It was a warm morning on May 20th 2023 when Professor Gary shared with us the stories from his book. They were his father’s stories from the past, of wartime sufferings and post-war endeavours in the 1940s to 1950s. He started off by telling us why he named the book as such. The title of his book was taken from a Chinese/Cantonese saying (the Professor used a lot of Cantonese throughout the talk):
说如果天要塌下来用作毯子 Shuō rúguǒ tiān yào tā xiàlái yòng zuò tǎnzi
This literally means if the sky falls, just use it as a blanket to cover. Meaning, whatever happens, take it easy as there are no hardships or problems that one cannot solve.
He explained the picture shown on the cover of the book: the family running towards Kampar Hill, away from the advancing Japanese troops.
Gary just retired as an academician from Nanyang Technological University Singapore and is presently a Visiting Professor at some universities in Asia and Europe. It was during the Covid pandemic lockdown that he started to write this book. He also waited until his father’s passing to record and share his memoirs of those tumultuous years. “I had to wait for three events to come to pass before I could publish my father’s memoirs,” confides Lit, elaborating: “The first was that the Communist Party of Malaya (CPM) laid down its arms, and the second, the death of its leader, Chin Peng. The third was the passing of my father.”
It was not just an oral account of his late father, but he also went on to conduct extensive interviews and he documented the events that took place. He spoke about two difficult periods – during the Japanese Occupation and the post-war aftermath by the British Administration. Gary wanted history to be seen from the view of common folks and not “top-down” accounts as written by the British administrators. In doing so, hidden truths about the past can be reviewed.
He went on to share with us the importance of Kampar Hill, which was strategic for the retreating British soldiers fighting the advancing Japanese troops. Kampar Hill was the last line of defence for the British. Each and every time he passes by Kampar Hill, he can feel the hills coming alive with fighter jets flying past, roaring tigers and the droppings of bombs. When the Japanese occupied Malaya, schools in Kinta Valley such as ACS in Kampar and SMI in Ipoh were used as detention/torture centres. Up until now, students claim some classrooms are haunted, “ada hantu” (there are ghosts).
Gary also shared with us his interviews with a few war survivors who were brutally tortured. What took part were gruesome tortures and murders among the Chinese in Malaya also called Sook Ching (ethnic cleansing) as the Chinese were anti-Japanese and supported the fights that took place in mainland China. At this point, I noticed one or two MVs left the room as the events and details depicted were too intense to bear.
His account of the New Villages was not short of more suffering. Prof broke into his Cantonese again when he spoke about what happened to the villages. How women folks called the village security guards “牛头马脸 Niútóu mǎ liǎn”. Meaning the head of an ox and the face of a horse. For the Chinese, these are equivalent to the guards of hell.
Prof spoke for almost one and a half hours, the signs to stop were raised, and with permission from the audience, he spoke about his late brother, Kapt. Lit Ying Wai. The late Kapt Lit was a fighter pilot with RMAF (Royal Military Arm Force of Malaya). It was hard for Senior Lit to allow Kapt Lit to join the RMAF as he may have to fight his own relatives such as Ah Keong, was their cousin who joined the Communist Party of Malaya (CPM). Tragically, Ah Keong died during a power struggle within the Party, a case of false ideology and broken dreams. Kapt Lit succumbed to his injuries in a road accident after the war. He was only 31 years old.
An article was written by Gary Lit and published in the Sunday Times.
The dragon is one of many commonalities that binds the Malay Nusantara together, and that’s exactly what the ‘Dunia Naga’ exhibition aims to showcase. The temporary exhibition which runs until 30th October 2022 at Gallery 2 in Muzium Negara was curated by Encik Mohd Nasrulamiazam, who is also the deputy director of Muzium Negara.
On 22nd September 2022, En Nasrul, along with Muzium Negara curator Encik Muhammad Azam, took 14 museum volunteers on a special tour of the exhibition which features dozens of artifacts and we were delighted to learn about how this mythical creature played its part in the history of the region.
This report is a combination of the insights shared by the curators, my experience during the tour as well nuggets of information from my own research.
The Dunia Naga exhibition is ongoing at Gallery 2, Muzium Negara till 30th October 2022.
An age-old belief
While the Western world depicts dragons as four-legged, flying animals associated with evil and darkness, the Eastern version is a wingless, slithery creature associated with the seas and symbolises bravery, prosperity and protection.
Some etymology here – ‘naga’, the Malay word for dragon, comes from the Sanskrit word which means ‘serpent’ and is often used in Southeast Asian and Indian literature to refer to mythical beings with divine powers.
The belief of dragons in the Malay Archipelago predates the arrival of Hindu-Buddhism influence. And as Hindu-Buddhist kingdoms were established, as well as with the arrival of Islam later on, the locals’ depiction of dragons continuously evolved to incorporate religious and cultural beliefs.
As we made our way into the gallery, faint dragon roars coming from a video projection truly set the scene for our tour.
To treasure and to protect
Lining the walkway of the entrance was a row of ceramic jars, each glazed with different shades of warm, earthy colours and incised with intricate designs of serpentine dragons seemingly coiling around the vessel. These jars were often used for secondary burials in Borneo, but originated from China as most ceramics are. They are known as Martaban jars, named after the transit port of Martaban in Burma, a common stop in the trade route traveled by the ships carrying this pottery.
These Martaban jars were used for various purposes including secondary burial as well as for storage.
A final resting place is not the only purpose of these jars, though. The jars have also been used for storage of food and treasures or as a display ornament. It is also a symbol of social status, often handed down generations as family heirloom. In fact, such is the value of the jars that it can also be used as dowry and even to pay fines!
Next up in glass showcases were something akin to an artifact in Gallery B – makaras. The dragon makaras here were made in the 15th century AD in Sukhothai, which is the northeastern part of modern day Thailand. These white sculptures of wide-mouthed dragons bearing sharp teeth are a blend of Chinese and Southeast Asian cultures and made specifically for architectural decoration – to be mounted on staircase railings or the edge of rooftops, similar to gargoyles in Gothic architecture.
Dragon makara from Sukhothai Kingdom.
The art of war
Most MVs are pretty familiar with the keris, but the one in this exhibition stands out from the usual with its extraordinary length of about 2 metres. As one may guess based on its regal appearance, the Javanese Keris Besar Madura was mainly used for ceremonial purposes rather than in battles. However, the belief is that the dragon motif on the blade has mystical powers which can defeat the enemy.
En Nasrul standing next to the Keris Madura Besar.
There were also several other dragon spears from Majapahit kingdom and bronze swords from Ceribon, Indonesia on display. Other weapons in this exhibition that’s worth taking a closer look at is a mini cannon in the shape of an elongated dragon, as well as beautifully carved machete sheaths.
Daggers and swords featuring dragon-shaped handles.
Dragons were often featured in weaponry and regalias of many Malay kingdoms as the creature symbolises power, bravery and strength. And some of the regalia still exists, such as the Perak sultanate’s ‘Pontoh Bernaga’ – a pair of golden dragon-headed armbands worn by the Sultan during official state ceremonies and believed to have existed since the days of Melaka sultanate.
The Sultan of Perak donning a pair of ‘Pontoh Bernaga’ during his installation ceremony. Photo credit: Jabatan Penerangan Malaysia.
All work and no play?
So we’ve seen burial jars, makaras, regalia and weaponry, and the second half of the gallery gets even more colourful. One of the first item to catch my eye because of how it glistened under the warm lights, was a gorgeous golden snake-dragon-patterned ‘blencong’ or oil lamp which is used as a light source for wayang kulit.
The pit-stop at the wayang kulit section as MVs discussed dying traditional performing arts.
And as our group stood in front of several wayang kulit shadow puppets featuring dragons, we began discussing about the dying art of wayang kulit and other traditional performing arts such as Mak Yong. I must say, this is one of my favourite things about being an MV – the continuous learning that comes from information sharing and thought-provoking exchanges that take place whenever we gather… OK, now back to the exhibition!
A highlight in this area is also several carved-wood artifacts, including congkak boards shaped like a boat with dragon heads facing out from both ends and reptile-like scales carved deep into its wooden torso.
A boat with dragon head in the foreground and behind it is a bird cage as well as elaborate congkak boards.
There are many fashion pieces too that feature this mythical being. From brass bangles, metal coin belts and traditional Chinese outfit to a sparkly tablecloth embroidered with beads. We also saw everyday objects such as kettles and a comb.
