This international conference is organised by the Department of National Heritage, Ministry of Tourism, Arts and Culture in collaboration with UNESCO’s Regional Office in Jakarta, Universiti Malaysia Kelantan and The Academy of Arts, Culture & National Heritage (ASWARA). A total of 21 panelists, consisting of 9 local panels/experts and 12 panels from abroad, will participate in this international conference.

All enquiries can be addressed to:

Dr. Eyo Leng Yan - This email address is being protected from spambots. You need JavaScript enabled to view it. 

Ms. Somira Hj. Abd. Rahman - This email address is being protected from spambots. You need JavaScript enabled to view it.

Mr. Sanjai Kumar Bascaran – This email address is being protected from spambots. You need JavaScript enabled to view it.

Mrs. Aerriscia Epple – This email address is being protected from spambots. You need JavaScript enabled to view it.




 
 

 

 

MAK YONG

 

25 NOVEMBER 2005

 

Pengiktirafan di bawah Representative List of the Intangible Heritage of Humanity

 

 

 

 

Pada zaman awalnya, Mak Yong tergolong sebagai tradisi istana. Menjelang tahun 1920an, bentuk kesenian ini turut dipelajari dan dipersembahkan oleh rakyat di luar istana sebagai tradisi desa atau tradisi rakyat. Mak Yong merupakan kesenian tradisional Melayu berbentuk dramatari yang menggabungkan elemen-elemen kesenian seperti lakonan, tarian, muzik dan nyanyian. Kesenian ini juga merupakan suatu genre hiburan yang sarat dengan kehalusan dan kelembutan dalam tarian serta kemerduan nyanyian oleh barisan inang jong dondang, lakonan dengan dialog oleh watak Mak Yong yang diungkapkan secara spontan oleh para pelakonnya yang terdiri daripada Mak Yong, Pak Yong Tua, Pak Yong Muda, Peran Tua, Peran Muda, barisan Inang dan Tok Wak. Mak Yong kaya dengan unsur-unsur simbolik pada gerak tari, dialog, gerak isyarat, tarian, prop, latar hias, kostum dan hiasan diri. Terdapat antara sepuluh (10) hingga lima belas (15) cerita pokok Mak Yong. Ia menceritakan tentang watak-watak luar biasa yang mempunyai kesaktian dan keperwiraan yang tiada tolok bandingnya. Alamnya antara nyata dan maya, boleh melangkahi tujuh petala langit, masuk ke perut bumi atau berkelana ke dasar laut. Watak dan perwatakan melebihi sifat semula jadi manusia kerana tujuan asalnya adalah untuk memberikan contoh dan teladan sambil menghibur. Kesenian ini memungkinkan kepelbagaian gaya pementasan dan mempunyai kemungkinan yang sangat luas mencakupi aspek bunyi, gerak dan warna. Berdasarkan pada keunikan dan ciri yang dimiliki oleh Mak Yong inilah maka UNESCO telah menobatkan genre ini sebagai Masterpiece of the Oral and Intangible Heritage of Humanity pada 25 November 2005 dan seterusnya sebagai Representative List of the Intangible Heritage of Humanity pada tahun 2008.

 

 

 

 

 

 

 

MAK YONG

 

25 NOVEMBER 2005

 

Inscribed on the Representative List of the Intangible Heritage of Humanity

 

In the beginning Mak Yong was considered a palace tradition. From the 1920s, this art form was also acquired and performed by people outside the palace as a rural and folk tradition. Mak Yong is traditional Malay artistry in the form of a dancedrama which combines artistic elements such as acting, dancing, music and singing. Mak Yong is a genre of entertainment which is replete with refined and gentle dance movements and melodious singing by performers (inang jong dondang), acting with dialog by the Mak Yong (female lead) which is spontaneously expressed by various performers which include characters such as the Mak Yong (the female lead), Pak Yong Tua (the King), Pak Yong Muda (the prince), Peran Tua (older male attendant), Peran Muda (younger male attendant), Inang (dancers) and Tok Wak (the elder or the Old Man). Mak Yong is rich in symbolic elements as expressed in the dance movements, dialogue, movement (gerak isyarat), dances, props, decorations, costumes and personal adornments. There are between ten (10) to fifteen (15) main stories in Mak Yong. These are narrations about extraordinary characters who possess incomparable strength and heroism. Moving between the real and imagined, it traverses the seven layers of the sky, penetrates the core of the earth or journeys to the bottom of the sea. Characters and characteristics exceed the natural traits of human beings because its basic intention is to provide examples and illustrations while entertaining. This art form enables a variety of presentation techniques and has the potential for a wide scope encompassing aspects of sound, movement and colours. Based on its uniqueness and the characteristics it possesses, on the 25th November 2005, UNESCO inscribed this genre as a Masterpiece of the Oral and Intangible Heritage of Humanity and Mak Yong then was included in the Representative List of the Intangible Heritage of Humanity in 2008.

