tekad ............................................................................................................ 266
13.3 Wood Carvings..................................................................................................... 267
13.4 Traditional Instruments......................................................................................... 269
13.4.1 History Of Instruments .................................................................................. 269
13.4.2 Importance Of The Traditional Malay Instruments: ....................................... 270
13.4.3 There Are Three Types Of Instruments, Namely The: ................................... 270
........................................................................................................................................... 272
CHAPTER 14: GOVERNMENT SYSTEM .................................................................... 273

14.1 Melaka Sultanate Era............................................................................................ 273
14.2 Customary Law In Malaysia ................................................................................. 275
14.2.1 Adat Temenggung ......................................................................................... 275
14.2.2 Adat Perpatih ................................................................................................ 277
CHAPTER 15: MALAY MARTIAL ARTS – SILAT .................................................... 281

15.1 Origin of Silat....................................................................................................... 281
15.2 When to perform Silat?......................................................................................... 282
15.3 Silat Techniques ................................................................................................... 282
15.3 Weapons used in Silat .......................................................................................... 283
15.3.1 Keris ............................................................................................................. 283
15.3.2 Badik............................................................................................................. 283
15.3.3 Kapak Kecil .................................................................................................. 284
15.3.4 Kerambit ....................................................................................................... 284
15.3.5 Parang ........................................................................................................... 285
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CHAPTER 1: MALAY HISTORY
The history of The Malays, a race of peoples inhabiting the Malay Peninsula and parts
of Southeast Asia is not very ancient. Most studies link the development of the Malays to several
waves of movement down the Malay Peninsula from Yunnan in China, with the date 2000 B.C.
marking the arrival of the modern Malays. Yet, there are several definitions, cultural and
political, by which the Malays are defined and redefined as a community.
Influences from various parts of the world (South Asia, China the Middle East (Islam)
and West-have been instrumental in shaping Malay culture and identity. Early kingdoms,
mostly Hindu or Buddhist in character, and later empires came into being at the beginning of
the Christian era.
With the arrival of Parameswara from present day Indonesia another era begins, made
infinitely significant with the conversion of the Malays into Islam. Various kingdoms rose and
fall, and the present sultanates began to take shape. The important of these, in historical and
cultural terms, were the kingdoms of Melaka and Patani.
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1.1 THE MALAY
The Malays belong to the broader Malayo-Polynesian group of races, the origins of which have
been traced to Yunnan in China through the Proto-Malays and Deutero-Malays.
According to anthropologists these early aboriginal groups, now collectively known as

Orang Asli (indigenous people), consisting of some eighteen groups, but officially classified
into Negrito, Senoi and Proto-Malay, first reached the peninsula around 2000 B.C. In the
peninsula their numbers are small, making up in total around 120,000 or 0.5 percent of
Malaysia’s total population.
Sub-groups of the Malayo-Polynesian race live in modern-day Southeast Asia and in

the Polynesian islands, linked by a common base language manifested in many sub-languages
and dialects, as well as certain basic beliefs and ritual practices. Both the languages and the
beliefs are shared with those of the aboriginal peoples of the region.
As far as Malaysia is concerned, many of those today identified as Malays have, in fact,
come from these sub-groups such as Buginese, the Acehnese, the Javanese or the Minangkabau.
Alternatively, the Malays are the product of mixture of Malays and one or more of these sub-
groups, many of which still maintain their racial identities as well as customs. The most
prominent of these are the Minangkabau of Negeri Sembilan and the Javanese in Johor.
The term of Bumiputera came into use in early 1970’s. It was taken from the Sanskrit,
this term literally means “Son-of-the-Soil”.
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1.2 THE THEORY
1.2.1 PROTO-MALAY MODELS

Also known as Melayu asli (aboriginal Malays) or Melayu purba (ancient Malays), the Proto-
Malays are of Austronesian origin and thought to have migrated to the Malay archipelago in a
long series of migrations between 2500 and 1500 BC. The Encyclopaedia of Malaysia: Early
History, has pointed out a total of three theories of the origin of Malays:
1.2.1.1 The Yunnan theory Mekong river migration (published in 1889)

The theory of Proto-Malays originating from Yunnan is supported by R.H Geldern,
J.H.C Kern, J.R Foster, J.R Logen, Slamet Muljana and Asmah Haji Omar. Other
evidences that support this theory include: stone tools found in Malay Archipelago are
analogous to Central Asian tools, similarity of Malay customs and Assam customs.
1.2.1.2 The New Guinea theory (published in 1965)

The proto-Malays are believed to be seafarers knowledgeable in oceanography and
possessing agricultural skills. They moved around from island to island in great
distances between modern day New Zealand and Madagascar, and they served as
navigation guides, crew and labour to Indian, Arab, Persian and Chinese traders for
nearly 2000 years. Over the years they settled at various places and adopted various
cultures and religions.
1.2.1.3 The Taiwan theory (published in 1997)

The migration of a certain group of Southern Chinese occurred 6,000 years ago, some
moved to Taiwan (today’s Taiwanese aborigines are their descendants), then to the
Philippines and later to Borneo (roughly 4,500 years ago) (today’s Dayak and other
groups). These ancient people also split with some heading to Sulawesi and others
progressing into Java, and Sumatra, all of which now speaks languages that belongs to
the Austronesian Language family. The final migration was to the Malay Peninsula
roughly 3,000 years ago. A sub-group from Borneo moved to Champa in modern-day
Central and South Vietnam roughly 4,500 years ago. There are also traces of the Dong
Son and Hoabinhian migration from Vietnam and Cambodia. All these groups share
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DNA and linguistic origins traceable to the island that is today Taiwan, and the ancestors
of these ancient people are traceable to southern China.
1.2.2 DEUTERO-MALAYS
The earlier Proto-Malay groups were later pushed inland by so-called “Deutero-Malay”
settlers in the second wave of migration around 300 BC. The Deutero-Malays are Iron Age
people descended partly from the subsequent Austronesian peoples who came equipped with
more advanced farming techniques and new knowledge of metals. They are kindred but more
Mongolized and greatly distinguished from the Proto-Malays which have shorter stature, darker
skin, slightly higher frequency of wavy hair, much higher percentage of dolichocephalic and a
markedly lower frequency of the epicanthic fold.
The Deutero-Malay settlers were not nomadic compared to their predecessors, instead
they settled and established kampungs which serve as the main units in the society. These
kampungs were normally situated on the riverbanks or coastal areas and generally self-
sufficient in food and other necessities. By the end of the last century BC, these kampungs
beginning to engage in some trade with the outside world. The Deutero-Malays are considered
the direct ancestors of present-day Malay people.
Their series of migration had indirectly forced some groups of Proto-Malays and
aboriginal people to retreat into the hill areas of the interior further upriver, while many of the
historical tribes were also completely assimilated under the influence of Malayisation,
contributing to the genetic pool of the modern ethnic Malays. Notable Proto-Malays of today
are Moken, Jakun, Orang Kuala, Temuan and Orang Kanaq.
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CHAPTER 2: LANGUAGE AND
LITERATURE
THE CONCEPT FOR LANGUAGE AND LITERATURE
FAMILY CHART
HISTORY OF MALAY
LANGUAGE
THE GRAMMAR
LANGUAGE AND LITERATURE
THE EVOLUTION OF
WRITING & ALPHABET
SYSTEMS
BORROWED WORDS
DIALECTS
LITERATURE
CLASSIC MALAY LANGUAGE
TRADITIONAL MALAY
POETRY
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2.1 INTRODUCTION
Malay also known as Bahasa Melayu, is a member of the Malayo-Polynesian branch of

the Austronesian language family. It is spoken by the native Malay people of both sides of
Straits of Melaka that separate Sumatra from the Malay Peninsula. Since the Melaka Straits
have always been a busy sea route, travelers came into contact with the language of Malay
people and spread it throughout the Indonesian islands.
The Malay Language has existed since 500 years ago. Already at that time, the Malay
language was used as the lingua franca within the South East Asia region. This language
reminds us that the Malay Language was an invaluable asset to the development of countries
within the Malay Archipelago. Malay Language was a language of high cultural esteem which
played a crucial role in the economy, knowledge, law and administration purposes and also in
literature.
During the 19th and part of the 20th century, the Malay language was exposed to different
influences. In the Netherlands East Antilles, the influences came from Dutch and Javanese; in
the British-controlled area, the influences came from English and local Malay varieties.
According to (K. Alexander Adelar), Malaysia is a multiracial society consisting of

Malays, Chinese, Indians, Kadazans, Ibans and a large number of smaller ethnic groups. Malay
is the native language of the Malays, the largest ethnic group making up about half of the
population. A standardised form of Malay has become the national language. Malay became
the national language in 1957 with the proclamation of independence. The language had
received relatively little government attention during the period of colonisation.
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2.2 AUSTRONESIAN LANGUAGE FAMILY CHART
Austronesian
Language Family
Malayo-
Formosan
Polynesian
Western Malayo- Eastern Malayo-

Thao
Polynesian Polynesian
East Fijian-
Malagasy Rotuman
Polynesian
Malay Polynesian Fijian
Cebuano, Tagalog Nuclear Tongan
Samoan, Tuwalu
Maori,
Rarotongan,
Hawaiian, Rapanui
Figure 1: Austronesian Family Tree
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2.3 HISTORY OF MALAY LANGUAGE
The History of Malay Language is divided into four periods:
1. Old Malay
2. Early Modern Malay
3. Late Modern Malay
4. Contemporary Malay
The above divisions excludes inconclusive ‘scholarly’ debates pertaining to prehistoric Malay
in which diverse origins of Austronesians speakers, from which Malay is derived, are proposed.
2.3.1 Old Malay (682-1500 C.E)

It begins with record of poems and thoughts on writing materials made from plants
described as the sharp cursive Rencong, an ancient script believed to be native to South-east
Asia. Unfortunately no evidence from that early period survived. When the Indians set their
feet on the Malay Archipelago, they brought along Vatteluttu or Pallava, an ancient Tamil script
from South India. Pallava was accepted as the Malay writing system and gradually evolved into
an ancient royal Javanese script called Kawi.
Even though Islam most probably introduced Arabic script to the Malay world as early
as the seventh century, Old Malay was very much under Indian influence with its extensive use
of Sanskrit vocabulary. The Malays tried to use Pallava and Kawi to express their new Islamic
faith but found both to be unsuitable to pronounce the verse of the Quran and Hadith. They thus
experimented and created Jawi script based on Arabic. The Jawi script has been in used for
more than 600 years by now is synonymous with the Malay language itself.
2.3.2 Early Modern Malay (1500-1850)

This was a time of turmoil and radical change. The Melaka Sultanate as a patron of the
Malay Language played an important role in using the language to spread Islam thus changing
Malay’s pro-Indian nature to pro-Arabic. Portuguese conquest of Melaka in 1511 and
subsequent persecution of Muslims caused them to disperse throughout the Malay Archipelago,
establishing new regional centres.
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This was also a time of flourishing classical literature. Adapting Arabic into Jawi script
enabled the Malays to record their experiences, religious laws and oral literature inti a collection
of Malay classic literature.
2.3.3 Late Modern Malay (1850-1957)

By this time Malay has absorbed numerous loan words from the colonists namely:
Portuguese, Dutch and English. Standardized dictionaries and grammars appeared together with
a study of regional Malay dialects and codification of literature. A prominent figure in this field
was Zainal Abidin Bin Ahmad (Za’ba), exerted great influence on pre-independent Malay by
codifying Malay grammar and modifying the Jawi spelling system.
Malay was elevated to the status of the National language of Indonesia, Malaysia and Singapore
when all of these nations gained independence.
2.3.4 Contemporary Malay (after 1957)

Malaysia, Indonesia and Brunei set up their respective national language planning
agencies, in an effort to unify their different version of Malay. There were trials and errors and
for a while, obstacle due to Indonesia’s confrontation against the formation of Malaysia. As a
relationship between Malaysia and Indonesia normalized by 1966, their linguistic collaboration
continued, resulting in a common spelling system in 1972. Thanks to this project, instead of
several spelling systems, today there is only one spelling system for Malay in Malaysia.
2.4 THE GRAMMAR
Malay grammar is the body of rules that describe the structure of expressions in the
Malay Language. This includes the structure of words, phrases, clauses and sentences. In
Malay, there are four basic parts of speech: nouns, verbs, adjectives and grammatical function
words. Nouns and verbs may be basic roots, but frequently they are derived from other words
by means of prefixes and suffixes.
20
2.5 WORD FORMATION
Malay is an agglutinative language, and new words are formed by three methods:
1. Root word (affixation)

2. Compound word (composition)
3. Repetition of words or portions or words (reduplication)
4.
2.5.1 Affixes
Root words are either nouns or verbs which can be affixed to derive new words. For example
the word ajar (to teach):
MALAY ENGLISH
Ajar Teach
Ajaran Teachings
Belajar To learn
Mengajar To teach
Diajar Being taught
Diajarkan Being taught
Mempelajari To study
Dipelajari Being studied
Pelajar Student
Pengajar Teacher
Pelajaran Subject, education
Pengajaran Lesson, moral of story
Pembelajaran Learning
Terajar Taught (accidently)
Terpelajar Well-educated
Berpelajaran Educated
Table 1: Example of Affixes word for “ajar”
21
2.6 THE EVOLUTION OF WRITING AND ALPHABETS SYSTEM IN MALAY
Rencong Pallava Kawi Jawi Rumi
Figure 2: The evolution of writing system in Malay Archipelago
2.6.1 Rencong
Rencong or “Rentjong”, is any native writing systems found in central and South
Sumatra, including Kerinci, Bengkulu, Palembang and Lampung. This script lasted until 18 th
century, when the Dutch colonized were used to write manuscript in native languages and in
Malay, such as the Tanjung Tanah Code of Law.
Rencong scripts were often written on tree bark, bamboo, horns and palm leaves. Many
of the Rencong scripts are also known as “Surat Ulu”, or “upriver scripts”, given their
prevalence away from a coastline.
22
2.6.2 Pallava
The Pallava script was developed in southern India during the Pallava dynasty, (3rd-5th
Century). The Pallava script was based on the Brahmi script and consists of a matched set of
symbols and consonants, as well as ways to write consonant clusters.
At first the script was used to write Sanskrit, varieties of Prakrit, including Pali, and a
number of other languages. Later it became popular for religious and political inscriptions on
stone monuments and for 500 years it was used in this sway, with alterations and adaptations,
to write most of the languages of Southeast Asia. The type of this writing system is syllabic
alphabet and the direction of this writing is from left to right in horizontal lines.
The letter forms shown are based on inscriptions from the 7 th century:
For consonant alphabets:
For vocal special:
23
For vowel alphabets:
24
2.6.3 Kawi
The Kawi alphabet originated in Java and was first used in the Singhasari Kingdom in
eastern Java during the 8th century. After that it spread to across parts of south East Asia and
was used until 16th century, particularly in Borneo, Java, Bali and Sumatra.
The Kawi alphabet developed from the Pallava script, which was brought to that region
by traders from the Pallava dynasty in south India. It was used mainly to write Sanskrit and Old
Javanese, and is the ancestral script of Javanese, Balinese, Baybayin and other scripts of
Indonesia and the Philippines. The type of writing system is syllabic alphabet and the direction
of this writing is from left to right in horizontal line. It was used to write in Sanskrit, Old
Javanese, and Old Malay.
For Consonant:
25
For Vowel:
Numerals:
For punctuation:
The red letters are ligatures that are used for the second consonant when there are two consonant
without a vowel between them. The finals are used at the ends of words.
26
2.6.4 Jawi
Jawi means writing in jawi characters that based on the Arabic characters with some
additional characters (Muhalim abu mubsyyir). Jawi character have 31 characters from original
Arabic character added by six additional. Jawi writing was used as main writing system in
Malay Language from 13th century until centre of 20th century. Using Jawi writing also related
by Islamic arriving to Malay Archipelago (Amat Juhari Moain, 1996).
27
For number:
28
2.6.4.1 BATU BERSURAT
2.6.4.1.1 PAGE A
1. Rasulullah dengan yang orang sanabi mereka…

2. esa pada Dewata Mulia Raya beri hamba meneguhkan agama Islam
3. dengan benar bicara darma meraksa bagi sekalian hamba Dewata Mulia Raya
4. di benuaku ini penentu agama Rasulullah sallallahu alaihi wasallam raja
5. mandalika yang benar bicara sebelah Dewata Mulia Raya di dalam
6. behumi. Penentua itu fardu pada skalian raja manda
7. lika Islam menurut setitah Dewata Mulia Raya dengan benar
8. bicara berbajiki benua penentua itu maka titah Seri Paduka
9. Tuhan medudukkan tamra ini di benua Terengganu adipertama ada
10. Jumaat di bulan Rejab di tahun syaratan di sasanakala
11. Baginda Rasulullah telah lalu tujuh ratus dua
29
2.6.4.1.2 PAGE B
1. keluarga di benua Jawa…kan …ul

2. datang berikan. Keempat darma barang orang berpihutang
3. jangan mengambil k… (a)mbil hilangkan emas
4. kelima darma barang orang …(mer)deka
5. jangan mengambil tugal buat …t emasnya
6. jika ia ambil hilangkan emas. Keenam darma barang
7. orang berbuat balacara laki laki perempuan setitah
8. Dewata Mulia Raya jika merdeka bujan palu
9. seratus roan. Jika merdeka beristeri
10. atawa prempuan bersuami ditanam hinggan
11. pinggang dihembalang dengan batu matikan
12. jika inkar ba(lacara) hembalang jika anak mandalika
30
2.6.4.1.3 PAGE C
1. bujan dandanya sepuluh tengah tiga jika ia…

2. menteri bujan dandanya tujuh tahil sepaha…
3. tengah tiga. Jika tetua bujan dandanya lima tahil…
4. tujuh tahil sepaha masuk bandara. Jika orang…
5. merdeka. Ketujuh darma barang perempuan hendak…
6. tiada dapat bersuami jika ia berbuat balacara
31
2.6.4.1.4 PAGE D
1. …tiada benar dandanya setahil sepaha. Kesembilan darma

2. …Seri Paduka Tuhan siapa tiada harta ia dandanya
3. …kesepuluh darma jika anakku atawa pemainku atawa cucuku atawa keluargaku atawa
anak
4. …tamra ini segala isi tamra ini barang siapa tiada menurut tamra ini laknat Dewata
Mulia Raya
5. …dijadikan Dewata Mulia Raya bagi yang langgar acara tamra ini
32
2.6.5 Rumi
Menurut Hashim 2006, tulisan rumi datang ke Kepulauan Melayu dikaitkan dengan
kedatangan orang Eropah ke Kepulauan Melayu. Dia juga memetik pendapat Tate (1971) iaitu:
“Walaupun orang Eropah yang pertama yang pernah datang ke Kepulauan Melayu ialah
Marco Polo (pengembara dari Itali dari Venice yang telah tinggal di Sumatera selama lima
bulan dalam tahun 1292-93 masihi, ketika dalam perjalanan balik ke Eropah setelah melawat
China, dan belian diikuti pula oleh paderi-paderi Franciscan dan pedagang-pedagang Itali yang
lain), namun orang Portugislah yang mula-mula bertapak dan berkuasa di kawasan ini.”
Oleh itu, dapat disimpulkan bahawa orang Portugis yang menawan Melaka pada 1511
membawa pengaruh bukan sahaja dari segi bahasa malah tulisan.
Berdasarkan Muhammad Salehudin (2016), sejarah awal penggunaan tulisan Rumi

dikaitkan dengan para pengembara iaitu sama ada pedagang atau penjelajah dari eropah ke
Nusantara secara perseorangan (Portugis, Sepanyol, Itali) yang menulis perkataan Melayu yang
mereka dengar semasa di perlabuhan dengan tulisan rumi. Dia berpendapat bahawa:
“Pengembara pertama yang menghasilkan penggunaan ejaan Rumi dalam penulisan

ialah warga Itali, Antonio Pigafetta, pada abad ke-15. Sejak itu, pengembara lain dari Eropah,
seperti Inggeris dan Belanda menulis perkataan dan ayat dalam bahasa Melayu dengan
menggunakan huruf Rumi, berdasarkan sistem tulisan dan ejaan lazim bagi bahasa mereka
sendiri.”
33
2.7 CLASSIC MALAY LANGUAGE
Zaman bahasa Melayu klasik bermula dari awal abad ke-14 Masihi hingga ke akhir abad
ke-18 Masihi. Bahasa Melayu Klasik berada pada tahap ketiga dalam periodisasi bahasa
Melayu, selepas bahasa Melayu purba dan bahasa Melayu kuno. (Awang Sariyan, 1998).
Terdapat beberapa definisi yang telah diutarakan oleh pengkaji bahasa tentang bahasa Melayu
klasik. Antaranya ialah Asmah Hj.Omar (1985:33), yang menyatakan bahawa “Bahasa abad
ketiga belas dan ketujuh belas itu dinamakan bahasa Melayu Klasik”.
Bahasa Melayu Klasik telah mengalami perubahan sejak kedatangan Islam di nusantara.
(Siti Hajar Abdul Aziz, 2011) Ini menunjukkan bahawa pengaruh Islam semakin kuat sehingga
bahasa Melayu turut mengalami perubahan. Antara ciri-ciri bahasa Melayu klasik selaras
dengan perubahan yang dialaminya ialah:
2.7.1 Ayatnya panjang dan berbeli-belit
Contoh ayat tersebut dapat dilihat dalam teks Sulalatus Salatin tulisan A.Samad Ahmad iaitu;
Adapun hikayatnya terlalu amat lanjut; jika kami hikayatkan semuanya; jemu orang
yang mendengar dia; maka kami simpankan juga, kerana perkataan yang amat lanjut
itu tiada gemar bagi orang yang berakal adanya.
(Sulalatus Salatin, halaman 18)
Ciri-ciri ini juga dapat diperhatikan dalam teks Hikayat Abdullah karya Abdul Kadir Munsyi
iaitu;
Maka ada-lah yang ku lihat barang suatu pekerjaan-nya perkataan-nya dan

kepandaian-nya dan bangun-bangun orang-nya dan budi-bahasa-nya, jikalau tiada
salah faham-ku bahawa dapat-tiada ia-ini orang-orang besar atau pandai, dan lagi
dengan besar himmahnya.
(Hikayat Abdullah, halaman 75)
Penggunaan ayat yang panjang serta meleret-leret ini juga memaksa pembaca untuk
mengulangi bacaan mereka dalam memahaminya maksud yang ingin disampaikan.
34
2.7.2 Banyak menggunakan ayat pasif dengan pendepanan predikat.
Penggunaan ayat yang panjang serta meleret-leret ini juga memaksa pembaca untuk
mengulangi bacaan mereka dalam memahaminya maksud yang ingin disampaikan.
Syahadan maka setelah dilihat oleh Patih Aria Gajah Mada kelakuan Betara
Majapahit itu...
Setelah dilihat oleh Mansur Syah perihal itu, maka baginda pun…
Shahadan apabila di-dengar oleh Tuan Raffles akan segala hal-ehwal itu….
Sa-telah itu maka segera di-keluarkan oleh Tuan Farquhar perkataan lain, katanya..
Penggunaan ayat pasif dalam hasil-hasil karya pada zaman itu disebabkan pengaruh bahasa
Arab yang meluas ketika itu. Penggunaan ayat songsang dengan pendepanan predikat akibat
pengaruh bahasa Arab dan ragam ayat pasif. (Goay Teck, Choo Say Tee, Zainuddin Ahmad,
2007).
35
2.7.3 Banyak menggunakan gaya bahasa istana.
Penggunaan Bahasa Istana juga menjadi salah satu ciri Bahasa Melayu Klasik. Hubungan
masyarakat pada zaman itu amat rapat dengan istana. Sultan atau raja mempunyai kuasa mutlak
dalam meletakkan satu-satu keputusan dalam pentadbiran kerajaan dan sangat disanjung oleh
rakyat. Kemukarkaan terhadap golongan istana dilihat suatu perkara yang boleh melanggar adat
dan tatasulila peradaban Melayu.
Ciri-ciri ini dapat ditemui dalam kedua-dua teks tersebut iaitu seperti dalam ayat ayat di bawah
ini.
Maka Sultan Mansur Syah pun semayam di balai kecil menghadap orang mengepung
Hang Jebat itu.
Maka kata Bendahara Seri Maharaja, "Apa kehendak hati tuanku, katakanlah kepada
patik."
Maka Enche' Su-long pun pulang-lah, serta menyampaikan segala titah raja itu
kepada Pawang Gajah…
Sa-bermula ada pun asal-nya yang empunya tempat itu shahbandar dahulu di Melaka,
yang bernama Mr.Alam…
36
2.7.4 Menggunakan kosakata klasik
Penulisan karya dalam era penggunaan Bahasa Melayu Klasik turut memperlihatkan
penggunaan kosa kata klasik. Perkataan seperti 'ratna mutu manikam', 'edan kesmaran', 'sahaya',
'masyghul, dan sebgainya yang dimuatkan dalam karya tersebut yang menjadi salah satu ciri
yang terdapat dalam Bahasa Melayu Klasik.
Contohnya dapat kita temui seperti dalam ayat berikut;
Arakian maka dianugerahkan Raja Iskandar akan Tuan Puteri Syahrul-Bariyah

kembali pada ayahnya, Raja Kida Hindi; maka dianugerahi Raja Iskandar akan
Puteri Syahrul-Bariyah persalinan seratus kali, dan dianugerahi daripada emas dan
perak, dan ratna mutu manikam, dan daripada permata dan harta…
…daripada sutera benang emas kimka dewangga, serta beberapa benda yang
gharib-gharib.
Adapun hikayat perang Raja Haji itu terlalu-lah lanjut-nya, maka jikalau ku
cheterakan, neschaya berlambatan-lah pekerjaan-ku, melainkan mengambil simpan-nya
sahaja.
37
2.7.5 Kebanyakan kata pangkal ayat yang sering digunakan ialah seperti syahadan,
alkisah, hatta, adapun.
Ciri-ciri Bahasa Melayu Klasik juga adalah sering menggunakan perkataan-perkataan

seperti 'maka', 'hatta', 'alkisah' dan sebagainya di pangkal atau perdu sesuatu ayat. Perkataan-
perkataan ini juga boleh diibaratkan sebagai pembuka bicara dalam ayat-ayat dalam Bahasa
Melayu Klasik. Hal ini dapat memperlihatkan nilai estetika atau keindahan dalam bahasa
Melayu klasik yang pernah menjadi bahasa lingua franca pada suatu masa dahulu. Ciri-ciri ini
dapat dilihat dalam ayat berikut;
Syahadan datanglah ke Teluk Belang, maka kenaikan itu tiadalah tertimba lagi, lalu
akan tenggelam.
Hatta Raja Rekan pun datang menghadap ke Melaka, maka sangat dipermulia oleh
Sultan Muhammad Syah, kerana Raja Perempuan itu saudara sepupu kepada Raja
Rekan.
Arakian maka ada-lah kira-kira tiga bulan lama-nya dengan hal bersakit dan susah,
kebanyakan pula orangmati, dan jatoh patah kaki tangan, tiba-tiba maka kedengaran-
lah khabar mengatakan raja menyuroh…
Ada-pun sa-telah sedikit hari kemudian daripada itu, datang-lah pula sa-orang paderi
yang lain, naman-nya Tuan Slater…
Maka sa-telah bapa-ku pulang, dalam enam tujoh hari juga tentu-lah sudah bichara
kahwin itu…
( Hikayat Abdullah, halaman 144)
38
2.7.6 Penggunaan ayat yang banyak menggunakan partikel pun dan lah.
Penggunaan partikal seperti ‘lah’ digunakan di bahagian hujung kata kerja atau ‘pun’ di
bahagian tengah ayat. Contohnya seperti perkataan 'beradulah' atau, berangkatlah’. Hasil karya
yang ditulis dalam teks Sulalatus Salatin dan Hikayat Abdullah juga tidak ketinggalan
memasukkan ciri-ciri ini. Hal ini dapat dilihat dalam contoh ayat yang berikut;
Setelah didengar oleh si penyadap, maka ia pun hairanlah, seraya berkata…
(Silalatus Salatin, halaman 113)
…maka berkembang-lah segala bunga-bungaan yang dari dalam taman pengasehan…
Shahadan maka apa-bila di-lihat oleh orang Melayu semua-nya akan hal yang
demikian, maka masing-masing pun ketakutan-lah…
39
2.7.7 Penggunaan banyak kosakata daripada pengaruh Arab dan Parsi dalam pelbagai
bidang bahasa seperti ilmu keagamaan, undang-undang, kesusasteraan, perubatan,
falsafah, tasawuf dan pemerintahan.
Bahasa Melayu Klasik menerima pengaruh kuat daripada Arab dan Parsi sehingga hasil
karya penulis-penulis pada zaman itu telah meminjam beberapa kosa kata daripada bahasa
Arab. Ciri-ciri ini nampak jelas digunakan terutama bagi penulis-penulis yang sezaman dengan
A. Samad Ahmad dan penulis karya Hikayat Abdullah ini.
Contohnya dapat dilihat seperti dalam petikan ayat di bawah;
Maka beberapa lama-nya dalam hal yang sedemikian, maka datang-lah sa-orang orang
Arab Sayyid yang bernama Habib Abdullah, bangsanya Haddad, maka ada-lah ia-itu
aulia, maka sangat-lah di-permulia orang akan dia dalam Melaka; maka segala laki-
laki dan perampuan pun pergi-lah berguru kepada-nya dari-hal perkara agama Islam.
Perkataan 'Sayyid' adalah perkataan daripada bahasa Arab yang bermaksud ketua atau
pemimpin telah diselitkan dalam contoh petikan ayat di atas. Begitu juga dengan perkataan
'aulia' yang bermaksud seseorang yang mempunyai pekerti yang baik.
40
2.8 BORROWED WORDS
In Malay Language, it has many loanwords from Sanskrit, Persian, Tamil, Greek, Latin,
Portuguese, Dutch certain Chinese dialects, Arabic and English words. For example:
ENGLISH ORIGINAL
WORD FROM
TRANSLATION WORD
abjad alphabet Arabic abjad
ahad sunday Arabic Al-Ahad
ahli community Arabic Ahli
akhbar news Arabic akhbar
fitnah slander Arabic fitnah
had limit Arabic hadd
haram Forbidden Arabic haram
jiran neighbor Arabic jiran
maaf sorry Arabic Ma’af
miskin poor Arabic miskin
aktiviti activity English activity
biskut biscuit English biscuit
deskriptif Descriptive English descriptive
email email English email
garaj garage English garage
kaunter counter English counter
mesej message English message
naratif narative English narative
sains science English science
taksi taxi English taxi
akta act Latin actus
universiti university Latin universitas
kualiti quality Latin kualitas
misi mission Latin missio
Amnesti Amnesty, state Latin amnestia
granted pardon
41
forum forum Latin forum
humaniora humanities Latin humaniora
kantata song Latin cantata
nihil Nil, nothing, zero Latin nihil
Nota bene Actually, also, after Latin Nota bene; note well
look carefully
Nila Indigo dye Sanskrit Nila=blue
Denda Fine, punishment Sanskrit danda
Dewi Goddess Sanskrit Devi
Dirgahayu Long life Sanskrit Dirghayu
Duka sadness Sanskrit duhkha
Istana palace Sanskrit asthana
kerana because Sanskrit karanena
manusia human Sanskrit manusya
merdeka Rich, prosperous Sanskrit mahardhika
perpustakaan library Sanskrit pustaka
dekan dean Portuguese decano
almari cupboard Portuguese armario
baldi bucket Portuguese balde
bendera flag Portuguese bandeira
biola violin Portuguese viola
jendela window Portuguese janela
keju cheese Portuguese queijo
mentega butter Portuguese manteiga
risiko risk Dutch risico
rokok cigarette Dutch roken
sepanduk banner Dutch spandoek
televisi television Dutch televisie
teh tea Hokkien Te-oo
tauhu Bean curd Hokkien Tau-hu
taugeh Bean sprout Hokkien Tau-ge
tanglong lantern Hokkien tanglong
samseng gangster Hokkien Sam-sing
42
mee noodle Hokkien mi
longkang drain Hokkien Liong-kang
lanca rickshaw Hokkien Lang-tshia
kuih cake Hokkien kue
beca trishaw Hokkien Be-tshia
43
2.9 DIALECT IN MALAY LANGUAGE
According to Crystal (1997) dialect is defined by linguists as a variety of a language

that is distinguished from other varieties of the same language by its pronunciation, grammar,
vocabulary, discourse conventions, and other linguistic features.
As dialects are also defined by geographical borders, mutual intelligibility can be

gauged according to the geographical distance between speakers of different dialect areas.
Those further apart may take a little bit more time to get used to one another’s way of speaking
(Asmah Haji Omar, Salinah Jaafar, Siti Ruhaizah Che Mat, 2015). For example, in the
conversation between two speakers, one using Johor dialect and the other using Kelantan
dialect, both Peninsular, the former may stumble in the first few minutes of their conversation
during which time he is able to figure out the phonological aspect which make their
pronunciations different; and after internalizing the differences the conversations takes a
smooth turn.
2.9.1 Perak
The uniqueness of the dialect for Perak state is divided into a few types of dialect. The
peoples who are leaving in North Perak (Kerian and Larut Matang), they are more to Penang
dialect. Hulu Perak (Kroh, Grik and Lenggong) is more to Patani dialect. For Kinta district,
Malay language is using widely. For the South of Perak (Batang Padang to Bagan Datoh), the
accent is more to the North Peninsular (Selangor and Johor). For the Perak Tengah (Kuala
Kangsar, Sayong, Karai, Bota, Parit, Lambor, Kampung Gajah and Tanjung Blanja) the accent
is Lembah Sungai Perak. This is the pure accent that come from Perak state.
The example for Perak accent:
Perak Malay English

Benkin Garang Strict
Gamok Agak approximately
Hangat Pijor Terlalu panas extremely hot
Leboh Hilang Lost
Menyonkit berjalan walking
44
The example of accent:
1. Teman manghah beno dengan mike ni!

