Category: Focus and Special Events

Focus Talk with Professor Dr. Masatoshi Sone

Written by Manjeet Dhillon

Introduction: Unveiling Lost Diversity in Borneo

At the MV Focus Talk series, the subject of the day was ‘Lost Diversity of Sundaic Borneo: New Findings from Sarawak.’ Our speaker was Dr. Masatoshi Sone, who shared insightful findings from his recent expedition where he spent a good ten days in the coal fields of Ulu Rajang looking for fossils. The talk began with an exploration of Sundaland, the name of the ancient continent that once included Borneo, Peninsula Malaysia, Sumatra, and Jawa Island. Geologically, Kuala Lumpur is situated in the heart of this vast continent.

Sundaland: A Fragmented Ancient Continent

About 11,000 years ago, this was one big piece of land. As sea levels rose, Borneo became separated from mainland Asia and other islands.  The Wallace Line, named after Alfred Russell Wallace, a British naturalist who explored the region over a century ago, marks a transition zone between the distinct fauna of Asia and Australasia. This imaginary line runs from the Lombok Strait between Bali and Lombok in the south, all the way up through the Makassar Strait between Kalimantan (Borneo) and Sulawesi in the north.  The islands on one side, like Sumatra, are mostly volcanic within a subduction zone with tectonic plates. This goes all the way to the east, including the Komodo islands, Timor Leste, Papua New Guinea, and Australia.

Plate 1: Wallace’s Line

Following Wallace’s Lead: Biogeography and Island Evolution

During his expeditions, Alfred Wallace, a naturalist with a keen eye for geology, noticed a peculiar phenomenon. Many animals, including birds of the same species, were present in Sumatra but seemed to disappear as you moved towards Lombok and the regions west of it. Wallace identified a significant biogeographic boundary between Bali and Lombok. Surprisingly, this invisible line had a profound impact on the distribution of various bird species. Many birds, it appeared, were reluctant to cross even the narrowest stretches of open ocean water. Essentially, Wallace believed that species change over time so they could fit into new environments.

This led Wallace to observe that in Bali, you’d find thrushes, woodpeckers, barbets, trogons, paradise flycatchers, paradise shrikes, minivets, blue drongos, pheasants, and jungle fowl, but colourful exotic birds were a rare sight. In contrast, in Sulawesi, Papua, and Timor, parrots, cockatoos, and lories were abundant.

The Wallace Line extends further between Borneo and Sulawesi, although this boundary is not visible to the human eye. However, animals seem to sense or perceive this invisible division. It’s important to note that Wallace’s discoveries were primarily based on biological observations (where he spent many years obtaining samples of birds, insects and animals) rather than in-depth geological knowledge of the islands. His research led him to a conclusion: animals evolve by adapting to their specific environments rather than by migrating to new ones.

Fueled by a passion to understand how new species arise, Wallace joined an Amazon expedition in 1848 (with Henry Bates). Sadly, a shipwreck in 1852 claimed most of their collected specimens. Undeterred, Wallace embarked on a groundbreaking Southeast Asian voyage (1854) that spanned eight years. His meticulous collection efforts yielded a staggering 125,000 specimens, including the iconic flying frog, and significantly advanced our understanding of the natural world.

A Glimpse into Earth’s Geological Timeline

Next ,we looked into the Earth’s geological timeline, which spans an immense 4.6 billion years. A particularly noteworthy period within this timeline is the Cenozoic era, which commenced approximately 66 million years ago. During this era, we witnessed the emergence of mammals and birds, along with the gradual evolution of primates and early hominids.

In the midst of the Cenozoic era (at the boundary between the Cretaceous and Paleogene periods), a large meteorite crashed into our planet, specifically in the  area of the Caribbean Sea. This catastrophic impact spelled doom for the dinosaurs and many other species, opening the door for mammals to flourish and diversify.

As we consider Earth’s geological timeline, we find a key division between the Quaternary and Tertiary eras. This shift hinges on the transition from the Tertiary period, encompassing epochs like the Pliocene and earlier, to the Pleistocene and Holocene epochs of the Quaternary. This change mirrors significant shifts in climate, marked by a warming trend and rising sea levels. It’s also notable for the emergence of Homo sapiens, making it a pivotal juncture in our planet’s history.

Furthermore, the shift from the Pleistocene to the Holocene epochs indicates a transition from the last ice age, characterised by glaciers atop Mount Kinabalu. Interestingly, this transition aligns with Earth’s broader climatic cycle, suggesting that we’re gradually heading towards the next ice age in the grand scheme of geological time.

