CULTURE IN MALAYSIA

Mr Kaamatan (MrK) or Buvazoi Tavantang is an annual male cultural pageant held in conjunction with the Kaamatan Festival or Harvest Festival in Sabah, Borneo.

Malaysian music, dance, literature and visual arts reflect a variety of influences from Chinese, Indian, European and Middle Eastern cultures. Common decorative art forms include batik, silverware, pewter and woodcarving. Shadow-puppet theatre is a popular form of entertainment in the country. Malaysian musical instruments include a variety of drums and gongs, as well as percussion instruments made from bamboo and coconut shells. Many types of wind instruments, such as flutes, also form part of native traditions. [Source: Blackbirch Kid's Visual Reference of the World, Gale Group, Inc., 2001]

The most popular form of traditional entertainment is still wayang kulit, a shadow play derived from Hindu epics. Performances may last several nights, and the puppet master is paid either by a host or through communal contributions. Top-spinning and kite-flying contests remain popular forms of adult entertainment. Bersilat, the Malay martial art, is enjoying a revival in both rural and urban areas. [Source: Manning Nash, “Encyclopedia of World Cultures Volume 5: East / Southeast Asia:” edited by Paul Hockings, 1993]

Popular music is the most popular genre of performance in Malaysia, and concerts featuring the country's top Malay pop singers attract large audiences both in person and on television. Musical stars from South Korea, Japan, the U.S., India and Hong Kong also have a large number of devoted fans, and Malaysia is often included in their overseas tours as a result. Television is the favourite Malaysian entertainment medium. Malaysians watch a variety of programs, including American exports, Japanese animation, Hong Kong martial arts films, Hindi musicals and Malay dramas. [Source: Thomas Williamson, Countries and Their Cultures, Gale Group Inc., 2001]

Restrictions on the Arts in Malaysia

In Malaysia, artistic performance has traditionally been limited by the state's control over public assembly and expression. The requirement for government approval of all scripts effectively limits what can be said in plays, films and on television. [Source: Thomas Williamson, Countries and Their Cultures, Gale Group Inc., 2001]

Things were particularly restricted under long-time Malaysian leader Mahathir Mohamad . On a visit to Japan, he sharply criticized young Japanese for looking different. "Japanese youths want to be blonds, work less and play more. The traditional Japanese and Eastern culture is being discarded and replaced with Western culture with disregard for filial piety and discipline," he said.

Julia Zappei of AFP wrote: “For much of Malaysia's recent history, an authoritarian government focused on economic development — making it one of Southeast Asia's most affluent nations, while religious and political constraints stunted the arts and culture scene. But since strongman ruler Mahathir Mohamad retired in 2003, society is gradually relaxing, with more people expressing themselves via art and some collectors looking for edgier works. The former British colony has no deep-rooted art tradition, having developed as an agrarian society that drew large numbers of Chinese and Indian immigrants more concerned with economic survival than art and leisure. Religious and social taboos in the country have also been blamed for stifling more challenging art. [Source: Julia Zappei, AFP, December 13, 2012]

History of Culture and Arts in Malaysia

Dr. Jukka O. Miettinen of the Finnish Theatre Academy wrote: “The Malay Peninsula is the cradle of the tradition of Malay culture, which extends to prehistoric stone monuments. The Malays have been active mariners for over two millennia, which explains the expansion of the Malay culture to various parts of Southeast Asia. Because of its geographical location, the Malay Peninsula has served as a kind of bridge between mainland and archipelagic Southeast Asia, which has shaped Malaysia’s multi-ethnic culture greatly. The Strait of Malacca was, for a long period, an important junction of sea routes connecting Southeast Asia to India, China, and later also to the Arab world. It was precisely the flourishing sea trade that made the region later attractive for the Western colonial powers, first the Portuguese, then the Dutch, and finally the British.” [Source: Dr. Jukka O. Miettinen,Asian Traditional Theater and Dance website, Theatre Academy Helsinki |~|]

“Malaysia combines a variety of ethnic and cultural elements: indigenous Malay, Javanese, Sumatran, Thai, Arab, Indian, Chinese, etc. The Indianised court culture, so dominant in the early kingdoms of Southeast Asia, was probably adopted from Java and Sumatra. Before the Malays adopted Islam in the 13th and 14th centuries the Indian influence had been dominant since the early centuries AD. In a similar way as in the neighbouring areas, both on the Southeast Asian mainland as well as in the archipelago, there also existed an early Indian-influenced kingdom in the regions of present-day Malaysia. Although mentioned in both Chinese and Indian sources, the history of the kingdom of Langkasuka, situated in the northeast coast of the peninsula, is not known in detail. |~|