Looking at all the various artifacts and the amount of detail involved in its design, carvings and paintings, you can imagine how much the locals were fascinated by the dragon, be it for religious or cultural beliefs. And the fantastical nature of the subject too, was most likely a driving force for their creativity.
Copper and brass kettles.
Loch Ness of Asia and Horn of the Dragon Princess
Somewhere in the middle of the tour, Nasrul told us about manuscripts and stories or hikayat around the region which mentioned dragons or some version of it and that reminded me of a couple of dragon-related folklore I heard as a child growing up in east coast state of Pahang.
Arguably the most famous dragon in Malaysia, is one that supposedly lurks in the state’s Tasik Chini — Malaysia’s second largest natural lake. Locals, especially the native Jakun tribe, strongly believe that a dragon named Seri Gumum resides beneath the waters. There have also been reported sightings of this creature, though none were scientifically proven.
Locals believe that the twin peaks of Gunung Semukut of Tioman Island are the horns of the dragon princess. Photo credit: Tourism Malaysia.
Another story is about how the beautiful Tioman island came to be. Legend has it that a Chinese ‘dragon princess’ was flying across the South China Sea en route to present-day Singapore when she chose to rest on the waters along the way. She then fell in love with serenity of the location and decided to stay and transform her body into the island and the last remnant of the princess’ existence is her ‘dragon horn’ – twin peaks of Gunung Semukut, the island’s most striking landmark.
The legend lives on…
As we approached the end of the gallery, the spotlight was on a wide range of modern-day items in which dragons continue to feature prominently such as movie posters, video games, toy figurines and books; including one written by our fellow MV Rose Gan : ‘Dragon – (Penang Chronicles Vol 1)’.
The tour took about two hours and although time flew by, it did feel like we travelled through the ages. And the dragon, though ever evolving and ever illusive, has clearly stood the test of time.
Various versions of dragons have made their way into popular culture.
References
Geiger-Ho, M. (2014). Vessels of life and death: Heirloom jars of Borneo. Malaysia – Brunei Forum Proceedings, 49-56.
Pertabalan Duli Yang Maha Mulia Paduka Seri Sultan Perak XXXV Sultan Nazrin Muizzuddin Shah Ibni Almarhum Sultan Azlan Muhibbuddin Shah Al-Maghfur-Lah Sultan, Yang di-Pertuan Dan Raja Pemerintah Negeri Perak Darul Ridzuan dan Jajahan Takluknya. (2017). Putrajaya: Jabatan Penerangan Malaysia.
Reger, K. (1997). Malaysia Singapore Brunei. Munich: Nelles.
Robe’ah Yusuf, Fathiah Izzati Mohamad Fadzillah, Jamilah Bebe Mohamad, & Jamal Rizal Razali. (2022). Pahang State Folklore Based On The Legend Of Chini Lake Dragon. International Journal of Humanities Technology and Civilization, 7(1), 22–25.
Tu, P.A. (2009). The Signification Of Naga In Thai Architectural And Sculptural Ornaments.
Wilson, J. K. (1990). Powerful Form and Potent Symbol: The Dragon in Asia. The Bulletin of the Cleveland Museum of Art, 77(8), 286–323.
It was a long awaited event. The morning of March 12 saw 8 museum volunteers waiting eagerly at the entrance of Gallery 2 for the walking tour of the taxidermy exhibition. Khairill Jemangin, Deputy Director cum curator from the Natural History Museum, greeted us at the entrance to Gallery 2. He brought along with him two taxidermists (Mohammed Ali Hj Mohaideen and Mohd Hasnor Tajur Amar).
Taxidermy…what is it? To the ordinary folks, the exhibits are just preserved and stuffed animals. Are they real? How is it different from mummification? Well, Khairill answered all our questions as he took us through the wonders of the taxidermy exhibition, otherwise known as the Eternal Life Exhibition.
The tour started with a brief explanation of the meaning of taxidermy. The word taxidermy originated from two Greek words “taxis” and “derma” meaning skin arrangement. It is a technique between art and science where only the skin is preserved and then mounted on an artificial body to make it appear lifelike as if in its natural habitat. The purpose of this preservation is for scientific research, education, exhibitions and even for references.
The tour continued with a journey down memory lane. Taxidermy started in 1400 when people became interested in the art of taxidermy. During those early years, museums all over the world started collecting fauna and flora specimens. However it was the British Museum that made taxidermy important. The British Museum had a huge collection of specimens and this spurred further interest in taxidermy. Taxidermy started in Malaysia as early as in the 1880s in the Perak Museum, Sarawak Museum and Selangor Museum, pioneered by foreign zoologists. The Selangor Museum at that time had a large collection of fauna and flora specimens. Unfortunately Allied Forces accidentally bombed the museum and its exhibits during the Japanese occupation of Malaya. Local taxidermists involvement was believed to have begun when the new Muzium Negara was built in 1963, on the same spot as the Selangor Museum. Lack of funding and staffing have been perpetual issues facing the Museum. It was only in 1968 that the first Natural History Gallery was set up.
After the brief explanation on the history of the development of taxidermy in Malaysia, Khairill explained the main purpose of this exhibition was to create an awareness of Taxidermy and an appreciation of the animals that have were preserved as some of the animals may have become extinct. There are 126 preserved specimens in the exhibition and we were told to look out for 2 specimens that are not real! Some specimens were donated by other museums in the world and Malaysian taxidermists did most of the exhibits.
The tour continued with the showcasing of tools and materials used in the taxidermy process. Techniques have changed from olden days to modern techniques. Technology has enabled body parts to be lighter and easier to handle. Modern day taxidermists now wear protective gear as they go about their tasks. We were shocked to learn that taxidermists during those early years did not wear any protective gear at all. Perhaps during those early years, there were no dangerous viruses lurking in the bodies of the animals that they were working on?
The exhibits range from fishes, birds, frogs, rodents, reptiles and mammals. Many of the displays have their own story to tell. The preservation process sometimes takes a few years to complete. The smaller the animal, the more difficult it was to preserve, (much to our surprise). Wee Ho Cheng, a first generation local Taxidermist, led the early Taxidermy works together with Zainal Abidin and Abdullah Abu Hassan (2nd Generation Taxidermists). Taxidermy projects started as early as 1962 and animals which were preserved included a strutting pheasant, a sun bear, an otter, a tiger, and a saltwater crocodile, all of which are currently exhibited in the Gallery! Two animals deserve special mention! Wee Ho Cheng and Zainal Abidin stuffed the otter that is now 43 years old. The other animal is the pheasant that was stuffed by a Danish taxidermist, Arne Stockholm Dyhrberg. These two animals deserved special mention because they were the first preserved animals exhibited in Muzium Negara.
Pheasant found in Malaysia, prepared by Wee Ho Cheng
Stuffed Otter. Prepared by Wee and Zainal.
Collection of specimens is still ongoing subject to the Wildlife Conservation Act 2010. Muzium Negara’s taxidermist team used animals which were found dead or killed. Some were donated by the public. An example was the iguana, which was donated by Jean Leong, one of our Museum Volunteers.
The iguana specimen.
The Sumatran rhinoceros (preserved in 1902) is now extinct in Malaysia. The display is now 120 years old. Thanks to taxidermy, the younger generation can see a Sumatran rhinoceros. The Malayan tapir (an endangered species) is an icon of Malaysia, just as the panda is to China. There is also an Asian elephant fetus that was preserved in 1973. The fetus died while being removed from its mother which was found dead. A preserved tiger, which was donated by Datuk Mahmood, had bullet wounds. As you can see, each of the displays has a story behind it.
A 120-year-old taxidermied rhinoceros specimen.
The Museum of Queensland, Australia gifted 2 preserved birds one of which is a Kookaburra. Do you know why it is called a laughing kookaburra? That is because its calls sound like a man laughing! That triggered some singing from members of the group. There was a bird, the hawkeyed eagle that was preserved at the time when the country was experiencing a haze. Apparently the bird dropped dead in front of a member of the museum staff due to the haze. The bird was quickly taxidermized. Khairill even showed how to differentiate between water birds.
Moving on, there is a section of the gallery dedicated to a video showing the taxidermy process. It was a much-needed break to rest our feet! After the video feed, we were shown a display of animal skeletons. The process is called articulation. Articulation is the technique of cleaning, degreasing, bleaching and assembling animal skeletons for preservation. We could see a lot of time and skill put in to assemble the skeletons. At the exit, there is a skull of an elephant, believed to be about 40 years old.
