Joget and Zapin: Two Malay Dances, Two Different Origins

Two dancers move quickly to the beat of the gendang — feet stamping, hands dancing gently. Many who watch simply call it “Malay dance” without distinguishing which is Joget and which is Zapin. Ask where each one comes from, and the answer takes us to two corners of the world: one from the deck of a Portuguese trading ship in Melaka, the other from a caravan of Arab preachers out of Hadhramaut.

Joget and Zapin are indeed often performed at the same events — weddings, state celebrations, official functions. But they are not variations of one another. They are two traditions that grew up separately before both being absorbed as Malay folk dances.

Joget: From Portuguese Branyo to the Melaka Stage

According to JKKN (Jabatan Kebudayaan dan Kesenian Negara, the National Department for Culture and Arts) cultural mapping records, Joget Melaka is rooted in Portuguese influence that arrived with the colonisation of Melaka in the 16th century. The dance is believed to have developed from the branyo — also called the corridinho — a type of Portuguese folk dance, blended with traditional Malay elements in a port crowded with traders of many nationalities: European rhythm wrapped in Malay footwork and spirit.

From Melaka, the dance spread and gave rise to variations such as Joget Serampang Laut (Johor) and Joget Cak Kun Cak, which were likewise influenced by Portuguese elements.

Characteristics of Joget, according to JKKN records:

• Paired — men and women move toward each other without touching
• Fast tempo — a 2/4 base, with 3/8 sequences for faster movement
• Footwork takes priority over hand movement
• Accompanying instruments: gendang (sets the beat), gambus (melody) and rebana (fast rhythm)
• Context: weddings, festivals and cultural celebrations, usually with three to four pairs of dancers at once

Male dancers wear a full baju Melayu, songkok and sampin; female dancers wear a kebaya labuh with a sanggul (hair bun) or floral hair ornaments.

Zapin: Footwork Brought From Hadhramaut

Zapin’s starting point is entirely different. Jabatan Warisan Negara (National Heritage Department) records Zapin as a combination of Malay and Middle Eastern artistic elements, brought into the Peninsula by Arab immigrants who settled in Johor. JKKN’s cultural mapping records, meanwhile, place its arrival at around the 15th to 16th century, brought by traders and missionaries from the Arab lands — mostly from Hadhramaut, Yemen — with Persian influence also mentioned. These two official sources do not agree on the exact century, so we record both without choosing one.

Its original function is clearer: palace entertainment and a medium for dakwah, a way for Arab missionaries to convey the teachings of Islam through movement and song. The name “Zapin” comes from the Arabic word “zafn,” meaning fast, rhythmic footwork. From there it developed into two streams: Zapin Arab, which retains a form close to its original Middle Eastern one, and Zapin Melayu, adapted to the refinement and modesty of Malay Islamic values. Zapin is most prominent in Johor, where communities of Arab descent also play a role in preserving this tradition.

Characteristics of Zapin:

• Originally male-only — now adapted for both genders
• Fast footwork, minimal hand movement — unlike Joget, which is more expressive in the upper body
• Three-part structure: taksim (an improvised opening melody), ragam and kopak (the main movements), closing with the wainab
• Accompanying instruments: gambus (main melody) and marwas, a pair of small drums that carry the “tak” and “tung” rhythm distinctive to Zapin
• Modest attire: baju Melayu, sampin and songkok for men (or a jubah for Zapin Arab); baju kurung, kain sarung and ornaments such as necklaces and hairpins for women

Quick Comparison

Aspect	Joget	Zapin
Origin	Portuguese branyo, Melaka, 16th century	Arab traders/preachers from Hadhramaut
Centre of tradition	Melaka, spread to Johor and other states	Johor
Original gender	Men and women	Male only (later adapted)
Main movement	Fast, lively footwork, hand movement also active	Fast footwork, minimal and modest hand movement
Core instruments	Gendang, gambus, rebana	Gambus, marwas
Tempo	2/4 (base), 3/8 (fast)	Follows the rhythm of the gambus and marwas, opens with taksim
Original function	Social entertainment and folk gatherings	Palace entertainment and a medium for dakwah

One interesting similarity: the gambus — a stringed lute brought in from Arab musical tradition by Muslim traders to the Nusantara — appears in both accompaniments. What differs is its role: in Joget it is one of three core instruments; in Zapin it is the main pillar of the entire performance.

Common Mistakes

“Joget and Zapin are the same dance, just with different names.” Wrong. Both are separate dances with completely different origins, musical instruments and movement structures.

“Zapin is an indigenous Malay dance.” Official records show otherwise — Zapin was brought in from the Middle East, then adapted into Zapin Melayu, one of the two streams that exist today.

“Zapin is danced only by men today.” Its original form was indeed male-only, but present-day Zapin performances typically involve both genders.

What’s next

• Read Mak Yong for another form of Malay dance theatre, centred in Kelantan and combining acting with rebab music.
• See wayang kulit for another traditional Malay performing art, a shadow theatre with leather puppets.
• Refer to songket for an example of Malay cultural heritage in textile and craft form, often worn by Joget and Zapin dancers in official performances.