2. Uuu moncah le mike, anak-anak sume kroje gomen.
3. Ate betui ke idak dapat bonus? Awok libang-libu dari tadi ni.
2.9.2 Penang, Kedah and Perlis
These states are located at Northern Region of Peninsular Malaysia. They are using
Northern Dialect for this accent, it is using widely in the film because this is very easy to learn
and understand.
North Dialect Malay English

Ketegaq Degil Stubborn
Menghela Gatal Flirtatious
Celuih Muat Able to fit
Segheyau Takut afraid
Ghenyeh senyum Smiling
The example of sentences:
1. Meremutnya orang kat kedai baru bukak tu!

2. Tu dia, segak sungguh anak dara Cik Kiah, gheja KL ka?
3. Mak ni hari-hari duk buat kari, cemuih la.
45
2.9.3 Pahang
There are at about eight types of dialects in Pahang, with each main suburb (Pekan,
Benta, Raub, Ulu Tembeling, Rompin, Temerloh, Kuala Lipis) rocking their own version.
Hence, an object could be referred to as different names depending on the local community that
where the people live in.
PAHANG MALAY ENGLISH

Koi Saya I
Aok Awak You
Taruk Letak Put down
Mencanak Laju sangat Too fast
jabir plastik plastic
2.9.4 Kelantan
The local dialect here, popularly known as Kelate, is used throughout the state. What is
more, it is not only spoken by the Malays, but also by the Chinese, Indians and Siamese, who
call Kelantan home.
KELANTAN MALAY ENGLISH

Mokte Rambutan Rambutan
Pitih Duit Money
Punoh Rosak Spoiled
Kekoh Gigit Bite
ghoyak beritahu Tell someone
46
2.9.5 Terengganu
Base Ganu is spoken everywhere in the states save for Pulau Perhentian and the North
of Besut-the people there speak Kelate instead. This local dialect is known for its emphasis on
the pronounciation of the letter “G”.
TERENGGANU MALAY ENGLISH

Payyang Tempayan Clay jar
Lembek Tilam Mattress
Pelawok Penipu Liar
Jereba Terkam Pounce/make sudden leap
Boloq woq serabut disorganised
2.9.6 Sabah
Sabah’s local dialect is a rather unique one. On top of its ethnic local languages
(influenced by the Kadazan Dusun, bajau, Suluk, Murut and otherethnic communities), it also
display elements of Indonesian, Tagalog and Brunei Malay.
SABAH MALAY ENGLISH

Limpas Lalu/lintas Walk pass/ cross
Siring Tepi By the side
Sandi Teruk Horrible
Bida Hodoh Ugly
kedapatan kantoi busted
47
2.9.7 Sarawak
In this part of the country, regardless if you are an Iban, Bidayuh, Orang Ulu, Dayak or Melanau
Cina, the local dialect is spoken by all.
SARAWAK MALAY ENGLISH

Inggar Geram Annoyed
Sitok Sini Here
Sidak nya Mereka Them
Iboh Jangan Do not
belon Kapal terbang airplane
2.9.8 Johor
If you are not from this state, you would not notice much different between local Malay
and KL version. Plus, it does not sound as different as the ones in other states such as Kelantan,
and Kedah. However, if you pay more attention, you will realise that Johoreans have
incorporated a bunch of ‘odd’ words into their vocabulary.
JOHOR MALAY ENGLISH

Epok-epok Karipap Curry puff
Lemor Masuk angina Stale
Gerobok Almari Cupboard
Saing Sama-sama Together
semangka tembikai watermelon
48
2.9.9 Melaka
The dialect spoken here is sometimes described as very harsh-sounding. However, the people
certainly are not! It is just the way of the dialect.
MELAKA MALAY ENGLISH

Besau Besar Large
Gumah Rumah House
Kendian Kemudian Later
Kensal Tuala Towel
membokah makan eat
2.9.10 Negeri Sembilan
Out of all the Malay dialect spoken in Malaysia, Negeri Sembilan is the most pleasing to the
ear. However, non-local may have a tough time to figure out the meaning of the words.
NEGERI SEMBILAN MALAY ENGLISH

Mombuto Tidur Sleep
Ghobeh Hujan renyai Drizzling
Hongeh Penat Tired
Koyok Berlagak Show-off
landung sepak To kick
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2.10 MALAY PROVERBS AND IDIOMS
According to (Seung Yoan Rou, Keum Hyun Kim) the idiom or idiomatic expression is
a phrasal combination of two or more words where its figurative meaning is different from its
literal meaning. Most idiomatic expressions reflect the speaker’s culture, customs, and social
historical backgrounds. Hence, without knowing a target language’s culture aspects, and also
because idioms are expressions whose meanings cannot be inferred from the dictionary
definitions, a foreign language learner frequently faces problems in understanding the actual
meaning of these idiomatic expressions.
In the Malay dictionary, idioms is a phrase consisting of two words or more and has a
different meaning from the meaning of the composing words (Kamus Dewan 1986: 1113). In
the Malay world, idiom is very popular communication method and it used by all groups and
classes of society (Zainal Abidin Bakar, 1983: 32). According to Hasan Muhammad Ali (1996:
8) the function of idioms:
1) Lend colour and life to an otherwise monotonous essay

2) Refine or introduce a more subtle adjective to soften the verbs or image which one
wishes to convey or use
3) Enhance and entice the recipient of the objective or purpose of such a word or idea
which the speaker uses
4) Lay emphasis on the idea or story being told.
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2.11 TRADITIONAL MALAY POETRY
2.11.1 Pantun
Pantun is type of traditional Malay poetry that may come in two, four, eight or twelve
lines. The definition of pantun collected in the second chapter suggest that pantun as an oral
tradition is typically defined as a four-line Malay quatrain (Muhammad Haji Saleh). The magic
of the Malay pantun, he added that the world comes with things that are paired which results in
the messages of pantun represented in two-part codification.
The first examples to be recorded appear in the 15th century in the Malay Annals and
the Hikayat Hang Tuah. The most common theme is love.
2.11.2 Syair
Syair is a form of traditional Malay poetry that made up of four-line stanzas or quatrains.
The syair can be a narrative poem, a didactic poem, or a poem used to convey ideas on religion
or philosophy, or even one to describe historical event.
In contrast to pantun form, the syair conveys a continuous idea from one stanza to the
next, maintains a unity of idea from the first line to the last line in each stanza, and each
stanza is rhymed a-a-a-a-a. Syair is sung in set rhythms that differs from syair to syair. The
recitation of syair can be accompanied by music or not. The earliest known record of syair
was from the work of Hamzah Fansuri, a famous Malay poet in the 17th century. The word
Syair is derived from the Arabic word shi’r, a term that covers all genres of Arabic/Islamic
poetry.
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2.11.3 Gurindam
Gurindam is a type of irregular verse forms of traditional Malay poetry. It is a

combination of two clauses where the relative clause forms a line and is thus linked to the
second line, or the main clause. Each pair of lines (stanza) provides complete ideas within the
pair and has the same rhyme in its end. There is no limit on the number words per line and
neither the rhythm per line is fixed.
Although Gurindam looks similar with Syair which also have the same rhyme at the end
of each stanza, it differs in the sense that it completes the message within the same stanza while
Syair unfolding the message in several stanzas. The first line of gurindam is known as syarat
(protasis) and the second line is jawab (apodosis). In other words, the first line states a condition
while the second line provides the answer.
GURINDAM PELIHARA LIDAH
Jika kamu banyak berkata Jika kamu banyak bercakap

Disitu banyak membuat dusta Kamu sendiri masuk perangkap
Jika kamu banyak bercakap Jika kamu banyak berkata

Tanda fikiran kuranglah lengkap Janji palsu senang tercipta

Kejahilan kamu terang dan nyata Kata mengata banyak diungkap
Jika kamu banyak bercakap Jika kamu banyak berkata

Kekurangan kamu mudah tersingkap Banyak janji tidak dikota

Di situ banyak saling sengketa Rahsia kamu dapat ditangkap
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2.11.4 Nazam
Nazam is an old poetic form where each couplet is made up of two lines. It is influenced
by the Arabic poetic style. Generally, nazams are not very popular among the Malays. They are
more common among religious scholars who composed nazams in praise of the prophets. It is
regarded as a berzanji text in Malay.
NAZAM KASIH AYAH DAN IBU
Ibu mengandung Sembilan bulan, Tidaklah tentu siang dan malam

Lebih dan kurang tak ditentukan, Bangun memangku di dalam kelam
Lahirkan dikau berapa kesakitan, Terkejut juga ditengah malam
Berpantang pula minum dan makan Tidur pun tidak lekat di tilam
Cukuplah masa sampai ketika Rela ibumu menanggung hutang

Lahirlah engkau ke dalam dunia Kain dan baju tidak dipandang
Barulah suka ibu dan bapa Basah diampai kering di pinggang
Kepada engkau sangat sanagt kasihnya Didukung galas tidak berenggang
Harap ibumu bukan sedikit Kenang ayahmu anak bangsawan

Tinggilah harap darinya bukit barang katanya jangan dilawan
Lama ibumu merasa sakit Ibu bapamu hubungan Tuhan
Sembilan bulan tidak berbangkit Baru sempurna anak budiman
Setelah kamu sudahlah ada Hai segala anaknya adam

Siang dan malam ibumu jaga Kasihnya ibu tiada sempadan
Tidur pun tidak barang seketika Kasihnya ayah rela berkorban
Makan dan minum tidak berasa Badan dan nyawa jadi taruhan
Berapalah dian dengannya tanglung

Diangkat dituang lalu dibedung
Sudahlah jaga lalu didukung
Kasih dan sayang tidak tertanggung
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2.11.5 Seloka
Seloka refers to free Malay poetry which has no particular form in terms of duplicate,
number of rows, either rhythmic or not. In general, it consists of parallel expressions more than
two lines, having the same resistances as talented and rhythmic prose. An important feature for
a seloka is that it has a mockery, serious aspiration or jokes, criticizing behavior and negative
nature. There is example of Seloka:
SELOKA PAK KADUK
Aduhai malang Pak Kaduk

Ayamnya menang kampung tergadai
Ada nasi dicurahkan
Awak pulang kebuluran
Mudik menongkah surut

Hilir menongkah pasang
Ada isteri dibunuh
Nyaris mati oleh tak makan
Masa belayar kematian angin

Sauh dilabuh bayu berpuput
Ada rumah bertandang duduk
Alahai pak kaduk
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2.11.6 Dondang Sayang
Dondang Sayang is a traditional Malay art still practised in Melaka by four

communities: the Malay, Baba Nyonya, Chitty and Portuguese communities. The practice
combines elements of music (violins, gongs and tambourines or the tambour), songs and chants,
and features beautiful melodious strains of poetry. Also known as love ballads, the songs are
used by communities to convey feelings of love and give advice on special topics such as love
and kindness. During the Melaka Sultanate era in the fifteenth century, Dondang Sayang was
performed at Royal Palace ceremonies and events; subsequently, the performance became
widespread among the communities concerned.
Based on tradition, Dondang Sayang performances are accompanied by music and sung
by two singers of the opposite sex, who sing in quatrains. Typically, Dondang Sayang singers
are individuals who are highly competent and skilled in poetry recitation. Dongdang Sayang
performances are open to all, irrespective of age, occupation, status or religion, and the art is
considered as a means of conveying positive messages and sharing feelings of love, joy and
sorrow that strengthen community bonding. Performances are held on a regular basis, especially
during gatherings, festivals and parties, and nowadays many cultural programmes, activities
and training activities are organized for those interested in participating and improving their
singing and performance skills.
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CHAPTER 3: MALAY TARDITIONAL
GAMES
3.1 INTRODUCTION
Traditional games are folk games that were once a part of the everyday lives of the
Malays. One important basis for the survival of such games over a long period of time was the
uniformity of life in the olden days. Some games have become extinct now and are only
remembered by the older generation. However, there are some games that have survived to this
day.
Playing is a part of growing up. Although many parents try to curb their children’s play.
It is actually an activity that should be encouraged as playing with their peers is a means for
them to learn to socialize. However, children should also not get carried away completely in
games. Interestingly, traditional games were not only played by children but also by adults,
depending on the type of games.
In the past such games were by farmers and fishermen after the harvesting season, or
during the rainy season. When a game was played in one village, the villagers from neighboring
villages would come to take part or merely to watch the games. This resulted in a festival
atmosphere that allowed the villagers to socialize among one another.
Traditional games are the invention of those people who lived a long time ago. Unfortunately,
many traditional games have been forgotten. Without efforts to preserve this cultural heritage.
It may disappear in the maelstrom of modernity.
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3.2 ADVANTAGES OF TRADITIONAL GAMES
These traditional games have numerous advantages from all aspects. They include health,
thinking and many more.
1. To enhance creativity. These traditional games required some preparations. Initially, a

players especially young children were trained to think as they need to modify some unused
items for the games.
2. To build a socially-inclined society. Most of the games require a good teamwork among
the members to ensure a victory. Instantaneously, they will appreciate each other.
3. To train cooperation among the society. Each player is inculcated the spirit of teamwork.
4. To build up physical agility. A game like ketinting demands a player to think and run as
fast as they can. Thus, the player is trained to be agile and stay healthy.
3.3 LIST OF MALAY TRADITIONAL GAMES
WAU CONGKAK GASING SEPAK TAKRAW
SEPAK RAGA KAKI GAJAH KONDA-KONDI BATU SEREMBAN
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3.3.1 Wau
The word ‘Wau’ was derived from the Arabic letter ‘Wau’ as the shape of the wing
resemblances to the outline of the particular letter. It was also said that the farmer in the past
used Wau to scarecrow to ward off the birds from their paddy fields. In Malaysia, the most
popular of all the Wau’s is ‘Wau Bulan’. It is was certain that the name fits one of the three
country’s official kites, where the names takes the after the shape of the moon as the tail of the
Wau itself look like to the crescent.
3.3.1.1 HISTORY OF WAU
The origin of the ‘Wau Bulan’ was said to exist during the days of the Srivijaya Empire,
in which according to the legend, a young prince named Dewa Muda used Wau to mapped out
the districts that he already conquered on the Wau, in which he will then display and tell to his
people. Before he went to the war, Dewa Muda would meditate to gain his experience spiritual
intuitions where he went into the deep of the cave. When he wanted to leave the cave, he
frequently appears with the wire frame that was believed to be the wire frame of a ‘Wau Bulan’.
The patterns of the flowers and leaves on the Wau were said to represent the districts that he
already conquered. Thus, whenever he went from the battle, the patterns (flowers and leaf) on
his Wau will continuously to ‘grow’, symbolising how strong his empire at that moment. The
fabled beliefs claim that the Dewa Muda had a spiritual link to his Wau. Some people also
believed that he obtained extraordinary spiritual advice by flying up to the heavens on his ‘Wau
Bulan’ and developed the spiritual relationships with the inhabitants of another world.
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3.3.1.2 CHARACTERISTICS OF WAU
Compared to the traditional size of Wau bulan, the other kites is quite small. It was
measures 2.5 meters wide and 3.5 meters long. Thus, there are lots of spaces that can be used
for the decorations for the kite. The typical colour for the kites usually strong coloured patterns
or bright colours to make it looks more extraordinary. As for the designs, Wau Bulan usually
differs of the floral drawings with the thick lines to ensure that the kite can really go far from
the other kites that fly with it. Also, with this Wau Bulan, it has a stringed bow that was attached
to it. This will produce a very soft wailing tone when it was flown away in the sky.
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3.3.1.3 TYPES OF WAU
Today, there are many types of Wau and the most widely known is Wau Kikik which is
Malay kites. It is the simple tailless kite that was shape as the diamond. Besides, there are many
other widely known Wau that was available such as Wau Bulan (Moon Kite), Wau Kucing
Kite), and Wau Jalabudi (Women Kite). These types of Wau are considered as the National
Kites and it was made as the main item in the national kite competitions. While Wau Daun
(Leaf Kite) was made as an optional in the competitions.
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3.3.2 Congkak
Congkak (Congklak) is a mancala game of Malay origin played in Malaysia, Singapore,

Brunei, Southern Thailand and also some parts of Sumatra and Borneo.
The word congkak was believed originated from the old Malay ‘congak’, gives meaning
as mental calculation that was practiced in this game. It was considered that a good player will
have an advantage in collecting points to win the game when the player calculates a few steps
in advance.
3.3.2.1 HISTORY OF CONGKAK
The oldest mancala game that was found in a abandoned castle of Roman Egypt and
back to the 4th Century AD. This game was likely introduced to Southeast Asia by Indian or
Arab traders in 15th century. It was spread all over Malay world through the dealers via Malacca
where at that time the trading post is very important. Early years back then, it was thought that
the game was for the king and family residents only. But, it was spread to the general population
if the kingdom later on. Other than Malays, the Indian Peranakan also loves this traditional
game.
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3. 3.2.2 HOW TO PLAY CONGKAK
1. The congkak board consists of two rows of 7 holes called the 'houses' and two bigger
holes called the 'storehouse'
2. Before the game starts the 'houses' are filled with seven congkak seeds each while the
'storehouses' are left empty.
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3. Both players begin simultaneously by scooping up all the shells in any house on their
side. Each drops a shell into the next 'house' and continues clockwise depositing one
shell into every house thereafter. A player drops a shell into his 'storehouse' each time
he passes it but does not deposit any into his opponent's 'storehouse'.
4. How the game continues, depends on where the last shell of each scoop is deposited.
 IF THE SHELL DROPS INTO THE PLAYER'S OWN 'STOREHOUSE': The player
scoops up the shells from any of his 'houses' and distributes them in the cups ('houses')
round the board but not in his opponents's 'storehouse'.
 IF THE SHELL DROPS INTO A 'HOUSE' (on either side of the board) CONTAINING
SHELLS: The player scoops up all the shells in that 'house' and continues distributing
them as described above.
 IF THE SHELL DROPS INTO THE PLAYER'S 'HOUSE' WHICH IS WITHOUT
SHELLS: The player is entitled to collect the shells in his opponent's 'house' directly
opposite his own. These shells collected from his opponent's house together with his
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last shell are deposited in his own 'storehouse'. If the opponent's 'house' opposite his
own is empty, he deposits only his last shell in his own 'storehouse'. He forfeits his turn
and stops playing. It is the opponent's turn now to distribute the shells.
 IF THE SHELL DROPS INTO AN EMPTY 'HOUSE' BELONGING TO THE
OPPONENT: The player forfeits his turn and stops playing. He also forfeits his shell
and leaves it in the opponent's 'house'. It is the opponent's turn now to distribute the
shells.
5. The first round ends when a player has no more shells on his side.
6. Play resumes in the second round with players redistributing shells from their own
'storehouse' to their own 'houses'. Beginning from left to right, seven shells are placed
in each 'house'. If a player does not have sufficient shells to fill his own 'houses', the
remaining cups are left empty and are considered 'burnt'. The leftover shells are
deposited into his own 'storehouse.' The opponent deposits excess shells he has won into
his own 'storehouse'.
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7. The loser gets to start the second round. Play is continued as before but players will
bypass 'burnt houses' for instance no shells are to be dropped into these houses. If a shell
is accidentally dropped into a 'burnt house', it is confiscated and stored in the opponent's
'storehouse'.
8. Play continues until one player loses all his 'houses' or concedes defeat.
3.3.2.3 THE OBJECTIVE TO PLAY CONGKAK:
The objectives of playing congkak is to get rid of all the seeds by moving them across
over your enemy while placing each of your seed or marbles into your own house or pit. The
games end where the winner either the one with the most seeds in his or her house or the first
to empty his row of holes.
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3.3.2.4 THE EQUIPMENT NEEDED:
Congkak Board
Objects
Marbles
rubber seeds
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3.3.3 Batu Seremban
It is was a historical and heritage kind of traditional game, unique and differ. The game was
inherited from the great grand generation of descendants before world of civilisation.
3.3.3.1 HISTORY OF BATU SEREMBAN
The games was believed to be found and practiced in popular area of Malaya (Malaysia),
Philippines and all part of Malaya and Indonesia and also the surrounding islands, Palau(Pulau),
Micronesian, far east pacific islands; Vanuatu, Tuvala, Fiji, Cococs Island, Guam and so on
Southern Asia plate and Indian continent, Indochina and northern pacific area, by Burma, Laos
and Cambodia aborigines.
The game also being played by Inuit and Eskimo in Northern part of Canada, east and
west Siberia and Shakalin Island, where the evidence was found in southern and eastern part of
Africa, played by nomadic, Taureg and Badwin, Central America by Inca and Maya inhabitant,
by the Red Indian on top of Andes plattue of southern America, Chile, Bolivia and Peru tribes.
3.3.3.2 HOW TO PLAY BATU SEREMBAN
Step 1:
Throw all 5 stones. Whilst throwing a stone, pick up 1 stone and catch the stone in the air before
it falls to the ground. Do this for each of the stones on the ground.
Step 2:
Repeat step 1 but pick up 2 stones at a time.
Step 3:
Repeat step 1 but pick up a combination of 3 stones and 1.
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Step 4:
Throw all 5 stones. Pick up 4 stones whilst 1 stone is in the air and catch the later before it falls
to the ground.
Step 5:
Whilst throwing 1 stone, place the 4 on the ground. Throw 1 stone up again and catch it whilst
picking all 4 stones on the ground.
Step 6:
Throw all 5 stones on the ground. The opponent selects a stone to be thrown in the air. The
player has to pick this stone without moving any others. The player throws the stone in the air
and picks the remaining on the ground in one clean sweep.
If the player fails in step 6, automatically the turn will revert to the opponent. Once the opponent
fails to complete the turn, her or his will return to the incomplete step, starting from the first
step.
3.3.3.3 THE OBJECTIVES TO PLAY BATU SEREMBAN
The aim of playing this game is to throw one of the stones one at a time and sweeping
another on the floor all together catching the one you threw earlier on. This game continues to
advance stages where the game gets complicated.
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3.3.3.4 EQUIPMENT NEEDED:
This game was played using 5 or 7 pieces of objects usually made of small stone, beads,
fruits seeds, beans, nut or nutshell, or even bones and (originally) hard wood but not these days.
Today, they already improvised using marble or small bags of sand/stone or beans. It depends
on the players to choose what kind of objects they wanted to used.
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3.3.4 Sepak Takraw
Also known as sepak raga, is a traditional ball game where the ball that was made by
weaving strips of buluh or bamboo, is passed on using any part of the body except lower arms
and hands. There are 2 main types of sepak takraw; bulatan(circle) and jaring(net). Sepak raga
bulatan originated form in which players form a circle and try to keep the ball in the air for as
long as possible while sepak takraw jaring is the modern version in which the ball is passed
across a court over a high net. Sepak takraw is widely known. But different country called sepak
takraw with different name.
Malaysia = Sepak Raga
Philippines = Sipa
Singapore = Sepak Raga or Sepraga
Thailand = Takraw
Brunei = Sepak Raga Jala
Burma = Ching Loong
Indonesia = Rago (South Sulawesi)
Laos = Kator
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3.3.4.1 HISTORY OF SEPAK TAKRAW
Takraw was originated in South-East Asia. It was thought that Thai and Malay people
played the game as far back the 15th century. It was recorded that the game existed in Wat Phra
Kaew (temple serves as a resting place for the Emerald Buddha). This temple in Bangkok
(Thailand), contains paintings portraying the Hindu god, Hanuman, playing takraw in a ring
with a troop of monkeys. Other historical recorded that the game being played during the reign
of King Naresuan (1590-1605).
However, they are many lies and debate existed in this history where many other
countries also claiming it as their own. Some also believes that it was practiced from the same
game played by the Chinese military that was thought to have spread through trade with China.
3.3.4.2 TECHNIQUES AND RULES:
1. Sepak Takraw is basically foot badminton/volleyball.

2. Played on a similar court to doubles badminton, with the server serving in the middle of
the back half of the court.
3. Having served (volley kicked) a throw from the net by a team mate, the ball must then
travel over the net to begin play.
4. The opposing team will then try to volley the ball back over the net into the oppositions
court.
5. Each team may have as many as three touches between themselves, but in order to win
a point, the ball must land in the oppositions court, if it lands outside, it will be the
opposing teams point.
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3.3.4.3 THE COURT:
3.3.4.4 THE SERVE AND BALL:
The player who kicks a serve surely puts a leg (shaft foot) in the service circle, and takes
a toss from the player who went into the quoter circle (the semicircle of a radius 90 cm done
around the contact point of the centre line and the side-line), and kicks the ball.
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When a game begins by one serve, a ball can be touched by the attack of one time to
three times. You can use a head, a back, legs, and anywhere except for the arm from the shoulder
to the point of the finger.
There are 2 kinds of balls of the thing that the thing edited in the stem of 9-11 rotten,
and the shape was imitated with the plastic and which was made. A ball made of the plastic is
being used as an official ball from the 11th Beijing Asian convention.
The weight of the ball is 170g-190g, and the size of it is a perimeter 40cm, and there is
a hole of 12 in it. It is much smaller than a handball, a little bigger than a softball.
3.3.4.5 HIGHLIGHT OF THE GAMES:
The player jumps as much as his height in the high state and a ball is struck by the spike like
acrobatics and hatched. The speed is said as about 140km per hour, an air battle has soothing
fully.
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3.3.5 Gasing/Top Spinning
Is a giant spinning top that weighs approximately 5kg or 10lbs and may be large as
dinner plate. The game usually played traditionally before the rice harvest season. The player
requires strengths, co-ordination and skill to play this game. The top is set spinning by unfolding
rope that has been wound around it. Then, it is scooped off the ground, whilst still spinning,
using bat with a centre slit and transferred onto a low post with a mental receptacle. If the
expertly hurled, it can spin for up to 2 hours.
Gasing or top spinning is split into two (2) categories. One is for ornamental purposes and while
the other is for playing.
3.3.5.1 EQUIPMENT NEEDED
The gasing or top usually made of wood or hard fruits. It comes together with string that was
tightly wound round a nail at the base of the top. There are five different shapes of tops;
1. plate-shaped
2. heart-shaped
3. hat top
4. egg-shaped
5. Berembang-shaped. Berembang is a fruit of a seaside tree.
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3.3.5.2 METHOD OF PLAYING GASING
There is no fixed number of players and the game can be played either teams or
individually. Firstly, a circle is drawn on the ground marking a circumstance within the top is
to spin. Then, a player holds the top in his hand and grips the loose end of the string between
the fingers and throws it in the circle while at the same time pulls the string backwards that
sends the top into a spinning action.
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3.3.5.3 SPARRING CONTEST
A Gasing or top spinning contest basically a friendly games where normally it have two
(2) kinds of matches.
The first is the "spinning contest" and the second one is called the "striking match". The
"Spinning contest", is where someone that can spin his top for the longest time wins the match.
Once the top has been launched, the top is carefully scooped off the ground using a thin wooden
bat. Then, it will be transferred to a little wooden surface and left to spin for as long as possible.
The trick here is to ensure that the top doesn't topple during the transit. Tough it may seem
unbelievably so, the current record stands at two hours.
The "striking match" is far more exhilarating than the first. You won't need to stand
there for hours watching a top spin and spin and spin. The "striking match" is as the name
suggests. Each contestant must try to hit their opponent's tops so that the already spinning tops
will topple and loses its balance and speed.
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3.3.6 Sepak Raga
‘Sepak Raga’ is a game that has been played for around 600 years, as it existed in the
days of the Melaka Sultanate. It was not only popular among the ordinary people but was also
played by the aristocrats in these days. The ball used in this game is made from strips of woven
rattan, and is about the size of a coconut kernel. There are two ways to play this game. One
type, known as “Sepak Raga Bulat”, or other places “Sepak Raga Ratus” is the type that has
been handed down since the days of the Melaka Sultanate and was played even by legendary
hero Hang Tuah and his four friends. This game is played by at least two players, or a maximum
of eight players who form a circle. Points are scored based on the number of times a player can
kick the ball repeatedly without dropping it (called ‘timbang’ or literally, ‘balancing’ the ball)
before passing it to the next player.
For the type of game known as ‘Sepak Raga Tuju’, the ball is passed to the opposing
players directly. The opposing player has to receive the ball without letting it touch the ground.
Usually, the player will kick the ball three times without letting it touch the ground (timbang)
and on the third count will pass it to another player. The pass should be made below the knee
level. This makes it easier for the other player to receive the ball and continue the game. The
game ends when the ball touches the ground.
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3.3.7 Kaki Gajah
“Kaki Gajah” (literally, elephant feet) is a game played for leisure especially during
festival days and gatherings. It is played by male and female players of all ages, usually in
groups. The games involves using two upper parts of coconut shells, that is, the part with ‘eyes’.
One of these ‘eyes’ on each of the coconut shells is perforated and both coconut shells are then
joined using a length of cord. The length and strength of the cord is suited to the player and can
adjusted by knotting the end in each coconut shells. The length and strength of the cord
determine the ease with which a player can manipulate the coconut shells. To begin playing the
player will ‘wear’ each coconut shell on his feet like flip-flops one of the right and another part
on the left and hold the middle part of cord. Then, the players will race each other. Whoever
reaches the finish line first is considered the winner.
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3.3.8 Konda-Kondi
This is a traditional game played by both boys and girls. It is also know by the name
‘perik mata’ and is considered to be a game that requires a sharp mind as well as physical
strength. Two sticks of different length are used in this game. The shorter one called ‘anak’ and
measures about 15cm in length while the other is called ‘ibu’ and is about 30cm in length. Each
piece has a diameter of about 2cm. A hole about 15cm deep is made and the shorter stick is laid
across it.
In this game, the players are divided into two teams with an equal number of players. A
vote is taken to decide on which team goes first. When the game begins, the attacking team
takes its place behind the hole and their opponents scatter around the field in front of it. The
game is the played by moving the shorter stick using the longer one. The distance and aim, as
well as the player’s skill in finding an empty space, will affect how much the stick is moved. In
this way, the opposing team is prevented from getting hold of the stick, which would end the
other team’s turn. However, should the stick fall, points are scored based on its distance from
the hole using the longer stick as a measurement. The game is continued by the next player and
each team loses its turn when the opposing team catches the stick before it falls to the ground.
The winning team is decided on points.
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CHAPTER 4: MALAY TRADITIONAL
WEDDING CEREMONY
4.1 INTRODUCTION
The custom of Malay marriage is the customs that become the beginning of the life of a family.
The Malay community is so firmly entrenched with the customs of marriage. For the Malay
community, the Malay marriage is very much emphasized. A ceremony in the marriage stage
will be performed in a lively and full of customs.
Each of their treatment will be confused with their own custom, especially the wedding
ceremony. In fact, customs are said to play an important role in ensuring the smooth running of
a wedding. Normally these ceremonies are arranged accordingly according to the planned steps.
Traditional Malay wedding customs can be divided into several processes: merisik or
reviewing, wedding arrangements, signage, shopping, invitations, wedding ceremonies, big
parties, day-to-day couples, pick-ups.
The activities that take place during a Malay wedding come from the diverse cultural
traditions –indigenous, Hindu and Islamic–that have together served to shape traditional Malay
culture. The numerous activities constitute a Malay wedding may be conveniently be divided
into three groups representing three stages.
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The first group of activities, all of which precede the actual wedding ceremony, consist of;
1. The investigation (merisik)
2. The engagement or approach to formalise the arrangement (meminang),
3. The hantaran or the sending of gifts and part of the amount of money (wang belanja) for
expenses (wang belanja) which the boy’s family give to the girl’s side that will be
incurred by the girl’s family.
The wang belanja is usually an amount of several thousand ringgit. It is different from the
dowry (mas kahwin) which is also paid by the man to his future wife. The amount of the mas
kahwin is usually fixed by the Islamic Religious Council in each state, but a potential
bridegroom may give any amount above the official figure.
The second group of activities consists of the actual marriage ceremony (akad nikah) and
berinai, while the third group of activities consists of berarak or arriving in procession, sitting
on a decorated dias ( bersanding and the welcoming of the married couple to the bride’s house
( sambut menantu).
Despite overall similarities in the respective ceremonies as done in various parts of the
country, there are certain regional differences. Here only the general characteristics of the
ceremonies have been highlighted.
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4.2 HIGHLIGHT IN THE MALAY WEDDIN PROCESS
Merisik Meminang Akad Nikah
Sambut
Bersanding Adat Berinai
Menyambut
4.2.1 Merisik
When it is time for a young man to get married his family will look around to identify a
number of potential candidates. Having decided upon one particular young lady, then, the
merisik of investigation process takes place. For this ceremony one or more representatives
(wakil) of the young man’s family will pay a friendly visit to the family of the young woman
whom they have in mind as his potential bride. The visit is purely for the purpose of further
investigation. It allows the visitors to see the young lady. A hint will be given to her parents
regarding the purpose of the visit, and their reaction will be assessed. The girl’s parents may
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also give the visitors some idea as to whether or not their daughter will be interested in the
match. The merisik does not constitute a formal proposal. Following the visit both sides can
begin to think more seriously about the possibility or otherwise of the union. It is possible that
no progress may take place, and the young man’s parents or representatives will then look for
another possible candidate.
4.2.2 Meminang
Once agreement for the marriage has been reached between the families of the potential
bride and the potential bridegroom, preparations for engagement (meminang) take place.
Representatives from the young man’s side once again visit the house of the young woman,
following the confirmation of a date and time for such a visit. On the side of the potential bride,
a consensus is obtained regarding the following:
 The date and time for the meminang ceremony.
 The amount of money to be paid by the young man for expenses (wang belanja).
 Details regarding the gift (hantaran) items.
 The date and time for the actual wedding ceremony and feast.
Details regarding the penalty should one of the parties break the agreement for the marriage.
When the young man’s representatives arrive at the young woman’s house, these matters are
discussed and settled. Agreement is also reached on certain details regarding the engagement
ceremony, including:
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 The number of persons who will constitute the bride-groom’s party.
 The number of trays (dulang) of gifts that will be brought in addition to the traditional
betel-leaf containers (tepak sirih).
Whether or not a part of the money for expenses (belanja) is to be paid by the potential
bridegroom at the time of the engagement (meminang) ceremony.
Following this settlement, the potential bridegroom’s side will prepare the various items to be
presented to the potential bride.
Similarly on the side of the young lady, gift items to the presented to the young man are
prepared. Customarily, the potential bride groom will send the following items to the potential
bride on the day of their engagement:
 A gold or diamond ring.
 A betel-leaf container (tepak sirih) complete with betel leaves (sirih) and other
ingredients. This is known as sirih meminang.
 A complete set of clothes.
 A scarf or shawl (kain tudung).
 Fruits or other gifts.
 A handbag.
 A pair of shoes.
 and others…
The total number of gift-trays and the number of items returned as gifts by the potential
bride must be in odd numbers, usually 7 or more.
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On the day of the engagement the young man’s party brings the items agreed upon. For the
meminang ceremony the young man and the young woman will be represented not by their
parents but by other carefully selected persons.
On this day the date for the wedding ceremony (akad nikah) and the various other conditions
and requirements will be also confirmed by both parties. Once all such matters have been
resolved, the bridegroom’s representatives will hand over all the gifts (hantaran) items with the
exception of the engagement ring. The ring will be placed on the finger of the potential bride
by an elder sister or aunt of the potential bridegroom. The potential bride will all this while be
in her chamber.
The gifts from the family of the potential bride meant for the potential bridegroom are now
handed to his representatives. The gift items may include a velvet cap (songkok), a prayer mat
(sejadah) a pair of clothes and so on. The gifts must also be placed in an add number of trays,
the number of trays being higher than those received from the potential bridegroom’s party.
This completes the meminang ceremony.
4.2.3 Akad Nikah
The Akad Nikah is the actual religious solemnisation of the marriage. While all the other
ceremonies performed in a Malay wedding before the Akad Nikah and after it may be
considered as derived from the traditional culture of the Malays, and may even be omitted the
Akad Nikah is an Islamic ceremony without which no marriage is valid. Consent of both the
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bride and the bridegroom must be obtained, and the religious official (usually a kadhi)
conducting the marriage must make sure the marriage is entered into willingly by both the
parties.
At times the marriage solemnization is in fact done by the girl’s father in the presence of
religious officials. In a brief sermon given by the officials, the bridegroom and the bride will
receive a briefing on their rights and responsibilities as a married couple, particularly from the
Islamic perspective. There must be two official witnesses at the Akad Nikah.
A marriage certificate will be issued by the kadhi or State Religious Council representatives
following the ceremony, and this is to be signed by the bridegroom, the bride as well as the
witnesses.
4.2.4 Adat Berinai
The ceremony of Berinai involves the staining of the couple’s hands with henna. Lesser or
greater berinai ceremonies are held three times as follows:
 Berinai Curi takes place three nights before the actual wedding ceremony (akad nikah)
with the participation of close relatives and friends only.
 Berinai Kecil. Takes place two nights before the wedding ceremony with the
participation of family members, neighbours and close friends.
 Berinai Besar is usually held after the completion of the religious ceremony (Akad
Nikah).
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Of the above three ceremonies, the berinai besar is the major one. The lesser ones may take
place in private, usually with the participation of women only. For the berinai besar the newly
married couple sit on the specially decorated dias (pelamin). Family members from both sides
take turns to apply henna to the hands of the seated couple. Rice and a mixture of flour may
also be applied to the palms and foreheads of the couple, as a sign of blessing.
The Adat Berinai is intended to cleanse both the young persons now married to each other.
Henna is regarded as a blessed item, that is, it is used as a means of cleansing and protection
from evil or malicious influences.
4.2.5 The Bersanding or Hari Langsung
The hari langsung, literally “the day of completion”, which also involves the bersanding or
ceremonial seating on the dias, is considered the high point of a Malay wedding.
In the morning before the bersanding ceremony the bride will change into new clothes, and
various fashions may be tried out in selecting the dress to be worn for the bersanding. Popular
bersanding fashions include those of from the Minangkabau tradition, Kelantanese styles as
well as styles derived from the West.
The bridegroom is not allowed to enter the bride’s house before the bride sends him a
prepared betel leaf known as sirih latlat or sirih genggam. This is a sign that the bride now
awaits the arrival of the bridegroom. The bridegroom walks slowly towards the house of the
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bride, his party is led by womenfolk. This is the ceremony of berarak, or walking in procession.
Behind them come the group of musicians beating various types of drums, especially the hand-
held kompang, as well as bearers of decorative flowers (bunga manggar).
The arriving party take their seats in a special area of the house for the martial arts ( pencak
silat) performance which is held as a sign of welcome and paying respects to the bridegroom as
the king for the day. Then both the bride and the bridegroom are invited for the bersanding
ceremony. This is the sitting in state ceremony and theoretically the first time that a bride and
her groom meet. Seated on their chairs on the platform (pelamin) the couple are blessed with
scented water, henna, sandalwood paste and rice flour paste. The bersanding publicly ratifies
the union.
Following the bersanding the newly-married couple will come down to the halaman rumah
for lunch or dinner (kenduri), to which guests will be invited. Further activities including light
entertainment or joget dance sessions may take place in the evening to conclude the Malay
wedding
4.2.6 Sambut Menyambut
The adat of sambut menyambut or ceremony of welcome is usually done at the

