
Cultural ambassadors on, off stage
Artis Budaya Dewan Bandaraya Kuala Lumpur (ABDBKL) dancers are in full gear, rehearsing tirelessly, arms outstretched, headgear fluttering and their feet hitting the wooden panels in synchronised rhythm.
This is inside the Kuala Lumpur City Hall (DBKL) studio at Pusat Kesenian in Jalan Rotan, Kampung Attap.
While the stage may be a riot of colours and tradition, rehearsals at the studio often begin in simple, everyday clothing like T-shirts, track pants, and socks, allowing the dancers to focus fully on precision, stamina and formations without the constraints of heavy costumes.
Dancers from the DBKL cultural troupe in traditionalcostumes, embodying the vibrant spirit of Malaysia'smulticultural heritage.
'You can't be worried about headgear or fabric when you are ironing out footwork,' said choreographer Mohamad Taufik Bakar.
'We keep it practical in the early stages. It is about getting the basics right.'
But as the performance date nears, the dancers switch gears, literally.
Full-dress rehearsals are held with complete traditional outfits, accessories and elaborate headgear to simulate the actual conditions on stage.
'That is when they adjust to the weight, heat and restrictions, and still look effortless,' said Mohamad Taufik.
'Dancing in costume is a whole different challenge. It is the final layer of discipline,' he said.
He claps to the tempo, correcting stances, fine-tuning gestures and urging sharper finishes.
'Again,' he calls out, not for the first time that morning.
Mohamad Taufik (front) leading the DBKL troupe dancers through a dynamic routine during full dress rehearsals, blending traditional forms into a seamless celebration of unity.
Taking culture overseas
It is not just another day at practice.
Mohamad Taufik is preparing the dance troupe for an upcoming cultural tour to Vietnam, where dancers will perform in Ho Chi Minh City and Hanoi as part of the Malaysia Food and Beverage Expo, a soft diplomatic mission to promote the Visit Malaysia 2026 campaign and showcase the country's rich cultural heritage.
'These shows are important; they are about celebrating Malaysia overseas,' said the choreographer who has been training the troupe for 20 years.
'We want the performance to be perfect, so rehearsals start early in the morning and go on until night.'
A total of 17 dancers are involved in this international assignment, with nine heading to Ho Chi Minh City and eight to Hanoi.
However, the rehearsals are being conducted as one big unit to ensure cohesion and consistency.
The group will be away for over a week, performing at key segments of the exposition to draw attention to Malaysia's diversity through dance, costume and traditional music.
Dancers from the troupe preparing for a showcase, donning intricate costumes representing Malaysia's rich ethnic heritage.
'They are more than just performers, they are ambassadors of the city, of the country.
'When people see them on stage, they see Malaysia,' Mohamad Taufik highlighted.
For him, the dance troupe's role extends far beyond choreography and stage presence; it is about diplomacy through culture.
He recalled a memorable cultural project in Thailand, done in collaboration with Tourism Malaysia, where the ABDBKL dancers performed and interacted with the public at a promotional booth.
'There was a booth set up outside the performance venue where people could try on traditional costumes like the ones worn by our dancers.
'We had baju melayu, cheongsam, saree, sinjang, you name it,' said Mohamad Taufik.
'The visitors were so enthusiastic. They loved it. They took photos, asked questions.
'It wasn't just about entertainment, it became an educational and cultural exchange,' he added.
Malinda (right) guiding dancers during rehearsal to ensure precision and cultural authenticity in every step.
Costume and craft
Mohamad Taufik said assignments abroad were carried out on a rotation basis to give every dancer an opportunity to travel.
'When one team goes overseas, another team stays back to handle domestic events. There must always be a group ready to perform at local functions, so we rotate.
'It also ensures everyone gets a fair chance to represent the country abroad,' he stressed.
Whether performing for dignitaries at home or curious crowds abroad, Mohamad Taufik said the mission remained the same – to share Malaysia's cultural soul, one performance at a time.
Of course, no matter how talented a performer was, a good show was only as impressive as its costumes and the gear that went with it, he said.
DBKL has invested significantly in procuring traditional dance attires, including elaborate headgear and accessories, to ensure performances are both visually stunning and culturally accurate.
DBKL trainer Malinda Mohamed, 54, said costume procurement was done via open tender.