“Many of the still extant indigenous theatre and dance traditions of Malaysia, in fact, originate from the regions of ancient Langkasuka, thus confirming the continuation of the region’s Hindu-Buddhist culture. This region, Pattani, has belonged from time to time to the Thai kingdoms, which explains the close relation of the performing traditions of northeastern Malaysia and southernmost Thailand. |~|

“Malacca, a strategically well-located kingdom controlling the trade in the Strait of Malacca, was converted to Islam in 1402. Thus, through the sea routes new cultural ties were established, this time with Islamic West India and the Arab world. This resulted in a new kind of syncretism combining elements from Islam as well as from the earlier animistic and Hindu-Buddhist traditions. |~|

“The ruling class of the sultanate had close ties with Islamic India, from where some of the sultans or their forefathers had arrived. Javanese influences continued to be felt, even during the period of Malaccan hegemony, as the sultan had huge retinues of Javanese workers and servants. The Sultanate of Malacca thus laid the basis not only for the Islamisation of the peninsula but also for its ethnic diversity, which was gradually also enriched by Chinese immigrants. The Portuguese conquered Malacca in 1511, heralding a long period of Western domination in the area of present-day Malaysia. The centre of Islamic culture moved to the sultanates of the east coast of the Malay Peninsula. Dominant factors in their culture were and still are the almost deified sultan, his palace (istana) and, of course, the mosque.” |~|

Straits Chinese and Peranakan Chinese-Malay

Dr. Jukka O. Miettinen of the Finnish Theatre Academy wrote: “From the 15th century Chinese traders began to settle in both Insular and Peninsular Southeast Asia. In the regions of the Malay Peninsula, Chinese communities started to emerge, especially along the west coast, in what was to become known during the British colonial period as the Straits Settlements: Penang, Malacca and Singapore. [Source: Dr. Jukka O. Miettinen,Asian Traditional Theater and Dance website, Theatre Academy Helsinki]

These “Straits Chinese” adapted to local conditions and developed a unique eclectic culture of their own. It includes eclectic architecture, and Chinese-influenced crafts. To a lesser degree they also maintain their, originally Chinese, forms of puppetry and opera, thus adding one more aspect to Malaysia’s heterogeneous theatrical tradition.

In this historical context it is only natural that the Malaysian theatrical tradition became diverse in nature. The various ethnic groups had their own drama traditions, none of which ever rose to the status of a national or classical form. In the late 20th century, when fundamentalist Islam gained power, the central government has, if not completely banned, at least restricted many of the traditional performing arts traditions.

The Peranakan Chinese-Malay culture flourished in southwest Malaysia from the 17th century to its peak at the turn of the 20th. The Peranakan culture, also known as Baba-Nyonya — men were called babas, women were nyonyas — incorporated Dutch, English, Portuguese and Indian influences. The Peranakan were aficionados of Victorian fashion in the 19th century.

Indigenous Traditions: Main Puteri and Mak Yong

Dr. Jukka O. Miettinen of the Finnish Theatre Academy wrote: “Like most of the Southeast countries, Malaysia also has several theatre and dance traditions that still clearly have their roots in indigenous animism. Many of them have flourished in Sabah and Sarawak and at least two in the Malay Peninsula. These two are the healing ritual called main puteri and an indigenous form of sung dance-drama, called mak yong. [Source: Dr. Jukka O. Miettinen,Asian Traditional Theater and Dance website, Theatre Academy Helsinki |~|]

“Main puteri is a healing ritual with some theatrical features. It has been practised in the state of Kelantan, on the east cost of the peninsula. Its primus motor is a shaman (bomoh), who also often plays a three-stringed rebab violin. With his or her assistant the shaman aims to heal a patient by personifying the illness as a malevolent spirit. Main puteri has features common to some other animistic ritual performances around Southeast Asia and even Sri Lanka. This seems to confirm the fact that it is indeed is a tradition originating from pre-Islamic times. It may also reflect the Tantric belief-system, common in regions before the arrival of Islam. |~|

“The rituals usually take place at night. Hours of prayers are followed by invocations and offerings. The actual healing ritual is saved until just before the dawn, when the spirits are believed to be forced to withdraw from the human world. The main puteri ceremony is accompanied by a small orchestra. The ceremony usually takes one whole night to perform, sometimes even several nights. |~|

“The theatrical features of a main puteri ritual include dances accompanied by singing and an orchestra. The spirit’s arrival is made known by the change of the dance style towards uncontrolled, jerky trance movements. Then follows the actual communication with the spirit including offerings and negotiations by the shaman. This dialogue-like communication with the spirit of the illness may last long and it often includes even obscene humour.” |~|

Famous Malaysians

Michelle Yeoh is an internationally acclaimed actress. She is best known for her roles in global films such as Everything Everywhere All at Once, Crouching Tiger, Hidden Dragon, and the James Bond film Tomorrow Never Dies. She began her career in Hong Kong cinema and became known for performing her own stunts. Over time, she established herself in Hollywood, breaking stereotypes about Asian actors and becoming one of Malaysia’s most recognized figures in film. [Source: Wikipedia, Indonesia Tourism]

Lee Chong Wei is one of Malaysia’s most celebrated athletes and a former world number one badminton player. He won multiple Olympic silver medals and several major international titles, including All England championships. His achievements made him a national sports icon and inspired a generation of Malaysian athletes.

