Known for her love of dance, this grandmother of three often finds herself immersed in the rhythm of joget parties in her village and beyond, usually accompanied by her grandnieces.
“I remember once, after a dance party, I took a dip in a nearby river. I didn’t have my phone with me. My daughter-in-law kept calling me because I hadn’t returned home and she got worried when I didn’t respond,” Maznah recalled with a laugh.
This lively spirit, a defining aspect of Maznah’s personality, carries through to her dedication to preserving Mah Meri culture.
One of the Orang Asli of peninsular Malaysia, the Mah Meri are known for their wood carvings, weavings made from nipah and pandan mengkuang leaves, and the richness of their song and dance. Most of them reside in Pulau Carey, Selangor.
As a proud member of this community, Maznah has dedicated her life to mastering and promoting these traditional arts. Her expertise in weaving has earned her significant recognition, including the prestigious Adiguru Kraf Anyaman Mah Meri award from Kraftangan Malaysia last year.
“When I received the award, I felt very happy and glad that my efforts had been appreciated,” she said.
In 2005, Maznah established the Tompoq Topoh Mah Meri Women’s Initiative. What started as a small group of pandan weavers has since grown to include over 60 women from four villages on Pulau Carey.
These women, guided by Maznah, have turned their skills into a steady source of income. “Our weaving has become more than just a craft; it’s a livelihood for many of us,” she noted.
Maznah, who only studied up to Standard Six, picked up her weaving skills from a very young age. Her late mother, a “dedicated weaver”, was her main teacher, aided by other family members and village folks who were also experts in the craft.
Maznah’s daily routine revolves around weaving, and she often works late into the night with YouTube videos to keep her company.
“I do my weaving with my daughter-in-law and my nieces, but they go to bed early. Sometimes, I continue weaving until 2am,” she shared.
Despite the occasional monotony, she finds solace and joy in her craft and in gardening.
In 2003, Maznah formed the Kumpulan Jo-oh Tompoq Topoh dance troupe, concretising an effort initiated by her late father in the 1960s.
The Main Jo’oh dance is accompanied by music played on the tuntog (bamboo stampers), jule (violin), tambo (double-headed drum), and tawak (bronze gong). It is a vivid expression of the Mah Meri’s connection to their ancestral spirits and the natural world around them.
The troupe has since expanded to include a junior section and has received invitations to perform in places such as Maghribi, Berlin, Thailand and London. “When people overseas watch our performance, they are amazed and they love it,” Maznah said proudly.
She also ensures her skills and knowledge are passed down to her family. Maznah lives with her 36-year-old son, daughter-in-law and grandchildren, and teaches them how to weave and dance, ensuring the next generation carries on the legacy.
Ultimately, her commitment to her heritage is not about obligation – it’s about a pure and undying love for her community.
“This is my tradition, my culture,” Maznah summed up. “If I don’t do it, who will?”