Peran” is a comedian wearing a mask who enlivens a Hadrah arts performance and who is synonymous with and very popular in the state of Perlis. “Peran” will join the dancers in the Hadrah performance and the presence of the “peran” in any Hadrah performance is most welcome because he will entertain the audience with many funny jokes and actions. In the “Joget Peran” dance, the “peran” plays a dominant role, dancing energetically besides jesting with the female dancers through his funny actions that follow the drum beats and rhythm in the original Hadrah song entitled “Om Pasa Ya Rey”.


This new creation was adapted from ‘Joget sepak” and named ‘Roggeng Pak Ungku”. The word ‘Ronggeng’ means to do the “joget” dance, accompanied by basic musical instruments such as the violin, drum and the gong. The word “Pak Ungku” refers to the late Y.T.M. Tunku Abdul Rahman Putra Al-Haj. The inspiration of the “Ronggeng Pak Ungku” dance came from one of his hobbies which was joget dancing. The “Ronggeng” was also an arts presentation by Malays long time ago. The steps and movements in this new dance have been modified yet still retain the original structure of the “Joget Sepak” dance. This dance is promoted to ensure Malay arts is not lost in modern times, and at the same time, to remember a great leader who has contributed greatly to the nation .


Iktisyaf’ means ‘meeting ’ in Arabian. It also means the ‘meeting’ of the Ghazal Pharti, Hadrah and the Joghee Dances which are combined in this new creation. ‘Iktisyaf’ reflects the way of life of the Arabian traders who came to Malaya to trade. It is a dance based on the movements of the sailing ship and the sea waves.


This is a new dance created from an original dance known as the “ Tarian Lenggok” from the district of Bagan Datoh, Perak. A new idea in dance choreography with injection of new elements and movements, yet still preserving the characteristics of ‘Tarian Lenggok’ (The Swaying Dance). The dance patterns combine the symbolic movement of the “cupak” (a type of measuring bowl) with swaying movements floating above water. The floor design and the positioning of the dancers are different from the original dance where the dancers dance at the same spot. Such variations make presentations more colourful. Although the original dance was a dance in the palace performed by female dancers, the choreographer tried to change this dance into a folk dance that also involve male dancers whose roles are to beat the ‘rebana’ (tambourine) during the dance.


This year, the National Department for Culture and Arts (JKKN) of Selangor presents a newly created dance entitled the “Inang Si Kunang-Kunang Dance ” that demonstrates the theme of love in its dance movements. The dance patterns of this new creation show the graceful movements of young men and women where customs and mannerism are still preserved. What is obvious in the dance movements in “ Inang Si Kunang-kunang” is that we show the details of the fireflies’ movements. To make this dance more beautiful, the song “Hati Si Kunang-Kunang” has been composed by JKKN Selangor.


The “Joget Kasih LRT” is a new dance created with inspiration around the LRT stations in Kuala Lumpur which are always congested and busy with thousands of people who want to use this public transport. Elements of love between young men and women have been injected in this new creation to make it more attractive. The uniqueness of the “Joget Kasih LRT” is in its presentation format that uses the basic steps and movements of the joget dance, with stepping of legs and hands moving in circles to resemble the wheels of the train. The dance rhythm and steps have been modified to emphasize the storyline of ‘Joget Kasih LRT’.


The “Randai Gelombang Cindai” Dance combines the elements of the “Randai” performance and the “Cindai” which is one of the weapons used in Malay martial arts. The movements of “Randai Gelombang Cindai” are inspired from the silat (Malay martial arts) movements of hitting and attacking by using the ‘selendang’ (long scarves) or kain pelekat (sarong) . The process of cultural assimilation from Minangkabau has injected fresh elements in the aspects of performance structure, costumes, floor design and dance movements. This dance uses yellow ‘selendang’ (long scarves) as the main object that resembles the weapon “cindai”.