Chef Wan (Datuk Dr. Redzuawan Ismail) is Malaysia’s first and most acclaimed celebrity chef. Outspoken and charismatic personality, he was trained in California and Paris and hosted numerous international TV shows, authored multiple cookbooks, and promoted Malaysian food worldwide. He was awarded Best Celebrity Television Chef at the 2009 Gourmand World Cookbook Awards.

Siti Nurhaliza is a leading Malaysian singer-songwriter who rose to fame after winning a national singing competition as a teenager. She has achieved widespread success across Asia, performing internationally, including at London’s Royal Albert Hall. Often described as one of the region’s top vocalists, she has also expanded into business ventures.

P. Ramlee was a pioneering figure in Malaysian entertainment, known as an actor, filmmaker, and musician. His work in film and music made him a cultural icon, and he remains influential in Malaysian arts decades after his death.

Ronny Chieng is a comedian and actor known internationally for his work on The Daily Show and roles in films such as Crazy Rich Asians. His comedy often addresses cultural and political themes, contributing to his global recognition.

Yuna is a Malaysian singer-songwriter who has achieved international success with English-language music. She has collaborated with global artists and built a following beyond Southeast Asia, helping bring Malaysian music to a wider audience.

James Wan is a film director and producer known for major Hollywood horror franchises such as Saw and The Conjuring. He has also directed blockbuster films, establishing himself as a leading figure in the global film industry.

Jimmy Choo is a fashion designer known for luxury footwear. Born in Penang, he built an international brand associated with high-end, handmade shoes worn by celebrities and royalty. His work has made him one of Malaysia’s most prominent figures in fashion.

Nicol David is one of the most successful squash players in history, holding the world number one ranking for many years and winning multiple world championships. She is widely regarded as one of Malaysia’s greatest sports figures.

Pandelela Rinong is an Olympic medal-winning diver who has represented Malaysia on the international stage. Her achievements made her one of the country’s leading athletes in aquatic sports.

Mokhtar Dahari was a legendary footballer considered one of Asia’s best players during his career. He played a key role in Malaysia’s football history and remains a respected sporting figure.

Robert Kuok is one of Malaysia’s most prominent business leaders and the founder of the Kuok Group. With interests spanning commodities, hospitality, and logistics, he has long been regarded as one of the country’s wealthiest individuals.

Tony Fernandes is an entrepreneur best known for transforming AirAsia into a major low-cost airline. Through Tune Air, he played a key role in expanding affordable air travel across Asia.

Quek Leng Chan is a leading business figure and executive chairman of Hong Leong Capital. He oversees a diversified group with interests in finance, property, and industry.

Mahathir Mohamad served as Malaysia’s fourth and seventh prime minister and played a major role in shaping the country’s modern development. His long tenure made him one of the most influential political figures in Malaysian history.

Tunku Abdul Rahman was Malaysia’s first prime minister and led the country to independence. He is widely regarded as a founding figure of the modern Malaysian state.

Sheikh Muszaphar Shukor became the first Malaysian in space in 2007, traveling to the International Space Station. His mission included scientific experiments and outreach efforts to inspire young Malaysians.

Zeti Akhtar Aziz served as the first female governor of Bank Negara Malaysia. She is recognized for her role in shaping the country’s financial policies and maintaining economic stability.

Malaysia - Truly Asia or Truly Bizarre?

In January 2007, Reuters reported: “Malaysia has launched its biggest tourism drive since independence under its famous slogan "Malaysia: Truly Asia", but it may as well read "truly bizarre". Recent visitors to the Southeast Asian nation have read serious newspaper articles about miracle healers and a mysterious giant ape in the country's southern jungles. Now, there is a woman who apparently secretes gem-stones out of her big toes. The wondrous toes of 23-year-old Siti Suhana Saadon, a rubber-tapper's daughter, have become a media sensation, drawing serious commentary from health officials and medical experts. Welfare authorities have even offered to pay for tests to be carried out on the poor villager and her collection of clear round stones, the New Straits Times said on Thursday. "I would like to see her. Her condition is very unusual," the mainstream daily quoted a senior academic as saying. [Source: Reuters, January 25, 2007 ^]