bridegrooms’s house to welcome the bride. This may take place a day or two following the
bersanding. Sometimes a second bersanding ceremony is held in the bridegroom’s house to give
the opportunity to the women of that household who did not have the opportunity to be present
at the first bersanding ceremony to bless the newly married couple.
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4.3 TEPAK SIREH
One of the most significant presence of betel leaf in Malay community is how the fresh
leaves are used in the making of a Tepak Sireh. For the uninitiated, a Tepak Sireh is essentially
a metal or wooden container that is used for storing betel leaves. These fresh leaves are meant
for chewing and have been an important part of the Malay culture since the ancient times. The
container, to keep the leaves as well as all the ingredients and accessories for making the betel
leaf relish, is generally made of metal but can also be made from wood at times.
Generally, the tepak sireh ( betel leaf cases) will feature uniquely selected items such as
tobacco, betel nut, lime (locally known as kapur), extract from gambier plant leaves, betel
leaves and a kacip or nutcracker. Except the nutcracker, all the items are contained in 6 different
compartments, known as cembul. The betel leaves are arranged inside the container in a group
of 5 to 7 pieces that are folded together neatly. All the other ingredients are placed in a very
organized and systematic way. Precise sections of Tepak Sirehs are designated for holding
different ingredients.
In the old day, the act of receiving and offering a complete Tepak Sireh has a very strong
significance for both the receiver and the giver. Each ingredient in the container has a special
significance.
The way sireh leaves behave in their natural environment and the characteristics they
display have led to these being viewed as a symbol of respect for fellow beings. The kapur or
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lime, being white in color, reflects the purity of heart and nobility which, when disturbed, can
also turn bitter like the kapur tang. Honest and integrity are symbolised by the betel nut, which
comes from a slender and tall palm tree. The nut is also a symbol of heritage or noble descent.
Tobacco is often viewed as a symbol of bravery and the willingness to make any and every
sacrifice when needed.
In the past, there were people who would chew this concoction because it was believed
to be good for the teeth as well as overall oral hygiene.
The sireh chewing tradition was also the determinant of what was polite, acceptable and
to a certain extent, what was beautiful. Today, sirih consumption is associated with bad habits
and backwardness.
The other occasion in which fresh betel leaves are used generously is in a Malay
wedding. It is a must-have in the forms of Tepak Sireh and Sireh Junjung/Dara respectively.
Traditionally, leading to a Malay wedding ceremony, the potential bridegroom’s

representatives would carry a betel leaves set (tepak sireh) to offer to the parents of the
prospective bride. If this was returned unused, it was understood that the proposal had been
declined, thus saving everyone any embarrassment. On the other hand, if the sireh set was
returned consumed, it was a message of acceptance.
On the wedding day, sireh leaves neatly arranged in tiers with flowers called the sireh
junjung, decorated the wedding dais. Guests would be given the Malay potpourri, the bunga
rampai wrapped in sireh leaves.
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However, nowadays, this practice is hardly being carried out as most couple have
already met and know each other well before they decide to get married.
But majority of weddings still retain some of the traditional elements such as tepak sireh
and sireh junjung (a traditional arrangement of betel leaves used in Malay weddings and
welcoming ceremonies)
The traditional betel leaves being arranged beautifully with and accompaniments with
beautiful flowers, better known as the ‘Sireh Junjung’ or ‘Sireh Dara’ in Malay is the main
component of the ‘Hantaran’ or a dowry. A sireh junjung arrangement is a must item for the
wedding gifts ‘hantaran’,
The Sireh Junjung is the one from the groom and is normally taller than the Sireh Dara
as it symbolises the new role that the groom will be taking – the role of the head of the family,
the highest position in a brand new family that will be established.
The ‘Sireh Dara’ on the other hand is from the bride and traditionally it symbolises the
chastity of the bride. However, nowadays it is normally used as a decoration piece and placed
on the main dias ‘Pelamin’.
Unlike sireh chewing habit which hardly being practiced today, the sireh junjung/dara
is still very much being included in Malay wedding. Although sireh still plays a symbolic role
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in Malay weddings and other social ceremonies, much of the knowledge of its traditional uses
has been forgotten. Sadly, much of its cultural heritage has been lost, save for the sireh sets and
their paraphernalias, now served as testimonials to a bygone era.
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4.4 MALAY TRADITIONAL WEDDING ATTIRE
4.4.1 Groom
The groom wears the traditional Malay costume of Baju Melayu, which translates as
"Malay shirt" and consists of a long-sleeved shirt and trousers. He wears head wear known as
tanjak; it is commonly made from a type of woven silk fabric. He also wears a dagger known
as a keris, which is indigenous to Indonesia, Malaysia and Singapore. As he walks with family
members to the home of his bride, it is common for the best man to shade him with a gold-
colored umbrella accompanied by palm blossom carriers.
4.4.2 Bride
The bride, who stands outside her home to wait for her husband-to-be, wears an
embroidered baju kurung, the traditional Malay dress for women. This dress, which is a long-
sleeved blouse over a matching sarong, often is well-coordinated with her husband's outfit. The
modern version of this dress is the baju kebaya. She also wears a tudung, which is a hijab or
headscarf to cover her hair and a selendang, or embroidered and beaded shawl over the tudung.
A crown placed on top of the shawl signifies her importance for the day. With flower girls
behind her, she walks from her house to meet the groom a few yards from her home.
4.4.3 Henna
The bride's palms and feet are decorated using dye from henna leaves to signify fertility
and love. The groom's hands are decorated, too. Hands and feet are chosen for decoration
because it is thought that the dye will last longer there. This marriage custom is also common
in India, Pakistan, Bangladesh and Morocco. Following this ritual, the bride and groom change
attire for photographs.
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CHAPTER 5: RELIGION FOR MALAY
RELIGION
OLDEST STATE
5 PILLARS THE 6 PILLARS BELIEF IN MOSQUES MOSQUE
OF ISLAM ABLUTION OF IMAN ALLAH IN IN
MALAYSIA MALAYSIA
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5.1 THE 5 PILLARS OF ISLAM
5.1.1 THE FUNDAMENTALS OF A MUSLIM’S LIFE
Every sound structure must have a solid foundation in order to remain strong. Islam’s
foundation is the five pillars it was built upon, forming the basis of Islamic teaching s taught by
Prophet Muhammad (peace be upon him), wherein he said:
1. The Declaration of Faith

2. Establishing regular prayers
3. Paying Charity
4. Fasting the month of Ramadhan
5. Pilgrimage
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5.1.1.1 THE DECLARATION OF FAITH
The declaration of faith is bearing witness (testifying) that there is no deity worthy of
worship but Allah (God), and that Muhammad (peace be upon him)is His Servant and
Messenger. It must be based on sincere and firm belief in the heart, as well as being uttered
verbally.
The first part of the declaration implies that:
1. No person, object or being has the right to be worshipped except Allah alone. The
Arabic name ‘Allah’ refers to the One True God of all mankind and everything that
exists.
2. Allah alone is the Creator and Sustainer of all that exists, and He has power over all
things.
3. Allah alone has perfect attributes and is free from all deficiencies.
4. Allah has no partner, equal, father, mother or son.
The second part of the declaration is that Muhammad (piece be upon him) is Allah’s Servant
and the final Messenger. He is the final Prophet in a long worship of Allah alone. The Prophet
Muhammad (peace be upon him) was sent with the Qur’an (the final revelation), in order to
teach the people Allah’s message, and serve as an example for all to follow.
Some benefits of the Declaration of Faith:
 Complete surrender to the will of Allah and becoming His true servant and subject.
 Produces a high degree of self-respect and confidence, while also remaining humble
and modest.
 Produce strong determination, patience and perseverance, making a person brave and
courageous, as well as dutiful and upright.
 Makes a person obey and observe Allah’s commands.
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5.1. 1.2 PERFORMING THE PRAYER
Solat or pray means man’s total submission to Allah. Its comprises words and actions,
beginning with the takbirruatul ihram and ending with the salam. It must be performed with
sincerity as proof of one’s faith in Allah. In its literal sense, solat means to pray.
The five daily prayers form the most important ritual or worship in a Muslim’s life. The
example of the prayer that they are doing like:
No. Name of Prayer Condition/Time Rakaat

1 Subuh Dawn 2
2 Zohor Afternoon 4
3 Asar Evening 4
4 Maghrib Dusk 3
5 Isya’ Nightfall 4
Table 1: The list name of Prayer
Prayer establishes a personal and spiritual connection between the Muslim and his
Creator, based on faith, love, hope and reverence. When prayer is performed correctly with
complete concentration, humility and sincerity, it will have an enduring effect on the person,
filling his heart with contentment, peace and closeness with Allah.
It can be offered almost anywhere clean such as; fields, offices, factories or universities;
and takes only a few minutes to perform. It consists of recitation from Holy Qur’an, supplicating
to and praising Allah, with various body postures such as standing, bowing, prostrating and
sitting. Through prayer, the Muslim remembers the greatness of his Creator and supplicates to
Him for his needs and wishes.
5.1.1.2.1 History of Prayer in Islam
Prayer in Islam evolved over the ages, and was repeatedly modified. After Prophet
Muhammad’s migration to Madinah, the number of prayers was increased, taking the form that
Muslims practice today. Only then, Muslims could pray in public after being forced to pray in
secret, fearing persecution by Quraysh in Mecca.
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5.1.1.2.2 How the Prayer Gave to the Muslim
There are numerous narratives about the history, emergence, and evolution of prayer in Islam,
one of the basic pillars of the faith.
According to As-Seerah Al Halabiyah, the Prophet and his people had not been commanded to
pray before his night journey and ascension to heaven. In his book “Tuhfatul Muhtaj li Sharh
Al-Minhaj” Ibnu Hajar Al-Haitham further proves this when he says that “people were only
commanded to believe in the oneness of the Creator, and the only prayers they were commanded
to perform were those mentioned in Surat Al-Muzammil.” It refers to night prayers, performed
by Prophet Muhammad and later reduced in the Qur’an to half.
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5.1.1.2.3 How to Pray in Islam
The prayer consists of 2, 3 or 4 cycles of a series of body postures performed with

praise to Allah, supplication and recitation from The Qur’an. In every prayer, the shahada is
reaffirmed.
The prayer is a holistic form of worship where the body joins the soul, heart, mind and
tongue in the praise and humble submission to Allah.
Below is brief illustration of the main prayer posture:
1. Make an intention known in the heart.

Before initiating the prayer, it is important that a Muslim has the intention to pray.
2. Start of Prayer
Raise the hands up to the ears and say Allahu Akbar. This translates to ‘Allah is the
greatest.” Do this while standing (or sitting if you can’t stand) and it is a symbol of
surrender to Allah.
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3. Standing
Place the right hands over the left hand either on the navel, chest or between the two.
There is different of opinion between Islamic schools of thoughts. Keep the eyes focused
on the place that you are standing. Do not let your eyes wander. This shows always ready
to obey Allah.
4. Bowing
Say “Allahu Akbar” and bend down. Bend the body so that the back and neck are as
straight as possible and level with the ground, keeping the eyes there. The back and head
should be in a 90 degree angle with the legs. Do not need to make a perfect angle; the
body should be relaxed. This position is called rukuk. This shows on obey Allah’s
Commands.
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5. Rising from Bowing
Stand back up (raise from rukuk). While raising up recite Samiallah Huliman Hamidah
with the arms beside. This means “Allah hears those who praise Him.”
6. Prostration
Say Allahu Akbar and prostrate. Place the head, knees and hands on the floor. This is the
position called “Sujud”. When in this position, say Subhana Rabbiyal A’laa. It means
Glorious is my Lord, the Most High. The forearms should not be on the floor.
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7. Sitting between Prostrations
Rise from sujud and sit on the knees. Place the left foot from ball to heel on the floor. The
right foot should be on the knees.
8. Witnessing
Say Allahu Akbar and stand up. You have complete one rakaah. Depending on the prayer,
you may need to complete up to 1, or 2 or 3 more.
In every second rakaah, after the second sujud, sit on the knee again. Recite: Tashahud,
Durood.
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9. End of Prayer
Finish the prayer with tasleem. After the hashahud, durood and any du’a you wish to
recite, end the prayer by:
 Turning the head to the right and saying “Assalaumalaikum warahmatullahi wa

bararokatuh.” The angle who records your good deeds is to this side.
 Turning the head to the left and saying “Assalaumalaikum warahmatullahi wa
bararokatuh.” The angle who records your wrongful deeds is to this side. The
prayers have ended.
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5.1.1.2.4 THE ABLUTION
Muslim pray directly to Allah and believe that, out of humility and respect for the
Almighty, one should prepare to do so with clean heart, mind and body. The Muslims only pray
when they are in a ritual state of purify, free from any physical impurities or uncleanliness. To
this end, ritual ablutions are necessary before each formal prayer if one is in a state impurity.
During ablution, a Muslim washes the parts of the body that are generally exposed to dirt and
grime.
WHY:
Ablution helps the worshiper break from normal life and prepare to enter a state of
worship. It freshens the mind and the heart and leaves one feeling clean and pure.
HOW:
1. A Muslim begins every action with intention, so one mentally determines to cleanse
oneself for prayer, for the sake of Allah. Starting with Basmallah.
2. The hands three times, making sure that the water reaches between the fingers and all
over the hands up to the wrist.
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3. The mouth three times, bringing a handful of water to the mouth and rinsing thoroughly.
4. The nose three times, using the right hand to bring water up to the nose, sniffing the
water, and using the left hand to expel it.
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5. The face three times, from the forehand to the chin and from ear to ear.
6. The arms three times, up to the elbows, starting with the right arm.
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7. The head three times, using wet hands to wipe over the head from front to back and
front again.
8. The ears three times, using wet fingers to wipe inside and outside of the ears
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9. The feet three times, up to the ankles starting with the right.
WHEN:
Ablution does not need to be repeated before each and every prayer if one remains in a ritual
state of purify from the previous prayer. If one “breaks ablution” then the ablutions need to be
repeated before subsequent prayer. The actions that break ablution include:
1. Natural discharge-urine, stool, gas, vomiting, etc.

2. Falling asleep.
3. Falling unconscious
4. Bleeding from a wound
WHERE:
Muslims can use any clean bathroom, sink, or other water sources for ablutions. In mosques,
there are often special areas set aside for ablution, with low faucets, seats and floor drains to
make it easier to reach the water, especially when washing the feet.
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5.1.1.3 PAYING CHARITY
All things belong to Allah, including wealth, which is considered as a trust. The
prescribed charity (zakah) is an obligation one every Muslim who meets certain criteria.
The meaning of the word ‘zakah’ is both ‘purification’ and ‘growth’. This is similar to
the pruning of plants, whereby regularly trimming provides balance and encourages growth. By
fulfilling this obligation, Muslim purify their remaining wealth, as well as ensure both financial
and spiritual growth.
Some benefits of zakah:
 Purifies one from selfishness, arrogance and a greedy heart.

 Trains one to be sympathetic and compassionate towards the poor and needy.
 Reminds one of the blessings from Allah and encourages one to be grateful.
 Bridges the gap between different socio-economic classes and groups, and is a form of
social security.
 Reduces poverty and ensures equality by making it obligatory upon the rich to share
some of their wealth with the less fortunate.
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5.1.1.4 FASTING THE MONTH OF RAMADHAN
As with any act of worship, fasting requires obedience and submission to Allah’s
commands through the highest degree of commitment and sincerity. Every year during the
month of Ramadhan (the 9th month of the lunar calendar), Muslim fast from dawn until sunset,
abstaining from there key human needs; food, drink and sexual relations. One should also
abstain from all sinful actions.
Fasting during Ramadhan is obligatory on every physically and mentally capable adult
Muslim. Children, the sick, the mentally unfit, the elderly, menstruating women and travelers
are exempt.
Some benefits of fasting:
 Promotes spiritual self-purification and growth.

 Scientifically proven health benefits.
 Sympathy for those less fortunate, prompting more charity.
 A means of learning self-restraint and patience.
 Purifies the soul and helps it acquire the habit of obeying Allah by restraining desires,
and promotes steadfastness.
 Creates an increased feeling of unity and collective identity amongst those fasting.
 Creates an increased awareness about the state of affairs across the globe and the
hardships endured.
 Forgiveness of sins.
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5.1.1. 5 PILGRIMAGE HAJJ
Pilgrimage to the Holy city of Makkah (in Saudi Arabia) and other sacred sites must be
performed at least once in a person’s life, if they are physically and financially capable.
Performing the pilgrimage is a temporary suspension of all worldly activities, and is a time for
one to reflect, worship, seek the forgiveness of Allah and attain His closeness.
Hajj involves following in the footsteps of Prophet Abraham, as taught to us by Prophet

Muhammad. This great act of worship consists of many components including sacrificing an
animal, supplicating, visiting and praying at various sites, circling the Ka’bah, walking between
two mountains, as well as many other rituals, all of which are performed over a period of 6
continuous days.
The pilgrimage is an annual event in the 12th month of the lunar calendar (Dhul-Hijjah
in Arabic), which unifies people of every colour, race, status and age, as they join in worship
of the One True God. All pilgrims wear simple and similar clothing, which trips away
distinctions of class and culture, so that all stand equal before Allah.
Such an experience is life-altering and humbles a person, making them more patient and
thankful to Allah. Brotherhood is increased, as is the sense that all Muslims, regardless of their
differences, are one nation.
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5.2 6 PILLARS OF IMAN
The six pillars of Iman, also known as the article of faith, are a portion of the foundation
in which a Muslim’s belief stand on. These pillars are very important and hold heavy weight
on the Day of Judgement.
5.2.1 FUNDAMENTAL OF PILLARS OF IMAN (FAITH)
BELIEF IN
ALLAH
BELIEF IN
BELIEF IN THE
QADA' AND
ANGELS
QADAR
BELIEF IN DAY BELIEF IN THE

OF RISING HOLY BOOKS
BELIEF IN THE
PROPHETS
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5.2.1.1 Belief in Allah
The first pillar of Iman is the belief in the All-Powerful, Most Beneficent. Believing in
Allah, above all else is the first and most important pillar. It is not only belief in Allah alone
but in the way He is described through the Qur’an and the saying of Prophet Muhammad
(Hadiths). This includes all 99 names that describe Allah.
No. Name of Allah Meaning Explanation

He who wills goodness and mercy for
1 Ar-Rahman The Beneficent
all His creatures.
2 Ar-Raheem The Merciful He who acts with extreme kindness
The Sovereign Lord, The One with the
3 Al-Malik The Eternal Lord complete Dominion, the One Whose
Dominion is clear from imperfection.
The One who is pure from any
4 Al-Quddus The Most Sacred imperfection and clear from children
and adversaries.
The Embodiment The One who is free from every
5 As-Salam
Of Peace imperfection.
The One who witnessed for Himself
that there is no other God but Him. And
The Infuser Of
6 Al-Mu’min He witnessed for His believers that they
Faith
are truthful in their belief that no one is
God but Him.
The Preserver Of The One who witnesses the saying and
7 Al-Muhaymin
Safety deeds of His creatures.
The Almighty,
Thee Strong, The Defeater who is not
8 Al-Aziz The Invulnerable,
defeated.
The Honorable
The Irresistible,
The One that nothing happens in His
9 Al-Jabbar The Compeller,
Dominion except that which He willed.
The Lofty
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10 The One who is clear from the attributes
The Majestic,
Al-Mutakabbir of the creatures and from resembling
The Supreme
them.
The One who brings everything from
11 Al-Khaliq The Creator
non-existence to existence.
The Maker, The Creator who has the
12 Al-Bari’ The Evolver,
Power to turn the entities.
The Flawless The One who forms His creatures in
13 Al-Musawwir
Shaper different pictures.
The Repeatedly The Forgiver. The One who forgives the
14 Al-Ghaffar
Forgiving sins of His slaves time and time again.
The Dominant, The One who has the
The All-Prevailing
15 Al-Qahhar perfect Power and is not unable over
One
anything.
The One who is Generous in giving
plenty without any return. He is
16 Al-Wahhab The Bestower
everything that benefits whether Halal
or Haram.
17 Ar-Razzaq The Provider The Sustainer, The Provider
The Opener, he One who opens for His
The Opener,
18 Al-Fattah slaves the closed worldly and religious
The Victory Giver
matters.
The Knowledgeable, The One nothing
19 Al-A’lim The All Knowing
is absent from His knowledge
The Constrictor, The Withholder, The
The Restrainer, One who constricts the sustenance by
20 Al-Qabid
The Straightener His wisdom and expands and widens it
with His Generosity and Mercy.
The Enlarger. The One who constricts
The the sustenance by His wisdom and
21 Al-Basit
Extender/Expender expends and widens it with His
Generosity and Mercy.
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22 The Abaser. The One who lowers
whoever He willed by His Destruction
Al-Khofid The Reducer
and raises whoever He willed by His
Endowment.
The Elevator, The One who lowers
whoever He willed by His Destruction
23 Ar-Rofi’ The Exalter
and raises whoever He willed by His
Endowment.
He gives esteem to whoever He willed,
hence there is no one to degrade Him;
The Giver of
24 Al-Muizz And He degrades whoever He willed,
Honour
hence there is no one to give Him
esteem.
The Humiliator, He gives esteem to
whoever He willed, hence there is no
The Giver of
25 Al-Mudhill one to degrade Him; And He degrades
Dishonour
whoever He willed, hence there is no
one to give Him esteem.
The Hearer, The One who Hears all
things that are heard by His Eternal
26 As-Sami’ The All hearing
Hearing without an ear, instrument or
organ.
The All-Noticing. The One who Sees all
things that are seen by His Eternal
27 Al-Basir The All Seeing
Seeing without a pupil or any other
instrument.
The Judge, He is the Ruler and His judgement is
28 Al-Hakam
The Arbitrator His Word.
The Just, The One who is entitled to do
29 Al-Adl The Utterly Just
what He does.
The Gentle, The Gracious, The One who is kind to
30 Al-Latif
The Subtly Kind His slaves and endows upon them
31 Al-Khabeer The All Aware The One who knows the truth of things.
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32 The One who delays the punishment for
The Forbearing,
Al-Halim those who deserve it and then He might
The Indulgent
forgive them.
The One deserving the attributes of
33 Al-Azim The Magnificent Exaltment, Glory, Extolement, and
Purity from all imperfection.
The Much-
34 Al-Ghafur The One who forgives a lot
Forgiving
The One who gives a lot of reward for a
35 As-Syakur The Greatful
little obedience.
The one who is clear from the attributes
36 Al-Aliy The Sublime
of the creatures.
The One who is greater than everything
37 Al-Kabir The Great
in status.
The One who protects whatever and
38 Al-Hafiz The Preserver
whoever He willed to protect
The Sustaining
39 Al-Muqeet The One who has the Power
One
The Reckoning
40 Al-Haseeb The One who gives the satisfaction.
One
The One who is attributed with
41 Al-Jalil The Majestic
greatness of Power and Glory of status.
The Bountiful, The One who is attributed with
42 Al-Karim
The Generous greatness of Power and Glory of status.
The One that nothing is absent from
43 Al-Raqib The Watchful Him. Hence, its meaning is related to
the attribute of Knowledge.
The One who answers the one in need if
The Responsive,
44 Al-Mujib he asks Him and rescues the yearner if
The Answer
he calls upon Him.
The Vast,
45 Al-Wasi’ The All- The Knowledgeable, The Vast
Embracing,
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The Omnipresent,
The Boundless
46 Al-Hakim The Wise The One who is correct in His doings.
The One who loves His believing slaves
and His believing slaves love Him. His
47 Al-Wadud The Loving
love to His slaves is His Will to be
merciful to them and praise them.
The One who is with perfect Power,
All-Glorious,
48 Al-Majid High Status, Compassion, Generosity
The Majestic
and Kindness.
The One who resurrects His slaves after
49 Al-Ba’ith The Resurrecter
death for reward and/or punishment.
The One who nothing is absent from
50 As-Syahid The Witness
Him.
The Truth,
51 Al-Haqq The One who truly exists.
The Real
The Trustee,
The One who gives the satisfaction and
52 Al-Wakil The Dependable,
is relied upon.
The Advocate
53 Al-qawi The Strong The One with the complete Power
The One with extreme Power which is
The Firm,
54 Al-Matin un-interrupted and He does not get
The Steadfast
tired.
The Friend,
55 Al-Waliy The Protecting Friend, The Supporter.
Patron and Helper
The Praise worthy. The praised One
56 Al-Hamid The Sole-Laudable
who deserves to be praised
The All- The Counter, The One who the count of
57 Al-Muhsiy
Enumerating things are known to him.
The One who started the human being.
58 Al-Mubdi The Originator
That is, He created him
The Reproducer, The One who brings
59 Al-Mu’id The Restorer,
back the creatures after death.
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60 The One who took out a living human
from semen that does not have a soul.
He gives life by giving the souls back to
Al-Muhyiy The Giver of Life
the worn out bodies on the resurrection
day and He makes the hearts alive by
the light of knowledge.
The Desroyer,
61 Al-Mumit The Briner of The One who renders the living dead.
Death
The One attributed with a life that is
62 Al-Hayy The Living unlike our life and is not that of a
combination of soul, flesh or blood.
The Subsisting,
63 Al-Qayyum The One who remains and does not end.
The Guardian
The Perceiver,
The Rich who is never poor. Al-Wajid
64 Al-Wajid The Finder,
is Richness.
The Unfailing
The Illustrious,
65 Al-Majid He who is Most Glorious
The Magnificent
The One,
66 Al-Wahid The One without a partner.
The Unique
The Unity,
67 Al-Ahad The One
The Indivisible
The Eternal,
The Master who is relied upon in
68 As-Samad The Absolute,
matters and reverted to in ones needs.
The Self-Sufficient
The Omnipotent,
69 Al-Qadir The one attributed with Power.
The All Able
The Determiner, The One with the perfect Power that
70 Al-Muqtadir
The Dominant nothing is withheld from Him.
The Expediter, The One who puts things in their right
71 Al-Muqqadim He Who Brings places. He makes ahead what He wills
Forward and delays what He wills.
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72 The Delayer, He The One who puts things in their right
Al-Mu’akhir Who Puts Far places. He makes ahead what He wills
Away and delays what He wills.
The One whose Existence is without a
73 Al-A’awal The First
beginning.
The One whose Existence is without an
74 Al-Akhir The Last
end.
The One that nothing is above Him and
nothing is underneath Him, hence He
The Manifest,
exists without a place. He, The Exalted,
75 Az-Zohir The Evident,
His Existence is obvious by proofs and
The Outer
He is clear from the delusions of
attributes of bodies.
The One that nothing is above Him and
nothing is underneath Him, hence He
The Hidden, exists without a place. He, The Exalted,
76 Al-Batin
The Inner His Existence is obvious by proofs and
He is clear from the delusions of
attributes of bodies.
The Patron, The One who owns things and manages
77 Al-Waliy
The Friendly Lord them.
The One who is clear from the attributes
78 Al-Muta’aliy The Most High
of the creation.
The One who is kind to His creatures,
who covered them with His sustenance
79 Al-Bar The Good and specified whoever He willed among
them by His support, protection and
special mercy.
The One who grants repentance to
80 At-Tawwab The Ever returning whoever He willed among His creatures
and accepts his repentance.
The One who victoriously prevails over
81 Al-Muntaqim The Avenger
His enemies and punishes them for their
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sins. It may mean the One who destroys
them.
82 The pardoner
Al-Afuw The One with wide forgiveness.
The forgiver
The One with extreme Mercy. The
The kind, Mercy of Allah is His will to endow
83 Al-Ra’uf
The pitying upon whoever He willed among His
creatures.
The owner of all The One who control the Dominion and
84 Malik-ul-Mulk
sovereignty gives dominion too whoever He willed.
The lord of The Lord of Majesty and Bounty, the
85 Zuljalaliwalikram majesty and One who deserves to be Exalted and not
generosity denied.
The Equitable,
86 Al-Muqsit The One who is Just in His judgement.
The Requiter
The One who gathers the creatures on a
The Gatherer,
87 Al-Jami’ day that there is no doubt about, that is
The Unifier
the Day of Judgement.
The Rich,
88 Al-Ghany The One who does not need the creation
The Independent
The Enricher, The One who satisfies the necessities of
89 Al-Mughniy
The Emancipator the creatures.
The Withholder,
90 Al-Mani’ The Shielder The Withholder
The Defender
The Distressor, The One who makes harm reach to
91 Ad-Dhar The Harmer, whoever He willed and benefit to
The Afflictor whoever He willed.
The Propotious, The One who makes harm reach to
92 An-Nafi’ The Benefactor, whoever He willed and benefit to
The Source whoever He willed.
93 An-Nur The Light The One who guides.
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The One whom with His Guidance His
believers were guided, and with His
The Guide, Guidance the living beings have been
94 Al-Hadiy
The Way guided to what is beneficial for them
and protected from what is harmful to
them.
The One who created the creation and
The Incomparable,
95 Al-Badi formed it without any preceding
The Unattainable
example.
The Immutable,
The One that the state of non-existence
96 Al-Baqi The Infinite, The
is impossible for Him.
Everlasting
The Hier, The
97 Al-Warith The One whose Existence remains
Inheritor of All
The Guide to the
98 Ar-Rashid The One who guides
Right path
The Timeless, The The One who does not quickly punish
99 As-Sabur
Patient the sinners.
Table 2: The names of Allah
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5.2.1.2 Belief In The Angels
The second Pillar of Iman is the belief in Allah’s angels. The angels are messengers of
Allah. They were created from light and were created, before humans, for the purpose of
worshipping Allah.
No. Name of Angels Responsibility