Plate 2: Geological Time Scale

Fossil Fuels: A Legacy of the Cenozoic Era in Malaysia

In the context of Malaysian geology, the Cenozoic period takes on paramount importance. This geological era witnessed the formation of numerous oil and gas (hydrocarbon) resources within the country. Throughout this time, a series of geological processes transpired, which included the accumulation of organic material and the creation of suitable conditions for the development of oil and gas reservoirs.

These developments have solidified Malaysia’s standing as one of the key regions for oil and gas production in Southeast Asia. Notably, substantial reserves can be found both onshore and offshore, underlining the nation’s significance in the oil and gas industry.

Borneo: From Sundaland to Fragmented Islands

Before the end of the ice age, Southeast Asia was part of a landmass known as Sundaland. This area connected many of today’s islands (Peninsula Malaysia, Sumatra and Borneo but also Java, Bali, parts of the Malay Peninsula, and other smaller islands in the region) into a single landmass due to lower sea levels caused by the extensive ice sheets.

As the Ice Age concluded, the rising sea levels, about 110 metres higher, submerged much of Sundaland, including the lowlands between the elevated regions of Peninsula Malaysia, Sumatra, Jawa, and Borneo. This flooding led to the formation of rivers like the Chao Phraya, Pahang, Pekan, Kuching, and Rajang rivers, which were previously part of the terrestrial landscape.

Sarawak’s Caves: A Treasure Trove for Prehistory

Looking at Sarawak, we have some famous caves such as Niah cave, and also Mulu. The caves in this region have been of interest to palaeontologists due to the discovery of prehistoric fossils and archaeological artefacts. These findings have contributed to our understanding of the region’s prehistoric past.

In archaeology,  the Niah caves (Sarawak – discovery of skulls in 1958) and Madai caves (eastern Sabah), contain remains of prehistoric human activity, where Niah is famous with coffins together with animal remains, These caves also hold animal remains alongside human artefacts, otherwise for most of Sarawak there is no paleontological record. Evidence suggests human activity in the area began around 30,000 years ago. Fossils, including those of tigers and tapirs, have also been found. Notably, these animals are no longer present in Borneo, having disappeared naturally before human arrival.

The third largest city in Sarawak is Sibu, where we can journey along the Rajang River (longest river in Malaysia) to Kapit, a town located inland along the river. The Rajang river also flows in the general direction towards the largest dam in Malaysia, the Bakun Dam which is located on the Balui River (a tributary of the Rajang River).  Here we now have two smaller rivers or tributaries merging with the Rajang River in Kapit, then continuing downstream towards the river’s estuary, where it meets the South China Sea. This is where the fresh water from the river mixes with the saltwater of the sea. 

Plate 3: Rajang river basin

Unearthing Borneo’s Past: The Rajang River and Fossil Discoveries

The Rajang River’s characteristics stand out in contrast to typical slow-flowing and meandering rivers in Malaysia, where it is a straight course and fast flowing. This might be because it originates in or flows through areas with steeper terrain, where the river descends more rapidly. As it approaches Sibu, the river transforms into smaller channels, creating a delta structure. This delta is the product of sediment deposits and the river’s interactions with the sea. It provides a favourable environment for a notable population of large crocodiles, making Sibu their known habitat.

Here at this delta, many fossil remains have been discovered such as spines, fins or ribs of fish. Fossils are often found in black or brown hues, indicating they have undergone the fossilisation process including phosphatisation.

Island Endemism: The Case of the Bornean Banteng

Fascinating fossil discoveries in Sabah include the premolars of the Banteng or Tembadau in Malay (species: bos javanicus), a wild cow species, which we understand has been here before humans and during Sundaic time as well. Bornean bantengs are smaller due to a phenomenon called “insular dwarfism” or “miniaturisation.”, where island-dwelling mammals tend to evolve smaller body sizes over time (same applies for African elephants and Asian elephants). This phenomenon is a remarkable example of how isolated island environments can influence the evolution of species, leading to unique adaptations and characteristics. The Banteng is facing a gradual decline in Sarawak and is on the brink of extinction in Malaysia. Currently, Cambodia hosts the largest population, followed by Australia. It’s important to note that these populations in Cambodia and Australia are not native but were introduced by humans.

Plate 4: Banteng (wild cow)

Echoes of the Past: Fossil Tapirs and Their Relatives

Fossils of tapirs, identified as a type of metatarsal belonging to the extinct Tapirus sp., have been found in the Niah and Madai Caves. However, these tapirs are not directly ancestral to the present-day Malayan tapir. While they may have shared similar black and white stripes, these extinct tapirs inspired legends of a mythical creature that came through China and could eat our trees.