'We have a committee that researches the types of costumes required, then sources the fabrics and items accordingly.
'If it is a rare piece, someone may have to travel to Sarawak to buy it, but most of the time, the tailors we work with in Sarawak will get the materials for us,' she said.
'One full set can cost up to RM4,000.
'Fabrics, like Terengganu songket, can go up to RM3,000 per metre. We are dealing with authentic and high-quality pieces.'
To ensure cultural accuracy and respect, every detail from fabric to headgear is meticulously curated, Malinda said.
'This is culture, and we are dealing with historical facts. We need to get it right,' she added.
To support this commitment to authenticity, DBKL has dedicated an entire library to its growing collection of traditional costumes.
Each outfit is paired with its corresponding headgear and accessories, carefully labelled and stored.
The space functions both as a cultural archive and a working wardrobe, preserving heritage while preparing performers for the world stage.
From street to stage
Come rain or shine, on polished hotel stages or open-air tarred roads, ABDBKL dancers are trained to perform anywhere, and they do it with grace.
Whether it is swaying to the rhythm of the rebana (Malay hand drum) under the scorching sun at the Sepang Formula One Grand Prix formerly or gliding across a soggy field at Dataran Merdeka, the show always goes on.
'They are professionals,' said Mohamad Taufik.
'They have danced on everything from asphalt to marble floors. They adapt to the space, weather and crowd, and always give their best.' The DBKL dance troupe was the brainchild of the late Elyas.
For the troupe, it is not just about the location, but the purpose to represent Malaysia's cultural soul wherever they are called to perform.
DBKL's cultural troupe has come a long way since its hum- ble beginnings.
According to a DBKL spokesperson, the ensemble was first established in 1988 with just 16 dancers, five traditional musicians and a single choreographer.
It was the vision of Kuala Lumpur's third mayor, the late Tan Sri Elyas Omar who served from 1981 to 1992. He laid the foundation for what the troupe is today.
'Tan Sri Elyas saw the need for a dedicated dance group as a tourism tool to represent the city,' said the spokesperson.
In 1998, the troupe was officially brought under the wing of DBKL's Culture, Arts and Sports Department with its members being absorbed as full-time staff of the local authority, serving under contract.
'They became one of our key tourism products, showcasing the uniqueness of Malaysian culture both locally and abroad,' added the spokesperson.
While the troupe's roots are firmly grounded in traditional Malay dance, there is growing recognition of the need to reflect the full spectrum of Malaysia's multicultural identity, so it has expanded to include dances of other ethnic groups too.
With Kuala Lumpur emerging as a hub for major global events, including the 1998 Commonwealth Games, the Formula One Grand Prix and multiple national tourism campaigns, the troupe had to evolve.
'There was a need to adapt, to infuse some contemporary elements while still respecting traditional forms,' said the spokesperson.
The ABDBKL troupe of 52 dancers, comprising 29 women and 23 men, perform at national and international events throughout the year.
Aged between 19 and 41, the dancers pour their heart and soul into every performance, showcasing Malaysia's rich cultural heritage on stages around the world.
With Visit Malaysia 2026 just around the corner, DBKL's cultural troupe is gearing up for what promises to be a packed and pivotal year, both at home and abroad.