To deliver the Devine Revelations from Allah to His chosen
1 Jibril
Messengers from among the prophets.
To manage man’s mundane necessities, bring forth rain and
2 Mikail
oversee the cultivation of corps.
To blow the Trumpet; once, for the destruction of the
3 Israfil universe; and again, for the Resurrection of all accountable
beings to face Judgement Day.
Angel of Death, the most fearsome of them all, who does not
4 Izrail
delay nor expedite the hour of claiming the soul.
Guardian of Jahannam (Hell-fire), an unwelcome sight, for
5 Maalik
the unfortunate and wretched dwellers of the eternal fire.
Guardian of Paradise, who welcomes the Prophets and the
6 Ridwan
righteous who have been blessed by Allah.
To question the dead on issues relating to his/her God,
7 Munkar prophet, religion, belief, deeds, etc. Questioning in the
grave.
To question the dead on issues relating to his/her God,
8 Nakir
prophet, religion, belief, deeds, etc.
9 Raqib Sits on man’s right shoulder to record his/her good deeds.
10 Atid Sits on man’s left shoulder to record his/her evil deeds.
Table 3: The name of the Angles and their responsible
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5.2.1.3 Belief In The Holy Books
The third Pillar of Iman is the belief in the books of Allah. Here it is the belief that at
the time when these books were sent down they truly were a message from Allah. The only
book left is the Quran in its entirety, because it is the last revelation Allah will send to us.
We as Muslims are to believe in all of these books and not just the Quran. There are four
books known to man:
No Name of Holy Book Receiver

1 Taurah (Torah) Musa (Moses)
2 Zabur (Psalms) Daud (David)
3 Injil (Gospel) Isa (Jesus)
4 Quran Muhammad
Table 4: The name of the Holy Books in Islam and the Receivers
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5.2.1.4 Belief In Prophets
The fourth Pillar of Iman is the belief in Allah’s Messengers. There re twenty five
Prophets mentioned in the Quran. Prophet Muhammad is the last and final Prophet. Prayers
and salutations of Allah be upon him and upon all the messengers of Allah.
No. Prophet Name (Malay) Prophet Name (English)

1 Adam Adam
2 Idris Enoch
3 Nuh Noah
4 Hud Heber
5 Salih Methuselah
6 Ibrahim Abraham
7 Luth Lot
8 Ismail Ishmael
9 Ishaq Isaac
10 Yaqub Jacob
11 Yusuf Joseph
12 Ayub Job
13 Shu’aib Jethro
14 Zulkifli Ezekiel
15 Musa Moses
16 Harun Aaron
17 Daud David
18 Sulaiman Solomon
19 Ilyas Elijah
20 Alyasa Elisha
21 Yunus Jonah
22 Zakaria Zachariah
23 Yahya John
24 Isa Jesus
25 Muhammad Muhammad
Table 5: The name of the Prophets in Islam
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5.2.1.5 Belief in Day of Rising/The Last Day
The fifth Pillar of Iman is the belief in the Last Day. This is the Day of accounting for
all deeds; evil or good, big or small. In our lives we need to believe that all we do will
bearing on the Last Day. No one but Allah knows when this day will come, so it is up to us
to live each day as if it was our last.
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5.2.1.6 Belief in Qada’ and Qadar (Divine will and Decree)
Belief in al-Qada’
The Divine will is certain belief that everything that happens in this universe happens by
will and decree of Allah.
Belief in al-Qadar
The Divine decree is what Allah decrees for every single creation based on what has
preceded in terms ofHis Knowledge and in accordance with His Wisdom. Belief in this
pillar is to believe that everything that happens, good or bad, happens only according to
Allah’s divine decree.
“Whatever of good reaches you, is from Allah, BUT whatever of evil befalls you, is from
yourself. And We have sent you (O Muhammad), to the people as a messenger, and
sufficient is Allah as Witness” –Quran-Chapter 4, Verse 79.
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5.3 THE MEANING OF THE MOSQUE
The mosque is normally a place of worship, but this does not provide the correct
meaning of the word. “Masjid” comes from Arabic word “sajada” which means “sujud” (to
knee and touch one’s forehead to the ground). As a building, a mosque is a place to conduct
religious activities. It is vital link between all religious activities and the institution of the
mosque itself. The building, which is also known as the house of Allah, is also the symbol of
life to Muslims and symbolic of faith to the greatness of their Creator.
From the historical perspective, in the time of Prophet, the mosque also functions as a
library or centre of Islamic knowledge and information, a place of conference to debate matters
pertaining to law and order, and also provided free accommodation to travelers. In other words,
mosques are not only places of worship but also to bring individual closer to Allah, to obey and
serve Him.
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FUNCTION OF THE MOSQUE
The mosque has continuously played an active role in the guidance of the Muslim community,
teaching both the young and older generations as well as producing a venue for Muslims to
meet one another on religious occasions. But the mosque has much more potential than this,
and we need to utilize it fully so that many more areas of the lives of Muslims may benefit from
it.
1. A Place for Prayers for All
The mosque of the Prophet (peace be upon him) -in Madinah- was the main place for the
believers to meet for collective prayers five times a day. This is the one and only role that the
mosque is playing today. However, there is still a major difference, which is that the mosque
of the Prophet (peace be upon him) was opened for everybody, men and women, old and small,
Arab and non-Arab. We also see some people banning small children from entering the mosque,
which is also contrary to the tradition of the Prophet (peace be upon him).
2. A Place for Socialization
The praying community used to connect in the mosque. And it is reported that the Prophet
(peace be upon him) used to ask about any companion whom he missed from the mosque for a
day or two to help him/her if they needed help or visit him/her if they were sick.
3. A Place for Da’wah (Islamic Call)
There are several authentic hadiths that demonstrate that the mosque of the Prophet was the
normal place for those who would like to ask about Islam to come and ask. Non-Muslims were
not banned or discouraged from the mosque as we, sadly, see today.
4. A Place for Celebration
The Prophet (peace be upon him) advised the companions to: “announce the wedding
ceremonies, hold them in mosques, and make them known by beating the drums,” and the
mosque is the place for all that.
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5. A Place for Meetings and Deliberation
The Prophet (peace be upon him) used to gather his companions in the mosque to discuss
serious matters (like wars, treaties, famines, etc), and come up with decisions about them. The
mosque was also the meeting place for the soldiers of the Islamic army, from which they start
their march for wars and to which they return after they come back.
6. A Place for Medical Care
Before the Islamic civilization developed hospitals a couple of centuries later, the mosque of
the Prophet (peace be upon him) was a place for care for the wounded in wars and similar crises.
7. A Place for Education
The illiterate used to learn how to read and write in the mosque of the Prophet (peace be upon
him). Muslims developed their whole Islamic civilization based on education they got in the
mosques.
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5.3.1 THE OLDEST MOSQUES IN MALAYSIA
5.3.1.1 Tengkera Mosque, Melaka (1728)
This is the Tengkera Mosque and it is located in Melaka Tengah or Central Melaka. It
is also located along Jalan Tengkera to the northwest of Melaka old town. It was built in year
1728 and it is the oldest mosque in Melaka. The original mosque structure was made entirely
of timber brought in from Kalimantan, Indonesia. It had since undergone several renovations
and restorations. Until the Al-Azim Mosque at Bukit Palah was the main mosque or State
Mosque for Melaka State.
The first recorded restoration of the Tengkera Mosque was carried out in 1780. The
structure was rebuilt except for the minaret. As with most of the mosque in Melaka, the main
prayer hall was built with three level roofs and four great pillars.
The mosque’s Javanese architecture is a testament to the existence of Islam in this

country for more than 600 years. It features triple-tiered pyramidal roof also called ‘Bumbung
Tiga Lapis’ and a square base, and is one of the few mosques in this country with a pagoda in
place of a minaret. The interior is a mixture of Malay, Chinese and Indonesian elements, with
intricate carvings and wooden doors, windows, ceiling, beams, pulpit and four tiang agung
(grand pillars).
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5.3.1.2 Kampung Hulu Mosque, Melaka (1728)
The mosque was built in 1728 during the Dutch Occupancy, is the oldest mosque in the
country. Its unique architectural style is a unique blend of Sumatera, Hindu and Western
architecture.
All of the building’s original wooden structures except the four main pillar and the roof
structure were replaced with concrete. Within the mosque compound, we can find the grave of
Sayyid Abdullah Al-Haddad, a famous religious teacher, whom many regarded as a ‘Wali’
(Saint).
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5.3.1.3 Kampung Laut Mosque, Kelantan (1730)
Masjid Kampung Laut was built in the 15th century by a group of fishers consisting Pattani,
Jawa and Brunei sea routers. Its style is largely typical of local traditional architecture, and
climate-appropriate, similar to local houses in the area. The original mosque had a basic
architectural styles, structure with four pillars and had palm fronds for the roof.
During the reign of the Sultan of Kelantan in between 1859 and 1900, the mosque became
an important meeting point for the Sultans and religious leaders. The mosque was also used as
a trading post. During this period, the mosque was expended and upgraded with 20 pillars, a
three-tiered roof, a tower for muezzin to call for prayers, an attic and a water tank while the
flooring was made of well quality Timber. The mosque was handed over to the Kelantan
Government in May 1970.
This mosque has survived two big floods that occurred in Kelantan, the first is in 1926 when
a flood known as Bah Air Merah and another in 1966. The second flood severely damaged the
mosque when parts of the mosque close to river was swept away by flood waters. However,
Kampung Laut Mosque was able to repair the damage from the flood.
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5.3.1.4 Kampung Kling Mosque, Melaka (1748)
Masjid Kampong Kling is located on Jalan Tukang Emas (Gold Smith Road) within the
vicinity of the infamous Harmony Street, where houses of worship from various religions
harmoniously coexist. This mosque was built in year 1748 and it displays strong Javanese and
Oriental influences in its architecture.
The mosque was reconstructed and renovated in 1872 and 1908 to replace the original
wooden structure with one made concrete. In 1999, after a restoration exercise by the
Department of Museum and Antiquity, it was declared a historical monument.
Instead of a conventional spherical dome, a triple-tiered green pyramidal roof sits on top
of its main building. A pagoda-style structure forms its minaret and combined with some
Moorish elements, is an exquisite example of East-meets-West design. The mosque’s interior
features English and Portuguese glazed tiles, Corinthian columns and arches, a Victorian
chandelier and mixture of Hindu, Chinese and Malay decorative elements. Its harmonious blend
of style and design elements from different cultures that results in an aesthetically-pleasing
whole very much reflects the multicultural state.
This charming mosque is not large but it is more attractive than many of the modern
giants which can be found around the peninsula. The interiors of the mosque are done with
Victorian and Portuguese tiles which give it glowing walls. The walking area is surrounded by
a balcony and the ablution pool has steps leading to it.
The prayer hall has Greek column with a wooden pulpit that has Hindu and Chinese
inflicts. The ablution pool has Moorish lights on the sides to well-lit the area. The floor has a
purple carpet and fitted with ceiling fans.
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5.3.1.5 Abidin Mosque, Kuala Terengganu (1808)
This mosque was built by the late Sultan Zainal Abidin II and it also known as Sultan
Masjid in between 1793 to 1808. The original building material of this mosque was wood,
but during the reign of Sultan Umar in year 1852, the mosque was replaced with one made
out of bricks. In 1881, Sultan Ahmad II Ibni Yang Dipertua Muda Tengku Mahmud
constructed a new dome to replace the old one erected under Sultan Zainal Abidin II.
A ceremony was conducted at 7.00 am, in year 1881. In 1901, during the reign of Sultan
Zainal Abidin III, the mosque went through another renovation. The mosque was enlarged
to accommodate the growing number of people. Besides, circular stone pillars were also
erected, while there minarets were built.
The mosque is again renovated during the reign of Sultan Ismail Nasiruddin Shah in
1972. The size of the mosque was twice the size of the original building. The tall minaret
and new domes such as several calligraphic carving of verses from the Quran, prayers and
arabesques were carved on the mosque’s entrance doors and grills. The current uniquely
carved mimbar was crafted by Mister Abdul Kadir.
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5.3.1.6 Acheen Street Malay Mosque, Georgetown (1808)
Masjid Melayu Lebuh Acheh dianggap sebagai masjid tertua di Pulau Pinang. Sejarah
Masjid Melayu Lebuh Acheh bermula pada tahun 1792 apabila Tengku Syed Hussian Al-
Aidid, seorang kerabat diraja Acheh, Sumatera membuka sebuah perkampungan masyarakat
Islam seluas 66,000 kaki persegi di Lebuh Acheh, Georgetown. Masjid ini dibina pada tahun
1808 masihi dengan senibinanya dipenagruhi oleh unsur senibina Moorish, Cina dan
Klasikal. Bumbungnya berbentuk rumah perabung lima, dengan sebuah Menara yang
berbentuk seakan pagoda Cina.
The Acheen Street Malay Mosque was built in 1808 by Tunku Syed Hussain Idid, a
wealthy and politically influential Acehnese merchant-prince. The Southeast Asian-style
tiered-roof mosque stands in an enclosed compound with historic houses and a Muslim
cemetery from the 19th century. The surrounding area was once a centre from the Hajj
pilgrimage and spice trade.
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5.3.2 STATE MOSQUES IN MALAYSIA
5.3.2.1 Sultan Abu Bakar Mosque, Johor Bahru, Johor
SEJARAH MASJID:
Masjid Sultan Abu Bakar tersergam di atas sebuah bukit berhampiran bandar Johor
Bahru dan mempunyai pemandangan indah Selat Johor dan Singapura. Masjid ini merupakan
salah sebuah masjid lama yang tercantik di Malaysia.
Masjid Sultan Abu Bakar dibina pada 1 Muharam 1310 Hijri bersamaan 26 Julai 1892
Masihi, atas titah Sultan Abu Bakar. Ia terletak berhampiran pejabat Majlis Agama Islam dan
Istana Besar Johor Bahru, iaitu di atas Bukit Kecil di Jalan Tun Dr. Ismail, mengadap Selat
Tebrau, menjadikan ia antara bangunan yang mempunyai pemandangan yang indah di Johor
Bahru.
Upacara perasmian masjid ini telah disempurnakan oleh Sultan Ibrahim (1895-1959)
pada 1 Syawal 1317 bersamaan 2 Februari 1900 Masihi. Nama masjid ini diambil sempena
nama Sultan Abu Bakar sendiri atau dikenali sebagai Bapa Johor Moden. Masjid ini boleh
memuatkan seramai 2,000 orang jemaah pada satu-satu masa.
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BINAAN:
Gaya reka bentuk bangunan di zaman kolonial bercampur pengaruh seni bina tempatan
amat ketara pada reka bentuk bangunan Masjid Sultan Abu Bakar ini. Reka bentuk bumbungnya
bercirikan seni bina Moghul dan tradisional dengan mengaplikasikan konsep bumbung limas.
Dinding masjid pula mempunyai kemasan yang dihiasi dengan plaster berukir seperti yang
digunakan pada tingkap, pintu dan tiang masjid. Panel-panel marmar di permukaan lantai
masjid diimport dari Itali manakala kaca berwarna di atas kubah diimport dari Venice.
Keseluruhan bangunan masjid menggunakan konkrit sebagai bahan asas, manakala

struktur bumbungnya disokong oleh kerangka keluli. Reka bentuk masjid ini hasil kreativiti
arkitek dan jurutera tempatan Johor, iaitu Haji Butawif bin Haji Mohamad Arif dan Dato’
Yahya bin Awaluddin. Masjid yang terbesar di Negeri Johor ini mempunyai pengikat tiang
yang diukir hasil adaptasi daripada seni bina klasik Timur Tengah seperti yang terdapat di
beberapa buah masjid di Mesir, antaranya Masjid Kaiet Bey, Masjid Markouk, Masjid Sultan
Hasan dan Masjid Imam Syafei.
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5.3.2.2 Masjid Zahir, Kota Setar, Kedah
SEJARAH:
Masjid Zahir atau juga dikenali sebagai Masjid Zahrah merupakan Masjid Negeri Kedah
yang terletak berhadapan dengan Balai Nobat dan Istana Pelamin di tengah-tengah bandar raya
Alor Setar. Mula dibina pada 22 Rabiulawal 1330H (11 Mac 1912) atas usaha YTM Tunku
Mahmud Ibni Almarhum Sultan Tajuddin Mukarram Shah, tapak masjid ini pada asalnya
adalah tanah pusara wira-wira Kedah yang gugur semasa mempertahankan Kedah dari serangan
Siam (1821).
Upacara perasmiannya dilakukan pada hari Jumaat, 6 Zulhijjah 1333H (15 Oktober
1915) oleh DYMM Almarhum Sultan Abdul Hamid Halim Shah. Tunku Mahmud telah
membaca khutbah Jumaat sementara baginda Sultan Abdul Hamid Shah mengimamkan solat
Jumaat. Ia juga dikenali sebagai Masjid Raja kerana ia merupakan masjid Diraja dan terletak di
perkarangan Istana Pelamin.
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BINAAN:
Reka bentuk masjid ini diilhamkan dari Masjid Azizi di Bandar Langkat, Sumatera
Utara. Ia dihiasi dengan lima kubah utama sebagai lambang lima Rukun Islam. Di belakang
Masjid Zahir, terdapat Kompleks Bangunan Mahkamah Syariah dan Pusat Pendidikan Asas
Kanak-Kanak. Masjid ini merupakan antara mercu tanda seni bina negeri Kedah dan antara
masjid tercantik di Malaysia.
Masjid Zahir mempunyai keluasan tapak kira-kira 124,412 kaki persegi. Dewan
tengahnya (Dewan Solat) berukuran 62 x 62 kaki persegi dan dikelilingi oleh beranda berukuran
8 kaki lebar dengan 4 anjung yang setiap satunya terdapat sebuah kubah. Menara utamanya
terletak di bahagian timur laut bangunan masjid itu.
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5.3.2.3 Masjid Muhammadi, Kota Bharu, Kelantan
SEJARAH:
Masjid Muhammadi merupakan masjid yang terkenal di Malaysia secara amnya, dan
secara khususnya di Kelantan. Ia merupakan Masjid Negeri dan terletak di Kota Bharu. Nama
Masjid Muhammadi diambil sempena nama Sultan Muhammad ke IV yang sangat berjasa
kepada Negeri Kelantan. Ia juga dipanggil sebagai "Masjid Besar" di kalangan sesetengah
rakyat Kelantan.
Pada asalnya masjid ini diberi nama sebagai Masjid Besar Kota Bharu. Masjid ini telah
dibina pada tahun 1867 pada zaman pemerintahanSultan Muhammad II (1830 - 1886) dengan
menggunakan kayu-kayu yang terpilih. Pengubahsuaian bangunan masjid daripada kayu
kepada struktur konkrit telah dilakukan pada tahun 1922 dan telah dirasmikan oleh KDYMM
Baginda Sultan Ismail Ibni Al-Marhum Sultan Muhammad IV pada 31 Julai 1931, dan
dinamakan sebagai Masjid Muhammadi.
Masjid ini mengalami kerja-kerja pengubahsuaian dan pembesaran pada tahun 1959,
1968, 1976 dan 1987. Luas keseluruhan masjid kini adalah 10,600 kaki persegi dan boleh
memuatkan seramai 2,400 orang ahli jemaah.
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Peranan Masjid Muhammadi di dalam penyebaran dan pendidikan Islam di Kelantan
amatlah istimewa. Di sinilah beberapa ulama besar Negeri Kelantan telah mengajar pelbagai
ilmu agama. Di antaranya ialah Tuan Taba (1840-1891), Haji Wan Ali Kutan (1837-1912) dan
Tok Kenali (1868-1933). Sistem pengajaran di masjid ini mempunyai persamaan dengan
pengajaran di Masjidil Haram, Makkah di mana pelajar akan ke Makkah untuk menyambung
pelajaran mereka setelah tamat pengajian di masjid ini.
Masjid ini menjadi pusat penyebaran ilmu agama yang masyhur di Nusantara sehingga
Kelantan dikenali sebagai "Serambi Mekah".
BINAAN:
Masjid ini mempunyai satu menara dan satu kubah. Di dalam masjid ini terdapat ruang
solat utama yang bertiang yang digunakan sebagai tempat menunaikan solat berjemaah. Masjid
ini mempunyai 2 aras ruang solat. Terdapat juga ruang solat tambahan yang mampu
menampung kapasiti para jemaah yang ramai pada satu masa dan diperbuat daripada batu
marmar. Di dinding masjid ini terdapat kalimah-kalimah Allah dan juga ayat-ayat suci a-Quran.
Dari segi binaan masjid, ia berbentuk segiempat dan menggunakan simen secara
keseluruhannya. Dinding masjid ini mempunyai keunikannya yang tersendiri di mana terdapat
lubang`sisip angin’ di bahagian dinding belakang ruang solat yang dapat melancarkan ruang
perudaraan masjid.
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5. 3.2.4 Masjidal-Azim, Melaka Tengah, Melaka
SEJARAH:
Masjid Negeri Al-Azim mula dibina pada 14hb. Mac,1984. Batu asas dan arah kiblat
diletakkan oleh Y.A.B. Ketua Menteri Melaka pada ketika itu Datuk Seri Mohd. Adib bin Haji
Adam. Seterusnya disempurnakan oleh Y.A.B. Datuk Seri Abd. Rahim bin Datuk Thamby Chik
hinggalah masjid ini siap dan dirasmikan pada hari Jumaat 20hb. Zulhijjah 1410 (H) bersamaan
13hb. Julai 1990 (M) dalam suatu upacara yang bersejarah oleh Seri Paduka Baginda Yang Di-
Pertuan Agong Sultan Azlan Shah. Masjid ini memuatkan jemaah berjumlah 11,700 orang.
BINAAN:
Reka bentuk bumbung masjid dibina bertingkat-tingkat sebanyak tiga lapisan. Puncak
bumbung mengetengahkan konsep berkubah yang berlainan daripada bentuk puncak di
kebanyakan bumbung masjid-masjid lain di Melaka.
Setiap hujung pada tulang bumbung terdapat ukiran sulur bayung yang menjadikan
masjid ini bertambah unik. Bentuk tersebut seolah-olah genggaman tangan semasa bertahiyat
di dalam solat.
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Menara masjid ini dibina berbentuk segi lima yang melambangkan rukun Islam. Ia
berketinggian 57.3 meter atau 188 kaki. Pada puncak menara terdapat sebuah kubah yang
menyamai bentuk dan warna kubah utama masjid. Selain menjadi tempat pancaran suara,
menara ini dianggap menjadi mercu tanda kepada Masjid Al-Azim.
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5.3.2.5 Masjid Negeri, Seremban, Negeri Sembilan
SEJARAH :
Telah dibina pada tahun 1966M dan diasaskan oleh Kerajaan Negeri Sembilan di atas
tapak yang telah dikurniakan oleh Kerajaan Negeri. Memandangkan bahawa Negeri sembilan
pada masa itu belum mempunyai masjid negeri, maka Kerajaan Negeri sembilan di bawah
pempinan YAB Tan Sri Dr. Mohd Said bin Muhammad Menteri Besar Negeri Sembilan ketika
itu telah bersetuju supaya masjid Negeri dibina dikawasan seluas lebih kurang 2 hektar yang
ada sekarang bagi menggantikan Masjid Jamek Bandar Seremban yang tidak dapat menampung
para jemaah yang semakin bertambah. Ia telah dirasmikan oleh Paduka Seri Tuanku yang
DiPertuan Besar Negeri Sembilan pada hari jumaat, 24 November 1967.
BINAAN:
Rekabentuk Masjid Negeri yang dibina pada tahun 1967 ini begitu simbolik. Sembilan
ruang dan sembilan anjung tambahan yang dibina menggambarkan struktur politik negeri.
Masjid ini terletak berdekatan dengan Taman Bunga, di pusat bandar. Dua buah tasik di taman
ini sering diadakan acara sukan dan program-program kebudayaan. Bangunan Seketariat Negeri
berbentuk zaman kolonial juga terletak berhampiran masjid ini.
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5.3.2.6 Masjid Negeri Sultan Ahmad 1, Kuantan, Pahang
SEJARAH
Masjid Negeri Sultan Ahmad I terletak di Bandar Kuantan. Masjid ini dirasmikan oleh
Sultan Haji Ahmad Shah Al-Mustain Billah Ibni Almarhum Sultan Abu Bakar pada 21 Oktober
1994 Masihi.
Nama masjid ini diambil sempena nama pemerintah Pahang pertama, Sultan Ahmad Al-
Mu'adzam Shah yang ditabal sebagai raja selepas mengalahkan Bendahara Wan Mutahir lewat
1890.
Masjid Terbesar di Pahang
Masjid Sultan Ahmad Shah I ini merupakan masjid yang terbesar di negeri Pahang dan
menjadi kebanggaan kepada rakyat negeri. Menara masjidnya berukuran setinggi 180 kaki dan
menjadikan ia antara masjid yang terkenal.Masjid ini mampu memuatkan sekurang-kurangnya
8,000 orang.
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BINAAN:
Konsep Reka Bentuk
Pembinaan masjid ini berdasarkan reka bentuk seni bina zaman Othmaniah, tetapi
menggunakan bahan dan teknologi moden. Empat kubah separuh bulat diletakkan pada empat
penjuru yang mengapit sebuah kubah utama yang mendominasi bahagian atas ruang utama
solat. Warna biru dan hijau digunakan bagi mewarnai keseluruhan Masjid Negeri ini. Masjid
ini juga mempunyai ruang halaman yang mewujudkan suasana keterbukaan dan mengimbangi
keluasan masjid ini.
Reka Bentuk Dalaman dan Hiasan Masjid
Hiasan dalaman dan luaran masjid ini berdasarkan corak geometri. Jalinan-jalinan
geometri telah digarap dengan begitu teliti hingga menjadikan ia sebuah masjid yang indah dan
menarik. Cahaya biru dan putih daripada marmar yang bercorak, memberikan sinar yang
mampu menggamit siapa sahaja agar berkunjung lagi ke masjid ini. Sinar biru dan kuning pada
cermin kaca yang dipilih untuk tetingkap menambahkan lagi keindahannya. Asma’ al-Husna
berbentuk khat memenuhi dinding masjid dan ayat-ayat al-Quran menjadi sebahagian hiasan
dalam bangunan ini
Empat menara masjid diperbuat daripada marmar khas yang berkilauan menaikkan seri
masjid ini jika terkena limpahan cahaya lampu. Tambahan pula adunan warna putih yang
terpapar daripada kilauan keempat-empat menara kubah tersebut bercampur dengan sinaran
lampu kekuningan di bahagian hadapan masjid ini menambahkan lagi keanggunan Masjid
Sultan Ahmad Shah.Pembinaannya ialah hasil idea Sultan Pahang, Sultan Ahmad Shah.
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5.3.2.7 Masjid Sultan Idris Shah Ii, Ipoh, Perak
SEJARAH
Masjid Sultan Idris Shah II telah dirasmikan pada 15 September 1978 oleh Sultan Idris
Iskandar Shah II (1963-1984), Sultan yang ke-33, sempena dengan perayaan ulangtahun hari
keputeraan baginda yang ke-33. Ianya terletak di atas sebidang tanah seluas kira-kira 2.6 hektar
di tengah- tengah bandaraya Ipoh. Kerja-kerja pembinaan masjid tersebut telah dimulakan pada
16 Mei 1966, dan batu asas telah diletakkan pada 27 Oktober 1967 oleh (Allahyarham) Tun
Haji Abdul Razak, pada ketika itu menjadi Timbalan Perdana Menteri. Masjid ini telah siap
dibina pada 26 Ogos 1968.
Pada mulanya, masjid ini dinamakan sebagai 'Masjid Negeri (Perak)' dan telah
digelarkan 'Masjid Sultan Idris Shah II' sempena nama Sultan Idris Iskandar Shah II yang telah
kembali ke Rahmatullah pada tahun 1984.
Idea pembinaan masjid ini berasal daripada (Allahyarham) Orang Kaya-Kaya Panglima
Bukit Gantang Seri Amar Diraja Abdul Wahab pada tahun 1951. Beliau yang pada ketika itu
adalah Menteri Besar telah sedar bahawa masjid-masjid yang sedia ada di lpoh tidak mencukupi
untuk memuatkan semua jemaah yang menunaikan ibadah pada satu-satu masa seperti hari
kebesaran Islam dan ibadah sembahyang Jumaat. Jumlah kos perbelanjaan pembinaannya ialah
RM1,840,000.00
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BINAAN:
Masjid ini berbentuk empat persegi bujur, iaitu panjangnya 84 m dan lebarnya 42 m. Ia
mengandungi dua tingkat. Tingkat atas bangunan ini diliputi oleh kisi-kisi terrazzo yang
berselirat dengan telepok-telepok tradisi lslam, Di sekeliling bangunan juga teratur tentulang-
tentulang terrazzo yang panjang lampai. Atap dewan jemaah besar telah dibina dengan konkrit
bertulang yang bertebok dengan 44 buah lubang persegi untuk mengeluarkan hawa panas (tetapi
semua lullang tersebut telahpun ditutup apabila dewan dipasangkan hawa dingin pada tahun
1995).
Lubang-lubang ini dipayungkan pula dengan 30 buah kubah-kubah gelembong dan 14