There are four species (four genus) of Tapirs in the world:

• Lowland Tapir (Tapirus terrestris)
• Baird’s Tapir (Tapirus bairdii)
• Mountain Tapir (Tapirus pinchaque)
• Malayan Tapir (Tapirus indicus)

Plate 5: Tapir

Today’s DNA studies confirm the Malayan tapir as the sole surviving Asian tapir species, with its closest relative being the American tapir.  Evidence suggests tapirs originated in Eurasia, where they are now extinct.  The split between Malayan and American tapirs likely occurred around 25 million years ago, predating the most recent ice age.  This time frame coincides with periods of lower sea levels that exposed land bridges, allowing many mammal migrations  like horses, sheep, and even some Asian monkeys to move from Eurasia to North America and eventually South America.  While the tapir story might not directly involve the most recent ice bridge, it highlights how continental movements and changing sea levels have shaped the distribution of animals throughout history.

Extinct Tapir Diversity and Zooarchaeology

While the Malayan tapir is the only survivor in Asia, evidence suggests a greater diversity of tapirs once existed. A striking example comes from the Lubang Jeriji Saléh cave in East Kalimantan, Borneo. This prehistoric limestone cave, dating back to the Pleistocene epoch, features a large reddish-orange figurative cave drawing of animals. These depictions, alongside fossil remains like those of tigers now absent from Borneo, highlight the valuable role of zooarchaeology in reconstructing past ecosystems. By studying animal remains and artistic representations, we can gain insights into species that no longer roam these regions.

Plate 6: Cave drawing at Lubang Jeriji Saléh, East Kalimantan, Indonesian Borneo

Uncertain Fossil Identity and Regional Rhino Extinction

Some fossils unearthed in East Malaysia reveal animal hooves that could belong to either tapirs or rhinoceroses. Unfortunately, differentiating between them solely based on hoof characteristics is challenging. Sadly, rhinoceroses are already regionally extinct in East Malaysia. The last recorded Sumatran rhinoceros in Sabah died in 2015, prompting the government to declare its local extinction. However, there’s a glimmer of hope.  A small population of 10 to 20 individuals was discovered in East Kalimantan in 2016, highlighting the importance of conservation efforts for this critically endangered species.

Fossil Evidence of Sea Cows (Sirenia) in Sarawak

Aquatic mammal fossils, identified as sea cows (Sirenia) or dugongs, have also been unearthed in Sarawak.  These gentle giants, related to manatees found in Central America and the Caribbean, once thrived in the coastal regions.  They fed primarily on seaweeds.  Sadly, sea cows are now locally extinct in Sarawak.

One key characteristic that aids in identifying Sirenia fossils is their density.  Due to their composition of calcium carbonate, these bones are significantly heavier than most other animal remains.  This weight factor alerted Dr. Sone’s team to the possibility of a Sirenia fossil upon discovery.

The Enigma of the Tambun Cave Dugong

The Tambun limestone cave in Ipoh boasts archaeological paintings, estimated to be around 5,000 years old, featuring an image resembling a dugong. This poses a fascinating puzzle considering the significant distance between the current coastline and the cave’s inland location. Further research, potentially involving geological studies and a deeper analysis of the cave paintings, might shed light on this intriguing mystery.

Plate 7: Tambun (Ipoh) cave painting: dugong

The Story of the Suidae Family and the Bearded Pig

The Suidae family, encompassing wild pigs and boars, boasts a global distribution across Eurasia, North Africa, and the Greater Sunda Islands.  Evidence suggests their origin lies in Southeast Asia during the Pleistocene epoch (1.4 million to 11,000 years ago).  From this ancestral homeland, they likely migrated outwards into other parts of Eurasia.

Wild Pigs of Borneo: Bearded Natives and Introduced Relatives

Borneo boasts two distinct wild pig species, both belonging to the genus Sus. The first, and likely more familiar, is the wild boar (Sus scrofa).  While not native to Borneo, this species can interbreed with domestic pigs.  The second, and truly indigenous pig, is the bearded pig (Sus barbatus).  Fossil evidence, particularly differences in molar morphology, helps differentiate these two species.

Distribution patterns paint a clear picture.  The common wild boar, also known as the Eurasian wild boar, dominates across Eurasia, with introduced populations in Australia and northern South America.  In contrast, the bearded pig reigns supreme in Borneo, with a smaller presence in Peninsular Malaysia.  Interestingly, fossils from the Niah Caves reveal no evidence of the common wild boar, only the bearded pig.  This suggests that the wild boars currently found in Borneo were likely introduced by humans.