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The Star
a day ago
- The Star
Authenticity, passion drive dancers through every step
SYAHIDAH Hazmi, 25, from Selangor, has been with the Artis Budaya Dewan Bandaraya Kuala Lumpur cultural troupe for nearly five years. Over time, she has learned most of the traditional dances from across Malaysia, but says capturing their grace was still a work in progress. 'You can try to emulate the movements, but conveying the feeling is not easy. We just do our best,' she said. Syahidah and Amirul striking a pose in full Dayak traditional attire, complete with elaborate headgear and accessories used in Sarawakian dance performances. Syahidah said it was not enough to just memorise the dance steps. 'As dancers, we need to understand the story and meaning behind each routine. 'You can't simply mix and match, it must be authentic.' Fellow dancer Amirul Fahmi Zulkifli, 33, finds that the most important thing is to respect the dance and the costume. 'When we perform traditional dances from Sarawak or Sabah, even if we don't get everything perfect, we always make sure the costume is spot on. 'It has to be the correct outfit with the proper accessories,' he said. Ninie Marlina and Iznur Aireel dressed in Bajau traditional costume. Recounting a performance at Dataran Merdeka in full traditional Sarawak gear, Amirul said Sarawakians approached him after the show and quizzed him about his attire. 'They knew what it was, but they wanted to know if we got every detail right,' he said, referring specifically to the intricate headgear. 'The feathers on the headgear are from burung kuang (Great Argus pheasant). Those long, patterned tail feathers are crucial, especially in Dayak dances. 'The headgear is elaborate but meaningful. It's a big part of their culture, and we make sure to honour that,' he said. Siti Aishah Mustapa Kamal, 25 and Nor Muhammad Hijjahie Nor Hafizi, 21, dancers from Kuala Lumpur City Hall's cultural troupe rehearse in full Indian costume, presenting classical movements that celebrate Malaysia's Indian heritage through dance and dress. When asked which costume was his favourite, Amirul replied, 'Definitely the Dayak one, it's the least hot!' The Dayak men's traditional attire consists of a bark or cloth vest, and pants made from animal skin. Syahidah and Amirul find classical Indian dance, particularly bharatanatyam, most challenging. 'I especially love traditional Malay dances like joget gamelan. It's elegant and expressive,' said Syahidah. For 32-year-old Kesavaen Krishnamoorthy, Chinese dance is the most challenging, while his favourite is Bollywood dance as he finds it the most fun. Ninie Marlina Ahmaden, 31, described dancing with ABDBKL as a dream come true, as she can travel regularly, something that would not be possible if she was working elsewhere. Iznur Aireel Fauzi, 19, the youngest of the troupe, hopes to travel abroad for performances in the future. 'I am new and still learning, so I haven't been assigned an overseas performance yet, but I'm hoping one day I'll get the opportunity,' said Iznur. DBKL dancers, Haslinda Abdul Halim, 36, and Adam Khaiqal, 31, from Selangor, all striking a pose in full Chinese costume. 'I enjoy dancing, and it brings me so much joy. I am proud to represent Malaysia every time I perform,' said Natasha Idris Silva, 41, who has performed across the globe. 'It is a wonderful feeling to be appreciated for our differences,' Natasha added. Haslinda Abdul Halim, 36, from Ipoh, concurred, saying, 'We experience that a lot when performing abroad.' 'The support we receive overseas really boosts our morale, especially when we are far from home,' said Adam Khaiqal, 31, from Selangor.


The Star
a day ago
- The Star
Cultural ambassadors on, off stage
THE sound of music echoes through the air as feet glide, twirl and stomp in unison. Artis Budaya Dewan Bandaraya Kuala Lumpur (ABDBKL) dancers are in full gear, rehearsing tirelessly, arms outstretched, headgear fluttering and their feet hitting the wooden panels in synchronised rhythm. This is inside the Kuala Lumpur City Hall (DBKL) studio at Pusat Kesenian in Jalan Rotan, Kampung Attap. While the stage may be a riot of colours and tradition, rehearsals at the studio often begin in simple, everyday clothing like T-shirts, track pants, and socks, allowing the dancers to focus fully on precision, stamina and formations without the constraints of heavy costumes. Dancers from the DBKL cultural troupe in traditionalcostumes, embodying the vibrant spirit of Malaysia'smulticultural heritage. 'You can't be worried about headgear or fabric when you are ironing out footwork,' said choreographer Mohamad Taufik Bakar. 'We keep it practical in the early stages. It is about getting the basics right.' But as the performance date nears, the dancers switch gears, literally. Full-dress rehearsals are held with complete traditional outfits, accessories and elaborate headgear to simulate the actual conditions on stage. 'That is when they adjust to the weight, heat and restrictions, and still look effortless,' said Mohamad Taufik. 'Dancing in costume is a whole different challenge. It is the final layer of discipline,' he said. He claps to the tempo, correcting stances, fine-tuning gestures and urging sharper finishes. 'Again,' he calls out, not for the first time that morning. Mohamad Taufik (front) leading the DBKL troupe dancers through a dynamic routine during full dress rehearsals, blending traditional forms into a seamless celebration of unity. Taking culture overseas It is not just another day at practice. Mohamad Taufik is preparing the dance troupe for an upcoming cultural tour to Vietnam, where dancers will perform in Ho Chi Minh City and Hanoi as part of the Malaysia Food and Beverage Expo, a soft diplomatic mission to promote the Visit Malaysia 2026 campaign and showcase the country's rich cultural heritage. 'These shows are important; they are about celebrating Malaysia overseas,' said the choreographer who has been training the troupe for 20 years. 