buah kubah-kubah leper, dan dihiasi dengan cermin beranika warna. Kubah-kubah ini
mengelilingi sebuah kubah besar yang terletak di tengah-tengah dewan jemaah besar. Kubah
besar ini lebarnya 10.3 m dari lantai. Segala kubah ini kelihatan dari luar tersusun dengan
indahnya dan bersinaran di bawah cahaya matahari.
Dewan jemaah besar berbentuk empat persegi dan lebarnya ialah 36 m dan boleh
memuat lebih kurang 1,500 orang. Lantainya berlapik dengan permaidani yang berbelang
menunjukkan saf-saf sembahyang. Di pintu masuk dan di dinding mehrab terdapat tulisan ayat-
ayat suci. Dewan kecil berukuran 36 m panjang dan 12 m lebar, dan boleh memuat kira-kira
500 orang. Dewan kecil ini boleh dikhaskan untuk kaum wanita dan juga digunakan sebagai
tempat mengaji serta tempat mengadakan ceramah agama.
Menara masjid ini tersulur dari tanah setinggi 31 m ke kemuncaknya dan dilengkapi
dengan tangga besi dan lif untuk muatan 6 orang. Pemandangan yang permai dari atas menara
ini meliputi seluruh kawasan bandaraya Ipoh. Empat buah pembesar suara telah dipasang di
bawah bumbungnya.
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5.3.2.8 Masjid Negeri, Arau, Perlis
SEJARAH:
Sebelum masjid lama arau didirikan, dikatakan terdapat masjid yang didirikan lebih awal di
arau semasa pemerintahan Raja Syed Hussin Jamalullail.masjid ini dibina daripada kayu sahaja
dan lokasinya hampir dengan sempadan utara pagar masjid lama arau.
Kemudian semasa pemerintahan Raja Syed Ahmad Jamalullail yang menjadi Raja Perlis
pada masa itu, masjid lama arau didirikan iaitu pada tahun (1873-1897).bahagian tengah masjid
lama ini dibina daripada batu manakala pada bahagian yang lain kebanyakkannya dibina
daripada kayu. Masjid ini dibina oleh tukang-tukang arab dan melayu.
Uniknya binaan masjid lama ini, oleh kerana pada masa itu belum ada simen, pasir-pasir
dicampur dengan kapur dan batu kemudian dibancuh dengan manisan lebah, manisan tebu,
manisan nipah, telur ayam dan telur itik sebagai bahan binaan. Telur ayam dan itik diambil
yang putih sahaja manakala yang bahagian telur merah digunakan untuk membuat kuih.
Semasa pemerintahan raja syed saffi jamalullail, saiz masjid tersebut diperbesar dan
mimbar baru dibina. Mimbar ini dibuat di pulau pinang oleh tukang mimbar yang bernama
abdullah buyung dari pulau pinang dan dibantu oleh haji abdullah dari rani estate, arau.mimbar
ini siap dibina pada tahun 1905M/ 1322H dan dibawa pulang ke perlis menggunakan jalan air
kemudian melewati sungai tebing tinggi ke kangar.dari kangar mimbar ini telah dibawa
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menggunakan kereta kuda ke arau.kini mimbar tersebut berusia hampir 112 tahun dan ianya
masih lagi digunakan hingga ke hari ini sebagai mimbar masjid negeri di arau.
Tambahan beranda sekeliling masjid lama ini dilakukan semasa pemerintahan raja syed
alwi jamalullail.beberapa tahun selepas itu, bangunan tambahan dibina di sebelah kanan dan
kiri masjid.keluasan masjid ini awalnya berukuran 60 kaki x 60 kaki persegi iaitu berbentuk
empat segi tepat.masjid ini tidak mrnggunakan kubah di atas puncaknya tetapi menggunakan
kecubung.kecubung masjid tersebut ialah jenis kecubung besar dan sekelilingnya berdinding
kaca berwarna hijau.
Zink tebal yang berbucu empat segi digunakan untuk membuat atapnya.tiangnya dibuat
daripada batu-bata dan dicampur tanah liat yang diadun dengan putih telur ayam dan itik.putih
telur ayam-itik dan manisan berfungsi sebagai simen untuk meneguhkan struktur batu-bata dan
tanah liat.pintu, alang dan kelengkapan atas yang lain dibina daripada kayu yang teguh.
Awalnya lantai masjid ini diperbuata daripada tanah liat kemudian disimenkan oleh
jemaah masjid setelahnya.pada waktu malam pula, lampu minyak tanah dipasang untuk
menerangi masjid terutamanya pada bulan ramadan dan sekiranya ada sebarang sambutan atau
kenduri.sebagai hamparan di dalam masjid, tikar mengkuang, tikar menerung atau tikar rumput
digunakan.
Air untuk berwuduk pula diangkut oelh anak jemaah secara gotong-royong seminggi
sekali mengikut giliran.air tersebut diangkut daripada sungai berhampiran iaitu sungai arau dan
kemudian ditunag ke dalam kolah air bersebelahan masjid.masjid dan halamannya dibersihkan
secara gotong-royong oleh anak jemaah masjid.
Seorang kadhi dilantik untuk mengetuai pentadbiran masjid lama arau.beliau yang akan
mengendalikan orang-orang di bawahnya iaitu imam, bilal dan siak.selepas merdeka iaitu
semasa pemerintahan raja syed putra jamalullail, masjid lama arau telah mengalami
perubahan.baginda telah memperbaharui atap masjid dengan atap genting.oleh kerana anak
jemaah semakin bertambah, ruang masjid dibesarkan.
Lampu minyak tanah juga tidak lagi digunakan dan diganti dengan lampu elektrik
manakala tikar rumput digantikan dengan tikar getah dan hamparan yang baru.kerja mencuci
masjid dan halamannya juga tidak lagi dilakukanj secara gotong-royong tetapi dilakukan oleh
pekerja yang dibayar gaji hari dan kemudiannya gaji bulan.
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Pada tahun 1973, harapan anak-anak jemaah arau yang begitu lama bagi mendapatkan
sebuah bangunan masjid baru yang lebih luas dan selesa telah dimakbulkan allah.kerajaan
negeri perlis telah bersetuju untuk membangunkan sebuah masjid negeri di tapak masjid yang
ada sekarang.perletakan batu asas projek pembinaan masjid negeri ini telah disempurnakan oleh
raja perlis, syed putra jamalullail pada hari jumaat 18 mac 1972 bersamaan 2 safar 1392H.
Jawatankuasa pembinaan masjid ini telah menetapkan kos pembinaannya sebanyak

rm400, 000.00 namun sangat mendukacitakan kerana kos kenaikan bahan binaan semasa projek
pembinaan dijalankan, pembinaan masjid baru terpaksa ditangguhkan buat sementara waktu.
Namun begitu, akhirnya pembukaan rasmi masjid ini disempurnakan pada hari jumaat
6 februari 1976 bersamaan 6 safar 1396 oleh raja syed putra jamalullail.sehingga sekarang
masjid negeri ini sudah dua kali diubahsuai supaya ruangnya lebih luas seperti yang kita
saksikannya sekarang.
Maka demikian perana masjid lama diambil alih oleh masjid negeri yang telah siap
dibina.kini masjid lama arau masih tegak dan gagah dengan bangunannya yang masih elok dan
bersih.masjid ini setelah itu dijadikan taman asuhan kanak-kanak islam (taski) bertujuan untuk
mendididk kanak-kanak di persekitaran pekan dan kampung-kampung arau.persekitaran masjid
ini dikelilingi oleh kawasan perkuburan lama raja-raja yang pernah memerintahperlis
termasuklah makam raja yang memerintah di zaman awal pembinaan masjid lama tersebut iaitu
raja syed hussin jamalullail.
Pada akhir tahun 2016, masjid lama arau telah direnovasi dan pada 17 januari 2017
dengan rasminya masjid lama arau telah berfungsi sebagai centre of sunnah maips.dytm tuanku
syed faizuddin putra ibni taunku syed sirajuddin jamalullail, raja muda perlis bersama dytm raja
puan muda perlis tuanku lailatul shahreen akashah khalil turut bercemar duli bagi merasmikan
center of sunnah maips.
Berbagai pengisian dan kajian kitab agama dilakukan di centre of sunnah ini beberapa
hari setiap minggu.semoga masjid lama arau sentiasa dipelihara da dapat terus berperanan
sebagai pusat penyebaran dan pemahaman agama islam yang terbilang.
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BINAAN:
Masjid ini berkonsepkan seni bina klasi:k Arab Moor. Ia mempunyai bumbung rata dan
kubahnya menjadi salah satu elemen yang dapat dilihat dari jauh. Kubah ini terletak pada
ketinggian kira-kira 20 meter dari permukaan tanah. Bentuknya separa bulat berwarna biru yang
disesuaikan dengan warna dinding masjid.
Terdapat dua buah kubah kecil dibina di bahagian anjung. Bumbung menara azan pula
dari segi reka bentuk, menyerupai konsep kubah Masjid Negara, iaitu berbentuk seperti payung
yang dikuncupkan.Tulisan khat potongan ayat suci al-Quran menjadi tatarias palang kedua-dua
tiang pintu mimbar. Warna emas juga turut digunakan pada gerigi tangga daripada kayu berukir.
Sebuah kubah kecil diletakkan di bahagian bumbung berbentuk bawang yang dihiasi pula
jaluran emas.
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5.3.2.9 Masjid Negeri Pulau Pinang
SEJARAH
Masjid Negeri Pulau Pinang dibina pada tahun 1979, terletak di Daerah Timur Laut.
Masjid Negeri ditadbir oleh seorang Pegawai Hal Ehwal Islam dengan dibantu oleh pegawai-
pegawai masjid dan kakitangan yang dilantik oleh pihak kerajaan. Negeri Pulau Pinang
terbahagi kepada enam daerah pentadbiran agama.
Pembinaan masjid ini diilhamkan oleh Y.T.M. Tunku Abdul Rahman, bekas Perdana
Menteri Malaysia, awal tahun 1968. Peranan aktif Y.T.M. di dalam meninggikan syiar Islam
seperti mempeloporkan musabaqah membaca Al-Quran dalam tahun 1960, pembinaan masjid
Negara pada tahun 1965 dan mengadakan berbagai-bagai rancangan dakwah Islamiah tidak
dapat disangkal oleh segenap lapisan kaum muslimin di Malaysia malah di seluruh dunia.
Untuk memenuhi hasrat gigih umat Islam di Pulau Pinang, Y.T.M. Tunku telah
mengesyorkan sebuah Masjid Negeri perlu didirikan di negeri ini dengan jaminan sebanyak
sejuta ringgit sebagai bantuan dari Kerajaan Persekutuan. Cadangan tersebut disambut baik
oleh kerajaan negeri di bawah pimpinan Y.A.B. Ketua Menteri Pulau Pinang, Dr. Lim Chong
Eu. Ia juga disokong dengan sepenuhnya oleh Allahyarham Tun Syed Sheh Shahbudin dan
Allahyarham Tun Datuk Syed Sheh Al-Haj bin Syed Hassan Barakbah, bekas T.Y.T. Yang Di
Pertua Negeri Pulau Pinang. Cadangan pembinaan itu juga diperkenan dan direstui oleh
kebawah D.Y.M.M. Seri Paduka Baginda Yang Di Pertuan Agong selaku Ketua Agama bagi
negeri Pulau Pinang.
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Jawatankuasa Pembinaan Masjid Negeri ditubuhkan pada bulan Jun 1969.
Jawatankuasa Pelupur tersebut di Pengerusikan oleh Datuk Haji Harun Sirat yang ketika itu
menjawat jawatan Speaker Dewan Undangan Negeri dengan Datuk Haji Mohd. Sidek bin
Elamdin yang ketika itu menjadi Setiausaha Sulit kepada T.Y.T. sebagai Setiausaha.
Jawatankuasa Pembinaan Masjid Negeri telah memutuskan cara-cara pungutan derma daripada
dermawan-dermawan Islam dan Bukan Islam, Badan-Badan Sukarela, Pertubuhan-pertubuhan,
Badan Korporat serta Kakitangan Kerajaan yang beragama Islam dan bukan Islam.
Pada 4 Mac, 1971, pelan tapak dibentangkan dalam persidangan Majlis Kebangsan Hal
Ehwal Agama dengan Y.T.M. Tunku sendiri mempengerusikan persidangan itu. Sementara itu
Jawatan Pengerusi Jawatankuasa Pembinaan Masjid diambil alih oleh Allahyarham Datuk Haji
Ahmad bin Haji Abdullah, Ahli Majlis Mesyuarat Kerajaan Negeri dan Pegawai Daerah Timur
Laut, Encik Ismar bin Iskandar dilantik sebagai Setiausaha pada awal tahun 1973.
BINAAN
Reka bentuk masjid ini berkonsepkan moden hasil kajian dan pemerhatian arkitek
terhadap reka bentuk Barat dan Timur. Walaupun konsep Moghul cuba diterapkan pada
penggunaan kubah berbentuk bawang, namun penggunaan kerangka konkrit berbentuk tetulang
menjadikan masjid ini kelihatan moden dan baru. Ia telah diilhamkan daripada bentuk Oscar
Niemeyer Brasilia, Brazil. Namun begitu masjid ini masih menekankan ciri-ciri Islam yang
tulen dengan adanya penerapan seni kaligrafi daripada potongan ayat-ayat suci al-Quran dan
beberapa elemen penting yang lain.
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5.3.2.10 Masjid Negeri Sabah, Kota Kinabalu, Sabah
SEJARAH
Masjid negeri Sabah terletak di Bulatan Sembulan, Jalan Tunku Abdul Rahman, Kota
Kinabalu. Pembinaan masjid ini dimulakan pada tahun 1970 Masihi dan siap sepenuhnya pada
tahun 1975 Masihi. Perasmiannya telah disempurnakan oleh Duli Yang Maha Mulia Tuanku
Yahya Petra Ibni Almarhum Sultan Ibrahim pada 11 Rejab 1397 Hijri bersamaan 28 Jun 1977
Masihi. Tapak masjid Negeri Sabah ini ialah seluas 14.5 ekar dan berada di lokasi yang strategi
kerana dikelilingi dengan kompleks kerajaaan, bangunan USIA, bangunan Yayasan Sabah,
bangunan Tabung Haji dan beberapa Institusi pengajian, sekolah, serta kawasan perkampungan
Sembulan.
BINAAN
Masjid Negeri Sabah pernah diklasifikasikan sebagai bangunan masjid yang tercantik
di Asia. Konsep reka bentuk masjid ini disediakan oleh Syarikat Jurubina Bertiga dengan
menggabungkan konsep reka bentuk di Timur Tengah dan konsep moden. Kubah besar yang
terletak di atas enam sagang atau tiang besar di bahagian arah kiblat masjid menampilkan ciri-
ciri tersebut dan ditambah dengan hiasan berbentuk sarang lebah berwarna keemasan
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menandakan kecemerlangan Islam di Sabah. Kubah ini berketinggian 132 kaki dari paras tanah
dan bergaris lintang sepanjang 70 kaki.
Sebuah menara sebagai mercu tanda masjid didirikan bersekali dengan bangunan ini. Ia
berketinggian 215 kaki dan berada di tapak bahagian ruang masuk masjid. Konsepnya diilham
dari masjid di Istanbul dan Isfahan melambangkan ketinggian dan kemuliaan Islam. Di kaki
menara disediakan kolam dan air pancuran daripada batu mozek dan ditambah dengan lampu
berwarna warni sebagai hiasan. Selain itu, masjid ini diiringi sebanyak 16 buah tiang berkubah
warna emas senada antara satu sama lain. Dililitan setiap tiang ini dihiasi dengan potongan ayat
suci al-Quran bertintakan warna emas.
Dewan sembahyang utama masjid dikelilingi dengan ruang serambi yang luas hingga
ke belakang. Ia boleh memuatkan jemaah seramai 5,000 orang dalam satu masa. Sementara
dewan solat wanita yang berada di tingkat atas mampu memuatkan seramai 500 orang.
Keistimewaan
Tulisan khat bermutu tinggi potongan ayat-ayat suci al-Quran antara hiasan penting
yang terdapat di dalam masjid ini. Pada bahagian dalam di keliling kubah besar terdapat dua
lapisan ayat-ayat suci al-Quran yang ditatah dengan batu mozek. Tulisan di bahagian atas
dengan batu mozek yang bersalut emas yang bersaiz lapan kaki, sementara tulisan bahagian
bawah ditatah dengan mozek berwarna hijau dengan huruf-huruf bersaiz 4 kaki 7 inci.
Di bahagian dalam kemuncak dalam kubah besar tulisan khat menjadi awan larat yang
membentuk bulatan yang ditatah dengan batu mozek bersalut emas. (Ayat-ayat suci al-Quran).
Mihrab dikelilingi dengan hiasan mozek gelas berwarna biru dan di bahagian atasnya dihiasi
dengan tulisan ayat-ayat suci al-Quran yang ditatah dengan mozek gelas bersalut emas. Mimbar
masjid ini dibina daripada batu konkrit yang disalut dengan die-marble, iaitu sejenis batu
marmar yang disembur.
Masjid ini turut menempatkan beberapa pusara pemimpin-pemimpin Islam di negeri

Sabah yang ulung. Makam Pahlawan ini berada di bahagian yang menghadap kiblat dan reka
bentuknya selari dengan bangunan masjid.
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5.3.2.11 Masjid Sultan Salahudin Abdul Aziz Shah, Petaling, Selangor
SEJARAH
Masjid Negeri Selangor yang dikenali sebagai Masjid Sultan Salahuddin Abdul Aziz
Shah, merupakan salah satu lambang yang menyemarakkan keagungan agama Islam dan
kedaulatan penganut Islam di Malaysia. Acara perasmiannya pada 11 Mac 1988, bersamaan
dengan 23 Rejab 1408 Hijrah yang telah disempurnakan oleh Duli Yang Maha Mulia, Sultan
Selangor Darul Ehsan telah menempa sejarah bukan sahaja kepada DYMM Sultan, tetapi juga
kepada rakyat Selangor seluruhnya. Sebagai Ketua Agama, DYMM Sultan telah mengikut
sunnah Nabi Muhammad s.a.w dengan mengilhamkan pembinaan masjid ini. Masjid Negeri
Selangor, pada masa kini merupakan masjid yang terbesar di Asia Tenggara.
Masjid ini terletak di bahagian utara tebing Tasik Shah Alam, di kawasan yang lebih
tinggi dan sesuai dengan pembinaan masjid yang dianggap penting ini. Ia menjadi satu
keperluan kepada penduduk Shah Alam yang sentiasa bertambah dari semasa ke semasa.
Dianggarkan masjid ini dapat memuatkan kira-kira 24,000 jemaah dalam satu masa.
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BINAAN
Kombinasi Rekabentuk
Masjid yang menjadi mercu tanda kepada Bandaraya Shah Alam dan Negeri Selangor
ini mempunyai gabungan reka bentuk Timur Tengah, India dan Melayu tradisional. Banyak
keistimewaan yang boleh dilihat pada masjid ini terutama kubah dan menaranya.
Kubah luar tingginya 300 kaki dari paras bumi. Garis pusatnya berukuran 170 kaki,
merupakan kubah masjid yang agak besar. Ia diperbuat daripada kepingan aluminium berlipat
dan mempunyai panel yang menarik berwarna biru, tahan karat dan dapat bertahan beratus
tahun lamanya.
Terdapat panel enamel bertulisan khat hasil kerja tangan penulis khat dari Mesir, Sheikh
Abdel Moniem Ali El-Sharkawi menjadi hiasan lilitan badan kubah. Sistem bunyi terbaik telah
dipasang di dalam masjid ini oleh pakar bunyi terkemuka Bolt Beranek dan Newman dari New
York.
Komponen dan Hiasan Dalaman
Antara komponen yang menjadi tarikan pada masjid ini ialah mihrab dan mimbar.
Mihrab masjid ini disaluti batu marmar antik yang diimport dari Turki dan dihiasi dengan ayat-
ayat al-Quran yang ditulis dalam bentuk seni khat tradisi Islam.
Mimbar masjid direka bentuk oleh pengukir tempatan mengikut corak yang terdapat
pada masjid-masjid lama di Malaysia. Ia berukuran 7 kaki tinggi, pelantar setinggi 5 kaki
persegi, berada di atas empat tiang dan berbumbung marmar putih Mahsuri setinggi 30 kaki. Di
atas puncak mimbar ini diletakkan bintang dan bulan sabit berwarna emas.
Empat buah lampu candeliar yang menghiasi ruang dalam masjid dan jam antik berusia
enam ratus tahun telah disumbangkan oleh Almarhum Sultan Salahuddin Abdul Aziz Shah.
Dewan sembahyang utama berkeluasan 73,000 kaki persegi. Di atasnya ialah kubah besar yang
disokong oleh lapan tiang berbentuk empat persegi dengan garis pusat 170 kaki dan tinggi 180
kaki.Setiap tiang tersebut mempunyai tangga dan dilengkapi dengan lif. Dewan sembahyang
utama ini dihampar dengan permaidani yang diperbuat daripada benang bulu bercorak geometri
berlatarkan warna biru senada warna masjid. Tiang dan dindingnya disaluti oleh marmar putih
Mahsuri dari Langkawi.
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5.3.2.12 Masjid Abidin, Kuala Terengganu, Terengganu
SEJARAH
Sebagai sebuah negeri Islam, maka masjid adalah suatu simbol agama yang dipandang
mulia dan suci, selain daripada menjadikan tempat untuk beramal ibadat. Negeri Terengganu
Darul Iman berasa bangga dengan adanya sebuah masjid bersejarah yang sekarang dikenali
dengan nama Masjid Abidin yang tersergam dan terletak di tengah-tengah bandar Kuala
Terengganu. Dahulunya masjid ini dikenali dengan nama Masjid Besar atau Masjid Puteh.
Bangunan masjid ini pada asalnya merupakan sebuah istana kayu yang didirikan oleh
Al-Marhum Sultan Zainal Abidin II (Marhum Masjid 1793-1808) kemudian dalam tahun
1269H/1852M, Almarhum Baginda (Sultan Umar) telah mendirikan bangunan baru daripada
batu. Bangunan masjid ini telah diperbesarkan semasa pemerintahan Almarhum Sultan Zainal
Abidin III, kira-kira dalam tahun 1319H (1901M).
Menurut cerita, masjid ini pada mulanya didirikan tanpa tiang di tengah-tengah
bahagian dalam bangunan. Dindingnya hanya sekerat dan melengkung berlubang-lubang
bagaikan pintu gerbang. Terdapat sebuah binaan kayu yang beratapkan kayu berlian. Terdapat
juga enam buah kolah pada masa itu dan setiap satunya berukuran kira-kira dua depa panjang
dan 1.5 depa lebar.
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Semasa pemerintahan Almarhum Sultan Zainal Abidin III, barulah binaan itu dibaiki
dan diperbesar seperti mana yang ada sekarang (sebelum tambahan baru) dengan ditambah
tiang-tiang di ruang tengah bahagian dalam, dinding tembok simen, diadakan sutuh dan tiga
buah menara. Pembinaannya pada masa itu dikelolakan oleh Tengku Muda Kemaman (Tengku
Panglima Besar), dan tukangnya pula terdiri daripada orang-orang Melayu dan juga Cina.
Tulisan-tulisan kasar yang terdapat di pintu masuk utama telah ditulis oleh Tengku Abdul Kadir
bin Salim, manakala lukisan-lukisan kecil pula dilukis oleh Tuan Haji Abdul Rahman.
Mimbar yang ada sekarang dibuat oleh Encik Badul Kadir. Semasa pemerintahan Duli
Yang Maha Mulia Almarhum Sultan Ismail Nasiruddin Shah, perubahan besar telah dibuat
dengan tambahan baru yang hampir sekali ganda luasnya dari bangunan asal dan penambahan
alat-alat baru. Selain daripada tempat untuk beribadat, masjid ini juga digunakan untuk pelbagai
aktiviti-aktiviti keagamaan.
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5.3.2.13 Masjid Wilayah Persekutuan, Zon 6, Kuala Lumpur
SEJARAH
Pembinaan Masjid Wilayah ini direalisasikan pada 25 Syawal 1416 Hijri bersamaan 15
Mac 1996 Masihi dan siap dibina pada 30 Ogos 2000 Masihi. Upacara serah milik kepada pihak
Jabatan Agama Islam Wilayah (JAWI) pada September 2000 Masihi.
Masjid Wilayah Persekutuan terletak di sebuah kawasan berbukit Jalan Duta,

berhampiran susur masuk ke pusat bandaraya Kuala Lumpur. Tapak binaannya berkeluasan
kira-kira 13.4 hektar, iaitu di atas tapak bekas mahkamah dan pejabat kerajaan. Cadangan
pembangunan Masjid Wilayah ini diilhamkan oleh Tun Dr. Mahathir ketika menjadi Perdana
Menteri keempat. Ia merupakan projek Jabatan Agama Islam Wilayah Persekutuan Kuala
Lumpur (JAWI) dan diiktiraf berstatus Masjid Negeri.
BINAAN
Keindahan dan keunikan Masjid Wilayah ini terletak pada seni binanya yang
berkonsepkan gaya zaman era Uthmaniyah di Turki pada abad ke-16. Walaupun seni bina
begini dikatakan agak terbelakang, namun konsep tersebut amat popular pada kebanyakan
bangunan masjid di seluruh dunia.
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Kubah Masjid Wilayah terdiri daripada sebuah kubah utama bersaiz besar, tiga kubah
separa, dua kubah menara dan 16 kubah kecil yang berada di atas ruang solat utama serta
anjung-anjung masjid. Kubah utamanya bergaris pusat kira-kira 30 meter dengan ketinggian 45
meter dari aras lantai dewan solat utama. Bahan untuk binaan kubah terdiri daripada jenis
exposy glassfire dan berkemasan jubin mozek yang menggunakan teknik bit-map. Berwarna
biru firuz, kubah ini dihiasi dengan hiasan reka bentuk lingkaran bunga dan dedaunan yang
menjalar.
Material yang digunakan pada hiasan dan tatahias luaran dan dalaman Masjid Wilayah
ini berasaskan kayu dan batu. Ukiran-ukiran lebih bertumpu kepada komponen yang diperbuat
daripada kayu seperti yang dapat dilihat pada pintu, tingkap dan sebahagian jeriji di dinding
masjid. Pemidang di dewan solat wanita dan mimbar juga diperbuat daripada kayu yang telah
diukir.
Ukiran yang halus dan unik boleh dilihat pada dinding kemasan batuan simen, manakala
silingnya berturap simen telah dibentuk dan diukir mengikut acuan. Motif kebanyakan ukiran
kayu yang menghiasi masjid ini berbentuk awan larat yang diambil daripada bentuk-bentuk
lima jenis bunga harum seperti bunga tikam seladang (bunga mas), cempaka, kenanga, tanjung,
melur serta daun yang menghijau seperti paku pakis.
Kayu-kayu hiasan terdiri daripada jenis kayu cengal yang diukir oleh tukang-tukang
mahir tempatan yang didatangkan dari Terengganu dan Kelantan. Bahagian dalam masjid
dihiasi dengan lampu-lampu yang mengeluarkan cahaya bergemerlapan. Lampu candelier yang
digantung pada sebelah dalam kubah utama pula berbentuk moden dan eksklusif.
Keindahannya terserlah apabila semua lampu itu dipasang terutama pada waktu malam.
Ukiran batu pula dibuat pada pintu gerbang utama dan mihrab. Jenis batu yang
digunakan terdiri daripada batu marmar Makarana. Pembuatan batu ini diselenggarakan di tiga
pusat yang terletak di Agra, Jaipur dan Makarana di Rajestan, India. Batu-batu ini diukir oleh
pengukir mahir di India dengan menggunakan konsep in lay daripada jenis batu permata dan
dipasang di tapak binaan oleh pekerja-pekerja tempatan dan dikemaskinikan serta dihalusi oleh
pekerja India.
Penggunaan batu permata pelbagai jenis seperti batu lapisan lazuli, black onyx,
malachite, red and golden jasper, mother of pearl dan tiger eye menjadikan Masjid Wilayah ini
begitu istimewa. Tulisan khat jenis Thuluth turut memainkan peranan penting dan amat
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bermakna sebagai hiasan kaligrafi kepada Masjid Wilayah ini. Ia diterapkan di tempat-tempat
tertentu supaya mudah dihayati dan difahami terutama di gerbang pintu masuk.
KEMUDAHAN
Masjid Wilayah ini dilengkapi dengan sekolah pendidikan Islam. Asrama, perpustakaan
dan kemudahan bilik komputer turut disediakan. Selain kegiatan pembelajaran, aktiviti yang
dilaksanakan ialah sambutan hari kebesaran Islam, ceramah, mesyuarat dan aktiviti
kemasyarakatan yang disertai oleh semua golongan umat Islam. Masjid Wilayah ini menjadi
antara tempat kunjungan wajib para pelancong dari dalam dan luar negara.
KEISTIMEWAAN
Bagi mengimbangi pembangunan dan mewujudkan suasana mesra kepada alam semula
jadi, Masjid Wilayah dihiasi dengan seni lanskap yang terdiri daripada kepelbagaian jenis
pepohonan termasuk pokok-pokok herba. Taman di masjid ini terbahagi kepada tiga, iaitu
taman hutan, taman riadah dan taman perubatan.Taman-taman dan kolam buatan saling
lengkap-melengkapi antara satu dengan yang lain sehingga menerbitkan suasana nyaman dan
tenteram kepada para pengunjung masjid.
Lorong siar kaki yang disediakan di sekitar kolam ditaburi dengan batu-batu kecil dari
sungai. Kolam air yang dilengkapi dengan tujuh pancutan halus dan air terjun buatan
menambahkan lagi kelembutan dan ketenangan di situ. Kolam ini dilengkapi dengan bio-filter
bagi menjaga kebersihan sepanjang masa.
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5.3.2.14 Masjid Jamek Negeri Sarawak, Kuching, Sarawak
LATAR BELAKANG
Masjid yang terletak di Petra Jaya, Kuching ini telah dibina pada tahun 1987 Masihi.
Pembinaannya siap pada tahun 1990 Masihi.
Masjid ini didirikan di atas sebidang tanah berkeluasan kira-kira 100 ekar. Kini masjid
ini menjadi mercu tanda dan kebanggaan kepada penduduk Negeri Sarawak. Ia dikategorikan
sebagai masjid gred khas dan boleh menampung 10,000 orang jemaah pada satu-satu masa.
BINAAN
Masjid ini berkonsepkan reka bentuk masjid di Istanbul. Bumbungnya berbentuk empat
persegi bujur. Ia dilengkapi dengan sebuah kubah utama dan empat puluh buah kubah kecil.
Kubah utamanya dihiasi dengan mozek dan jubin manakala di sebelah dalamnya pula
diletakkan kerawang bermotifkan geometri. Tiang-tiang yang menyokong kubah-kubah kecil
kelihatan seperti kedudukan tangan sewaktu berdoa.
Cermin kaca berwarna-warni merupakan hiasan menarik yang mampu menyerlahkan

keindahan masjid ini. Keseluruhan lantai masjid ini menggunakan kemasan daripada marmar
yang dapat menyejukkan ruang suasana ketika berada di dalam.
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Sebuah menara didirikan berasingan dari masjid ini sebagai mercu tanda. Bagi
memenuhi keperluan jemaah menjalankan aktiviti, masjid ini dilengkapi dengan kemudahan
asas seperti dewan persidangan, perpustakaan dan ruang pejabat untuk kakitangan masjid.
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5.3.2.15 Masjid Jamek An-Nur, Labuan
LATAR BELAKANG
Masjid yang dinamakan An-Nur ini terletak di tapak seluas 4.5 ekar di pusat bandar
Labuan dan ia sangat mudah dikunjungi oleh sesiapa sahaja. Pada peringkat awalnya
pembinaan masjid ini dikendalikan oleh kerajaan Negeri Sabah melalui Majlis Agama Islam
Sabah (MUIS). Masjid ini didirikan bagi mengganti masjid lama Labuan yang tidak lagi dapat
menampung bilangan jemaah yang semakin meningkat.
Kerja-kerja projek pembinaan telah dimulakan pada 9 Jun 1980 Masihi tetapi atas
beberapa sebab teknikal, projek ini telah ditangguhkan. Namun pada 16 April 1984 Masihi
setelah Pulau Labuan dijadikan Wilayah Persekutuan yang kedua selepas Kuala Lumpur, projek
ini diambil alih dan dilaksanakan di bawah pentadbiran kerajaan Persekutuan. Tawaran
melaksanakan projek ini telah dibuat semula dan akhirnya pembinaan masjid ini siap pada 15
Mei 1987 Masihi. Masjid ini telah dirasmikan pada 13 Jamadilakhir 1408 Hijri bersamaan 1
Februari 1988 Masihi oleh Duli Yang Maha Mulia Sultan Iskandar Alaudin Shah ketika
Baginda menjadi Yang di-Pertuan Agong Malaysia.
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BINAAN
Konsep Reka Bentuk
Masjid ini berkonsepkan gabungan elemen seni bina Melayu Brunei dan Turki. Hasil
daripada kedua-dua pengaruh ini berjaya melahirkan masjid yang mempunyai identiti baru yang
unik dan indah. Masjid ini dilengkapi dengan sebuah kubah berbentuk dom dan dua buah
menara tinggi di kiri dan kanan masjid.
Oleh kerana masjid ini berlatarkan Laut China Selatan, kedua menara ini turut menjadi
panduan utama kepada para nelayan terutama pada waktu malam. Reka bentuk dan hiasan
dalaman masjid ini berkonsepkan kontemporari. Jeriji dan cermin telus menjadi elemen
pencahayaan dan pengudaraan semula jadi ke dalam masjid. Anak tangga sebagai penghubung
aras bawah dan tingkat atas dihiasi dengan lampu bulat tergantung di bahagian atas bagi
memberi cahaya dan mengindahkan lagi bahagian ini.
Masjid An-Nur turut dilengkapi beberapa kemudahan dan kelengkapan untuk kegunaan
orang ramai seperti tiga buah dewan kuliah, Perpustakaan Darul Hikmah, pejabat pentadbiran
dan sebuah bilik rehat untuk orang-orang kenamaan.
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5.3.2.16 Masjid Putra, Putrajaya
LATAR BELAKANG
Masjid Putra didirikan pada 22 Zulkaedah 1419 Hijri bersamaan 9 Mac 1999 Masihi. Ia
menjadi mercu tanda Wilayah Persekutuan Putrajaya. Masjid ini dinamakan Masjid Putra
sempena Perdana Menteri Malaysia yang pertama, Almarhum Tunku Abdul Rahman Putra Al-
Haj.
Kedudukan masjid ini bersebelahan dengan Dataran Putra dan bertentangan dengan
blok Perdana Putra. Dari arah masjid ini, dapat dilihat pemandangan indah Tasik Putra dan
kawasan sekitarnya. Sebahagian besar kawasan masjid dikelilingi oleh tasik, menjadikan
masjid ini kelihatan terapung-apung di atas air seperti Masjid Tengku Tengah Zaharah di
Terengganu dan Masjid Tanjung Bunga di Pulau Pinang. Bezanya kedua-dua masjid ini dibina
berhampiran dengan laut, manakala Masjid Putra dikelilingi oleh tasik.
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BINAAN
Konsep Reka Bentuk Masjid
Konsep reka bentuk Masjid Putra ini berdasarkan kepada seni bina Parsi zaman
Kerajaan Safawe. Seni bina dan reka bentuk kubahnya menonjolkan ciri-ciri masjid tradisi yang
mudah dilihat di Timur Asia. Ketinggian keseluruhan masjid ini menyamai bangunan 21
tingkat. Ia terdiri daripada empat aras termasuk bumbung yang mempunyai fungsi masing-
masing.
Aras Bawah Dua
Dinding dan benteng yang dibina di sekeliling aras ini menampilkan imej pertahanan
yang kuat untuk menggambarkan keteguhan. Aras ini menjadi penghubung utama kepada siar
kaki, iaitu jalan mengelilingi tasik. Di aras ini terdapat pelantar untuk para pengunjung
menghayati udara nyaman dari tasik.
Aras Bawah Satu
Bahagian ini menempatkan pelbagai kemudahan seperti auditorium yang boleh

