CONCLUSION

In conclusion, there are various types of dance throughout the world in which he highlights the arts and culture of a people or nation. Thus, dance art should be maintained for future generations to know and learn the dance in detail, and traditional dances will not be forgotten by the public will come. Dance also reflects the culture and identity of the multi-ethnic society.
             In the era of modernization of human behavior that lead to glorify the western culture has swallowed dance era. The younger generation no longer know how to dance a traditional dance as they danced modern dance. Consequently, traditional dancing and getting swallowed times less attention. Let us look at the present time is difficult for us to see traditional dances danced except in crowded gatherings such as weddings and cultural events.
             It has been the responsibility of the younger generation to develop dance in the eyes of the world so that it is known by many. Not all the dances for the community especially the Malay community, such as Poco-poco dance is said to be illegal for the dancers, but rather when to exercise. So, hopefully this will be a traditional dance performed by young people with no shame not to swallow time and to uphold our country's name dipersada world.

PIRING

The Piring or plate dance is performed to show off the skill of the dancers in holding and balancing saucers in their hands while executing fast movements that include rolling, squatting, walking on plates placed on the floor while manipulating the hand-held plates. The dance is said to have originated from Minangkabau in Sumatra where it developed until the era of the Sri Vijayan Empire. The Piring Dance was introduced to the Malay states after the fall of the Sri Vijayan government to the Majapahit Empire. Often at the end of a piring dance performance, plates are smashed on the floor and dancers actually dance and jump on the broken pieces of porcelain without hurting themselves. There is definitely an element of a trance-like state that the dancers work themselves into in order to perform this last section.

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.

Tt was brought to Malaysia via Sumatera by traders and evangelists in the 18^th 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.

CANDLE DANCE

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. 

 

PORTUGUESE DANCE

Portuguese Dance The history of Portuguese dance can be traced to the arrival of the merchants and soldiers in the 16th Century. The port of Malacca was crucial in the time of seafaring merchants, the spice trade and the silk trade. Many of the descendants of these merchants continue to live in Malacca retaining plenty of their own culture – food, religion, attire while simultaneously merging their some of their culture with those of the locals. The Portuguese settlements are still popular and inhabited by those with names like D Cruz, Lopez etc! Two of the most popular dances are the Branyo and Farapeirra. The Branyo Dance is mainly favoured by the older generation of the Portuguese descendants. The male dancers wear Western-like costume while the female dancers wear baju kebaya and batik (sarongMusical instruments used are only rebana and violin. The beat and rhythm of the dance is similar to 'joget' (the Malay dance arts). Meanwhile, Farapeira is for the youngsters. The dance is very cheerful and this resembles the cheerful life of the youngsters. It is performed by couples dressed in the costume of the traditional Portuguese descendants of Malacca. Modern musical instruments such as guitars and tambourines are used to make fast beats and rhythm.                                                                portuguese dance

NGAJAT IBAN

The origin of this indigenous dance is not clearly known but it is believed to have been in existence along with the Iban tribe since the 16^th Century. The Ngajat dance is believed to have been performed by warriors on their return from battles. This dance is now performed to celebrate the most important harvest festival called ‘Gawai’, to welcome important guests to the longhouses and so on.

The male dancers wear large feathers as part of their headgear, hold an ornate and long shield in their hand with chains, beads and a loincloth called the ‘cawat’. The female dancers have an elaborate headdress, chains, beads and a ‘dress’ that reaches to below their knees with intricate weaving. Traditionally this dance was only performed by male dancers but not anymore.

The dance is arranged straight lines and in a circle and does involve dramatic leaps and jumps performed by the male dancers.

Gongs and other ethnic percussion instruments such as the ‘enkeromong’, ‘bendai’, ‘canang’ and ‘dumbak or ketebong’ provide the music. The musicians may be either male or female.