Asli Rekas” is a new version of the original dance that was created and based on the song “Pai Bunga Rampai” composed by Rahmat Arshad, a local musician who has contributed to the promotion of the ‘Rebana Keras’ game in Melaka. “Rekas” is from the family of “Rebana Keras” which is a musical instrument used to accompany this dance. Usually the song is played to to rejoice in the marital union between the bride and groom on their wedding day. Danced in pairs of men and women, the dance focuses on leg movements in accordance with the beat of the ‘Rebana Keras’ ( tambourine). ‘Selendang’ ( long scarves) are used to create the dance movements implying the processes of getting to know each other, falling in love and finally to the wedding dais.


The “Inang Jauhar” Dance is a new dance creation under the genre of Folk Dances. This dance is accompanied by the singing of young boys and girls, with dance music from the Ghazal Johore song with the rhythm of “inang”. The dance is danced in pairs and is created based on cultural assimilation in earlier days. The Ghazal song resembles Hindustani and Persian songs. The dance movements are adapted from the “inang” dance and the hand movements symbolize a specific movement or meaning.


Kemahang” is a type of plant which is known as taro or its scientific name “colocosia esculenta”. This new dance creation is based on the gamelan music and dance movements, with the identity of this plant absorbed in the contemporary form, yet still preserve the characteristics of the eastern culture and mannerism. The beautiful and graceful swaying dance patterns are demonstrated in this dance.


HADDAT” is a combination of two words, HADRAH and RODAT; “hadrah” is the name of the holy book where its contents are sung in the Rodat songs, whereas “rodat” is the name of the Rodat arts itself . “Haddat” combines three important elements in a rodat performance, namely dance, music and singing. The “Hadrat” Dance demonstrates how a group of people refine every dance movement to create the atmosphere of joy, happiness and harmony. The emphasis of this dance are in the shoulder movements , while the dancers sing and hit the rodat tar.


The “Indera Wati” Dance is based on the legend of Petala Indera and Petala Wati birds that are synonymous with the state of Kelantan. The aspect of bravery is the major element in this whole dance. The movements of getting ready to fight are used to help add effects to the story line as symbols of bravery and agility even though the journey is full of temptation and obstacles. The “ Indera Wati” Dance inserted the elements of bird movements, the silat (Malay martial arts) dance of Kelantan, Makyong, Menora, Asyik and Wayang Kulit (shadow puppetry). The concept of loyalty is included and presented to demonstrate that Petala Indera and Petala Wati obey the instruction by the state ruler and that is the climax of this performance.


This dance demonstrates the way of life of the Melanau ethnic group who live along the beaches in the state of Sarawak. Their daily activity is to catch fishes and also produce sago. Sago was one of the main types of food for the Melanau ethnic group in the olden days. The dance movements in this dance reflect the activities of the Melanau ethnic group, cooperating with each other to produce sago from the process of cutting down the ‘Rumbia” tree, scrapping and stepping on it to get its ingredients known as “ tepung Lemantak” until finally sago is produced. This dance also reflects the spirit of cooperation among the men and women working happily in harmony in carrying out the activity of producing sago.


The “Iluk Semandak” or the “Anak Dara” (Virgin) Dance from the Tidong ethnic group in the Tawau District shows their skills in dancing on plates or ‘lalai’. This dance is about the willingness of these women to become the life partners of their men. The men must try to test the women by placing the plates upside down on the floor, which is the condition. The skills and efficiency in the balancing acts of a particular woman in dancing and moving from one plate to another will win the man’s heart to make this woman his life partner.


The “Zapin Rao” Dance is an inspiration from the song and dance of “ZAPIN RAUB” which was very well known in Raub, Pahang at one time. The dance started around 1930’s and was founded by Encik Hamzah bin Alias, an activist in the “Zapin Raub”. The “Zapin Rao” has its own uniqueness through various attractive movements , such as the dance patterns of arms akimbo and kicking legs with pride with the intention of attracting the attention of the women. The dance demonstrates the joyful atmosphere and the energetic movements of the dancers in pairs, yet still able to retain the original dance movements of the “Zapin Raub”.



This dance was inspired by ‘Awang Batil’ storytellers . The dance movements are based on the “Inang” dance but have been modified to become a faster and more energetic dance. The shoulder movements and beating of the ‘batil’ (brass pot) are among the new elements in this dance. The same goes with the lyrics. The original word from “Awang Batil” is “Hey”. “Hey” is an identity of ‘Awang Batil’. The language used is the old Perlis language which is now very seldom used by the people in Perlis.