memuatkan seramai 450 orang, dewan makan untuk 400 orang dan sebuah ruang legar untuk
pameran. Di sini turut ditempatkan pejabat utama Masjid Putra, tiga buah bilik kuliah, bilik
pengurusan jenazah, tempat berwuduk dan bilik air serta rumah kakitangan.
Aras Bawah
Aras ini membawa konsep keterbukaan. Tiang berbentuk payung di aras ini direka
supaya dapat memberikan perlindungan orang ramai daripada hujan dan panas serta pengaliran
udara semula jadi. Konsep ini juga bertujuan untuk menyambungkan antara saf dalam dan saf
luar sekiranya jemaah terlalu ramai pada satu-satu masa.
Dewan solat utama terletak di sini yang boleh memuatkan bilangan jemaah seramai
8,000 orang pada satu masa. Pintu masuknya mempunyai reka bentuk berdasarkan struktur
binaan di Isfahan.
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Sebuah laman terbuka terbentang luas di antara ruang solat utama dan pintu masuk
utama masjid. Laman terbuka ini merupakan tapak kepada menara masjid setinggi 116 meter
dan dihiasi dengan kolam-kolam air dan pepohonan. Laman terbuka serta pelantar sekeliling
aras ini boleh menampung seramai 5,000 jemaah lagi.
Aras Satu dan Bumbung
Bahagian ini mempunyai lapan buah kubah kecil yang membentuk empat penjuru
dewan solat utama. Konsep terbuka jelas kelihatan dengan adanya tingkat-tingkat besar yang
dihiasi gaya rekaan yang begitu indah di sekeliling aras tersebut.
Sebanyak enam belas tudung konkrit mengelilingi aras ini. Puncak kubah dihiasi dengan
mercu tajam yang mengarah ke langit. Dewan solat wanita berada di aras satu yang boleh
menampung seramai 2,000 jemaah. Keempat-empat aras ini dihubungkan oleh rangkaian
tangga yang bermula dari tempat wuduk utama serta dua buah lif di kiri dan kanan pintu dewan
solat utama.
Kubah Masjid
Kubah Masjid Putra ini berwarna merah jambu dan reka bentuknya berasaskan
arabesque iaitu ukiran berkonsepkan tumbuhan seperti yang terdapat pada kubah-kubah masjid
di Mesir. Ukiran dan hiasan dalaman kubah dan masjid ini pada keseluruhannya diilhamkan
berdasarkan seni ukir tempatan.
Selain daripada kubah yang menjadi tarikan pada Masjid Putra ini, bahan daripada kayu
cengal yang menjadi pilihan untuk pintu, jerejak dan pemidang pada masjid ini telah berjaya
menghidupkan seni ukir Melayu berteraskan ajaran Islam yang menonjolkan semangat
persaudaraan dan keharmonian sesama insan.
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CHAPTER 6: TABOO IN THE MALA
CULTURE
6.1 INTRODUCTION
There are many taboos contained in the Malay community. This taboo is an 'oral
discipline' contained and practiced by most Malays. The prohibited bonds are covered in terms
of social and economic terms. Generally all acts and behaviors are covered by customary law.
The purpose of this customary law is for the well-being of the community. This taboo approach
is a tradition of education directly or indirectly for the well-being of the general public.
6.2 ELEMENTS OF THE TABOOS
The existence of taboo especially in Malay society is closely related to two situations
that are generated from spontaneous events and require a mechanism to overcome them. For
example, "cannot sit on a pillow, then get boiled/ tidak boleh duduk atas bantal, nanti naik bisul
". This biased barrier is to educate the society especially children to be polite.
The next situation is the absence of taboo as a result of the society's previous superstition about
a thing or event. For example, "if return late at night, ghosts will come along".
6.3 SIGNS AND ADDRESS
Padah means an address or a sign. According to parents' beliefs, something incredibly rare
or rarely happens may bring an address or something as good or not. For example:
1. If there are crows chirping at the end of the village, the address of someone will die.
2. If the birds of paradise (burung murai) chirp in the roof of the house, the address of the
distant person will come.
3. If the birds of paradise chirp in the verandah of the house, the disease address is coming.
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6.4 ELEMENTS THAT WILL DISCUSS IN THIS PART:
• Pregnant Women
BIRTH
• Foods for Pregnant Women
BABIES AND • Babies

CHILDREN • Children
• Boys
BOYS AND
• Girls
GIRLS
• Meminang
SITTING • Sitting
AND
STANDING • Standing
SLEEPING, • Sleeping
WAKING UP,
• Waking Up
SHOWERING
& EATING • Eating
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6.5 BIRTH
The Malays in the past still strongly practice taboos in everyday life. Similarly, in the
case of birth, they introduce certain taboos to practice. However, given that many women now
have high levels of education, the practice is diminishing and some are just become a history.
6.5.1 Taboo for Pregnant Women:
1. Pregnant women are prohibited from eating octopus
It is said to eat squid, ghosts can strangle or shrink the baby in the womb because the octopus
has many hands (beards).
2. Pregnant women are prohibited from abusing or telling about disabilities.
Pregnant women are prohibited from abusing or telling a person who is defective, or is not
encouraged to see a disabled person. Otherwise, the child who is born will also be disabled
members.
3. Pregnant women are prohibited from nailing, chiseling, or slaughtering animals and
chickens.
If she does not obey, the child will be born may be split or have other disabilities.
4. Pregnant women are prohibited from fighting with mother-in-law.
The women who do so will face difficulties in childbirth. But the real meaning of quarreling
with mother in law is a bad practice and it affects the harmony of a household.
1. The husband cannot poke something because the baby will to be born with a cleft lip.
6. The husband cannot blow the flute or the instrument of sound because it is said to do so
the child will be born to be always crying.
7. The Malays forbid pregnant women to sit at the door or stairs, because they can bring an
accident to the mother when they want to give birth.
8. The mother is not allowed to sit on the grass without wiping the mat or paper first, because
the baby born later may stick in the uterus like a hard-to-pull root.
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9. The mother is prevented to sleep at the door, it will be difficult to give birth.
10. No sleep at midday the child's head will grow bigger.
6.5.2 Foods for Pregnant Women
Every meal that the mothers may wish to conceive and at the time of their birth there must
be limits and prohibitions. These foods are good and bad for mothers and children to be born.
1. Some parents prohibit mothers from eating cold food as this may diminish the womb,
health of the mother and may cause miscarriage.
2. Eating durians for pregnant women is not recommended as it can cause the child to get
boils in the head.
3. Scaly or crunchy animals can cause skin toughness and skin problems.
4. The taboo of this food will decrease as mothers through their abstinence for 20 to 44
days. It is time that some of them are encouraged to eat hot food to restore their body
quickly after delivery.
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6.6 BABIES AND CHILDREN
6.6.1 Taboo for Babies
1. Babies should not be kissed during sleep especially on the head and at the center of head
(ubun-ubun) because it is said to be short-lived.
2. Cannot put on the shoulders later will be stubborn.
3. The baby cannot be kissed in the palm of the hand because when it is grow up, he or she
will like to ask others.
4. Cannot brush hair, the tooth will be rare.
5. It is prohibited to squeeze his mouth, later lost his or her appetite.
6. The nappy cloth cannot be soaked, bloated later.
7. Baby should not be reprimanded, if the body is fat, just say "semangat" because it is
feared to become thinner.
8. The baby food waste cannot be eaten by parents, then fight against them.
6.6.2 Taboos for Children
1. Cannot eat in the dark, it is said to eat with the devil.

2. Cannot sit on the pillow, the back will be boiled.
3. Do not go out during certain occasions such as midnight and midnight twilight will be
reprimanded by demon ghosts, hard to deal with.
4. Cannot bite the cloth later the tooth has weed.
5. When lying down, the feet cannot be lifted up, then the mother will die.
6. Whistling in the house, then the snake enters the house.
7. Cannot show rainbow, later fingernails will cut off.
8. Cannot wipe the tongue, then the tongue will be cut off.
9. It is not permissible to walk here and there, it will step the chicken stool, hard to recover
from circumcision.
10. Cannot cut nails at night, later on short age.
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6.7 BOYS AND GIRLS
6.7.1 Taboos for Boys
1. Peeing on the moss.
It is said to be bad for the genitals. Children are not allowed to urinate on the moss because
it is an inappropriate practice.
2. Sleep in the middle of the field.
It is said to be crossed by a bird, then the mother dies. The purpose of parents in ancient
times forbid children to sleep on the field is to regulate the disciplined life.
3. Whistling inside the house
It is said that the snake will enter the house.
4. Climb a beko tree.
It is said that the children's stomach will be cut off. The purpose behind the prohibition is
to prevent children from climbing trees as they quickly break when climbed.
5. Spying in the bathroom.
It is said that the eye is limpid, which is swollen in the eyelids. The actual practice is very
bad and not spying to people.
6.7.2 Taboo for Girls

1. Cannot sing in the kitchen.
It is said that the girl will get an old husband. Actually singing in the kitchen will ignore the
task especially when cooking.
2. Wake up late in the morning.
It's hard to get married. The real purpose is to see the girls get up and help the parents to
prepare of breakfast.
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3. Wearing a wet cloth.
It is said by doing so the whole body will be clenched. The truth is that parents want to see
their children polite. After all, wet clothes will show the shape of body.
4. Reflect on the front of the cracked mirror.
It is said by doing so, the face will be pale at the time of the wedding ceremony. In fact,
despite the prohibition, this practice is dangerous because the dust or mirror fragments can
enter the eye.
6.7.3 Taboo during Meminang
1. When a person wants to go to the wedding, certain times and days need to be considered.
Not only that, even when looking at the girl to be woken up is considered.
2. The girl is pounding the flour.
If he marries with her, it will not be long and she/he will dies.
3. The girl burns the garbage.
When married, her blood is hot.
4. While bathing.
Address she is a patient and kind.
5. After being married and engaged, the girl is not allowed to leave the house.
It is said sweet blood that is an undesirable event.
6. During the day of the wedding, the girl is not allow to step the land.
Being feared to be a target of land ghosts or acts of people. The girl is supposed to be
supported or carried.
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6.8 SITTING AND STANDING
The taboos is created in relation to the seated and standing order is aimed at creating a
good and perfect treatment. The method of altering the taboo by including intimidating elements
with the aim of disciplining.
6.8.1 Taboo during Sitting
1. Cannot sit on the veranda of the stairs, later on sustenance become difficult.
It is aimed at preventing children from sitting and playing there because it is feared they
will fall.
2. Cannot sit on the stairs when the Maghrib time, later ghost will come.
It was meant for the children to hurry to pray. Sitting while chatting on the steps will be
considered bad if the place is on the route to the people to go to the mosque.
3. Cannot sit on the lesung, later anus will get scabs.
It aims to prevent children from sitting in the wrong place. Lesung is used to culinary
ingredients that may pollute the ingredients or stain the children's clothing itself.
6.8.2 Taboo during Standing
1. Cannot urinate while standing.

It aims to prevent disorienting urinary and irregular behavior, but it can also cause clothing
to be splashed.
2. Cannot stand overlapped feet.
It is said by doing so later the sustenance will far. It aims to avoid improper deeds. Such a
way may cause children to fall and spit their feet.
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6.9 SLEEPING, WAKING UP, SHOWERING AND EATING
It is prohibited to sleep, get up, take a shower and then be stressed by the Malay
community. If you are concerned about getting up, sleeping and bathing, it is a trivial matter
and there is no need to be abused, but for the community, its view is far different and the present
society.
Sleep problems are still emphasized as it is the cause of adequate rest, so to ensure that
the health is held abstinence in connection with it.
6.9.1 Taboo While Sleeping
1. Sleeping on the tree will be eaten by the langsuir.
This prohibition is intended to prevent the danger of falling due to sleeping in an improper
place.
2. Sleep over a prayer mat, later on with a ringworm or scab
This prohibition prevents the spreadsheet from praying for sleeping.
3. If the rice is attached to the foot, the address will dream of seeing a ghost.
This prohibition aims to educate children to sleep with a clean leg so as not to stave off the
bed.
4. Sleep at doorstep, will stepped with ghosts.
This prohibition is to prevent blocking the door because the door is a place to go out and in
the house.
6.9.2 Taboo for Waking Up
1. It is not allowed to wake up at midday, it is said to do so, and someone will have
difficulty getting sustenance.
2. Forbidden to wake up from sleep, it is said by doing so the ghost will sleep together.
3. Forbidden to sleep twilight, because by doing so will be spotted phantom.
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4. If a person wakes up, he is prohibited from staring at the stairs because doing so will be
difficult to earn sustenance.
6.9.3 Taboo for Eating
Older ages emphasize respectful customs and rules when eating either at home or at
religious occasions. Their primary purpose of introducing taboo is not just as a teacher but
as an education.
1. Eating in chipped plates, it can be cleft lip.
2. Not to wash the dishes, slowly can be son-in-law.
3. Eating overlapping plates, will have two wives.
4. Sleep after eating, will be belly.
6. Do not eat rice in the ladle, later can get slow luck
7. Eat twin bananas, later got the twins babies.
6.9.4 OTHER TABOOS:

 Hugs and kisses forbidden in public
 Dogs are a taboo
 One cannot discuss sex topics in public or at home.
 Do not eat with left hand, hand over or receive things
 Mentioning sensitive religious issues such as ‘Does God Exist’.
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CHAPTER 7: FESTIVALS AND
CELEBRATIONS
7.1 Hari Raya Aidilfitri
The Muslim community in Malaysia and all over the world celebrate Hari Raya
Aidilfitri, or also known as Hari Raya Puasa, to conclude the Ramadan holy month of fasting.
Hari Raya Aidilfitri is regarded as a merry celebration as it marks a person’s triumph and
success on discipline and self-resistance which symbolizes refinement and rebirth.
It is necessary for Muslims to fast during the month of Ramadan, where they have to
maintain their self-resistance in satisfying their basic needs and urges between sunrises till
sunset. They abstain from food and drinks, as well as from smoking and sexual relations. It is
also important that they keep their minds pure and not harbor any ill thoughts or intentions
during this holy month.
The fasting doesn’t deter the celebrants from making preparations to welcome Hari Raya
Aidilfitri. The excitement builds up way before the first day, where families start to shop for
new clothes, delicacies and goodies and furnish their home with new furniture and decoration
weeks. Brightly-colored lights, in the common hues of green, yellow and gold, can be seen
adorning the mosques and the offices of government agencies.
When the new moon is seen on the evening of the last day of Ramadan, the fasting
period comes to an end. Such sightings are made by religious officials at various hilltops
throughout the country and when the crescent moon is seen, the following day marks the first
day of Hari Raya Aidilfitri.
On the morning of Hari Raya, the men perform prayers at the mosque while children
ask for forgiveness from their parents. The little ones will also be given ‘duit raya’ or gifts of
money in small green packets. While the first three days of Hari Raya are usually reserved for
catching up with the family, many families hold open houses throughout the month where
friends and neighbors of other races are invited to share conversation, laughter and a variety of
cookies, candy and traditional delicacies.
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Ketupat is one of the must-haves at Hari Raya. It is served together with beef rending
(beef cooked with coconut milk and malay spices) together with satay (skewered grilled meat).
Other delicious delicates are such as lemang (glutinous rice cooked in bamboo tubes), serunding
(dry coconut fried with chilli) and curry chicken.
In Malaysia, the first two days are regarded as public holidays but most will take a week
off for this celebration. Those working in the cities will return to their hometowns (balik
kampung) and reunite with their parents, relatives and old friends in the celebration of Hari
Raya Aidilfitri, leaving the cities quiet and empty during the festive season (usually there are
very good airline deals in the weeks/months before the Balik Kampung period).
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Although the cities start to be populated again at the end of the week, the celebration
doesn’t end there as one month of Hari Raya Aidilfitri celebrations follow a month of fasting.
People continue visiting each other’s homes and throwing open houses until the festivities
approaches its end 30 days later. It isn’t often that festivities last for a month long, so take the
opportunity to catch up with friends and family while indulging in the various delicacies!
Pre-Celebration
Muslim families will rally to spring-clean their homes and spruce them up with a fresh
coat of paint and new décors such like carpets, cushions, curtains, etc.
Of course, a fresh start is not complete without new clothes! Traditional garb such as
the songkok and samping (men), and the baju kurung/kebaya (women) are available in all
colours and designs. Most families will also opt for similar colour themes to signify familial
bonds and ties.
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With the increasing convenience and accessibility of online shopping, more people are
choosing to get their Hari Raya outfits online.
Feasting is a “must-do” during this festive period, and much effort and time are put into
preparing and cooking mouth-watering dishes, such as lontong, ketupat, rendang, curry ayam,
sambal goreng, etc. The pestles and mortars, charcoal stoves, pots and pans will all be out in
full force—most of the time till the wee hours of the morning!
Homemade sweet temptations are highlights of the festivity too! One can expect popular
treats such as the Almond London, Kuih Bangkit, Semperit Pandan, etc. Recipes can be found
here.
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On Hari Raya Aidilfitri
The visitations begin! First-day visits are usually set aside for the immediate and
extended family. Everyone will congregate at a senior family member’s home for a time of
fellowship and feasting. A practice where family members seek forgiveness from each other is
also observed, to start relationships on a clean slate.
During visitation, it is advisable to observe the following etiquette:
 Be smartly and neatly attired. Avoid wearing revealing clothes, such as shorts and
sleeveless tops.
 Remove your shoes before entering your host’s house.
 Some women may not be comfortable shaking hands with the men. The men can choose
to acknowledge the women with a smile instead.
The Muslim community is also encouraged to be charitable during this period, and the
giving of the green packet is a form of such charity. Green packets are generally given to
children and young adults who are not working. The gift amount is not fixed and it depends on
the individual giver.
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In the midst of all the festivities, the best part about celebrating Hari Raya is the renewing
of familial ties and bonds. Spending quality time with loved ones and is ultimately what truly
makes the busyness of the season so meaningful.
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7.2 Hari Raya Aidiladha
Many, especially the non-Muslims, wonder what exactly Hari Raya Haji is, why there are
two Hari Rayas and why Hari Raya Haji is important enough to be observed as a public holiday.
Traditionally, any Muslim who does not have any financial or physical constraints is
required to make a trip at least once in their lifetime to the holy city of Mecca, Saudi Arabia,
for the haj pilgrimage event. After the pilgrimage, the title of ‘haji’ will be given to the men
and ‘hajjah’ to the women. The day Hari Raya Haji is celebrated marks the end of the
pilgrimage, indicating that Hari Raya Haji is indeed a festival and a day to celebrate those who
have visited the holy city and completed their pilgrimage.
During the Haj period, tens of thousands of Muslims swarm the holy city of Mecca to
perform specific rituals, one of which is walking counter-clockwise seven times around the
Kaaba, which is a cube-shaped structure covered with a black cloth that symbolizes the Muslim
prayer direction. Devotees also kiss the black stone at the corner of Kaaba, move back and forth
between Al-Safe and Al-Marway, drink from the Zam Zam well, stand at Mount Arafar, throw
stones, shave their heads and lastly, sacrifice an animal before concluding the rituals of Hari
Raya Haji.
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The sacrifice slaughtering doesn’t only take place in Mecca but at almost every mosque in
the country. The sacrifice typically takes place at around 11a.m. until noon. The sacrifice of an
animal is done to honour Prophet Ibrahim’s willingness to sacrifice his son, Ismail, as a sign of
respect to the God. The child’s life was spared at the very last moment when God took Ismail’s
place and gave.
Korban (“slaughter”) will only be performed by a male devotee. Usually, cows will be
slaughtered but at times, goats are sacrificed as well. Individuals or families who can afford to
contribute an animal will purchase one and donate it to the mosque; at times even the state
government contributes too. To minimize the suffering of the animal, the slaughtering process
is done swiftly. A prayer is made during the sacrifice; it is believed that toxins will be eliminated
from the animal upon recital of the prayers. A portion of the meat is kept for the family while
the others are distributed to the local community, especially to those in need.
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While Hari Raya Aidilfitri is celebrated on a grander scale with new clothes, cookies and
delicacies, Hari Raya Haji is a quieter affair celebrated to commemorate the sacrifices made by
the prophet.
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7.3 Celebrating Prophet Muhammad’s Birthday (Maulid Rasul)
The Prophet Muhammad is a significant figure in Islam, as he is believed to be the last

prophet that Allah sent to mankind. As a nation that is over half Muslim, many Malaysians
celebrate and commemorate the birth of the Prophet Muhammad. Locally, this is referred to as
“Mawlid” or “Maulidur Rasul”, and is marked as a national public holiday.
The Muslim calendar is 354 days long and the Prophet’s birthday is celebrated on a
specific date, equating to a different day each year in the Gregorian (or Western) calendar. In
2019, it will be celebrated on the 9th of November.
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History
The history of the celebration of this event started in the Middle East, 400 years after
the death of the Prophet. The celebration began as a tribute, and modern day celebrations in
Malaysia involve a procession or parade where followers recite praise for Muhammad from
passages of the Islamic religious text, the Quran.
There are differing views in the global Islamic community about the need to celebrate
this occasion, but most countries including Malaysia do indeed commemorate it.
Malaysia’s celebration
In Malaysia, the Putra Mosque in Putrajaya tends to be the location of the national
celebrations and the starting point of the main parade. Government officials, including the
Prime Minister, distinguished guests, and religious figures all attend, with plenty of speeches
and education aiming to unite the population.
There are also official state-level celebrations that are organised in a similar vein. The
nation’s mosques (known as ‘masjid’ in Malaysia) are all cleansed for this day and decorated
accordingly. Devoted followers of the religion also do the same with their homes.
The day’s events
On this auspicious day in Malaysia, there is a relatively standard order of events. It all
begins with a dawn prayer service to kick of proceedings. This consists of prayers, readings,
recitals, and songs of praise by Muslims sitting together in mosques all over the country.
Following this service, it is customary to have a large communal breakfast, then get
ready and go to the location of one of the many celebratory events nationwide. An opening
ceremony is held at various locations for state based celebrations. This is where dignitaries
officiate with a speech, followed by the other speeches, readings, and more recitals. Religious
figures finish the proceedings off with a lecture, and then notable awards are presented for
community service.
Once the opening event has concluded, it’s time for the procession to begin. This
involves a set route through the town, with music and often banners on display. The procession
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ends at its original starting point, where food is then distributed to revelers for their
participation.
This occasion is one that is worth experiencing if visiting Malaysia during this time. As
always, it is important to always be respectful of the culture when visiting as a tourist. This
occasion is celebrated nationally to promote peace, love, and unity, and whilst it is a relatively
modern addition to the Islamic faith, it is of great significance to the people of Malaysia. Other
than uniting residents and believers, the day is considered to be an important opportunity to
educate Malaysia’s children about the Prophet’s life, and instill values and teachings of the
Quran, making it a celebration of national cultural importance.
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7.4 Awal Muharram Celebration
Also known as Maal Hijrah, Awal Muharram is a federal holiday in Malaysia. It is

celebrated by Muslims as the day symbolises two important events in Islam. Awal means
beginning in English and Muharram is the name of the first month in the Muslim calendar, so
Awal Muharram is New Year's Day in the Islamic calendar. The day also coincides with the
Prophet Muhammad's journey from Mecca to Medina on the first of Muharram in 622 CE.
How is Awal Muharram celebrated in Malaysia?
To mark Awal Muharram, Muslims attend various religious activities, spiritual singing,
and religious meetings throughout the country. They recite Koranic verses and hold special
prayers and sermons at public halls and mosques. To mark the occasion, a 'Tokoh Ma'al Hijrah'
is awarded to a Muslim personality to honour their contribution to Islam.
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7.5 Ashura Celebration
For Muslims is some parts of the world, the 10th of the Islamic month of Muharram is
a day culturally celebrated by making the Ashura porridge. Making the porridge is a communal
activity, especially among the Malays in the northern, southern and east-coast states of
Malaysia. The cultural heritage is however becoming increasingly forgotten that today such
practices are only carried out at certain mosques or surau.
The community would gather around the cauldron where the porridge is cooked, waiting
for it to be done. This is indicated when the porridge starts to thicken and turn a deeper shade
of caramel. They would scramble to get coconut shells lined with banana leaf which they would
use as bowls and pineapple leaves that they would use as spoon. The taste of that hot and
delicious Ashura porridge freshly scooped into a coconut shell bowl.
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Many versions for making porridge
According to the Fourth Edition of Kamus Dewan, the Ashura porridge is one that is
made on the 10th day of Muharram and is made from a variety of ingredients, among them rice,
mung beans, onions and various herbs and spices.
There is no set recipe for the Ashura porridge. The ingredients vary from state to state,
adapted to the local taste buds and depending on what is easily available in each state.
The ingredients needed to make the Kelantan version of the Ashura porridge are beef or
chicken, pumpkin, sweet potato, corn, mung beans, onions, lemongrass and black pepper,
among others. The consistency is rather thick.
In Melaka and several places in Johor, the Ashura porridge tends to be soupier, similar
to the “bubur lambuk” typically enjoyed during the fasting months. The ingredients contain
various grains, legumes, vegetables and beef.
The difference is that the Kelantan Ashura porridge is chewier. It is more like “dodol”
than a porridge, such as the soupy ones enjoyed in Melaka and other states.
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203
CHAPTER 8: WORKING INDUSTRY
The economy is in the process of self-sufficiency, no specialization of work, division of work
involves only gender and age differences.
8.1 Agriculture
• The main activities of the traditional Malay community.
• Various types of crops are planted such as rice fields, rice fields, vegetables, fruits and tubers.
• Agricultural activities are concentrated in the area close to the river's fertile habitat and there
is a water supply facility.
• River delta areas in Kedah and Kelantan became the main agricultural areas.
• Animal-like animals such as buffaloes are used to help cooperate.
• The dam is built for water supply to increase production. The water is then channeled to the
agricultural area through the canal. The famous Canal in Malaya is the Wan Mat Saman Canal
8.2 Fisheries
• Conducted by the traditional Malay community.
• They use traditional equipment such as serkap, tangguk, bubu, dantanggul to catch fish.
• The catch is sold due to high demand.
• More results will be made of dried fish, belacan, budu, and crackers.
8.3 Handmade crafts
• Produced by traditional Malays by using natural resources.
• Coconut leaves, pandan leaves, and leaves of nipah are made of mats, baskets, and dishes.
• Activities of songket weaving and making weapons such as keris are also performed.
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CHAPTER 9: MALAY CULTURE
Malay
Dance
Court Malay
Folk Dance
Dance Theatre
Mak Yong Asyik Bangsawan
Kuda Layang
Jikey
Kepang Mas
Mek
Zapin Terinai
Mulong
Tarian Lilin Menora
Gamelan
Cik Siti
Wau Bulan
Ceracap
Inai
Ulek
Mayang
Dabus
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9.1 FOLK DANCE
9.1.1 MAK YONG
The Mak Yong is a dance drama, a comprehensive theatre performance combining