'We want the performance to be perfect, so rehearsals start early in the morning and go on until night.' A total of 17 dancers are involved in this international assignment, with nine heading to Ho Chi Minh City and eight to Hanoi. However, the rehearsals are being conducted as one big unit to ensure cohesion and consistency. The group will be away for over a week, performing at key segments of the exposition to draw attention to Malaysia's diversity through dance, costume and traditional music. Dancers from the troupe preparing for a showcase, donning intricate costumes representing Malaysia's rich ethnic heritage. 'They are more than just performers, they are ambassadors of the city, of the country. 'When people see them on stage, they see Malaysia,' Mohamad Taufik highlighted. For him, the dance troupe's role extends far beyond choreography and stage presence; it is about diplomacy through culture. He recalled a memorable cultural project in Thailand, done in collaboration with Tourism Malaysia, where the ABDBKL dancers performed and interacted with the public at a promotional booth. 'There was a booth set up outside the performance venue where people could try on traditional costumes like the ones worn by our dancers. 'We had baju melayu, cheongsam, saree, sinjang, you name it,' said Mohamad Taufik. 'The visitors were so enthusiastic. They loved it. They took photos, asked questions. 'It wasn't just about entertainment, it became an educational and cultural exchange,' he added. Malinda (right) guiding dancers during rehearsal to ensure precision and cultural authenticity in every step. Costume and craft Mohamad Taufik said assignments abroad were carried out on a rotation basis to give every dancer an opportunity to travel. 'When one team goes overseas, another team stays back to handle domestic events. There must always be a group ready to perform at local functions, so we rotate. 'It also ensures everyone gets a fair chance to represent the country abroad,' he stressed. Whether performing for dignitaries at home or curious crowds abroad, Mohamad Taufik said the mission remained the same – to share Malaysia's cultural soul, one performance at a time. Of course, no matter how talented a performer was, a good show was only as impressive as its costumes and the gear that went with it, he said. DBKL has invested significantly in procuring traditional dance attires, including elaborate headgear and accessories, to ensure performances are both visually stunning and culturally accurate. DBKL trainer Malinda Mohamed, 54, said costume procurement was done via open tender. 'We have a committee that researches the types of costumes required, then sources the fabrics and items accordingly. 'If it is a rare piece, someone may have to travel to Sarawak to buy it, but most of the time, the tailors we work with in Sarawak will get the materials for us,' she said. 'One full set can cost up to RM4,000. 'Fabrics, like Terengganu songket, can go up to RM3,000 per metre. We are dealing with authentic and high-quality pieces.' To ensure cultural accuracy and respect, every detail from fabric to headgear is meticulously curated, Malinda said. 'This is culture, and we are dealing with historical facts. We need to get it right,' she added. To support this commitment to authenticity, DBKL has dedicated an entire library to its growing collection of traditional costumes. Each outfit is paired with its corresponding headgear and accessories, carefully labelled and stored. The space functions both as a cultural archive and a working wardrobe, preserving heritage while preparing performers for the world stage. From street to stage Come rain or shine, on polished hotel stages or open-air tarred roads, ABDBKL dancers are trained to perform anywhere, and they do it with grace. Whether it is swaying to the rhythm of the rebana (Malay hand drum) under the scorching sun at the Sepang Formula One Grand Prix formerly or gliding across a soggy field at Dataran Merdeka, the show always goes on. 'They are professionals,' said Mohamad Taufik. 'They have danced on everything from asphalt to marble floors. They adapt to the space, weather and crowd, and always give their best.' The DBKL dance troupe was the brainchild of the late Elyas. For the troupe, it is not just about the location, but the purpose to represent Malaysia's cultural soul wherever they are called to perform. DBKL's cultural troupe has come a long way since its hum- ble beginnings. According to a DBKL spokesperson, the ensemble was first established in 1988 with just 16 dancers, five traditional musicians and a single choreographer. It was the vision of Kuala Lumpur's third mayor, the late Tan Sri Elyas Omar who served from 1981 to 1992. He laid the foundation for what the troupe is today. 'Tan Sri Elyas saw the need for a dedicated dance group as a tourism tool to represent the city,' said the spokesperson. In 1998, the troupe was officially brought under the wing of DBKL's Culture, Arts and Sports Department with its members being absorbed as full-time staff of the local authority, serving under contract. 'They became one of our key tourism products, showcasing the uniqueness of Malaysian culture both locally and abroad,' added the spokesperson. While the troupe's roots are firmly grounded in traditional Malay dance, there is growing recognition of the need to reflect the full spectrum of Malaysia's multicultural identity, so it has expanded to include dances of other ethnic groups too. With Kuala Lumpur emerging as a hub for major global events, including the 1998 Commonwealth Games, the Formula One Grand Prix and multiple national tourism campaigns, the troupe had to evolve. 'There was a need to adapt, to infuse some contemporary elements while still respecting traditional forms,' said the spokesperson. The ABDBKL troupe of 52 dancers, comprising 29 women and 23 men, perform at national and international events throughout the year. Aged between 19 and 41, the dancers pour their heart and soul into every performance, showcasing Malaysia's rich cultural heritage on stages around the world. With Visit Malaysia 2026 just around the corner, DBKL's cultural troupe is gearing up for what promises to be a packed and pivotal year, both at home and abroad.