Note : This dance was inspired by and based on “Awang Batil” tales.


The dance movements are based on the daily routine life of farmers working in the paddy fields. The dancers act/play the roles as the characters in “Myths of the Paddy Spirit”.

Note : This dance was inspired by and based on “Myths of the Paddy Spirit”.


This dance demonstrates the life of a trishaw peddler who works in Georgetown, Penang. It revolves around the surroundings of the trishaw peddler before he starts work, how he tries to get customers and what he does after he finishes work.

Note : This dance was inspired by and based on the activities of a trishaw peddler in the 1950s.


A dance choreography that injected fresh elements into the Gambus Kampung Padang Changkat Dance that originated in the district of Kuala Kangsar, Perak. The dance starts with the original position of the dancers standing in 2 rows on the dance floor and later they dance in various formations. A variety of new dance patterns are found in this dance, yet the traditional elements in the original dance are still retained.

Note : This dance was inspired by and based on the “Gambus Kampung Padang Changkat” Dance.


This dance was chosen for INSPITARI 2012 because the song and dance movements are very different from Zapin Johor and Zapin Pahang. The dance has its own uniqueness in every movement which is new and fresh. The dance floor is designed to accommodate a variety of dance movements. Based on the lyrics, the song and its suitability and through research and practical sessions that have been carried out, this new dance was created and given the name of ‘Zapin Cemara’. The original dance steps are still retained, but the melody and lyrics have been changed to suit the modern times.

Note : This dance was inspired by and based on the “Zapin Bugis” Dance.



This is a combination of two different presentation elements which develops into a new and unique dance. It is different from the traditional ‘wayang kulit” (shadow puppetry) . The ‘Zapin WOYE’ Dance uses a piece of white cloth as the screen. The uniqueness of ‘Zapin WOYE’ is seen in its presentation patterns that uses the “Zapin” steps and movements that have been modified to follow the movements of the ‘wayang kulit’ puppets. The rhythm and steps are combined based on the appropriate dance movements to make the ‘Zapin WOYE’ more attractive.

Note : This dance was inspired by and based on a combination of “Zapin” and “wayang kulit”.



A dance choreography that was injected with new and fresh elements based on a dance in Minangkabau, West Sumatra, Indonesia. This new dance is created on the concept of folk dances and cultural characteristics (from the music perspective) of the Negeri Sembilan community. It is based on the existing ‘Tarian Piring’ (The Saucer Dance) but has been modified to suit local norms with its own characteristics.

Note : This dance was based on the “Tarian Piring” (Saucer Dance) from Minangkabau, West Sumatra, Indonesia.


The “Inang Bukit Cina” dance is a new version of the “Inang” dance that shows dance movements by using the “bim poh” (handkerchief). The graceful movements of the female dancers are different from that of the “Inang Melayu”. This is a result of cultural assimilation process which was believed to have been brought by Princess Hang Li Po before inter-marriages between Malays and Chinese took place. This dance was created, developed and modified and danced in pairs of men and women . The handkerchief is used as a symbol of love between the two lovers, just like in the case of Princess Hang Li Po and Sultan Mansur Shah, and Bukit Cina has since become the symbolic place for love.

Note : This dance was inspired by and based on the “ Lenggang Sapu tangan” Dance (The Handkerchief Dance).


This is a new dance created as a folk dance. It was based on the “Hamdolok” performance in Batu Pahat District, Johor. The dance demonstrates the joy and happiness of the local community, expressing their gratitude for peace and happiness. The ‘Masadeka’ Dance uses the umbrella and the “tongkat” (walking stick) as instruments/‘props’ to retain the characteristics of the Hamdolok performance. The inclusion of Middle East elements such as Defey makes the presentation m ore attractive, with re-arranged and livelier music. It is hoped this new dance will attract the interest of the younger generation to appreciate and love our heritage so that it will not be lost in modern times. This dance is suitable in functions with entertainment purposes.

Note : This dance was inspired by and based on the “Hamdolok” performance.