dance, opera, drama and comedy.
The theatre is believed to have originated from Kelantan several centuries ago as a
popular court entertainment. It is a unique theater form that perhaps can be likened to the
modern musical theatre genre found in western theatre.
The most important dance in Mak Yong performance is Mengadap Rebab dance
sequence which now lasts anywhere between 10 to 15 minutes and is performed at the
beginning of every performance. It is divided into four sections: namely, sitting, kneeling,
squatting, standing and walking. The lead dancer and the supporting dancers must be able to
sing the haunting melody.
Except for three men, all the characters in a Mak Yong are played by women. It is the
main dancer, called Mak Yong who develops the story which usually about legendary princes
and princesses from tales of Old handed down by word of mouth.
The Mak Yong is supported by a cast of 16 performers and backed by a traditional music
ensemble consisting of gongs, drums and rebab. Music and melody add colour to the dance.
There are always at least 2 ‘clowns’ – the peran who are continuously beaten with a short
bamboo cane by the lead actor. Their make-up is very distinct especially around the eyes.
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9.1.2 KUDA KEPANG
Kuda Kepang dance was brought to the State of Johor by immigrants from Java. The
dancers use horseback to describe the success story of the Islamic holy struggle, accompanied
by drums, gong and angklung.
It is said that it was created by the Wali Songo or Nine Saints, who were instrumental
in spreading the religion of Islam in the Indonesian island of Jawa; for the dance dramatises
tales of holy wars won for Islam. However, it is also believed to have totemistic origins.
The dance, now popular in the state of Johor, is usually performed by nine to 15 dancers,
all garbed in traditional Javanese clothes. The dancers are usually all men, though women
dancers are not uncommon these days. However, seldom, if ever, will you see both genders
performing this dance together.
In a performance, each dancer sits astride a mock horse, and they re-enact the battles to
the beat of a percussion ensemble usually consisting of drums, gongs and angklungs. A dancer
known as the Danyang will take the lead by directing the other dancers using a whip.
The dance is believed to have strong links to the spirit world. It is not uncommon to see
a Kuda Kepang dancer entering a trance during a performance. The two-dimensional mock
horse - which is traditionally made out of hide or pleated bamboo, and is painted and decorated
to resemble a horse - is said to harbour spirits which have to be appeased in a pre-dance
ceremony conducted by a bomoh (medicine man). These days, this belief and practice are not
encouraged.
The Kuda Kepang has now become a regular fixture in grand occasions such as the
birthday of the Sultan of Johor, state government celebrations, and cultural shows.
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9.1.3 ZAPIN
Zapin. The influence of Islam on traditional Malay dance can be seen significantly in
Zapin dance, a famous dance in Johor. This dance, introduced by missionaries from the Middle
East, was initially used in dzikir practices aimed at disseminating knowledge about the history
of Islamic civilization. It is believed that Muslim missionaries of the Middle East namely Persia
and Arabia introduced the dance to Malaya during the fifteenth century.
The dance was originally performed by males only however it is also performed by
female dancers these days. The simple version of the Zapin is performed to the rhythm &1234
and the foot is extended out to the side on the last count. It can be done on the spot, traveling
forwards and backwards or diagonally in the basic form.
The carriage of the dancers is quite erect and dignified. The music for Zapin comes from
an ensemble of traditional instruments which include the lute (gambus), gypsy-type bongos
(marwas) and the violin. There are no hard and fast rules as to the number of dancers that
perform. However because of the very interactive nature of this dance, it is usually performed
in pairs. The dancers can then play with each other, teasing, challenging and enjoying each
others company. It is most popular in Johor.
There are numerous forms of Zapin dances and it varies from state to state. One of the
most popular forms and certainly more evolved and intricate is the Zapin Tenglu from the town
of Mersing. Said to be inspired by the ebb and flow of the tide and the lives of fishermen, the
dance has many unexpected movements like a rotation of the body from the waist followed by
a sudden accented, sharp and held movement of the arms and shoulders. It is said that these
movements are derived from the feeling of being tossed around in a fishing boat and having to
catch yourself before you are thrown overboard.
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9.1.4 TARIAN LILIN
The tarian lilin or candle dance is a very graceful dance that requires a great deal of
dexterity to manipulate the candles that are placed on plates placed gently on the palms of the
hand. The dance is usually performed by ladies.
It originated from Sumatra and portrays the tale of a beautiful maiden who was left
behind by her suitor, who went in search of wealth. During the absence of her suitor, the
unfortunate maiden lost her engagement ring and was extremely saddened. It is said that the
poor lovelorn maiden searched for the lost ring till the dark hours with the aid of a candle placed
on the plate.
The movements of her body, especially the swaying, bending and kneeling were so
beautiful that a dance was inspired and created. Sometimes a variation of this dance is also
performed using rings on the fingers that tap a certain rhythm on the hand-held plates.
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9.1.5 TARIAN GAMELAN
Tarian Gamelan. This classical dance began to impact on the Riau and Lingga Empire
in the 17th century. He started his first public appearance in Pahang in 1811 during the Tengku
Hussain compilation ceremony, the son of Sultan Abdul Rahman who ruled Lingga, with Wan
Esah is a sister to Bendahara Ali from Pahang. It was introduced in Terengganu after Tengku
Mariam, a princess in Pahang, married Tengku Sulaiman, son of Tengku Zainal Abidin from
Terengganu.
These dances which are exclusively presented by dancers can be performed internally
or open performances. Javanese Elements can be viewed in terms of dance art. The
aesthetically, this dance is very beautiful and is the richest form of dance in terms of its kind in
most Malay dance costumes.
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9.1.6 TARIAN CIK SITI WAU BULAN
Tarian Cik Siti Wau Bulan. In the harvesting season in the east side of the country often
there are games such as play, play wau, tambourine, tambourine rebana, wooden rebana and
others. In conjunction with the game, a dance named Cik Siti Wau Bulan was created. In the
past the dance tells the youth to play in the harvest season. The dance's excitement is reflected
in the movements of dancers consisting of young men and women.
Dance. The most famous dance in Malaysia is a lively dance, with a fast pace. This
dance, performed by dancers with fast-paced moves, is derived from the Portuguese tradition
dance introduced in Malacca during the spice trading season there.
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9.1.7 TARIAN CERACAP INAI
Inai Ceracap Dance is a traditional Malay folk dance especially in Johor. This Inai
Ceracap Dance is associated with the history of the Malay Sultanate of Melaka, when he
returned to the upper part of the Muar River. This Inai Ceracap Dance is said to have originated
in the palace dances and was cast in front of the Sultan and the Princes of the state in a crowd.
Therefore, the Inai Ceracap Dance has the elements of 'worship of the dowry', humiliating and
practicing in front of the 'King of a Day' / Bride.
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9.1.8 TARIAN ULEK MAYANG
Tarian Ulik Mayang. The Mayang Ulik dance is from Terengganu State. In Malay dance
art, this dance has elements of worship. Ulik Mayang is attracted by 10 to 15 dancers. Formerly
Ulik Mayang was played during the seaside season. It is a gift to the seafarers not to disturb the
fishermen. In the first place, the beast was adorned and shaken on the frankincense. Then the
weeds will move hands from person to person. The highlight of this dance is when the dancer
holds the unconscious.
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MALAY TRADITIONAL SONG – DONDANG SAYANG
• A traditional Malay art still practised in Melaka by four communities: the Malay, Baba
Nyonya, Chitty and Portuguese communities
• The practice combines elements of music (violins, gongs and tambourines or the
tambour), songs and chants, and features beautiful melodious strains of poetry
• Dondang Sayang performances are accompanied by music and sung by two singers of
the opposite sex, who sing in quatrains
• Inscribed in 2018 on the Representative List of the Intangible Cultural Heritage of
Humanity.
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9.1.9 DABUS
Dabus dance is another dance that has the elements of trance like the kuda kepang and
barongan. It is believed to have been created as form of a pasttime during the time of the Prophet
Muhammad S.A.W. and his friends, Saidina Abu Bakar, Saidina Omar, Saidina Osman and
Saidina Ali. It is possible that this dance was used to train the soldiers during the wars with the
enemies of Islam. The warriors were said to perform this dance to show their bravery, frighten
their enemies and to spread the word of God.
It was brought to Malaysia via Sumatera by traders and evangelists in the 18th Century.
The Dabus is popular in certain states in Peninsular Malaysia especially in Perak wher it is
believed to have been first performed in Pasir Panjang, Sitiawan.
It is believed that this dance has the power to heal, medicate and to prevent the spread
of disease. However this belief has diminished slightly and this dance has undergone the
inevitable changes.
This dance combines three traditional arts; singing, dancing and the ability and the bravery
of the dancers in using sharp equipment called the ‘anak dabus’ (a sharp equipment with a small
bells at the top). In the original form of this dance, the dancers actually stab themselves with
the 'anak dabus' and stones were hurled at them without causing any injuries.
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9.2 COURT DANCE
Court Dance began as entertainment for the Royal Households of Malaysia as such the style
is very graceful and the movements are slow, sustained and controlled.
Generally the eyes are slightly downcast as it was considered rude to look the Royalty in
the eye. Many of these dances begin in a seated position on the floor and then slowly to a
kneeling or standing position.
These dances used to be performed primarily by the maidens and ladies-in-waiting of the
Court. However today this dances are performed for the public in venues outside the palace
such as theatres, corporate events, tourism projects and private functions.
9.2.1 ASYIK DANCE
This is a royal court dance of Kelantan. It started at Pattani in 1644 due to the missing
of the queen's favourite bird. Her ladies in waiting created this dance to entertain the grieving
queen.
Asyik also means ‘the beloved / besotted’ and is believed to have been the name of the
lost bird.
The dance opens with beautifully costumed maidens sitting gracefully and awaiting the
prima donna of the dance. When she arrives, the dance begins with exquisite body movements
and gestures.
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9.2.2 LAYANG MAS
This is one of the dances in the Terinai repertoire. A very beautiful court dance that is
said to have derived its movements from that of the swallow (layang-layang). A slightly more
seductive and flirtatious dance, that has clear shoulder and hip movements. The dance also uses
a long scarf that is tied to a belt at the waist. This scarf is held very lightly by the thumb and
forefinger and raised to the sides to the dancer giving the apprearance of wings. This dance is
always performed by women only.
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9.2.3 TERINAI
A beautiful court dance from the Northern state of Perlis that is accompanied by the
‘serunai’ (flute). This dance is different from the other court dances as it is primarily performed
during weddings and has a distinct narrative which tells of courtship and marriage. This dancers
carry lit candles that are masterfully manouered.
There are several dances in the Terinai repertoire such as The Terinai Mengadap, Ketam
Bawa Anak and Dewa Raja which is danced by men. Originally there is a strong element of
improvisation however as it is now danced by an ensemble, there is a need to set the patterns
and movements.
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9.3 TRADITIONAL MALAY THEATRE
Traditional theatre forms of Malaysia all encompass music, theatre, dance and drama.
In the original forms much of the dialogue of the play is improvised and there were no prepared
scripts used. Most of the plays dealt with folklore and fairy tales that were passed from one
generation to the next by an oral tradition.
9.3.1 BANGSAWAN
This is what is generally known as Malay Opera and is a form of theatre that became
very popular in the 1950’s. Telling tales of love, bravery and heroism of princes and folk heroes.
With singing, dancing and acting it is one of the total theatre experiences.
One of the unique features of this theatre form is called the ‘extra turn’ when the curtain
is lowered to change sets and dancing girls come out in front of the curtain to perform dance-
hall type numbers like the rumba, cha-cha and so on. Often famous entertainers and comedians
also make guest appearances to entertain the audience.
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9.3.2 JIKEY
Jikey is a form of traditional theatre still popular in Kedah and Perlis. It was said that
Jikey began when a group of merchants were caught for evading taxes.
To free themselves, the king ordered the merchants to sing and dance in order to earn
enough money to pay their dues. Musical instruments used include 3 drums, a serunai, a bell
and a tamborine. Stories told in Jikey are folk tales.
9.3.3 MEK MULONG
The dance drama Mek Mulung exclusively found in Kedah, incorporates the elements
of Mak Yong, Menora and Hadrah. It probably appeared in the late 18th century. Unlike Mak
Yong, it began as a folk theatre. The basic dance movements of Mek Mulung are limited,
abbreviated and crude compared to those of Mak Yong Kelantan. In their execution, no effort
is made to coordinate the movements of individual dancer.
Apart from Mek Mulung the King, characters include other players, a fortune teller
and dancers. They are all male performers and are normally related to each other. The musical
instruments played are the semborong, gong, serunai and cerek.
Unlike Mak Yong Kelantan which incorporates movements of the torso, head, hands
and fingers, Mek Mulung movements mainly focus on the arms, especially the to and fro, and
up and down swinging movements. However, it employs similar circular floor pattern, as in
Mak Yong.
9.3.4 MENORA
Menora is seen only in Kelantan. This dance drama is believed to have developed in
Thailand about 2,000 years ago, was introduced to Kelantan during the second half of the
nineteenth century.
It is a dance drama portraying Buddhist Jaataka stories, is characteristically Thai but
has been accultured into the Malaysian milieu. It is performed by an all-male cast who also
assume female roles.
Adventures dating from ancient folklore are enacted by slow rhythmic movements of
legs, arms and fingers. An orchestra of drums, gongs, scrape instruments and the serunai, a
Malay oboe, provides the music.
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CHAPTER 10: MALAY
ARCHITECTURAL HOUSES AND
DESIGN
When you travel through the country side, you will see a lot of Malaysian houses and
villages. These villages are called "Kampongs" in Bahasa Malaysia. Notice that they are built
with stilts below and they have large windows. This is mainly to keep the building cool and the
stilts elevate the building to keep them away from floods.
Kampong houses are detached houses and they usually have no fences around them.
The traditional Malaysian house serves the housing needs of the majority of people living in
rural areas of Malaysia. It was evolved by the Malays over the generations, and adapted to their
own needs, culture, and environment.
Basically a timber house with a post and lintel structure raised on stilts, with wooden,
bamboo, or thatched walls and a thatched roof, the house is designed to suit the tropical
climate. The traditional Malay house is one of the richest components of Malaysia’s cultural
heritage. Designed and built by the villagers themselves, it manifests the creative and aesthetic
skills of the Malays.
This is a near-perfect house form which is appropriate to local climatic conditions and
expresses the way of life of its inhabitants. The house is extremely well designed to suit the
warm and humid Malaysian climate and for the multifunctional use of space. Its design is also
flexible as it caters to the widely different needs of the users and it has an addition system which
allows the house to be extended to meet the growing needs of each family.
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10.1 DESCRIPTION AND ITS MAIN FEATURES
 Basically, the traditional Malay house can be divided into the front and back portions
which are centred around the rumah ibu (the core house) and the dapur (kitchen)
respectively.
10.1.1 ANJUNG
 At the entrances of most traditional Malay houses, stairs lead up to a covered porch
called the anjung. The porch acts as a good transition space between the public and the
private domains. The anjung also acts as an important focal point for the entrance.
Unfamiliar visitors and guests are entertained here. It is also a favourite place for the
house occupants to rest, chat and watch the goings-on and passers-by in the village.
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10.1.2 SERAMBI GANTUNG
From the entrance porch, one enters into the serambi gantung (hanging verandah). This
is the place where most guests are entertained. The low windows in the serambi gantung
allow for good ventilation and good views to the exterior.
10.1.3 RUMAH IBU

From the serumbi guntung, one enters into the rumuh ibu, which is the core area. This
is the largest area in the house where most activities are conducted. Sleeping, sewing,
praying, ironing, studying and even feasting (kenduri) which is held during marriages and
other festivals, all occur here. The importance of the rumuh ibu is expressed by its floor
level being the highest in the house.
10.1.4 SELANG
The selang is a closed walkway used to link the kitchen and the rumuh ibu together. The
side entrance to the kitchen is also located here. Besides being a circulation space, the selang
is often used by the womenfolk as a space to chat and socialise. The selang is a very effective
linking device which leaves an open space between the two portions, allowing good
ventilation and lighting for the house.
10.1.5 DAPUR
The dapur (kitchen) is always situated at the back of the house, and is on the lowest floor
level. Modern kitchens in new Malay houses are often dropped to the ground level where
floors are cemented. Preparation of food, cooking, eating and washing are all done here.
The womenfolk also often group here to chat.
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10.2 THE KAMPUNG LAYOUT
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10.3 CLIMATIC DESIGN OF MALAY HOUSE
The main causes of climatic stress in Malaysia are high temperatures, solar radiation,
humidity and glare. To achieve climatic comfort in the Malaysian home, these factors must be
controlled besides the control of rain, floods and occasional strong winds.
To attain optimal climatic control, a house form in Malaysia should provide for the following:
(a) Allow adequate ventilation for cooling and reduction of humidity;
(b) Use building materials with low thermal capacity so that little heat is transmitted into the
house;
(c) Control direct solar radiation;
(d) Control glare from the open skies and surroundings;
(e) Protect against rain
(f) Ensure adequate natural vegetation in the surroundings to provide for a cooler micro climate
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The wooden house or village house at one time was practically no stranger to the
Malays. But with the urbanization of the population now, many Malay children who are no
longer familiar with the characteristics of the actual shape of the traditional wooden house and
its way are built without nails.
Before the advent of modern influences and indigenous populations, indigenous Malays
and Indigenous peoples of the Malay and Sumatran Peninsula and other Bumiputra / Indians in
Borneo and other parts of the Malay world have a sophisticated, beautiful and compatible
housing system with lifestyle and environment .
While the Malays and Indigenous peoples of the Peninsular, Sumatra and other islands
usually build a house (ala bungalow) inhabited by big families; some of the tribes in Borneo
are more fond of the concept of 'longhouses' that surround the entire village. That is, each family
occupies one side like the flats side by side, with an open porch in front (called 'ruai' in Sarawak)
that connects all units into a long building.
In line with the changing and technological developments, the method of building a
home is also changing. In the early stages, the system built the house only by means of tie and
taram tanggam. Punching systems are then introduced. Similarly, the use of wood nail is also
known by the picker to strengthen the frame of the house frame. The house is round and rattan
@ root is used to strengthen the joints. Taram tares are made to cool the lateral joints of pile
and punch for the beam paths and beams and beamed.
Uses of tools such as crabs, saws and punching tools enable better flooring and walls to
replace sawn timber. The use of boards for walls and floors was introduced to strengthen and
house the house. The connecting connectors connecting to the walls known as the lattice
connection and the levers continued to exhibit the horizontal, vertical and diagonal wall
arrangement.
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10.4 THE INFLUENCE OF TRADITIONAL MALAY HOUSE ARCHITECTURE
The influences of external cultures especially from the Malay Archipelago such as
Pattani, Acheh, Minangkabau, Java, Bugis, Riau, Jambi, and Bajau have affected the
architecture and design of Malay houses. So was the house of Minangkabau, Bugis and others.
The arrival of the Western colonialists, especially the Dutch and the British, caused the
Malay house to be transformed from a long roof house to a limas house, which was different
from its roof.
It is said that all states in Malaysia, the traditional Malay house consisted of long roof
houses but after the colonial invaders it was transformed into the shape of the Dutch pavement
@ roof.
10.5 UNIQUENESS OF THE TRADITIONAL MALAY HOUSE BUILDING
The traditional Malay house is a valuable asset for preserving its architecture for future
generations. This is because traditional Malay houses have many privileges that are not
necessarily present in today's modern house. Malaysians who are famous for their creative
nature, have built Malay houses by linking architectural designs with environmental factors.
The home page is filled with plants such as coconut trees, lemongrass trees, turmeric trees and
some other plants that provide food to the residents giving an interesting panorama of traditional
Malay houses.
The interior of the house is divided into several sections according to their needs and
needs and emphasizes religion in the layout of the space such as the mother's home where the
male and the living room are treated to the female guests. The decoration of each traditional
Malay house also symbolizes the identity of the house itself. The intricate engraving art inspired
by flora motifs illustrates this traditional Malay house cannot be separated from nature.
The uniqueness and beauty of wood carvings on certain parts of Malay House
Tradisoinal adds to the aesthetic value of its architecture. Most of the Malay community used
to be a little skilled carving inherited from generation to generation. The advantages are used
in decorating this Malay house architecture.
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10.6 TRADITIONAL MALAY HOUSE IN MALAYSIA
10.6.1 KEDAH
 Known as Kedah Long House
 The roof structure extends backwards and the kitchen roof is constructed
horizontally
 The width of the screen is installed in front of the roof structure
KEDAH HOUSE
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10.6.2 PERLIS
 Known as the Perlis Longhouse
 Almost the same as the design of Kedah house as a part of Kedah
PERLIS HOUSE
10.6.3 PERAK
 Known as Kitai House
 The roof structure is long and surrounds the mother's house as well as a foyer
 There is no porch
PERAK HOUSE
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10.6.4 PULAU PINANG
 Known as the Rumah Bumbung Panjang Bertingkat.
 Also known as the Rumah Serambi Gajah Menyusu due to the high and low
roof arrangements such as breast feeding elephants.
PENANG HOUSE
10.6.5 SELANGOR
 Features a large, prominent porch and porch combined
 The structure of the roof is elevated and has steepness in the part of the mother's
house
SELANGOR HOUSE
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10.6.6 NEGERI SEMBILAN
 Known as the Longhouse Roof or Minangkabau House
 The shape of the roof and sail extending from left to right and flank at the
tip
 The backyard / kitchen is built to join the main house
NEGERI SEMBILAN HOUSE
10.6.7 MELAKA
 Known as Rumah Melaka
 The roof is long and steep
 The roof structure is built horizontally between the roof of the front house
with the roof of the porch and the roof of the porch space
 Front: Stone stairs plated with tiles
 Serambi: An interesting woodcarving decor
MELAKA HOUSE
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10.6.8 JOHOR
 The roof has a long sail and is connected with four sail to the roof
 The end of the roof is decorated with carved
 Part of the cantilevered sides of the roof is a sharp-shaped wood called
Tunjuk Langit
JOHOR HOUSE
10.6.9 KELANTAN
 Rumah Tiang Dua Belas or Rumah Bujang Selasar
 Long, horizontal and horizontal roof structure is mounted on the screen
 The edge of the screen is mounted on a boiler or rafting board
KELANTAN HOUSE
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10.6.10 PAHANG
 Known as Rumah Serambi Pahang
 Cover the long and large roofs and cover the mother's house
 The roof of the porch and the porch room are connected to each other
Installed carved kites.
PAHANG HOUSE
10.6.11 TERENGGANU
 The shape of the Long Roof House is known as Rumah Panjang
Terengganu
 Porch layout is built lower and open and has a hose
TERENGGANU HOUSE
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10.6.12 SARAWAK
 Known as Rumah Tungkup
 Has large windows on the part of the mother's house
 The shape of the window lengthened upright to the floor
SARAWAK HOUSE
10.6.13 SABAH
 Built with wooden beam with pebble-shaped roof
 Using Tunjuk Langit and carved decorations on the boards and screens
Started with foyer, outdoor space, living room, dining room and kitchen
 The rooftop uses a piece of wood from the timber
SABAH HOUSE
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10.7 MOSQUE ARCHITECTURE
• Has a prayer hall - 40 pilgrims
• The Mihrab space which denotes the Qibla direction
• The Mimbar where the imam preaches
• The place of ablution
• Motifs are more to floras
NATIONAL MOSQUE OF MALAYSIA
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238
CHAPTER 11: MALAY TRADITIONAL
FOODS
11.1 DAILY FOODS
11.1.1 Nasi Lemak
Coconut rice, chili on the side, slivers of anchovy, nuts, and a boiled egg: meet
Malaysia’s national dish, the nasi lemak. A simple everyday meal gracing the dinner table of
Malaysians all across the country, this beloved dish has a history as humble as its ingredients.
The nasi lemak started off as a farmer’s meal. Long days in the field meant a filling dish ready
for on-the-go eating was essential. The rice, oils, and fish provided a balanced diet in one
packet, and it was easily concocted too. A recipe of Malay origin, it made use of the seafront
harvests, coconuts, and fish.
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Santan rice
Plain white rice is steamed in coconut milk; not cooked, for the risk of burning the rice
is higher. Coconut milk, or santan, is the “lemak” of the dish: the richness. Often, cooks will
add a little extra something to personalize the flavor of the rice, such as ginger, lemongrass, or
shallots, but always pandan to create the trademark subtle taste.
Sambal
A spicy, semi-sweet chili paste is drizzled on the side of the plate; each distinguishable
from the next. Malaysians, being of multicultural Asian heritage, have a fondness for spices
that can’t be found anywhere else in the world. More signature-worthy than the rice, this crucial
element to the nasi lemak can range from a complementary sweetness to bold spiciness. The
chili oils provide great mix for the rice, giving it that beautiful vermilion stain.
Fried anchovies, nuts, cucumber, and a boiled egg

This handful of side dishes helps transform the packet into a nutritionally balanced meal.
The anchovies are usually the fatter, flat variety, instead of the needle-thin ones, while the egg
might come sliced in halves – but without even one of these, the nasi lemak is unacceptable.
Nasi lemak, being a cheap and loved pre-packaged meal, is sold almost everywhere,
from little roadside stalls to five-star restaurants that provide buffets and fusion foods. The side
dishes may vary, but the best add-ons include rendang, a spicy savory curry usually made with
beef; fried chicken spiced and herbed specially; and veggie assortments of spinach or kangkung
(water spinach).
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11.1.2 Nasi Dagang
It is one of the most popular breakfast meals in the east coast – like nasi lemak is to the
west coast. In fact, nasi dagang has been called the "nasi lemak of the East Coast" since both
are coconut milk-rich rice dishes, but the label is spurious, many would say.
Nasi dagang also shows up at lunch and dinnertime; it is even significant enough to be
served on festive occasions such as Hari Raya.
Nasi Dagang
Terengganu nasi dagang is usually made with two parts jasmine rice and one part white
sticky rice. It is flavoured with coconut milk, fenugreek, shallots, ginger, pandan leaf (optional)
and a bit of sea salt. The rice is combined and soaked for several hours, drained and then
steamed to partly cook it. Salted coconut milk is stirred in and it is returned to the steamer to
finish the cooking, and the aromatics are added. This way of cooking results in glossy, shiny,
individual grains of rice – it is far superior to boiling.
Gulai Ikan Tongkol

Locals often cook this curry using a premixed spice paste from the market. The spice
paste is a combination of dried spices (popular in Indian curries) and a wet spice paste (popular
in Malay curries). The dried spices are coriander seeds, fennel seeds, fenugreek, black pepper,
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and dried chillies. The fresh aromatics are garlic, ginger, galangal and shallots. Some cooks add
lemongrass, turmeric and belimbing buluh to the mix as well. It is acidulated with asam gelugor
and seasoned with palm sugar and belacan.
Acar Timun
A simple pickle of cucumber, carrot and onion (acar timun) is usually served as a side
dish, along with hard-boiled egg.
Keropok lekor
This traditional Malay snack is made of fish and sago flour seasoned with salt and sugar.
It is enjoyed for its fishy, umami-rich flavour and chewy or crispy texture. There are two main
types of lekor: thinly sliced and deep fried until dry and crispy, or sausage-shaped and deep
fried or steamed. The thicker, sausage-shaped lekor is chewy and the thin lekor is crispy.
Keropok lekor is usually served with a fresh chilli-spiked dipping sauce.
Solok Lada
This simple side dish made usually of green chillies stuffed with a filling of pounded fish paste
and grated coconut is popular in the areas where fish and coconut are plentiful. The stuffed
chilli is simmered in coconut milk until cooked. It is usually served as a condiment with rice.
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11.1.3 Nasi Kerabu Kelantan (Herb Rice)
With its vivid colours and medley of aromatic herbs, nasi kerabu is Kelantan’s most
visually captivating and exciting dish. In recent decades, it has gone from simple kampung fare
for folk along the east coast and northern states to a resplendent dish enjoyed by urbanites
around the country.
It is a dish born of the land and sea – you can taste fish and field in every mouthful. The
dish is among the traditional foods of the Kelantanese Peranakans – Chinese immigrants who
arrived in the 15th century who married local women and spawned a unique, localised way of
life and cuisine.
The ethnic Hokkien men would have married women of Thai origin living in Kelantan
at the time – which explains why Kelantanese Peranakan food has a strong Thai influence.
Nasi kerabu can be traced to a similar rice dish popular in southern Thailand known as
khao jam or khao yum. Khao jam differs from nasi kerabu in the condiments, flavouring and
colour of the rice – blue rice is a Kelantanese preference.
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The word “kerabu” is a common Malay reference for Thai-style salads usually eaten
raw. The word is also used by the nyonyas of Penang and Kedah who prepare all sorts of kerabus
in their kitchens. While people of Thai origin living in the border states of Malaysia and Thai
restaurants in Malaysia are fond of using the word too, it is not found in the culinary lexicon of
Thailand; what Malaysians call mango kerabu is som tam mak muang or mango som tam in
Thailand.
A complete nasi kerabu is a complex dish involving various components: the rice, herb
salad, a coconut and fish relish, a spicy sambal sauce or two and various condiments, each an
elaborate recipe on their own if you were to make them from scratch: salted duck egg, keropok
ikan (fish cracker), solok lada (stuffed green chilli) and fried fish or chicken.
The Blue Rice

Traditionally, the blue colour is a result of cooking rice with the petals of the butterfly
pea flower, Clitoria ternatea (bunga telang in Malay) but many cooks nowadays find it more
convenient to just add a few drops of artificial colouring. Nasi kerabu is also prepared in other
colours like white (plain), yellow (turmeric) and green (mixture of pandan and other herbs).
Curiously, older Kelantanese folk may refer to the blue rice as “nasi kerabu hitam” – that is,
they sometimes call the blue rice, black.
The Herb Salad (Kerabu)
The kerabu is a mélange of finely-shredded local herbs and vegetables in the raw. Each
cook has her own preference; in the kampung, the cook is likely to use what’s in the garden or
what is foraged from the surrounding vegetation.
Going through the recipes, you'll come to this conclusion: when Kelantanese of Thai
origin make nasi kerabu it tends to have a stronger hint of the herbs the Thais love, more on the
citrusy side with lemongrass, kaffir lime leaves and zest, lime zest, Thai basil and wild pepper
leaf (daun kaduk); when made by Malays, it leans towards the gingery, with torch ginger flower,
turmeric leaf, and daun kesum – flavours the Malays love.
While aromatic herbs provide the top notes, vegetables form the base of the green
symphony; these include long beans, bean sprouts, cabbage, four angle beans and cucumber.
The finesse of the cook is measured by the way the herbs and vegetables are cut – the more
finely they are shredded, the classier the cook.
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The Flavours
The fishy taste comes from fish and budu, the region’s iconic fermented fish sauce used
in the gravy (kuah sambal tumis). Some cooks use belacan as well, or use it as a budu substitute.
A relish is made from toasted, grated coconut tossed with flakes of freshly-grilled fish, grated
ginger, sugar, salt and pepper. More fishy flavour comes in the solok lada, green chilli stuffed
with grated coconut and fish flakes. To add further to the fishy flavour, a small, whole fish,
battered and fried, can be served alongside. To avoid fish overload, have your nasi kerabu with
fried chicken or ayam golek instead.
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11.1.4 Satay
Satay is a Malay food made up from meats that are marinated, skewered and grilled on
sticks and served with delicious peanut sauce. Found in restaurants, food courts and night
markets throughout every state in Malaysia, popular kinds of Satays are usually made with beef,
chicken and mutton.
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11.2 FESTIVALS FOODS
11.2.1 Ketupat
Ketupat is a kind of dish made from rice or glutinous rice which is packed with
coconut leaves and boiled in a famous pot in Malaysia. Ketupat is mentioned in Malay
literature, Hikayat Indraputra, whose date was recorded as 1700, but his story existed verbally
before that date. The type of ketupat depends on the material used and the leaves used to make
the package: Ketupat pulut is ketupat using glutinous rice, ketupat nasi is made from rice.
11.2.2 Ketupat Palas
Ketupat palas is ketupat which uses palas leaf as its wrapper. Usually the ketupat of
palas is woven before it is stuffed with cooked glutinous rice. Ketupat palas is also usually
served or fried in advance. Usually palas leaves are used to wrap glutinous ketupat, while
coconut leaves for ketupat rice.
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11.2.3 Lemang
Lemang is one of the heritage foods in Malaysia that is popular not only among the
locals but also among foreigners and all races across Malaysia. The delicious lemang is made
of glutinous rice that is cooked with coconut milk in hollowed bamboos. The rice is wrapped
with banana leaves to prevent it from sticking to the bamboos.
11.2.4 Rendang
Rendang is commonly made with beef (especially tenderloin) with special sauce
containing a high amount of coconut milk. In the past, Minangkabau people prepared rendang
in such a way that it has long shelf life and could be stored during long journeys.
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11.2.5 Nasi Himpit (Compressed Rice)
The term nasi impit means rice and compressed. It leaves no one guessing as the dish
is made out of cooked jasmine rice which is then compressed to ca. 2.5 cm of height. Nasi
Himpit is ussually served with satay.
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11.3 SNACKS
1. Cucur Udang
Savoury, crispy, golden brown prawn fritters dipped in sweet chili sauce – eat them
while hot and crunchy!
2. Pisang Goreng
Some serve these banana fritters with a side of ice cream, others dip them in honey -
just don’t forget your teh tarik.
3. Apam Balik
These crispy pancakes are a staple at every pasar malam. Feel free to use any filling you
fancy, if you’re not a corny person!
4. Curry Puff
Curried potatoes and minced beef encased in golden pastry. We’d gobble them down
by the tray loads if we could.
5. Cekodok Pisang
These awesome deep-fried banana balls is one way of fulfilling your kids’ (and your)
daily dietary fibre intake!
6. Popiah
Fat and fresh-tasting spring rolls you will have fun making with your family and friends
when throwing a popiah party.
7. Bahulu
Generally, bahulu consist of three types of cakes, which are covered with a small
shoulder, a layer of shoulder and roll. The upper layer and rolls are hard to find in the
supermarket for traditional cakes ordered from the factory.
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CHAPTER 12: BIRTH AND DEATH
12.1 Birth
When the child is about to arrive, preparation will be managed by the family.
Normally the baby inside the womb at that time was enough nine months and ten days.
But sometimes the period of pregnancy can reach up to ten to twelve months called
buffalo pregnancy. According to the belief, the screw pine leaves will be hung under
the house and the chalk will be stepped on certain places in the woman's house to give
birth to avoid from other creatures. In addition, there are some customs that must be
carried out during this birth.
12.1.1 Cutting Umbilical Cord