After about 2 hours, the guided tour ended. It was indeed an eye opener for all who joined the tour. This tour has been a very informative tour, thanks to Khairill, Ali and Hasnor.
The Exhibition has been extended to 17 April 2022 . There are plans to have a travelling museum and the first stop will be in Penang.
On 17 February 2022, a small group of Museum Volunteers (MVs) had the privilege of a guided tour by the curator of “The Power of Gold” exhibition at Gallery 1, JMM. It was a great opportunity for everyone to experience the exhibition, learn about the artifacts on display and get insider information on the preparation for the exhibition.
This temporary thematic exhibition demonstrates the capacity of JMM to take risks and to venture beyond the historical narrative in the national museum. But taking risks also means having to meet challenges and make choices to offer the audience a pleasant and fruitful experience.
A golden theme for an exhibition
The attractive and ambitious title: “The Power of Gold” sounds like a promise. The viewer expects a journey through time and space that will lead him to better understand the true power of this mysterious and precious metal.
Gold is found all over the world from the earliest times until today. Thus, covering such a vast territory and such a long period of time in the restricted space of Gallery 1 is a real challenge. The main problem being that extensive research leads to so much knowledge that it is difficult to render it all in one exhibition.
The multitude of themes resulting from this two years extensive research can be found in the titles of a dozen panels arranged on the walls of the gallery. These are: “Gold the king of metal”, “Gold and history”, “Gold and conflict”, “Gold and social status”, “Gold and Governing status”, “Gold from cultural perspective”, “Emas dalam sosio budaya masyarakat melayu” (Gold in Malay socio-cultural society), “Gold in the socio-cultural Chinese society”, “Gold in the socio-cultural Indian society”, “Gold and transformation”, “Gold in expressions”, and “Did you know?”
Each theme covers a field of knowledge so large that it could form an exhibition on its own. So, it can be a little frustrating not to have more detail on each topic. However, the absence of detail can also be seen as an invitation for viewers to dig deeper on their own.
Another challenge in dealing with a subject from so many different angles is to articulate the narrative of the whole exhibition. These panels refer to various places and periods of history ranging from the time of the pharaohs in Egypt, the Inca and Aztec civilizations, the gold rush in California (1848-1855) and contemporary and historic Malaysia. Switching from one to the other can be a little confusing for some viewers. But again, it can also be a choice to let the audience wander around the room.
When gold is an eyeful
The exhibition stretches the entire gallery guiding the viewer through a U-shaped path to end up in the small viewing room, which reconnect to the departing point. Hence, the exhibition can be visited both ways – beginning or ending – with a short film featuring what is gold, how it is shaped and some extract of archival films about gold rush and gold mining.
The numerous artifacts are displayed in glass cases on pedestals, at eye level, all along the path. Labels affixed to each window provide information on the artifact. The labels (printed in black on transparent stickers) are sometimes difficult to read due to the small size of the characters and the light reflections. However, a QR code pasted on each window also allows access to this information (in Bahasa Melayu and English) via a mobile phone.
The floor covered with yellow carpet and the walls painted in a goldish yellow might recall gold and royalty, but the choice of a tone on tone for the walls and the floor does not allow gold artifacts to show their true brilliance. A more sober design with darker colours and few directional lights projected onto the objects would certainly have given a more dramatic effect to the exhibition. This would have avoided eye strain and enhanced the magnificence of the shine of gold.
When gold triggers creativity
The exhibition reveals an interesting collection of pieces, most of which are not exhibited in the museum but kept in a secure place with limited access. This exhibition is a unique opportunity to discover these artifacts and learn more about them.
The exhibition includes a wide variety of artifacts from various countries in the region such as a few beautiful keris from Sulawesi, a long sword from Java and a sword from Turkey. There are also some memorabilia. Beside two gold commemorative coins issued on 31 August 2013 for the National Museum’s Golden Jubilee celebration, there also stands a replica of a golden rubber tree produced in 1903, by the Malaysian Rubber Farmers Association.
Some exquisite royalty-owned artifacts are also on display, such as sets of betel, belt buckles, and a modesty belt (a heart-shaped piece of silver, partially gold-plated, used to protect the genitals of the daughters of kings and aristocracy on the coast east of Peninsular Malaysia).
A section is dedicated to regalia with a Tengkolok diRaja (Royal headdress), a Royal Tiara, a Keris and two sceptres. Not forgetting two replicas of Bunga Emas, one from Kedah and the second from Kelantan
Sir Franck Swettenham’s walking stick is on display. The head of his wooden stick is decorated with a gold-carved ‘awan larat’ design (traditional Malay motif recalling ‘meandering clouds’).
The show also features ornaments and jewellery such as hair combs, hair pins, a Melanau (an indigenous group of Sarawak) headdress, an amulet necklace, some dokoh (a necklace with three vertical pendants with a pin behind each pendant to fix the kebaya.), various earrings from different communities in the region and two theatre headdresses from Thailand. Also on display are glass holders, a kendi and a rebab (music instrument) from Bali.
Additionally, a tribute is paid to Paralympic Athletes Muhammad Ziyad Bin Zolkifli, Mohamad Ridzuan Bin Mohamad Puzi and Latif Bin Romly for their gold medals in their respective fields. And to Hashim Mustapha for the ‘Golden Shoes’ award in 1993 and 1994.
All the displayed objects are beautiful, but some attract attention because of their originality or because they are rarely displayed. This is notably the case of the examples in the following section.
Golden shoes won by Hashim Mustapha during the 1994 Dunhill Premier League
The golden nuggets of the exhibition
A Zam-Zam water drink set. This silver and half gold-plated set with Jawi-engraved inscriptions and gold covers was finely crafted in 1786. The quality of the artwork demonstrates the value and significance of this water brought back by pilgrims from Umrah or Haj.
A beautiful bowl dated 1816 with a floral motif carved outside and inside the bowl, and with a Jawi inscription on the base – “Tuanku Ampuan Besar Selangor”. It was used by the royal family on special occasions such as weddings and berendui (a Malay ceremony to present a newly born baby in a swing along with various ceremonies to bless the infant and the mother).
Penyangkut Kelambu / Mosquito Net Hanger: This gold mosquito net hanger has the shape of a cassowary. It is used by the Royal family and the aristocracy as a tool to hang curtains or mosquito net on the head of the bed. It is also used as a luxurious decoration in the bedroom.
Penyangkut Kain / Cloth Hanger: the small sparrow-shaped gold item from Kelantan (circa 1800) was used as a sheet hanger after the circumcision ceremony to cover the body of the young boy while preventing any contact with the sheet.
Hiasan Tepi Bantal / Pillow Edge Decoration (Melaka, 19th century): made from gold pieces and used to decorate the edges of a round pillow, this piece is finely decorated with peacocks and Chinese flowers motifs.
It is the power of gold to transcend human imagination and lead to the creation of such refined and beautiful artifacts. But it is the power of the exhibition to share this important collection of the National Museum. To be accessible to a wider audience, the exhibition, which runs until March 18 at Gallery 1, will then travel to Melaka and other locations around the country.
P.S. Many thanks to Lam Lai Meng from Batch 33 for translating from Bahasa Malaysia to English during the tour.
On 22nd January 2022, Ar. Ahmad Najib Ariffin (Nadge) hosted a talk on “Malay Architecture and Traditional Houses” for MVJMM. Following the talk, he gave a detailed tour of Istana Satu, located on Muzium Negara’s grounds.
In our haste to embrace the ‘modern’ and the ‘progressive’, Malay houses in rural areas have been and are being abandoned in favour of modern structures in the city. However, some scholars and traditionalists have come to appreciate the intrinsic philosophy and beauty of Malay houses not only in Malaysia, but also throughout Nusantara and the wider Malay World.
Elevated dwelling spaces built with organic materials, these examples of vernacular architecture are prone to the ravages of climate, and many have not survived the centuries. Conservation efforts are being undertaken to preserve some fine examples of built structures, which stand testimony to the architectural mastery and artistry of the peoples of the Malay World.
Ar. Ahmad Najib Ariffin (Nadge), Director, Nusantara Academy of Development, Geoculture & Ethnolinguistics, is at the forefront of preservation and conservation of some of the existing structures of traditional buildings in Malaysia. Historian, conservationist and educationist, this zealous architect is fervent in his mission to raise awareness of the value of Malay architecture and tradition.
In a talk to Museum Volunteers on 22 January 2022 titled Malay Architecture & Traditional Houses: history, traditions and transitions, he explained how architectural heritage plays an important role in providing a wealth of materials in comparative forms of styles and their applications in structures meant to be comfortable dwelling spaces in harmony with the natural environment.