However, there’s a twist! Fossil discoveries in central Sarawak showcase the presence of both pig species even before human arrival.  This intriguing find remains an active area of research.

Summary

Understanding Borneo’s rich biodiversity, both past and present, is crucial for informing conservation efforts and protecting this irreplaceable natural heritage. Dr. Masatoshi’s team is currently exploring fossils of a fly and plant fossils in a coal mine in Sarawak.

Reading material from MV Library

Here are some books that would likely be excellent reading material for further exploration:

1. Borneo Biodiversity: Tropical Rainforests from the Heart of Southeast Asia (ISBN 9789811073447) by Eric D. Wikramanayake, Michael D. Sorenson, and Thomas J. Conway

2. Island Biogeography: Theory and Conservation Practice (ISBN 9780691166488) by David Wright

3. A Field Guide to the Mammals of Borneo (ISBN 9789834280635) by J. Payne, C. Francis, and K. Phillipps

4. The Quaternary Period (ISBN 9780131174749) by John A. Quaternary

5. Encyclopaedia of Malaysia: Volume 4. Early History by Dato’ Nik Hassan Shuhaimi Nik Abdul Rahman

6. The Malay Archipelago by Alfred Russell Wallace

By Julian Candiah – MV Focus Talk of 24th February 2024

Written By Hani Kamal

Julian Candiah is a collector of antique maps and sea charts from Malaysia and Singapore.  He read Engineering at Magdalene College, Cambridge University, and graduated with a First-Class Honours in 1991.  He started off as an international banker at Credit Suisse Financial Products, Bear Stearns, JP Morgan, and BNP Paribas in London, Hong Kong and Singapore (1994 to 2007) before joining Merrill Lynch in 2006. In 2007, he was into private equity and investments.  In April 2009, he worked pro bono for the state of Penang, acting as the Special Advisor to the Chief Minister.  He is currently working on short articles on the history of Johor from the early 19th Century. He has a collection of over 20 sea from the English, Dutch, French and Italian cartographers in his 40 years of collecting.  For him collection is genre. A specialised pursuit to acquire old maps involving very distinct set of skills related to acquiring, preserving, and sharing his knowledge about these maps.

The first half of the talk centred around maps about the Straits of Malacca drafted by connoisseurs of sea charts, Sebastian Munster (1530s), Ortelius, Antwerp (1570), Jan Huygen Van Linchoten (1595), De Bry Frankfurt (1598), John Thornton (1701) and Johannes van Kullen (1753).  He ended with sharing maps from the English, like Robert Dudley, Florence: Straits of Malacca (1646); Jacques Nicholas Bellin, Paris: Straits of Malacca (1755); Jean Baptiste de Mannevillette, France: Straits of Malacca (1775), and William Heather, London: Straits of Malacca (1803).

Map 1 First SEA Standardised Atlas

Map 1 This the first South East Asia standardised atlas from 1570 created by Abraham Ortelius. Ortelius collaborated with geographers worldwide to standardise the map, which was then compiled into a book that became one of the most expensive works of its time. It is obviously evident that the sizes of Malaysia, Java, Borneo, Philippines, Japan, Australia, and Papua New Guinea are significantly distorted on the map. The map of Japan has no Hokkaido and Luzon is missing from the Philippines. Interestingly, the map accurately depicts the smaller islands known for clove or spice production.Historically, the strategic port of Malacca was captured by the Portuguese and Dutch due to its essential services such as loading/repair facilities and a readily available food and water supply. These colonial powers then swiftly moved on to the spice islands in search of valuable spices, often referred to us “gold” due to their immense value. Remarkably, current assessments indicate that this historic map holds a significant value of USD4000 or more on eBay.

                             Map 2 Linchoten Colored Map

Map 2 A full coloured map in 1595, but originally in black and white by Jan Huygen Van Linchoten (1563-1610). He was a Dutch and he spent five years working for the Portuguese as secretary to the Archbishop of Goa.  His materials and information were gathered from sailors and he made multiple copies of it.  Linchoten is noted to have contributed to the maps of South East Asia in his book “Itenerario”. This map is one of the earliest to depict Singapore as “Sincapura”.  Linchoten’s map,obtained secretly through Portuguese sailors, shows seafaring and trading routes; subsequently allowing other European powers to sail safely into the spice islands and breaking the Portuguese monopoly in the spice trade.