SONGKET

15 Disember 2022

 

 

 

 

 

 

 

 


Pengiktirafan di bawah Representative List of the Intangible Heritage of Humanity

Songket digelar Ratu kain dalam tenunan Melayu kerana kerumitan pembuatannya dan tenunan yang menggunakan benang emas. Kain songket mendapat nama daripada tekniknya mengungkit benang emas di celah benang pakan dan loseng. Songket ditenun menggunakan alat tenunan kek Melayu dan benang emas sebagai benang pakan tambahan. Penggunaan benang emas menunjukkan kain ini bernilai tinggi dan pemakainya mempunyai darjah kebesaran, kekayaan serta kekuasaan. Oleh itu dahulu hanya Raja, kerabat diRaja dan pembesar negara yang boleh menggunakan kain songket.

Songket boleh didapati di rantau Melayu Nusantara seperti Malaysia, Indonesia, Thailand, Filipina dan Brunei. Perusahaan kain songket di Malaysia banyak terdapat di Kelantan, Terengganu, Pahang, Johor, Melaka dan Sarawak. Identiti kain songket diterjemahkan melalui ragam hias dan reka corak yang mengandungi unsur-unsur alam seperti tumbuhan, unggas dan geometrik.

Walaupun masih dianggap tekstil Melayu klasik yang mewah, tetapi kini songket boleh diguna dan dipakai oleh setiap lapisan masyarakat terutamanya semasa menghadiri majlis adat istiadat atau hari-hari perayaan. Songket pada awalnya

dijadikan sebagai kain sarung atau samping dan kerudung. Kegunaan dan fungsi songket kini telah dikomersialkan antaranya dijadikan sebagai bahan hiasan dalaman seperti langsir, alas meja, sarung kusyen, hiasan dinding dan juga sebagai perhiasan diri seperti beg tangan dan kasut.

SONGKET

15 December 2022

Inscribed on the Representative List of the Intangible Heritage of Humanity

 

Songket is known as the queen of all fabrics in Malay weaving due to the complexity of its production and the use of gold thread. The term Songket is derived from the technique employed to make it: inserting gold thread in between the weft and warp threads. Songket is woven using the Malay weaving loom called 'kek', with gold thread as the weft thread. The use of gold thread indicated the high quality of the cloth and those who wore it were from wealthy and influential families. In the past, only rulers, members of royalty and the country's dignitaries were allowed to ware it.

Songket can be found in Malaysia, Indonesia, Thailand, the Philippines and Brunei. The producing communities of Songket in Malaysia are mostly in state of Kelantan, Terengganu, Pahang, Johor, Melaka and Sarawak. The identity is traced by its design patterns that use geometry and elements of nature such as flowers, birds and insects.

The timeless Songket which was once regarded as a luxury textile can today be enjoyed by all. It is widely used in ceremonial gatherings and celebrations. From its humble use as a sarong (a large tube or length of fabric), samping (a piece of cloth, smaller then sarong wrappped around man's waist while wearing trousers) and shawl. Nowaday, Songket has been widely developed into various decorative items such as curtains, tablecloths, handbags and handicraft.

MANUSKRIP CERITA PANJI

2017

 

Pengiktirafan bersama Cambodia, Indonesia, Netherlands dan United Kingdom

  

  

Kisah Panji adalah cerita dari Abad ke-13 dari kisah Putera Paji, pahlawan Jawa yang melalui laluan berliku dalam mencari Putri Candra Kirana yang dicintainya, dan berbagai macam penyamaran dan pelbagai nama, sebelum mereka bersatu. Dengan kewujudan cerita Panji, ianya merupakan penandaan perkembangan kesasteraan Jawa yang tidak lagi dibayangi oleh epik India yang hebat, iaitu Ramayana dan Mahabharata yang terkenal di Jawa dari abad ke-12. Semasa zaman empayar Majapahit (abad ke-14 hingga ke-15), cerita-cerita Panji menjadi sangat popular, disebarkan oleh pedagang laut serta menjadi literatur paling popular di Asia Tenggara pada abad ke-17 hingga ke-18, dari Jawa ke Bali, dunia Melayu, Thailand, Myanmar, Kemboja dan mungkin Filipina. Pengaruhnya diterangkan oleh Adrian Vickers sebagai "tamadun Panji di Asia Tenggara." Tradisi kesusasteraan dan budaya yang lebih luas dari Panji cerita menyebar di luar pulau Jawa ke Asia Tenggara, dan tetap menjadi sastera dan budaya serantau yang unik. Pencalonan Manuskrip Cerita Panji adalah usaha bersama Cambodia,  Indonesia, the Netherlands dan United Kingdom.

 

PANJI TALES MANUSCRIPTS

2017

 

Joint nomination with Cambodia, Indonesia, Netherlands and United Kingdom

The Panji tales are stories from the 13th century telling the many adventures of the Prince Paji, a Javanese hero searching for his beloved Princess Candra Kirana, and his undertaken in various disguises and with a range of different names, before the lovers are reunited. They mark the development of a Javanese literature no longer overshadowed by the great Indian epics the Ramayana and Mahabharata which were known in Java from the 12th century. During the Majapahit empire (14th-15th centuries), the Panji stories became extremely popular, spread by sea merchants, became one of the most popular literatures in Southeast Asia during the 17th-18th centuries, from Java to Bali, the Malay world, Thailand, Myanmar, Cambodia and probably the Philipines. Its influence was described by Adrian Vickers as “a Panji civilization in Southeast Asia.”. The literary traditions and wider culture of the Panji Tales spread beyond the island of Java to South East Asia, and was and remains a unique regional literary and cultural treasure.