In his opening slide of a Malay Kampung in Klang, Nadge introduced the setting as ‘one of the most environment-friendly civilisations in the history of Earth’.
Attap houses close to the banks of the Klang River, circa 1920. Attribution: Cheah Jin Seng. (2011). Selangor 300 Early Postcards (p. 160). Editions Didier Millet.
In a virtual experience with Nadge, we heard five Malaysian stories spanning 15,000 years. He spoke on:
Sundaland, the submerged continent.
Sungai Batu in Kedah. Dating to the 8th century BCE, it is Southeast Asia’s oldest-known built site. It was an iron smelting and export complex made of brick structures.
The Melaka Empire, which was the centre of trade and religion in the region until the Portuguese conquest in 1511.
Through these stories, Nadge shed light on the architectural origins of the Malay House. The layout of traditional Malay houses is seemingly random and gives a non-uniform look but the wisdom behind Malay architecture surprises the uninitiated. The well thought out design, use of natural resources and the overall functionality represents the identity of a people who have lived in harmony with nature since ancient times.
Raised on stilts, the post and lintel structure with wooden or bamboo walls, topped by sloping roofs of thatch with gables on both sides, the typical Malay houses are a fine example of sophisticated rural domestic architecture.
Stilts ensure minimal impact on the ground, the earth space they respect, to avoid human-animal conflict. The raised dwelling is also a safeguard from floods. Height of stilts of hard, durable wood such as cengal, vary according to location – inland or coastal. Being in the tropics with generally high daily temperatures, the earth-floor space allows temperature regulation, ventilation and unimpeded air circulation. A member of the audience commented that it also facilitates sweeping the floor with the dust and dirt passing through the gaps of the wooden floor to the ground beneath!
Of the three sections of the house, the main section is the Rumah Ibu where the family eats, relaxes and entertains guests. The length of this section is determined by the span (depa) of the mother’s/matriarch’s arms. Windows along the walls are long and the entrance is through a short flight of steps or stairs.
Rumah Dapur is the kitchen annexe. It is a separate building but linked to the main section by a passageway. It is an ingenious plan for when the kitchen catches fire – the stilts are cut off and thrown away from the house to be doused or into the river if there is one nearby.
Rumah Tengah is the area for sleeping. The rooms are partitioned off, usually by curtains. The lavatory and bathroom are not within the main house, but built some distance away. The outside of the house is usually shaded with trees and vegetation. A short flight of steps or stairs leads to the elevated main section. The steps may be plain or decorated with tiles.
Example of a Malay house in Kampung Bharu
It can be observed here that the house is of a modular construction. As the family expands, additional units are added on, as in the longhouses of Sarawak.
Every region has its own style and this is most prominent in the style of the tropically suited roof – the long ridge roof with slopes for humble dwellings. Wealthier families have the five-ridge roof. Carved panels below the roof edges cut glare during the day while they adorn and add a touch of finesse to the home.
Sometimes a crossed frontal structure is used to anchor and stabilise the roof edges against strong monsoon winds and heavy rain as experienced in the east coast although this crossbeam is a feature on palaces and public/government buildings. Look out for this in Museum Negara’s front entrance.
Traditional Malay houses have their own form of geomancy. The ‘tiang seri’, a freestanding pillar without any joints, is the main pillar of the house and is in the main section.
A defining characteristic of the traditional Malay house is its construction without nails or metal supports. Builder artisans are adept in the art of cutting wood in such a manner that pieces slide together and solidly interlock. Interlocking edges and ends of wood are tightened by wedges. What a genius of wooden carpentry! Such a construction can withstand earthquakes. Another advantage is that it can be easily dismantled and rebuilt in another location.
Traditional Malay construction methods have been applied in palace and mosque architecture, with details that are more intricate, scale and complexity. Nadge cited Istana Kenangan in Kuala Kangsar, Perak, and Istana Sri Menanti in Negeri Sembilan as buildings with great cultural aesthetic value.
Istana Lama Seri Menanti, an elegant five-storey timber palace, was built in the 20th century by expert Malay craftsmen and carvers. Designed by two skilful local master builders, no piece of iron nail or metal screw was used. It is recognised as the tallest wooden palace in Southeast Asia. Recently restored, this architectural gem was opened as a Royal Museum in July 1992. A visit by Museum Volunteers with Nadge as guide is scheduled on 2 March 2022 for an on-site study of the elements of Malay architecture incorporated in its construction.
Istana Kenangan was once a royal residence, but now the Royal Museum of Perak. This 2-storey building was built in 1925 without a single nail. Its facade is beautified in its state colours of yellow, white and black. The elements of Malay architecture – the stilts, long windows for ventilation, multiple roof ridges and carved overhangs – are plainly evident.
The flexibility of Malay architectural designs in traditional mosques is another fascinating area of observation and study. Built of wood, old traditional mosques are in need of conservation. Among these are Masjid Lama Kampung Kuala Dal in Kuala Kangsar, Perak and Masjid Tanjung Sembeling Lama Seri Siantan in Negeri Sembilan.
Other extant examples of palaces, mosques and houses with designs and range of Malay craftsmanship can still be seen in Malaysia. With increased awareness in the value of these buildings comes renewed interest in their conservation.
Restoration of Rumah Empang Batu, Negeri Sembilan. Images taken from Nadge’s presentation slides.
Internationalisation and mechanisation leading to shorter building time have led to rejection of traditional architecture. Ardent architects such as Nadge and those of like mind draw attention to the Malay contribution to the technology of architecture. The Malays were among the pioneers in the art of modular construction and prefabrication long before these ideas re-surfaced in architectural journals.
Let us not forget and discard previous knowledge of principles of building construction that were very suitable in the circumstances where people lived. Although some may appear outdated, it is only because we have forgotten the wisdom that came with traditions. Have modern designs and technologies that replaced those solved present living problems while creating new unsustainable ones?
The MV Focus Team organised a visit to the Islamic Arts Museum Malaysia (IAMM) on Thursday 16 May 2019 for around 20 MVs. For many MVs, it was their first time at the IAM. What a fascinating visit it turned out to be. A tour of two hours was definitely not long enough to fully appreciate and absorb the beauty of the artefacts on display. IAM curator En Zulkifli and his team (Hariz, Dalia and Amin) showed us around the special exhibition on Qajar Ceramics and the main galleries.
At the end of the tour, organiser Mona Tan presented the book “The Chitties of Melaka” authored by Karen Loh and Jega (our very own MVs) to En Zulkifli.
Arabesque Design
En Zulkifli explained to us what arabesque design is all about. Arabesque is a style of decoration characterised by intertwining plants and abstract curvilinear motifs. The ‘circular’ intertwining arrangement of the motifs signifies something that has no beginning and has no end. According to Encyclopaedia Britannica, arabesque was originally derived from Hellenistic craftsmen working in Asia Minor, and originally included birds in their natural setting. This style of decoration became highly formalised when Muslim artisans adapted this form around 1000 CE. The arabesque became a very essential part of the decorative tradition in Islamic cultures. While there is widespread understanding that for religious reasons, no birds, beasts nor human figurines are allowed, representations of Islamic religious figures are found in some manuscripts from cultures such as Ottoman Turkey and Mughal India. These pictures were meant to illustrate the story and not to infringe on the Islamic prohibition of idolatry, but many Muslims regard such images as forbidden. In secular art of the Muslim world, representations of human and animal forms historically flourished in nearly all Islamic cultures, although, partly because of opposing religious sentiments, figures in paintings were often stylized, giving rise to a variety of decorative figural designs.
Qajar Ceramics : Bridging Tradition and Modernity
This special exhibition is on from 21 March 2019 – 31 December 2019. The exhibition features Qadari ceramics from Iran, from the 19th to early 20th century. The Qadari dynasty saw seven Shahs ruling in the northern part of Iran (then Persia). The Qajari era saw a lot of contact with European countries, and Qajari paintings of this period exhibit some European influences. The colour blue features prominently in Qajari ceramics. Qajari ceramics are very densely decorated with figurative images of humans, fauna and flora.