Immediately after the baby is born, the midwife will greet him with spells and
sores and then sprayed with betel leaf. After the baby is cleaned, the umbilical cord will
be cut by using bamboo bubbles and covered on a piece of silver one ringgit. At some
point the cord is cut using a gold ring. The umbilical cord in the baby's stomach will be
twisted with turmeric and chalk and then packed with a betel leaf that has been placed
on the coals until the umbilical cord ends.
12.1.2 Azan/Qamat
The prevalence of a baby boy will be Adzan on both sides of his ear while the
baby girl will be Qamat. Usually, the baby father or grandfather will perform this
ceremony. It is not a custom, but rather a religious practice.
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12.1.3 Opening the Mouth (Tahnik)
This custom has a Hindu influence, but it is also found in Islam that circumcision to do
so. The ceremony begins with reciting surah Al-Fatihah and surah Al-Ikhlas. It is followed by
tearing or feeling a little honey or dates of water and some also use gold dipped in areca nut in
the mouth of the newborn. During this ceremony, the spell of the miracle was read. However,
this custom has not been practiced by the Malay community today.
12.1.4 Confinement
In the Malay community, women who have been having a pregnancy must undergo a
confinement which means a ban. If the woman violates abstinence, they will suffer from side-
effect. The period of confinement usually lasts for forty-four days is calculated from the day of
delivery and there are also abstinence for a hundred days. During this time the woman is
prohibited from eating any food at her will or doing any work that requires a lot of movement.
Among the strictly prohibited foods is that it can cause irritation throughout the body
such as shrimps, shellfish, crabs and stingrays and eating fish that have sting like catfish, salmon
and baung because it can cause the body to become extinct. On the contrary they are encouraged
to eat rice with baked or boiled fish and allowed to drink warm water or milk. During abstinence
they are fed traditional medicine and stuck. Bertungku is believed to help stomach the abdomen
to normalize.
Usually the furnace is made of heated ground on the coals. Then the furnace is wrapped
in a cloth covered with a few thick leaves such as lengkuas leaf which is believed to be able to
balance the heat of the furnace and serves as a medicine. Furnaces will be deposited on the
abdomen and other parts intended to overcome the problem of postpartum pain. After finishing,
the mother will sweep her stomach with lemon juice mixed with chalk before wearing the bore.
The practice of curvature is intended to overcome the abdominal or hip abdomen after childbirth
as well as providing comfort to women after childbirth.
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12.1.5 Hair Shave / Cut Crest
This custom is done on the seventh day after birth. It is also called custom cut crest. The
turmeric and praying rice was held on that day. To carry out the ceremony some supplies were
provided. A tray containing three bowls or a plate containing freshly ground flour, turmeric and
porridge. A young coconut is cut into the head of the head with an elongated piece of elbows
to cover. The water was thrown away and replaced with a little cold water.
Then the coconuts are placed in a blunder. Usually the coconuts are decorated, for
example by wrapped in gold or silver chains around it. On that day, the baby is dressed in
beautiful clothes and placed on a tray that is covered with a small mattress or supported by his
father or grandfather. The baby was then brought to the centre of the ceremony and was greeted
by the men's attendant while visiting. The baby will be barbed in fresh and sprinkled turmeric
and peas. The attendees will rotate a bit of the baby's hair and put it in the coconut.
The number of people who cut the baby's hair should be in odd numbers, three, five,
seven and so on. After completion of the men running the cutting event, the women took over.
After completion of the two parties performing the custom shaving then the head of the baby is
completely shaved by the midwife or anyone who can do it. All shaved hair will be put into
coconut. Eventually the coconuts are planted around the yard with a coconut child or the like
to commemorate the birth of the child.
Normally, this custom was held. In terms of Syarak, it brings the meaning of
slaughtering livestock on the seventh day after the child is born. The capable Muslims are
slaughtered as a goat, cow or buffalo as a new born child. A child is circumcised only once in
a lifetime. There are certain conditions in selecting animals to breed and the number of livestock
to grow also varies according to the gender of the baby. For a baby boy, two goats and one goat
for a baby girl. Between wisdom is the beginning of virtue and goodness for the baby. If
circumcision is performed on the seventh day of birth, it can be carried out simultaneously with
custom shaving of hair and custom naming. But it can also be done on another day.
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12.2 DEATH
First of all, at the time of death, the deceased's family would spread death to the priest
or siak who was in the mosque next to the surrounding community. This is aimed at getting
help from someone who is more intelligent to manage the deceased's body. In addition, to
preach the death of the deceased.
The corpse will be placed in the living room of the house and laid and closed from head
to toe with a cloth. His head was facing towards the Qiblah and his hands were silenced, the
right hand overlaid on the left hand to the chest. The person who visits the deceased will render
the holy verses of the Quran. Usually in front of the corpse, placed a place of coals and incense
will be burned. Furthermore, when the body is still in the house, any banquet will not be held.
The body also needs to be buried as soon as possible.
Then, the body will be cleansed through a mandatory bathing ceremony (except
martyrs). The process of bathing the corpse will only be performed by the deceased's relative.
It is usually from the family of the deceased itself. It covers the entire body of the deceased
using the limestone and removes the remains of excretion from his body. This is because it is
in line with the claim of religion which states that the dead need to meet his god (Allah SWT)
in a clean condition.
After bathing the corpse, the corpse will be streamlined. Shorts here support the purpose
of wrapping body bodies with certain rules. The process of irritating involves the use of
adequate white cloth with rope, also white to bind to further strengthen the shroud. The coatings
of the male corpse are 5 layers while the 7-layer female corpses. After the corpse was
interrupted, the immediate family member and the muhrim were allowed to bury the dead as a
sign of the last reverence but required tears not dripping on the body of the corpse.
Before the corpse was placed in a coffin, a representative or a heir of the deceased would
give a brief address and ask for forgiveness and sorry for the deceased if for the duration of his
life he had committed a crime against a person. The representative will also request that any
outstanding debt of the dead be legalized or the claimant may claim to the deceased's
beneficiary. Before the coffin is carried, the nearest family member will then be three or seven
times under the coffin so that they do not feel longed for the dead.
However, customs under the coffin are no longer done by the Malay community today.
After that the corpse will be placed in the coffin and carried to the cemetery. Men are
encouraged to send the remains to the grave, but women are less encouraged to fear the deaths.
Excessive cryings and lamentations especially in cemeteries are not encouraged in Islam
(Ahmad Fahmi Irsyad bin Aziz Azmi).
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Before burial the deceased will be dismissed at a nearby mosque or surau before burial.
After the prayer of the corpse, it is usually distributed as a charity or money such as a sticker
cloth to those who have sacrificed the corpse. After the corpse prayer, the corpse of the corpse
will be brought and placed in the graves available. Before buried in the grave, anyone going
down into the tomb opens the board and closes the cadaze and opens the bond in the head. The
head of the corpse will be sealed with the ground that has been bruised and after it is implanted
in the ear. After the burial was buried, a tree branch was moved as a sign to drive the tombstone
later on. Two strokes written on the name, birth date and date of death will be detected on the
grave as a sign.
The next reading talk and reading prayer to the dead will be conducted by the hajj, lebai
or lord alim. After talk and prayer is read, the water will be watered on the grave of the dead
from the head to the toe. Then the sprouts are also sown.
Usually after the death of the deceased, spirits and prayers will be held by the deceased's
family after the funeral is buried. It is held on the first, third, seventh, forty-four or hundred
days. The goal is to pray for the welfare of the dead in the barzakh world. There are also Malay
societies who do the custom of dropping stones, buried the grave with dead stones and building
a small fence around the tomb after one hundred days of death.
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CHAPTER 13: COTTAGE INDUSTRY
 The development of downstream products that contribute to the economics of the rural
area of Malaysia.
 Deriving materials from seashells mosaic, clay, rattan, screw pine leaves, as for food
used tapioca, sweet potatoes, fish, prawn and others.
 The capital is small and using local skill and friends to help.
 This industry does not use heavy machinery.
COTTAGE INDUSTRIES ACTIVITIES

 Textiles Industries – batik, songket, tekad, pua kumbu.
 Metalware Industries – silverware (brooches and rings), copperware (tepak sireh, cake
mould, frying pan and tableware).
 Wood carving – Wall ornament, table ornament, souvenir.
 Screw pine weaving – mats, baskets, hats, fans, bags, etc.
 Food Industries – keropok lekor, kerepek, belacan, gula melaka, cencalok, budu, kuih-
muih.
 Porcelain – earthenware (labu sayong, tembeling).
 Shell Products – lamps, bags, hanging souvenirs.
 Traditional Musical Instruments - rebana, kompang, seruling.
 Langkawi Marbles Products - vases, bowls, ashtrays, tables.
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13.1 FOOD INDUSTRIES
13.1.1 Chips
 Purchase bananas that still have quite a lot of green on them and a bottle of "Fruit
Fresh" from the grocery store.
 Peel the bananas and break them into about thirds (that will fit in the egg slicer).
Slice the bananas with the egg slicer.
 In a bowl, mix about 1 quart water with about 2 tsp Fruit Fresh. Dip the banana
slices in the bowl before laying them on the dehydrator tray.
 Arrange the slices in a single layer on the dehydrator tray.
 After several hours, the banana chips will have darkened slightly and will be
leathery. When they cool completely, they will be crisp.
13.1.2 Budu
 Budu is a fish sauce.
 Mixing fish and salt in the range of ratio of 2:1 to 6:1.
 Ferment for up to 200 days.
 Used as a flavoring.
 Normally taken with raw vegetables and rice.
 The quality depends on a lot of facts such as the type of fish used, and different
taste of budu depends on the degree of fermentation process.
 Palm sugar and tamarind are usually added to promote the hydrolysis of fish and
microbial proteases.
 The concentration of salt in the process influences the microbial and enzymatic
activity.
 Resulting in different flavours.
13.1.3 Lekor
 A traditional food, specialty of Terengganu. There are many stalls in Terengganu that
sell this delicacy.
 Also known as fish sausage.
 2 types of keropok lekor.
 A tube-shaped that resembles sausages called ‘Keropok Lekor’ .
 The cracker-shaped called ‘Keropok Keping’ or sliced keropok.
 Usually keropok lekor is made up of sea fish whether Ikan Parang or Ikan Kembong
and sago mixture, a little salt and starch mixed with flour.
 Nice to be eaten alone or dipping with the local chili sauce.
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13.1.4 Dry Fish
 Salted fish or ikan masin is one of the oldest ways to preserve fresh fish in order to
prevent them from decaying.
 Before refrigeration technique was invented, fish and other seafood were cured in salt
or salt water (brine).
 Other than preserving the fish with brine, dried fish is also very popular.
 The fish are gutted, sprinkled heavily with coarse sea salt and then left to dry on the
beach in the hot sun for several days.
 The result is desiccated fish, free of moisture, which can be kept for months.
 Common used fishes are stingray, jew (gelama), talang, king mackerel, kurau and jack.
13.1.5 Sago
 A starch extracted from the pith of sago palm stems, Metroxylon sagu.
 Traditionally cooked and eaten in various forms, such as rolled into balls, mixed with
boiling water to form a paste, or as a pancake.
 Looks like many other starches are produced commercially in the form of "pearls".
 Sago pearls are similar in appearance to tapioca pearls.
How to extract sago from palm
1. The sago palm is felled.

2. The trunk is split lengthwise and the pith is removed, then it is crushed and needed to
release the starch.
3. The pith is washed and strained to extract the starch from the fibrous residue.
4. The raw starch suspension is collected in a settling container.
13.1.6 Belacan
 Belacan is a hardened block of shrimp paste, made from tiny shrimp mixed with salt
and fermented.
 Powerful in both smell and taste, belacan is always toasted and used in small quantities,
providing a savory depth to curries and pastes.
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13.1.7 Cencalok
 Cencalok (also written as cincaluk, chincalok or cencaluk) is a traditional Southeast
Asian food made of fermented tiny shrimps. Like many fermented foods, it is usually
eaten as a condiment or used as an ingredient in cooking.
 It is made by fermenting raw tiny shrimps in salt and cooked rice inside sealed
containers for three to four days. What you get in the end is a pungent, salty and sourish
thick concoction containing lots of whole shrimps!
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13.2 TEXTILES INDUTRY
13.2.1 BATIK
The term ‘Batik’ is an Indonesian-Malay word (Bahasa Indonesia and Bahasa Malaysia
are the official languages of Indonesia and Malaysia and are linguistically similar) and means
‘drops’. Batik has come to be used as a generic term which refers to the process of dyeing fabric
by making use of a resist technique- covering areas of cloth with a dye-resistant substance, wax,
to prevent them absorbing colours.
The technique is thought to be well over a thousand years old and historical evidence
demonstrates that cloth decorated with this resist technique was in use in the early centuries AD
in Africa, the Middle East and in several places in Asia. Although there is no sure explanation
as to where batik was first ’invented’, many observers believe that it was brought to Asia by
travelers from the Indian subcontinent.
Much of the popularity of Batik can be tied to the fact that the batik technique offers
immense possibilities for artistic freedom as patterns are applied by actual drawing rather than
by weaving with thread. Another factor in its popularity is the fact that it is so durable. The
colors in Batik are much more resistant to wear than those of painted or printed fabrics because
the cloth is completely immersed in dye and the areas not protected by resist are allowed to
absorb hues to the extent that the colours will not easily fade.
Malaysian batik fabrics do have an international edge because they have brighter hues
and more versatile patterns than the illustrations of animals and humans which are common in
the more mystic-influenced Indonesian batik. Malaysian batik design has its own identity due
perhaps to the multi-cultural and ethnic diversity of the country, to its wide artistic perspective
and its pool of very talented people in the fashion industry.
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13.2.1.1 TYPES OF BATIK
13.2.1.1.1 Batik Blok ( Block Printing Batik)
Block printed batik was one of the early type of batik. It is a method that use a block
carved with patterns, which is then dipped in wax and stamped onto fabric. Before this, the
blocks would be made out of potato but they soon realize that the potato would spoil after a few
days. Then they tried using wood but that also didn’t work because after a few times using it
the wood would eventually break. Finally, they settled down with using zinc or copper as the
block which is used till this day. Making the block to the desired design would take a month.
Even so, after the fabric is stamped and the artist is satisfied, there would be a few more process
after that.
13.2.1.1.2 Batik Skrin ( Screen Printing )
The use of stencils was introduced in 1939 in Kelantan by Mohammad Yusof

Bin Hj. Che’ Su and Mohammad Daud Bin Hj. Che’ Su. This type of Batik is faster and
easier to do but one must have a keen eye so that the patterns match.
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13.2.1.1.3 Batik Lukis (Hand Drawn Batik )
Also known as Batik Canting, Hand drawn batik is where the hot wax is used in a pen-
like tool of brass called canting is drawn into the fabric with a desired pattern. The artist must
have a steady hand, as one mistake will be very difficult to remove. After the pattern is drawn
and the wax has dried, the artist then colours in.
13.2.1.1.4 Dye Batik
Batik is a more involved method of dyeing fabric using removable wax on the parts of
the fabric you don’t want dyed, whereas tie dye (also noted as tie-dye & tiedye) is a method of
dyeing fabric after knotting or rubber banding it to produce interesting and irregular patterns.
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13.2.2 SONGKET
“Kain Songket” is a hand woven traditional Malay fabric with gold and silver threads
and worn mainly during official functions and ceremonies.
Woven on a Malay frame loom, elaborate patterns are created by introducing extra gold
or silver weft threads with the use of a flat needle or cuban. The songket goes through eight
stages before it becomes a piece of fabric and it is still traditionally woven. As weavers are
usually from rural areas, it is not surprising to find that the motifs are patterned after local flora
and fauna. These motifs are also named after local Malay delicacies such as seri kaya, wajik,
and the tepung talam, believed to be favourites of royalty.
Exclusive songket requires between one and three months to complete, while ordinary
songket only takes about 3 days.
Men wore the songket fashioned into a destar or head-cloth. It was only later that Malay
women started wearing songket sarung in 'rolling waves; style with a baju kurung top. Today
songket is a popular choice for the Malay wedding costume and is often presented by the groom
to the bride as one of the wedding gifts. In order to preserve the original lustre and quality of
the songket, a large cowry shell known as genus is normally used to polish the cotton fabric or
songket cloth before the telepuk process is initiated.
Telepuk is another beautiful handicraft creation of the Malay society in the olden days.
Composed of golden lace, this fabric is used specially for official functions.
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13.2.3 TEKAD
The Tekad art that is also known by the name of bersujia is very popular in making for
the use of clothes made for the Sultan of Perak at one time. The origin of the word of the word
comes from the meaning of the word for the verb which means to make the work of
embroidering the yarn on the base cloth. In the embroidery art of embroidery that is the heritage
of Perak, the yarn used is gold thread and the basic fabric used is velvety cloth.
As you know, tightening works require a viewer to stretch velvet cloth and also propose
as a motif and gold thread for molding. This is the uniqueness that makes it different from other
art. The traditional art of art is the result of a high-creativity in the hands of women and is said
to complete a complete artwork, it takes quite a while.
The origin of this art is always associated with the use of clothing and equipment of the
royal or royal family. The early development of the art of batik can be detected since the early
15th century, which was during the reign of the Malay Sultan of Malacca. The effects of this
embroidery can be seen in the Chinese community of Baba Melaka. You still can see today on
their dresses that wear embroidery embroidery.
In the history of Perak, the tunic art was adopted as the official dress for Sultan Abdullah
Muhammad Shah II, the 26th Sultan of Perak. Initially, the outfit of this art was forbidden to
be used to the common people despite the title of rich and wealthy men except on the grace and
consent of the Sultan alone. The skill in art to make the tack was also monopolized by the
royalty only at that time.
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13.3 WOOD CARVINGS
Relief wood carvings frequently adorn the doors, walls and windows of traditional
Malay houses. Popular motifs of such relief carvings are the various kinds of Malaysian flowers
and plants. Relief carvings requires a high degree of skill, patience and determination. In the
cities, relief carvings is still practiced on blocks of wood to be hung for wall decoration, on wall
dividers, or on furniture.
The best Malay woodcarving is from Terengganu and Kelantan. Passed down from one
generation to another, the craft is divided into ukiran halus (fine carving) and ukiran kasar
(literally meaning “rough carving”). Ukiran Halus involves the carving of relief patterns, hilts
of keris (short Malay dagger), bed heads and cupboard tops. Ukiran Kasar, refers to the carvings
on larger objects like furniture, pillars, windows, room portions and eaves of roofs.
The basic design behind Malay woodcarving is the awan larat (‘extending clouds”). Its
usage in a composition is governed by four principles. Firstly, the design element must be
evenly distributed in the composition. Secondly, the empty spaces or uncarved areas should be
the same as carved areas. Thirdly, animals or humans should never be depicted and fourthly,
when there is a central motif, the other secondary design elements are to be repeated around it.
Apart from the awan larat, other common inspirational elements include holy verses from the
Qu’ran and plants such as bean tendrils, groung leaves, and leaves of the water lettuce.
Wood use. Cengal is the preferred wood for building houses and boats. Being expensive,
other woods such as balau or perah (which is slightly softer than cengal) might be used for the
rafters, or floorboards of a house or for the prow of a boat. Some types of wood such as Merbau
and Rengas are avoided as the Merbau tree is believed to be the home of evil spirits while the
Rengas contains a poisonous sap.
The carving process involves four stages. First, the design is traced and transferred to
the object such as a panel. Then the outline of the design is chiselled. Thirdly, the unwanted
parts are then cut out. The final and most intricate stage is the actual carving itself. This being
accomplished using a myriad of carving tools to pare, chisel, shave, drill and dig to bring the
design to life. The final carving is polished using emery paper now whereas the dried skin of
the stingray or the leaf of a wild plant called mempelas was used before.
267
268
13.4 TRADITIONAL INSTRUMENTS
The musical instruments of Malays originate from a vast of diversity of cultures or

countries and are not indigenous to Malaysia. Some of these instruments are found all over
Malaysia while others are common only in specific states.
13.4.1 History of Instruments

Traditional musical instruments reached its peak during the Melaka Sultanate (1411-
1511) when it was an essential part of the ritualistic and secular amusement of both court and
folk life. Thenceforth, the diverse royal courts in Peninsular Malaysia maintained their own
dance and music troupes.
However, despite the onslaught of this foreign influence and inroads by television and
video entertainment, traditional musical instruments in Malaysia still survive and flourish in a
wide variety of forms. It is performed during ceremonial occasions, and as an accompaniment
to dance and drama for entertainment. Dance and drama themselves are of course closely related
to music.
The basic element in traditional music is the drum (gendang), of which there are at least
14 types, four of which are beaten without the accompaniment of any other musical instrument.
These are the rebana besar, rebana ubi, kompang and tar.
The nobat is a special royal orchestra consisting of usually four or five members, using
the flute, trumpet, gong and drums; and only performed during state ceremonies. There are four
such orchestras in the Peninsular at present, the oldest in Kedah, and the others in Terengganu,
Perak and Johor.
However, there are five basic instruments which include the:

 Nafiri - the royal trumpet
 Serunai - the flute
 Gendang nobat besar - the main drum
 Gendang nobat kecil - the double-sided drum
 Gendang negara - the one-sided drum
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13.4.2 Importance of the Traditional Malay Instruments:
1. To preserve the cultures of Malay that had been practices for hundred years by the
folks.
2. To encourage the younger generation of Malaysian to know the origin of the
traditional musical instruments and how it to appreciate it.
3. To enriched the Malays’ cultures in the eyes of the world and by making it more
noticeable to other countries by it sounds and melody.
4. It is in the norms and values of Malaysian that traditional musical instruments is one
of the main part that become the identity of Malaysia.
13.4.3 Types of instrument

There are three types of instruments, namely the:
Aerophone (wind instruments), such as the serunai, pinai, seruling and
selumprit flutes.
SERUNAI PINAI
Membranophone (drum-sounds produced by membrane-covered musical

instruments) such as the gendang, geduk, gedombak, rebana, kompang, tar and jidor
drums.
GEDUK GENDANG GEDOMBAK
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KOMPANG REBANA
Idiophone (percussion instruments of fixed immovable surface), such as gong,

kesi, canag, saron, kenong, gambang kayu, boning
GONG KESI
Chordophone (string instruments), such as the rebab
REBAB
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272
CHAPTER 14: GOVERNMENT SYSTEM
14.1 MELAKA SULTANATE ERA
The Malacca government administration system is closely linked to the role played by the four
main principals namely Bendara, Penghulu Bendari, Temenggung and Laksamana
The Four Major Stake of the Malay Kingdom of Melaka

•Bendahara
He is the prime minister who acts as the king's senior adviser ∙ He must be a descendant
of the king and have a close relationship with the king ∙ He becomes the king's acting in the
absence of the king ∙ The Treasurer can act as the Chief Judge if the king does not exist ∙ He
also serves as the voter and the king ∙
Penghulu Bendahari
He is the government treasurer who controls the state treasury ∙ He is responsible for
collecting taxes and state revenue ∙ He also maintains a list of king's servants and heads of all
the seahorses
Temenggong
He is acting as executor or head of law, state regulation and security ∙ He is also called
the Inspector General of Police ∙ Therefore, he becomes the prosecutor in the event of a proven
individual offense ∙ In the case of customs, he acts as the protocol leader ∙
Laksamana
This post is quite new compared to other posts ∙ The first person to hold this post is
Hang Tuah, during the reign of Sultan Mansur Syah ∙ Admiral is also a hero in the war,
especially in the sea. Admiral is called 'king of the sea' and leads all heroes government ∙ He
was responsible for taking the sword of the government in official ceremony and becoming a
diplomat and carrying the government message.
273
In addition to these four prime ministers, there are other lesser importance
administrators such as harbor officers as port officers, great commanders as warlords, clerics,
mandrakes, troops, mantra, Royal Bija Series, royalty, chetria, rich and noble representing
magnifier 8, 16 and 32. Such an administration pattern forms the 'National System' in Malacca.
Besides royalty, this system creates two groups of people, namely the ruling class and the ruled
class.
274
14.2 CUSTOMARY LAW IN MALAYSIA
14.2.1 ADAT TEMENGGUNG
Customary Law
Is defined as an ancient or can also be said as a native unwritten law for a local place in
particular.These set of laws are not practiced by the legislative authorities in a country.There
are two types of customary laws which are Adat Temenggung and Adat Perpatih.
Adat Temenggung
1. The customary laws of adat temenggung are based on Islamic principles and is very
much applicable in all states in West Malaysia except Negeri Sembilan.
 Adat Temenggung is favourable to men compared to Adat Perpatih. It is based on
the characteristic of the patrilineal form of organisation and fundamentally based on
Islamic principles or (Hukum Syariah).
 Adat Temenggung holds the same rules in the distribution of inheritance as the
Quran.This is why this customary law is accepted in the Malay society
2. In the case of Adat Temenggung, the distribution of the deceased property or estate is as
follows: -
 A daughter is entitled to half of the entitlement of the son which is (1/2) of the sons
property
 If there is no son, the daughter is entitled to half of the deceased estate.
 If there are two daughters and no son, the daughters will be entitled to two-thirds
(2/3) of the estate in equal share.
275
 The wife or wives of the deceased will be entitled to one quarter (1/4) of the
deceased’s estate if there are no children in the marriage. If there are children, the
wife or wives will be eligible to only one-eighth (1/8) of the estate.
 A husband is entitled to half (1/2) of the wife’s estate if there are no children. If
there are children, the husband will be eligible to a quarter (1/4) of the estate.
 The father or mother of the deceased who died leaving their children is entitled to
one-sixth (1/6) of the deceased estate.
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CUSTOMARY LAW IN MALAYSIA
14.2.2 ADAT PERPATIH
Adat
 Malay community in Peninsular Malaysia have to undergo adat and Islamic law other
than general law which is applicable to other communities in Malaysia.
 Adat has play a major role in Malay community for many centuries as "adat" has
reflected the importances of their lives.
 The "adat" term in Malaysia refer as Customary Law.
Adat Perpatih
 Adat perpatih is applicable in Negeri Sembilan and Naning in Melaka only.
 This adat is wholly relates to democratic matrilineal adat / customary law.
Female members priorities in Adat Perpatih ;

 Ancestral properties such as land, lineage , inheritance and election of members of YDP
and lembaga are assigned to female members.
 Female members owns the rights to hold the property in trust behalf of the family
respectively.
 Female members can only inherited in equal shares of property according to the Will.
 Land or any properties is entitled under female members who is forming the permanents
members for their customary law.
 All female member will associate with a piece of land based on the custom.
 The properties that the female members holds will passes through all the ancestry female
members of Adat Perpatih customary law.
277
Female members of adat perpatih
Men members & Marriage custom in Adat Perpatih;
 Men in Adat Perpatih does not belong to any properties. A man is considered as from
his mother's tribe until get married , once get married he belongs to his wife's tribe.
 According to the adat , the male members are repay if their marriage occurs outside
of a tribe whereas any unmarried male members hold the rights of property of their
mothers.
 Inter - tribal marriage is strictly offence in their adat perpatih custom law.
Below the female members position of Adat Perpatih;

According to local malay term :
278
279
280
CHAPTER 15: MALAY MARTIAL ARTS
– SILAT
Silat art is synonymous with the Malays. It has existed since time immemorial. Some
estimate that this art has been hundreds of years old and passed from generation to generation.
These include martial arts practitioners in Brunei, Philippines, Indonesia, Malaysia, and
Thailand. Silat differs from other martial arts because the Silat is the knowledge of the Malay
property rights (martial arts) which is not merely a martial law but is broader in its scope of
encompassing Malay customs and mastery and the values of Islam sown in it.
Among the Melayulama weapons that are often used by the gamer are keris, badik,
kerambit, machete, swords, knives, Pepper Punch, pockets, sticks, cords and squids. Silat is
divided into three in general, the Silat Mangan is usually performed at formal occasions and
weddings such as weddings whilst martial arts or combat art is more deluded from the view of
the arts on the basis of preserving art, game tricks and some of the reasons others. Silat has so
much to be solved, such as the breakup of Silat Gayung. In Malaysia alone there are nearly 500
Silat Teachers that have been detected.
15.1 Origin of Silat

The name Silat probably comes from the Tamil, Silambam; an Indian fighting technique
that may have been brought to Malaysia during Indian migration. This was likely combined
with the existing military styles of Malay tribes; clearly seen in ancient war dances of the local
people. There is also strong evidence of Chinese martial arts techniques being blended into the
modern-day forms of Silat.
Silat dates back to the 5th or 6th century when it was commonly used by defence forces
across South-east Asia. At the time armour was not an option for most soldiers, who instead
relied on a single rattan shield and possibly a reinforced breastplate. Thus the original styles of
Silat were heavily reliant on the agility of the combatant.
Silat was originally a spiritual art form as well as a martial one. In common with many
ancient Buddhist and animist rituals, Silat traditionally incorporated mantras and idol worship.
281
This is no longer permitted in Malaysia as it is considered to be offensive to the Muslim
majority.
15.2 When to perform Silat?

Like other forms of traditional martial arts, silat is also popularly incorporated in a
variety of non-combative activities - major sporting events, physical education, weddings,
official launches, as well as in dance and drama, often accompanied by traditional Malay music.
For example, the stage production of Kunang Kunang Gunung Ledang by the Suasana dance
troupe featured an acrobatic silat sequence.
The very first colour Malay movie, Phani Majumdar's Hang Tuah (1956) featured an
edge-of-the-seat silat showdown between Hang Tuah (played by P. Ramlee) and Hang Jebat
(Ahmad Mahmud). Even a 'peaceful' event like a Malay wedding might feature a silat 'fight' in
front of the wedding couple for the entertainment of guests.
15.3 Silat Techniques

Like precious family secrets, are usually handed down from one generation to the next.
There was even a time in history when silat was jealously guarded by royal households. The
inheritors, either male or female, young or old, usually maintain the tradition or improve upon
it. Thus there are as many exponents as there are variations of silat.
Silat exponents are trained from a tender age to take advantage of the agility and
'mouldability' of a young body and mind. Trainees are whipped into shape through several years
of tough training. The rigorous and back-breaking routine ensures physical resilience, stamina
and agility. To complete the balance, mental and spiritual self-discipline, based on Islamic
teachings, is developed. You might ask what martial art has in common with spirituality, and
the answer is simple - the stronger you are, the more peaceful and the better you know how to
gain freedom and maintain it.
One of the most difficult parts of silat training is the foot work, so much so that it is
often a component by itself. Once mastered, the foot movements are gradually weaved into the
rest of the training until the end result is a seamless whole.
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15.3 Weapons used in Silat
15.3.1 Keris
Keris is the principal form of weapon for defense and offence. The kris or keris is a type
of dagger. It is the main weapon of most silat styles. The kris is characterised by its distinctive
wavy blade, but originally most of them were straight. The blade is given its characteristic shape
by folding different types of metal together and then washing it in acid. Traditional kris were
said to be infused with venom during their forging but the method of doing this was a closely
guarded secret among blacksmiths. Even a scratch from a poisonous kris might be fatal and a
clean hit could reputedly kill a person in seconds, depending on the blacksmith's skill and the
type of venom used. The kris is usually wielded on its own but it can also be paired.
KERIS
15.3.2 Badik
There are other knifes or blades used in silat, such as the badik. The badik or badek is
a small, straight knife originating among the Makasar and Bugis people. They may be double
or single-edged and range in length from twenty to forty centimetres.
BADIK
283
15.3.3 Kapak Kecil
The weaponised form of the domestic kapak (axe) or beliong (hatchet). Two are
sometimes wielded at once, with one in each hand. While the kapak and beliong were originally
designed for cutting wood or chopping down trees, they could be improvised as chipan if
needed. The kapak kecil is a very effective fighting tool in mid and close range - the handle is
used in trapping and striking, whilst the blades for hacking and punching your opponent. Using
your footwork and body angling to avoid attacks from your opponent helps utilize the kapak to
its full effect, targeting the ribs, chest, neck and head.
KAPAK KECIL
15.3.4 Kerambit
Kerambit is a narrow-bladed curved weapon resembling the claw of big cats. It is held
by inserting the first finger into the hole in the handle, so that the blade curves from the bottom
of the fist. Although usually wielded singly they may also be paired. Not only are they difficult
to disarm, the kerambit is also easily hidden on account of its compact size. This concealability
was the main reason for the weapon's fame. The kerambit was often regarded as a lady's weapon
because women would tie them into their hair.
KERAMBIT
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15.3.5 Parang
Parang is a chopper or cleaver which, like a machete, is used to cut through overgrowth.
They may be curved or straight and range in size from small handheld knives to the length of a
sword. Because they are so widely available, parang are one of the most popular weapons in
silat.
PARANG
Besides keris, badik, kapak kecil, kerambit and parang, weapons below are also used in silat.
MALAY SWORD
MALAY KNIFE
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RENCONG
SABIT
SUNDANG
BELANTAN (CANE/SHORT STICK)
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STINGRAY TAIL
METAL CHAIN
TONGKAT (ROD)
TOMBAK/LEMBING (SPEAR)
TEKPI
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1

CHAPTER 2: LANGUAGE AND LITERATURE ........................................................... 16

CHAPTER 3: MALAY TARDITIONAL GAMES ........................................................... 57

CHAPTER 5: RELIGION FOR MALAY ......................................................................... 99

CHAPTER 6: TABOO IN THE MALA CULTURE ...................................................... 177

CHAPTER 7: FESTIVALS AND CELEBRATIONS ..................................................... 188

CHAPTER 8: WORKING INDUSTRY .......................................................................... 204

CHAPTER 9: MALAY CULTURE ................................................................................. 206

CHAPTER 10: MALAY ARCHITECTURAL HOUSES AND DESIGN ...................... 223

CHAPTER 11: MALAY TRADITIONAL FOODS ........................................................ 239

CHAPTER 12: BIRTH AND DEATH ............................................................................. 252

CHAPTER 13: COTTAGE INDUSTRY ......................................................................... 258

CHAPTER 14: GOVERNMENT SYSTEM .................................................................... 273

CHAPTER 15: MALAY MARTIAL ARTS – SILAT .................................................... 281

According to anthropologists these early aboriginal groups, now collectively known as

Sub-groups of the Malayo-Polynesian race live in modern-day Southeast Asia and in

1.2.1 PROTO-MALAY MODELS

1.2.1.1 The Yunnan theory Mekong river migration (published in 1889)

1.2.1.2 The New Guinea theory (published in 1965)

1.2.1.3 The Taiwan theory (published in 1997)

CLASSIC MALAY LANGUAGE

Malay also known as Bahasa Melayu, is a member of the Malayo-Polynesian branch of

According to (K. Alexander Adelar), Malaysia is a multiracial society consisting of

Western Malayo- Eastern Malayo-

Malay Polynesian Fijian

Cebuano, Tagalog Nuclear Tongan

Figure 1: Austronesian Family Tree

The History of Malay Language is divided into four periods:

2.3.1 Old Malay (682-1500 C.E)

2.3.2 Early Modern Malay (1500-1850)

2.3.3 Late Modern Malay (1850-1957)

2.3.4 Contemporary Malay (after 1957)

2.4 THE GRAMMAR

1. Root word (affixation)

Rencong Pallava Kawi Jawi Rumi

Figure 2: The evolution of writing system in Malay Archipelago

For consonant alphabets:

For vocal special:

1. Rasulullah dengan yang orang sanabi mereka…

1. keluarga di benua Jawa…kan …ul

1. bujan dandanya sepuluh tengah tiga jika ia…

1. …tiada benar dandanya setahil sepaha. Kesembilan darma

Berdasarkan Muhammad Salehudin (2016), sejarah awal penggunaan tulisan Rumi

“Pengembara pertama yang menghasilkan penggunaan ejaan Rumi dalam penulisan

2.7.1 Ayatnya panjang dan berbeli-belit

Maka ada-lah yang ku lihat barang suatu pekerjaan-nya perkataan-nya dan

(Sulalatus Salatin, halaman 116)

(Sulalatus Salatin, halaman 139)

(Hikayat Abdullah, halaman 106)

(Hikayat Abdullah, halaman 162)

(Sulalatus Salatin, halaman 139)

(Sulalatus Salatin, halaman 251)

(Hikayat Abdullah, halaman 57)

(Hikayat Abdullah, halaman 125)

Contohnya dapat kita temui seperti dalam ayat berikut;

Arakian maka dianugerahkan Raja Iskandar akan Tuan Puteri Syahrul-Bariyah

(Sulalatus Salatin, halaman 7)

(Sulalatus Salatin, halaman 131)

(Hikayat Abdullah, halaman 48)

Ciri-ciri Bahasa Melayu Klasik juga adalah sering menggunakan perkataan-perkataan

(Sulalatus Salatin, halaman 39)

(Sulalatus Salatin, halaman 82)

(Hikayat Abdullah, halaman 50)