 

 

PANTUN

17 DISEMBER 2020

Pengiktirafan di bawah Representative List of the Intangible Heritage of Humanity secara Multi-National Nomination bersama Indonesia

 

 

 

Pantun adalah merupakan bentuk ayat bahasa Melayu yang digunakan untuk menyatakan idea dan emosi yang rumit yang juga membawa seni penyampaian kiasan dalam bahasa halus. Pantun dianggap sebagai pengikat yang dapat menyatukan pelbagai komuniti yang mempraktikkannya.

Pantun terpendek terdiri daripada dua baris, dengan skema dan irama sajak a-b-a-b yang jelas. Sangat jarang untuk mencari Pantun dengan lebih daripada lapan baris. Varieti empat baris adalah yang paling popular dan paling mudah diberikan dalam persembahan lisan.

Pantun biasanya menjunjung tinggi nilai-nilai sosial, tidak kurang juga memberikan perhatian tentang masalah moral dalam masyarakat. Penyampaian mesej ini biasanya sangat halus dan ketara.

Ayat pembayang kebiasaannya menggunakan metafora semula jadi untuk menggambarkan pengalaman hidup dan kebijaksanaan yang diperoleh di dalamnya. Ayat ini bertindak sebagai bayangan makna yang akan datang dalam ayat kedua. Secara tradisi, nenek moyang menggunakan simbolik yang berasal dari alam semula jadi dan sering merangkumi rujukan mengenai flora dan fauna tempatan.

Dalam masyarakat Melayu, Pantun mempunyai peranan sosial yang penting. Selain menjadi alat komunikasi sosial dalam pelbagai kegiatan sosial, budaya dan ekonomi, ia juga berfungsi sebagai simbol identiti Melayu, terutama bahasa yang indah dan gambar serta simbol yang baik semuanya disampaikan secara sopan dan tidak langsung.

Pantun menjadi sangat relevan atas tiga sebab utama: diplomatik, demokratik, dan sering digunakan sebagai instrumen penyelesaian konflik. Dari segi diplomatik, ianya adalah kerana bentuk ayat ini digunakan untuk menyampaikan isu-isu penting, tetapi pada masa yang sama memberikan kepekaan yang membantu mengekalkan rasa saling menghormati kedua-dua pihak. Ia menjadi demokratik kerana tidak menyatakan hierarki dalam bahasa dan perbendaharaan kata, dan tidak disusun secara sosial. Pantun boleh disusun dan dituturkan oleh sesiapa sahaja, termasuk raja, menteri, orang kenamaan, dan rakyat jelata. Terdapat kajian yang telah mengeksplorasi bagaimana Pantun digunakan untuk menyelesaikan konflik dengan lembut dan sensitif untuk mengembalikan hubungan dengan keadaan yang harmoni.

 

PANTUN

17 DISEMBER 2020

Inscribed on the Representative List of the Intangible Heritage of Humanity as a Multi-National Nomination with Indonesia

 

Pantun is a form of Malay poem that are used to express complex ideas and emotions which also brought the art of metaphor in language smooth delivery. Pantun is considered a binder that can unite the various communities that practice it.

The shortest verse consists of two lines, with a clear a-b-a-b rhyme scheme and rhythm. It is very rare to find a Pantun with more than eight lines. The four -line variety is the most popular and easiest to give in an oral presentation.

Poems usually uphold social values, not least also pay attention to moral issues in society. The delivery of this message is usually very subtle and tangible.

Allusive verses usually use natural metaphors to describe life experiences and the wisdom gained in them. This verse acts as a shadow of the meaning to come in the second verse. Traditionally, ancestors used symbols that came from nature and often included references to local flora and fauna.

In Malay society, Pantun has an important social role. In addition to being a means of social communication in various social activities, culture and the economy, it also serves as a symbol of Malay identity, especially beautiful language and images as well as a good symbol of everything delivered politely and indirectly.

Pantun becomes highly relevant for three main reasons: diplomatic, democratic, and is often used as an instrument of conflict resolution. Diplomatically, it is because this sentence form is used to convey important issues, but at the same time provides a sensitivity that helps maintain a sense of mutual respect on both sides. It becomes democratic because it does not express hierarchy in language and vocabulary, and is not socially stratified. Poems can be composed and recited by anyone, including kings, ministers, dignitaries, and the common people. There are studies that have explored how Pantun is used to resolve conflicts gently and sensitively to restore contact with a harmonious situation.

JABATAN WARISAN NEGARA
Blok A dan B, Bangunan Sultan Abdul Samad,
Jalan Raja 50050 Kuala Lumpur
No. Tel : 03 - 2612 7200
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