Underglaze-Painted Tile Panel, Qajar Iran, 19th century CE , Photo: IAMM website
The IAM – Southeast Asia’s largest museum of Islamic Art
It has 12 spacious,
well lit, comfortable main galleries:
Architecture
Qur’an and Manuscript
India
China
Malay World
Jewellery
Textile
Living With Wood
Arms & Armour
Coin & Seal
Metalwork
Ceramics
Architecture Gallery
This gallery features the diverse architecture of famous mosques and mausoleums from the Islamic world. Visitors are able to see scale models of the Grand Mosque in Mecca, the mud mosque in Timbuktu, the Alhambra in Granada, the Taj Mahal in Agra, the Kampung Laut Mosque in Kelantan (wooden mosque built without using nails), and many more. From these designs, it was obvious that domes are not an essential part of the architecture of mosques. En Zulkifli explained that domes were introduced more for acoustic effects in the ages before the advent of sound systems.
Model of Court of the Lions, Alhambra, Granada Spain, 14th century CE, Photo: IAMM website
Model of Ibn Tulun Mosque, Cairo, Egypt, 9th century CE, Photo: IAMM website
Whilst touring the Architecture Gallery, Lai Meng informed En Zukiflee about a unique little mosque found in Padang Rengas, Perak. It was built in 1936 and is the only mosque in the country made of wood and woven bamboo.The colours of the woven panels were in black, yellow and white, reflecting the colours of the Perak flag. It was in use until 1976 when it fell into disrepair. The National Heritage Department restored it in 2008 and in 2017 it was turned into a gallery called Galeri Masjid Ihsaniah Iskandariah. A picture of this mosque is below.
Qur’an & Manuscript Gallery
This gallery highlights the development and emergence of different Arabic script styles.
Book Cover
Quranic leaves on vellum, 9th-10th century
India Gallery
The Mughal era (1526 – 1828) is considered as the most brilliant period of Islamic art in India. Many features of Mughal art diverged from mainstream Islamic art with figural representations and production of detailed miniature paintings. The Mughal era saw the Islamic tradition of metalworking taken to extreme levels of opulence. Gilded silver, brass, enamels and jewel-inlaid gold were commonly used for objects used in the royal court.
Emperor Shah Jahan watching a wrestling match, circa 1750 CE. Photo: IAMM website
Indo-Portuguese Ewer, Gujarat, India, 17th century CE. Photo: IAMM website
China Gallery
This gallery displays many ceramic artefacts, which reveal Muslim influence. Traditionally, calligraphy did not play an important part in Chinese ceramics. However, Arabic Islamic calligraphy made a significant appearance in blue and white ceramics during the Ming dynasty (1368 – 1644) inscribed on ceramic ware and scroll paintings.
Sino Islamic brush pot, Qing Dynasty, China, 19th century CE. Photo: IAMM website
Blue and white porcelain ewer, Jiajing Period, Ming Dynasty, China, late 16-17th century CE. Photo: IAMM website
Malay World Gallery
Subjects of Islamic expression were found in stylised plants, fruits and clouds and in a variety of media such as textiles, paintings and objects.
Silk with supplementary weft gold thread, East Coast, Malay Peninsula, 20th century.
Textiles in the Islamic world were objects that portrayed status, wealth and religious allegiance. The richness of these textiles were much sought after beyond the borders of the Islamic empires. Expertise in the production of textiles shifted from Arabia to the eastern end of Islam, to countries like India where the Mughals were responsible for some of the greatest advances in textile production. Textiles were used for decorative and sartorial purposes.
Silk Rampas Robe. Sogdiana Central Asia, 7th-8th century CE. Photo: IAMM website
A large ottoman brocade panel, Turkey. Late 16th/early 17th century CE. Photo: IAMM website
Arms & Armour Gallery
This gallery displays many types of weapons used in Islamic countries, mainly swords and daggers with beautifully carved or etched hilts and scabbards. The swords usually bore the name of its maker as a brand. These beautifully decorated weapons were usually used for ceremonial occasions by Islamic leaders of the era.
Ottoman sword signed by Ahmad al-Khurasani, Turkey, 11th century CE
Buffalo and Ivory Powder Horn, India, 18th century CE. Photo: IAMM website
Jewellery Gallery
The Islamic lands produced some of the most magnificent and finest jewellery in the world. Islamic jewellery falls into two broad groupings – the exclusive and the ethnic (among tribal groups). Lavish and opulent use was made of gold and gem stones. The Mughal period in India was an era of opulent jewellery designs.
Gold necklace, Kerala, South India, 19th century CE. Photo: IAMM website
Crown inlaid with gemstones, Morocco, 1800CE. Photo: IAMM website
Coin & Seal Gallery
Islamic coins were highly calligraphic with religious inscriptions. Portraiture was eventually removed in most parts of the Islamic world in keeping with religious teachings. The IAM has a wide-ranging collection of seals that date back several centuries. These seals were used for official or personal purposes.
Gold Dinar, Ottoman, 1876 CE. Photo: IAMM website
Silver Ring with Seal, Timurid or Safavid, 14-17th century CE. Photo: IAMM website
Metalwork Gallery
Craftsmen of the Islamic world were experts in metalwork, creating beautiful a vessels in base alloys like brass and bronze. Vessels of gold are almost non-existent due to religious disapproval and destruction due to political upheavals and economic crisis. The craftsmen were exceptionally skilled in metalwork with exquisite inlays of precious metals like gold, silver and copper. Iran from the 9th and 10th century onwards became the leader in metalwork with intricate inlays. The art of metalwork with inlays spread to countries like Syria, Egypt and China. In China, copper alloys were supplemented by cloisonne.
Bronze Basin, Iran, 15th century CE. Photo: IAMM website
Brass Pilgrim Flask, India, 17th century CE. Photo: IAMM website
Living with Wood Gallery
Islamic craftsmen also excelled in woodworking. Crafts of wood exhibited intricate carvings and were often inlaid with precious materials like mother-of-pearl, tortoiseshell and ivory.
Rosewood Throne Chair, India, 17th-18th century. Photo: IAMM website
Indian hardwood architectural facade, Gujarat, India, late 18th/early 19th
Ceramics Gallery
Ceramics were an outstanding component of Islamic art. Influences came from many directions, particularly China, but each Muslim region stamped its own identity on the wares produced. Islamic ceramics have in turn influenced ceramics produced in Europe.
Lustre-painted Ewer, Kashan, Iran, 17th century CE. Photo: IAMM website
On 9 April 2019, the MV Focus Team organised a tour to the Batu Caves complex, one of the most revered Hindu pilgrimage locations outside of India and also one of the most cherished Hindu shrines for the Thaipusam festival in Malaysia.
By 9am, 18 MVs had gathered in front of the staircase (ground level) leading to the main cave right behind the tallest Lord Murugan statue. Our guide for this visit was the knowledgeable Mr Rasianthiran Menayah (Mr Rajan) who took the group through the temples and imparted his knowledge on Hinduism. The sketch below summaries the order of places we visited.
Mr Rajan informed us that the Hindu deities take on myriad forms; they are sometimes attended by their Shakti (spouse in common parlance). They are usually identified by their specific animal mount (referred to as vahana). They can also be identified by physical characteristics and symbolic implements or weapons they hold or wear.
1. Vishnu Temple (next to KTM Komuter side exit) 2. Hanuman Statue 3. Ganesh, Siva, Shakti Temples 4. Main Temple, Lord Murugan Temple 5. Navagraha Sannathi (Temple of Nine Planets)
In Hinduism, the worship of the different gods is not mutually exclusive but in fact is complementary though often devotees would identify with one as their supreme God. The common sects are Vaishnavism (Vishnu), Saivism (Siva), and Shaktism. The most popularly worshipped by Hindus in Malaysia are Vishnu, Shiva, and the Goddess Shakti in her various aspects, and Shiva’s two sons, Ganesha and Murugan.
Mr Rajan told the MVs that one can tell exactly which school of theology a devotee is coming from by the colour and shape of the tilaka marks that is placed on their foreheads. Shaktas, followers of Shakti wear a large red dot on their foreheads.
Left: A Vaishnav Hindu with a long vertical tilaka intercepted by an elongated ‘U’. Right: A Shaiva Hindu with a tilaka of 3 horizontal bands and one vertical band in the centre Photo credit: https://en.wikipedia.org/wiki/Tilaka
The temples visited are described below in the order visited:
1. Vishnu Temple
This temple is known as Sri Venkatachalapathy Swamy Sannadhi. It is dedicated to Lord Vishnu, who is distinguished by a discus (chakra) and a conch-shell trumpet (shankha). In the picture below, we see the chakra and conch at the top of the shrine. Vishnu’s vahana (vehicle) is the eagle-like Garuda, placed in a separate niche in front of the main sanctum.