“Malaysians are willing to suspend disbelief when dealing with the supernatural, if recent newspaper coverage is any guide. Last year, conservationist Vincent Chow captured headlines at home and abroad by saying he had found evidence of a "Bigfoot" wandering the jungles of Johor state, leaving footprints the size of dinner plates and impressive piles of scatological evidence. "Malaysians may be in for the biggest scientific discovery in human history if the theory of the biodiversity expert Vincent Chow on the origin of the creature called 'big-foot' is proven true," state news agency Bernama declared last June. ^

“For tourists who like the bizarre and unexplained, Malaysia also offers a crocodile-whisperer and until recently a special exhibit of ghoulish human-looking remains, known as 'jenglot', which are vampires according to Malay folklore. Standing up to a metre (3 ft) tall, 'jenglot' appear to have charred skin, long black hair and sharp fangs. They are used in villages as a spiritual guard dog to scare off trespassers. Last year's exhibit drew big crowds to a small museum outside Kuala Lumpur, including a local paranormal investigation group, Seekers, which reportedly put some of the figures in a room under 24-hour camera surveillance to catch any of them moving about. Seekers has yet to announce a breakthrough. ^

“It is also too late to see Malaysia's "Snake King", Ali Khan Samsuddin, who spent 25 years mesmerising scorpions and snakes during live performances. He died last month after being bitten by a king cobra that failed to fall under his spell. But famed crocodile whisperer Cheek Inu, aged in his 70s, is still communicating with the fearsome reptiles, in the frontier state of Sarawak, on Borneo island, though some refuse to listen. "His prowess is not a myth as he has proven his ability in various past incidents," the New Straits Times said in September after Cheek Inu was called in to help capture a crocodile that had eaten a 12-year-old boy swimming in the Sarawak River. Seven years ago, Cheek Inu was credited with coaxing a 5.5 metre (18 ft) crocodile to come out of hiding, crawl up a river bank, turn over and die. Unfortunately, the 12-year-old boy's killer proved to be far more stubborn and remained at large.” ^

Culture Wars Between Indonesia and Malaysia

In the late 2000s. the Media has described a series of disputes between Indonesia and Malaysia over traditional cultural heritage “as Culture wars” that became nasty on the Internet with some Indonesians characterizing Malaysia as “a nation of thieves” and describing the mess as worthy of a real war. Simon Winchester wrote in the Wall Street Journal, In mid 2009, a Malaysian Ministry of Tourism advertisement aired internationally on the Discovery Channel portrayed a Balinese dance as part of Malaysia’s cultural heritage; the government subsequently withdrew the advertisement and apologized for what it said had been a production error. [Source: Simon Winchester, Wall Street Journal, June 20, 2014]

But the uproar nevertheless gathered steam, and by September, despite some Indonesian commentators’ dismissal of the issue as trivial and an indication of Indonesian feelings of inferiority, it had become a cause célèbre threatening diplomatic relations. Some of the sharp feelings on the Indonesian side were apparently assuaged in October when the United Nations Educational, Scientific, and Cultural Organization (UNESCO) declared batik to be part of Indonesia’s intangible cultural heritage, adding to a similar declaration in 2008 for shadow puppet theater (“wayang kulit”) and the “keris”, an asymmetrical dagger, which many Malaysians had felt were at least equally theirs.

John M. Glionna wrote in the Los Angeles Times, “ For decades, Uni Histayanti has performed the enigmatic movements of her country's traditional pendet dance. She learned the rhythms as an infant and years ago opened a dinner theater in Jakarta where, dressed in native costume, she performs nightly. As she flutters her arms bird-like, darts her eyes and tilts her head at exotic angles, she invokes the welcoming spirit of the Hindu-majority Bali island where it originated centuries ago. That's why it floored her to hear that neighboring Malaysia had reportedly tried to seize the pendet as its own. It's pure cultural piracy, Histayanti insists. And it makes her mad. "It's a symbol of our heritage, not theirs," she said as she applied makeup in a backstage dressing room of her theater. "If you have something and someone tries to steal it, you take it back." [Source: John M. Glionna, Los Angeles Times, October 21, 2009 ]

Image Sources: Wikimedia Commons

Text Sources: “Encyclopedia of World Cultures Volume 5: East/Southeast Asia:” edited by Paul Hockings; 1993; New York Times; Washington Post; Los Angeles Times; Smithsonian magazine; Encyclopedia.com; National Geographic; Live Science; Malaysia Tourism websites; Malaysia government websites; UNESCO; Metropolitan Museum of Art; Natural History magazine; Times of London; Library of Congress; The Conversation; The New Yorker; Time; BBC; CNN; Reuters; Associated Press; AFP; Lonely Planet Guides; Google AI; Wikipedia; The Guardian and various websites; books and other publications.

Last updated May 2026