The “Moh Mutik Teh” Dance is a new choreography specially created and adapted from the activities of the people in Cameron Highlands. The dance is named “Moh Mutik Teh “ based on the Pahang dialect where “moh” means “mari” (come), “mutik” means “putik” (pluck) and “teh” refers to “daun teh” (tea leaves). The activities of the local people who pluck tea leaves as their means of livelihood are demonstrated in this dance.

Note : This dance was inspired by and based on the activities of plucking tea leaves.


The “Tedung” (Cobra) Dance originated from the SABA arts, which was formerly used us a medium of medicine (healing arts). The “anak tedung” is one of the arts used in the SABA arts performance which has specific roles. In this traditional medicinal therapy, “anak tedung” (baby cobra) is used to symbolize getting rid of the sick person’s illness.

Note : This dance was inspired by and based on the SABA arts performance.


The dance shows the happy atmosphere of people living in Kelantan – living in harmony, co-operation and unity. The dance combines three traditional “dikir” that are found in the state of Cik Siti Wan Kembang, namely Dikir Laba, Dikir Rebana Kercing and Dikir Barat (Creative). Dikir Laba only uses a voice, followed by ”wolves’ screams” without using any musical instrument, while “Dikir Rebana Kercing” includes singing and dancing (with dancers standing) according to the beat of the music. For these two variations of Dikir, the songs are in the Persian language (Kelantan dialect). In Dikir Barat, the dancers sit cross-legged on the floor, clapping their hands and singing aloud. The similarity of these three variations of Dikir is that all have the Tukang Karut (the lead singer ) and the Awok-Awok (chorus). The Dikir 3D is given a breath of fresh air , yet retaining the important elements of the three respective Dikir.

Note : This dance was inspired by and based on the Dikir Laba, Dikir Rebana Kercing and Dikir Barat (creative).


This dance demonstrates the happy atmosphere of the Harvest Festival (Gawai) which is celebrated by the Iban community in Sarawak. Both the men and womenfolk wear the “sirat”(hand-woven wrap textile). The “sirat” is quintessence of the Iban culture and is a symbol of pride for the Iban community. It is woven in the “pua” (traditional multi-coloured ceremonial cloth) form. This dance also shows the Iban culture that has undergone transformation. These are reflected in the dance patterns symbolizing the activities of weaving the ‘pua’, eating the ‘sireh’ (betel leaves) , performing the rituals of “mengap” and “miring” by the religious chiefs in the long houses to get blessing from the spirits of the ancestors so that the celebration of the Gawai Festival can be carried out smoothly and it also signals the commencement of the celebration. The dance choreography also shows the elements of rattan weaving in the Iban community, known locally as “pusar tepus’ which symbolizes goodwill, loyalty and unity of the Iban community.

Note : This dance was inspired by the rituals in the Gawai Festival celebration of the Iban community.


This dance was originated from the ‘Tarian Melenggok”(The Swaying Dance),one of the dances of the Cocos ethnic group in Kampung Cocos, Tawau. The dancers use the ‘selendang’ (long scarves) to symbolize kites being blown by the wind. The “Selindang Cocos” Dance is a new dance creation whereby male dancers sway the long scarves from the back. They hold on to the tips of the scarves and sway the scarves according to the dance rhythm. The female dancers complement the male dancers. There is a feeling of love created through the graceful movements of the male and female dancers, united by the long scarves held by the male dancers.

Note : This dance was inspired by the ‘Tarian Melenggok’ (The Swaying Dance) of the Cocos ethnic group in Kampung Cocos, Tawau.


This dance is usually performed during wedding receptions of the Boyan (Bawean) community. The dancers stand in either one or two rows, while the singers and the “kompang”(a kind of tambourine) players sit at the back. The songs usually contain verses in praise of Prophet Mohammad. But in the ‘Tingkah’ Dance, new elements have been injected to suit the modern times and situation. This is more so in terms of the dance movements and the floor design. The rhythm of the songs in the form of irregular verses of traditional Malay poetry are accompanied by basic movements of the traditional ‘Kercingan’ dance and ‘Zamrah’ music which are popular in the Boyan community.

Note : This dance was inspired by the “Kompang Boyan” Arts originated from the Boyan community, Bawean island.