Vishnu is the deity that preserves and protects the universe and he has appeared on the earth many times through his avatars (incarnations) to save humankind from natural disasters or from tyranny. Some of Vishnu’s well-known avatars are Rama (as in the Ramayana epic)’ Krishna, who destroyed the wicked and established a new order; and Buddha, the founder of Buddhism.
Vishnu’s consort is Lakshmi, the goddess of wealth and good fortune, who is offered special worship during Deepavali. She is also represented as the wife of each of Vishnu’s incarnations, including Sita, wife of Prince Rama, and Rukmini, wife of Krishna. Vishnu is also represented in sculpture and paintings in human form, often painted blue. According to Mr Rajan, Lord Vishnu, the preserver, is considered by his worshippers to be the greatest among the gods.
At this temple, the MVs experienced their first pooja where the
priest:
offered a lighted flame and worshippers wave the flame towards their face,
next he put some scented water on our palms for us to sip and
he then placed a silver cap on our heads before putting pottu onto the forehead. Mr Rajan informed that the silver cap is called a shasthari and that is represents God’s feet; it is symbolically touched to the head of worshippers as a blessing. Although a red pottu is commonly worn and associated with a married woman, it can also be used to ward off bad luck.
The priest placing the shasthari on one of the volunteers’ head.
Located perpendicular to the Vishnu temple is a temple dedicated to Gajah Lakshmi, know as Sri Alarmelmanga Thayar Sannathi. In this aspect of Lakshmi, she is flanked by elephants.
2. Hanuman Statue
The second place we visited was where a large towering statue of Hanuman stood. Hanuman is a semi-god, he is regarded as the perfect symbol of selflessness and loyalty for his bravery, strength, perseverance, and devoted service to Lord Rama. During our visit, the place was undergoing major upgrading and plastic sheets were placed over the temple area.
An individual worships Hanuman to ward off /counter bad karma brought about by selfish actions and the believer seeks Hanuman to grant him/her with fortitude and strength in one’s journey through life.
3. Ganesh/Ganapathi, Sivan and Shakti Temples
We next made our way to this colourful building. In it, we find Lord Ganesha or Ganapathi, who is also popularly accepted as the first son of Siva and Parvati.
Mr Rajan informed us that the elephant-headed Lord Ganesha is worshipped at the start of any undertaking; and his vahana is the mouse. The reason Lord Ganesha is the first deity worshipped is to help ward off obstacles that might get in our paths while worshipping other deities.
Mr Rajan highlighted that a daily ritual to Lord Ganesha should include the thoppu karanam. This requires the person to first cross their arms and holding the ear lobes between the tips of the fore and middle finger, then they bend their knees and get-up doing this three times before he/she sits down to meditate. This is now accepted as “super brain yoga” as the activity improves one’s focus and brain’s development.
Next, the group moved upstairs to the Sri Sivan Temple where Lord Siva shrine is located and MV group were invited to another pooja by the priest. Here in this shrine, we see Siva’s vahana the bull.
As we circumbulate Lord Siva’s shrine clockwise, the first niche held an image of Ganesha and as we complete the circumbulation, we saw a deity that was garlanded with lime in the last niche. This Goddess Durga; she is worshipped to ward off evil spirits by her devotees. Lime is believed to help remove evil spirits, and thus the lime garland is associated to Durga and offered to her during worship. Durga is said to be able to slay demons that the other gods are unable to control. One of her most celebrated feats is the destruction of the buffalo demon Mahishasura. Her vahana is a lion and in the picture below, she is seen subduing the buffalo demon.
Next, Mr Rajan directed our attention to a Lord Nataraja (Lord of the Dance) image located in another corner of the upper floor. This particular statue shows Lord of the Dance lifting his right foot. Who is this Lord of the Dance? It is another representation of Siva and as Lord of the Dance he controls the movement of the universe. He is also associated with fertility. Sculptures of Lord Nataraja typically show him dancing in an aureole of flames, lifting his left leg and balancing on his right foot over a demon or dwarf who symbolises ignorance.
Nataraja is commonly depicted with his left leg raised; he dances while balancing on his right leg. This rare image showing his right leg raised comes from an incident when the Pandya King Rajasekhara requested him to raise his right leg as the King was afraid that Nataraja, balancing only on his right leg, may damage the said leg.
Earlier, one of the priest had reminded us that the Batu Caves temples would be closed for lunch break at 1 pm and as such, by 11.45 am, we quickly made our way to the base of the 43 metre Lord Murugan statue to ascent the steps.
4. Sri Velayuthar Temple (Main Temple) and Lord Murugan Temple
My initial thought of the 272 steps climb up was it would be challenging. In actuality, it was not very difficult and I was delighted to achieve the journey to the top in less than 5 minutes. Visitors are reminded to be mindful of the monkeys on the journey up as the monkeys are reported to snatch items and dangling plastic bags from visitors.
As I walked into the cave at the top, I found myself standing below a massive open area with a ceiling that is said to be over 100 meters in height. After descending some steps and just on the left of the cave before entering the Main Temple (Sri Velayuthar Temples) is the Temple Cave. It was in 1890 that K Thamboosamy Pillai installed the murti (consecrated statue) of Sri Murugan Swami in this cave.
After spending some time here observing the priests performed poojas for some devotees, we ascended the next short flight of steps, and arrived at the most sacred Lord Murugan Temple.
Lord Murugan Temple
This simple yet colourful Lord Murugan temple is illuminated with natural light from a big hole at the top. For a token fee, visitors can seek for a personalised pooja from the priest.
There were several other shrines in this temple including one of Lord Nataraja in the usual left foot raised in dance pose together with his consort, Parvati on his left.
By 12.45pm, we made our way down the 272 steps and rewarded ourselves with a sumptuous vegetarian set lunch at one of the many vegetarian restaurants in the complex.
5. Temple of the Nine Planets (Navagraha Sannathi)
After lunch, we made our final stop at the Temple of the Nine Planets, located towards the left of the 43-metre Lord Murugan statue. Here we find nine colourfully clothed deities or Navagrahas. The Navagrahas comprise of five true planets that are visible to the naked eye (Venus, Mars, Jupiter, Saturn), the Sun, the Moon, Rahu (north lunar node) and Ketu (south lunar node). In this temple, Surya (Sun) is in the centre facing east; around him are the rest of the planets facing in different directions, but not towards each other.
Positions of the Navagraha and the directions they are facing
Astronomically, Rahu and Ketu denote the points of intersection of the Sun and the Moon as the Sun and Moon move on the celestial space. Eclipses occur when the Sun and the Moon are at one of these points, thus giving rise to the myth of the swallowing of the Sun by the Moon.
We were told Hindu astrology is based upon the configuration of the Navagrahas (nine planets) and their collective influence on the world in general and on each individual in particular during our birth. They are worshipped in Hinduism either to bring good luck or to overcome adversity, bad luck or misfortune arising from past karmas.
By 2.15 pm, we had come to the end of the tour. After a group photo, we thanked Mr Rajan for his enlightening tour providing us with finer-grained details about the oldest religion in the world. Bravo too to the MV Focus team, Mona Tan and Alwin Woon, for organising this hands-on educational tour.
It was a rainy morning. Armed with raincoats and umbrellas, we gathered at the national museum around 7.45 am. All twenty who had registered for the trip, turned up despite the wet morning.
Sekinchan is a small town located in the state of Selangor in Malaysia, about 102km north of Kuala Lumpur and 28km from Kuala Selangor. In fact, Sekinchan is in the middle of the main rice-bowl area of Selangor, in Sabak Bernam district. It is one of the major rice producing areas in Malaysia.
The bus left around 8.30am. I was excited to see the much talked about paddy fields at Sekinchan. I had looked forward to going out of the city, soaking in the fresh air, and feasting my eyes on the acres of paddy fields. On the bus, Mona and Alvin, who put this trip together, told us what we could expect. We would be visiting the paddy gallery with a guided tour, then a mango orchard where we could purchase sweet juicy mangoes, have lunch, and then visit the Sekinchan Wishing Tree and a beach called Pantai Redang.
Highland Rice Fields of Ifugao (Philippines) – a UNESCO World Heritage Site
We were fortunate to learn more about our staple food as Steven Lim, a UNESCO qualified guide, shared his knowledge with us in the bus.
For more than 2,000 years, the highland rice fields of Ifugao have been planted on the contours of the mountains. The knowledge handed down from one generation to the next, the expression of sacred traditions, and a delicate social balance, have helped to create a landscape of great beauty that expresses the harmony between humankind and the environment.