The Star
08-07-2025
- The Star
Rockstars to electrify after-work bash in Penang
Deejays Chrystina Ng (left) and Piao Min announcing the lineup of artistes, headlined by famed Power Station from Taiwan (top of screen), who will perform at the fest at Esplanade in Penang. — ZHAFARAN NASIB/The Star PENANG'S Padang Kota Lama, also known as the Esplanade, will come alive with music, culture and community spirit during the upcoming After Work Fest by 988 FM from July 26 to 27. It is organised by popular Chinese-language radio station 988 FM in conjunction with its 29th anniversary. The event is expected to draw some 10,000 people over two days with live music performances, creative workshops, charity initiatives and a bustling bazaar featuring some 50 booths. One of the main highlights will be a performance by legendary Taiwanese rock duo Power Station. Other artistes set to perform include Bestards, Z-Chen, AP, Fuying, Ryota, Jud, Abin Uriah, Dior and Trevor. 988 FM general manager Woo Bee Ay said the event aimed to strengthen the station's relationship with its northern region listeners. 'We would like to connect with our listeners in this region. 'Besides the performances and activities, we also have a charity haircut campaign. 'The funds raised will benefit Locks of Hope, National Cancer Society Malaysia and Childhood Cancer Caregivers Support Organisation,' she said during a press conference to announce the event. Woo says 988 FM aims to strengthen its relationship with its northern region listeners. Tourism Malaysia deputy chairman Datuk Yeoh Soon Hin, who was also present, said the event reflected the inclusive and vibrant nature of Malaysia's tourism sector. 'This event is expected to bring communities together and spark interest from across the globe. 'As we continue to boost Malaysia's tourism sector, this event presents a timely opportunity to build momentum towards Visit Malaysia 2026 (VM2026). 'It allows us to showcase not only our rich culture but also our readiness to welcome the world with fresh experiences and warm hospitality,' he said. Yeoh said Malaysia recorded 38 million international visitors in 2024, marking a 31.1% increase from the previous year and surpassing pre-pandemic levels by 8.3%. He added that the arrivals generated RM106.78bil in tourism receipts, a 43.7% year-on-year growth and 20% higher than in 2019. 'In Penang alone, we recorded over eight million tourist arrivals in 2024, with a notable rise in both domestic and international visitors. 'Penang is not just a destination but also an immersive experience that offers Unesco heritage sites, distinctive cuisine, vibrant culture and biodiversity while serving as a key travel hub,' he said. Penang tourism and creative economy committee chairman Wong Hon Wai welcomed the festival, calling it one of the fastest growing lifestyle events in Malaysia. 'This festival is not just another concert as it brings together music, culture and the community in a vibrant setting. 'We are proud that Penang has been chosen as the host this year to mark a milestone for our tourism and entertainment landscape. 'It will feature a diverse lineup of local, regional and international talents, promising an unforgettable experience for all,' he said. Wong added that Penang's appeal as a destination continued to grow with 13 new hotels opened since August 2023, contributing over 2,300 rooms to the state's accommodation capacity. Entrance to the After Work Fest is free, with activities running from 3pm to 10pm on both days.