The Ifugao Rice Terraces are the priceless contribution of Philippine ancestors to humanity, representing an enduring illustration of an ancient civilization that surmounted various challenges and setbacks posed by modernization.
Closer to home, is the unique adan rice or pade dari, popularly known as Bario Rice, found in the highlands of Ba’Kelalan, Long Semadoh, and Bario. It is one of the finest and best rice produced in the highlands of Sarawak. The rice has a soft texture with fine and elongated grains and produces a mild aroma and fantastic taste.
Ifugao (Philippines) rice terraces
Commentary on Sekinchan by Mona Tan
Sekinchan in Chinese mean “village suitable for plantation” as the land and weather are suitable for farming of rice, fruits, and oil palm trees.
The birthplace of Sekinchan was actually at the main fishing area called Bagan back in the 1920s. The early inhabitants were almost all Teow Chew who were also fishermen. Sekinchan gradually grew in size due to population migration into this fertile land and it eventually developed into today’s scale.
In the year of 1953, in order to segregate the villagers from the Malayan Communist Party insurgents, villages were isolated, and hence formed the Site A, B, C, and Bagan. Sekinchan has a unique geographical environment; it is not only famous as a coastal rice planting area, it is also blessed with plenty of fishes. Hence, people named it “Land of Plenty”.
During the British colonial era, the Teow Chew villagers of coastal area called Sekinchan “Ang Mo Gang” as many British stayed there. The total population today is about 20,000 with 60% Chinese, 30% Malay, and 10% made up of other races. The main economic activities are agriculture and fishing. The total farming land for paddy and fruits is about 4,700 acres and this popular fishing village has more than 300 fishing trawlers!
Sekinchan rice fields
Interesting research by Alvin Woon
All of us have been using USB flash drive or pendrive to store data or transfer information not realising that Pua Khein-Seng, who is from Sekinchan, is regarded locally as the “father of pendrive”, arguably one of the inventors of this USB flash drive. The multi-chip pendrive was first invented by M-Systems, an Israeli company, with a patent lodged in 1999. Pua’s claim rests on his being the first to incorporate the single-chip flash controller onto the USB.
Born and bred in Sekinchan, Pua received his undergraduate education in electrical control engineering at the National Chiao Tung University, Taiwan and has since then resided in Taiwan.
Sekinchan Today
Sekinchan’s economy today is based on agriculture, where mechanised farming methods have been introduced to enable high yield of rice; tropical fruits especially mangoes; swiftlet farming; and manufacturing. A number of trendy hotels dot the town offering thematic experience with a touch of ‘zen’ or simply living in a comfort of a ‘container’ and B&B for the budget conscious!
We saw an endless horizon of green paddy fields; truly a sight to behold and no words could describe the breath-taking scenery! There are many inter-connecting roads even from the heart of the paddy fields, connecting small villages to the town. Along the way, you may stumble upon a water path or aqueduct, little bridges, and of course the paddy fields themselves. Sekinchan is also famed for migratory birds watching. Just to name a few, Peaceful Dove, Shorebirds, and the White-breasted Wood Swallow can be spotted here.
This place is also famous for its many fruit orchards with mangoes being one of the favourites. Sekinchan also upholds its reputation as a town with swiftlets nests or more commonly known in the food industry as birds’ nests. Chinese believe that birds’ nests are luxurious food that contains many health benefits. Many customised building structures, home of the swiftlets, sprouted up in the middle of paddy fields as this is a new thriving industry.
Paddy Gallery updates by Elena Shim
We arrived at the paddy gallery around 10am and started the gallery tour around 10.30am. We bought our entry tickets for Rm5.00 and it came with a complimentary packet of rice from the factory. We were brought into a presentation room where our guide, Miss Moon explained how Sekinchan paddy came about. There are four types of rice: glutinous, long grain, short grain, and fragrant rice. Their paddy seeds came from FELCRA and MARDI, both Government agriculture agencies.
There are two plantings in a year, namely February and August. Transplanting is done by machine and this takes 2.5 hours. Water is drained out 3 weeks before harvesting. It takes 110 days before the paddy is ready for harvest. This means harvest time is May-June and November-December when the paddy fields turn honey gold.
In the olden days, it took 7 to 8 people to harvest 1.2 hectares of land within 2-3 days. With machine in the 1.2 hectares of land, transplanting takes only 2.5 hours to complete. Each 1.2 hectares of land produces 10 tons of rice before husking. Currently, their company, PLS Marketing (M) Sdn Bhd, only supplies to 99 Speedmart due to supply constraints. There are nine processes before the rice is sold to the market/public.
Step 1: The paddy husk is collected for reuse as the fuel for firing the boiler, to dry the paddy in the drier.
Step 2: Pressure from the heated boiler intensifies the drying process of the paddy.
Step 3: The dried paddy is then stored in the storage for cooling.
Step 4: The rice huller machine then removes the husk from the paddy through wind force to get the grain rice.
Step 5: The shelled paddy is then directed to the paddy separator, which will separate the unshelled paddy and the rice. The unshelled paddy will roll back into the rice huller machine again.
Step 6: The grain rice will be polished by the rice polisher machine where the rice kernel is also removed from the rice.
Step 7: With the application of the inconsistency principle, the rice-grading machine separates the whole and the broken rice.
Step 8: With the application of wind force, the destones machine then vibrate the rice where stones and broken rice are completely removed from the product.
Step 9: Once that is done, photo electronic technology is used to detect and then remove the black and immature rice completely to make it superior in quality.
Ready to plant saplings
After the paddy gallery, we visited a mango orchard called Mango King where huge sweet and juicy mangoes are sold. Almost everyone bought at least a bag home. They also sell prawn crackers & banana chips and we went back into the bus not empty handed. We stopped by a souvenir shop called ‘Ah Ma House’. It was a wooden house next to the paddy fields. Ah Ma House is a specialty cake and biscuit store in Sekinchan. The main product is Ah Ma Cake which sells traditional biscuit such as pineapple tarts, ‘kuih bangkit’, and ‘kuih kapit’ (Chinese love letters). This establishment received royal patronage on 22nd May 2017.
Bagan Fishing Village
Later, we went to have a hearty seafood lunch at Guan Seng Long Restaurant. It was around noon and everyone was famished as we had an early start to the day. After lunch, we headed over to visit the Sekinchan Wishing Tree next to the Datuk Kong Temple.
As we ventured further towards the shoreline at Pantai Redang, we saw many fishing boats berthing by the river near Bagan, a small seaport towards the south-west of the town. It was an interesting sight as many fishing boats still vividly flashes in our mind.
As an aid to fisheries management and safety at sea, fishing vessels are appropriately marked for identification such as nationality of the vessels, irrespective of size and tonnage, to facilitate search and rescue operations if the need arises.
Julie Chang narrated to us the various licenses on the boat. Each vessel is marked according to its appropriate fishing zone usually in white lettering on black round background. Zone A is less than 10km; Zone B less than 25km; Zones C1 & C2 more than 25km and conducts overnight fishing, usually fully equipped with refrigeration facilities and polystyrene boxes.
The fishermen will venture into the seas in the wee hours around 4.00am returning back around 5.00pm with lots of fresh fishes, prawns, squids, crabs, and etc. In the evening, the whole Bagan springs back into a bustle of activities! Fishermen will be busy unloading their catch for the day to be categorized into types and sizes of fish before being sold to the middlemen or nearby seafood restaurants.
Datuk Kong Temple and the Wishing Tree
Pantai Redang Datuk Kong Temple Chinese temple has become popular among Chinese who come to worship the earth spirit, Datuk Kong, and to toss their wish up the adjacent Wishing Tree. This wooden shed temple is said to be over a hundred years old.
In the past few years, it has become a popular tourist destination particularly within the local Chinese community, after it appeared in the Hong Kong TVB drama ‘Outbound Love.’
The Wishing Tree next to the Datuk Kong temple attracts not only local Chinese but tourists from Hong Kong, China, and Taiwan as well. The beach area of Pantai Redang looks like a fiesta going on full swing, with people flying kites and enjoying food in various makeshift stalls.
Similar to the Pont des Arts Bridge in Paris, we have our very own Sekinchan Wishing Tree. It is said when you throw your ribbon high up into the air and it entangles with the tree, it will bring you good luck and your wishes come true. I watch in awe as some of our friends threw their red ribbons up into the air. It brought laughter and giggles. Some went up really high while some missed and caught a lower part of the trees.
Sekinchan Wishing Tree
We crossed over to the opposite side to walk on the beach. It was hot and we took a group photo near an abandoned fishing boat. We headed back to Kuala Lumpur around 2.30pm and reached the National Museum around 4.00pm.
It was another fun, enjoyable and informative trip to Sekinchan. I was really thankful to the organisers who recce the place prior to the trip and made this a wonderful day trip out of the city.
It was a pleasant day to look forward to as fellow Museum Volunteers (MV) had come together for this trip to the National Education Museum, located within the Sultan Idris Education University or UPSI in Tanjong Malim. We arrived an hour before schedule with the JMM bus from Muzium Negara. There were 25 eager participants in this MV Focus visit including 2 teachers who trained at Kirby College in the 1950-1960s – MV Cze Yan’s mother, Choo Thye, and MV Lily Lim. I could feel how happy Madam Choo Thye was when she was at the gallery on Kirby and Brinsford teachers. Truly brought back fond memories of her younger days as a pioneer in the teaching profession!
Kirby Teachers Training College was established in January 1952
Since all of us are history buffs, let me narrate a little bit about this historical town.
History of Tanjong Malim
Tanjong Malim is an interesting gateway town located at the south of Perak Darul Ridzuan, bordering Selangor Darul Ehsan as well by having the Titiwangsa Range as its background and the Bernam River to its side. Fellow MVs were punctual as usual and our journey of 84 km up north from the National Museum was an hour-plus smooth drive on the JMM bus.
Tanjong Malim town started from a large cape or a high land formed by river erosion and sticking out into the sea; an early settler was an ‘ulamak’ (a religious man), Tuan Haji Mustafa bin Raja Kemala. Sir List, the representative of the Straits Government, and Raja Itam named the town ‘Tanjong’ in conjunction with the location of its large cape, whereas the word ‘Malim’ (mu’alim) was used to indicate the religious commitment of the people in the area at the time.
Initially, the District and Land Office was in Tanjong Malim. However, the Municipal Office was moved to Slim River after the incident on 25 March 1952 in which communist guerrillas killed Sir Michael Codner (the District Officer) and eleven other men in an ambush while they were repairing a sabotaged water pipeline.
Today, Tanjong Malim is known as ‘Education Town’ as it is the location of Universiti Pendidikan Sultan Idris (Sultan Idris Education University) or just UPSI. In fact, this town is also known as Proton City with the construction of Proton’s assembly plant.
Education Museum
Education Museum in its early days
The Suluh Budiman Building, which houses the current Education Museum, was built in August 1919 and its construction was completed in June 1922. This majestic building was designed by Kesteven, a famous architect in the Federated Malay States. It functioned as the famous Sultan Idris Teaching College (SITC) in its early days and had since generated renowned nationalist and intellectuals such as Za’aba, Aminuddin Baki, Ungku Omar, Ungku Abdul Aziz and Tok Kemali; all of them have rendered numerous contributions towards independence and the national education pedagogy.
Renowned nationalists and intellectuals. From left to right: Za’aba, Aminuddin Baki, Ungku Omar, Ungku Abdul Aziz and Tok Kemali
The design of the building has elements of medieval Dutch-Gothic architecture style and it is obvious that the design of the building resembled the Notre-Dame Church in France and Salisbury in England. As we walked into this magnificent building, we observed that the main hall looks like a church. The knowledgeable in-house guide, Mr. Devan, confirmed this as a chapel that it did not materialise. He said the craftsmen who constructed the building were brought in from Java by the British. Skilled Chinese labourers were also used for its construction.
Our guide, Devan, next to the original King Edward VII School emblem established July 1883. ‘Magni Nominis Unbra’ in Latin means ‘Under the shadow of a Great Name’
The upper floor of this building was SITC’s main administration centre, which includes the principal’s office, staff room, meeting room, general office, composing office and library. The ground floor consists of classrooms and a main hall used for the monthly assembly or for official college functions.
The Suluh Budiman Building was gazetted under the National Heritage Act 2005 as a National Heritage Building on February 14, 2009. On August 24 2009, the work of building conservation, gallery construction, and infrastructure installation meeting the requirements of museum practices were performed.
Finally, this floor area of 3,239 square meters was converted into a museum in March 2011. The opening ceremony was held on July 19, 2011, inaugurated by His Majesty the Raja Permaisuri Perak Tuanku Bainun.
Commemorative porcelain set for Sultan Idris Teachers College graduates
Mission, Vision and Objectives
Their mission is to preserve the heritage of national education in the form of tangible and intangible assets through exhibitions, academic activities, research, publications and community service to achieve the country’s vision. This is achieved by maintaining and preserving its history and glory of global changes in the past, present and future through a central source of information, restoring effort through R & D, proliferation of education knowledge through events, seminars, workshops and lectures at home and abroad. Documenting the services of prominent educational figures are commendable and the ability to bring history to live in the form of a time tunnel is poised to create its own unique form of tourist attraction that would ultimately contribute to the country’s tourism industry.
Teaching aids of the Language Institute
Teaching aids for the blind using Braille
Tour to the Galleries
We really had a good time learning and recalling how our national education had progressed until today. “The museum contains one thematic exhibition space just right at the entrance, now featuring on UPSI’s milestone and another 21 galleries or permanent exhibition spaces within this building,” said Devan. We could not believe our ears as we have only four galleries at the National Museum. Actually, classrooms and training rooms used in the early days were converted into well-curated galleries in both Malay and English language. A number of old artefacts were displayed, some dating to the early 1900s. We saw interesting dioramas of early classrooms, uniforms, teaching aids & materials used those days, science & technology, prominent local figures and many more. Below were the Galleries we visited and it took us more than two hours to complete the tour in this elegant building.
Early education in Malaysia
Fundamental and Curriculum
More on Fundamental and Curriculum
Early schools in Malaysia
Teachers Training – Kirby and Brinsford Teachers
Higher Education
Renowned National Education Personalities
Sultan Idris Training College (SITC)
Zainal Abidin Ahmad (Zaaba)
Education and Research
Malaysia Education Ministers
Development of Early Years Children Education
Special Education Development
Education for all
Adult Education
Development of Education Technology
Education Technic and Vocational
Neuron Science Cognitive
E-Learning
Virtual Learning
Science and Technology Education
Musical instruments, used in Penang in the 1980s, and some trophies
Old vinyl records
Research, Conservation and Procurement
We were also told that the ‘Research division’ is one of the core areas of this Museum. Research conducted in the museum consists of history, culture, nature, exhibitions and collections research.
In fact, there are 3 types of research conducted here:
i – Research conducted by the National Education Museum staff
ii – Research carried out in collaboration with other parties
iii – Research conducted by outsiders
Furthermore, the Research division serves to strengthen and develop the field of research, documentation and publication to uphold the museum’s function as a disseminator of knowledge in the field of exhibitions, collections, history, culture and education.
Collection of trophies during the MPSI era
Eminent Teachers
The Conservation division performs work on analysis, research, treatment and preservation of museum collections for the purposes of exhibition, storage, education and documentation. This department also carries out damage prevention, restoration of artefacts, monitoring temperature control system, humidity, lighting and pests found in repository and museum galleries.
Finally, the main objective of the Procurement division is to retrieve the national education heritage in the form of artefacts, ecofacts, specimens, and related documents in order to ensure that the collections are saved and available for exhibition.
After a complete walkthrough of the numerous interesting and knowledge enhancing galleries, we had a group photo taken just at the entrance of this magnificent building before we bid farewell and proceeded to lunch, located just in the vicinity, outside this huge Campus.
Group photo of fellow MVs in front of the Education Museum
YIK MUN PAU (Steamed Bread) RESTAURANT
We had a hearty lunch in the ‘Yik Mun Pau Restaurant’, which has been in operations since 1926. The restaurant and some of the food served here retains a nostalgic feel of the Colonial era. Acclaimed as the most famous pau outlet in Tanjong Malim, it is ‘halal’. The restaurant serves soft pau, toast, Hainan noodles; the Hainanese chicken chop, especially, was worth trying. Food served was in large portions and many said to me that it was good. That is why this corner restaurant, painted in red, attracts many patrons from all over Malaysia.
After lunch, we went back to Kuala Lumpur by the JMM bus and reached Muzium Negara at about 2.30pm. It was indeed a memorable Education Museum tour as through its exhibits, we learned to appreciate the importance of education, and how it shapes the Nation!
Cannon was used by Raja Mahadi during the Selangor Civil War against Tengku Kudin in the 19th century
Museum Volunteers, JMM 