Map 3 Inverted Map in B&W

Map 4 Inverted Map in Color

Map 3 & 4 This map is inverted as the direction is coming in from India. As it was from the Portuguese nothing much was described on Java or Borneo, nor Korea, and Japan is out of perspective. However, mappings of Peninsula Malaysia was very much established.  As the map was compiled from sailors, sailing lines were notable.  Current value of the Linchoten map is worth USD19,000.

Map 5 First Printed Map of SEA in B&W

Map 5 The first printed map of South East Asia in black and white, and later added with colours.Theodore de Bry was born in 1528 in the Prince-Bishopric of Liège, in the southern Netherlands (today Belgium). He was trained as a goldsmith in his father’s workshop and later as a copper engraver in Antwerp.  He moved to London and lived near a printing house, and it was here that he was inspired to produce maps that made his name known.  This particular map is decorated with beautiful ornate cartouches on map title and filled with rhumb lines showing bustling crossings.  A lot of details were found along the Straits of Malacca indicating robust activities and frequent stops  by trading ships.  Copy of the de Bry map was auctioned and acquired by the The National Museum of Singapore.                

     Map 6 English Map

Map 6 Map of Malacca and Singapore by John Thornton, Hydrographer of East India Company, London, 1701. This map is a 100% copy of a Dutch map of Malacca and Singapore.  At this time there were free flowing sharing of information and usage of English was beginning to appear in maps.  By 1753 maps were printed commercially. The map above has detailed travel routes of the islands, but the island of Singapore was still hardly visible.  This map is worth USD12,000-15,000.

    

 Map 7 Series of Maps 1803-1855

Map 7 The series of four maps between 1803 till 1855 illustrate the transformation of Singapore from a relatively obscure island to a thriving trading centre frequent by ships. In earlier maps, Singapore was often spelt as Sincapore and was barely discernible on English maps. Its significance as a trade centre for the British only grew after the British withdrawal from the settlement in Java. By 1855, one can see through the sea charts incorporated with land details such as street names, rivers, etc in detail.

                                                Map 8 Map Made with Vellum

Map 8 Vellum vs paper: These are maps printed on vellum, sheep skin.  Vellum was used since early 14th century by Italian navigators, one Bartolomeo Crescenzio (1587-1602) in his Mediterranean quest described vellum and maps, “Bartolomeo Crescenzio: “Nautica Mediterranea”, published in Rome, 1602 and 1607 by Bartolomeo Bonfadino. He was employed in the Naval Ships of Pope Sixtus V and Pope Clement VIII. Professor Ferro wrote as follows;

“There is little uncertainty, for instance, about the materials used and the techniques of execution. Nautical charts were hand-drawn on sheep vellum. The larger ones took up an entire pelt, preserving all of its characteristics and dimensions, i.e., a rectangular shape longer on one end (corresponding to the animal’s neck), where it forms the so-called linguetta [small tongue] or umbilicus; the opposite end was generally attached to a stick around which it was rolled (this explains the tears now visible, caused by forcible attempts to detach it). Of course smaller charts, depicting less extensive areas of sea and land, have other shapes (though still generally rectangular). These were mounted on wooden tablets or cardboard and met a different fate as far as preservation is concerned.

Following the tanning process, the parchment was treated and prepared in a timely manner, according to a procedure that was fully illustrated around the year 1600 by Crescenzio. To bleach its inner side (the side on which the design was to be traced) and to make it smooth, the vellum was rubbed with white lead and dried with a white cloth. Then the leftover skin bits were boiled in water until the mixture became thick and viscous. Another cloth (or a sponge) soaked in this fluid was then passed all over the well-stretched parchment. Once dry, this was rubbed with white lead a second time so as to render the surface perfectly white and smooth, eliminating any unevenness that might impede drawing or writing. The outer side, on the other hand, was left thick and rough, thus serving to protect the chart, at least partly, from temperature variations, humidity, and salinity.”  

According to the speaker this map is worth USD500,000.

Map 9 Robert Dudley’s First Sea Chart

Map 9 First Sea chart atlas by Robert Dudley 1646, is perhaps the most rare and revolutionary during that time.  It was the first sea atlas in the world, first to use various sophisticated seafaring engineering and created with accuracy reflecting his extensive knowledge as a cartographer.  It was the first to reflect magnetic deviation, first to detail water currents and prevailing winds. It was also the first to explain  the advantages of ”Great Circle Sailing” (shortest distance between two points of the globe). A magnificent and very rare sea atlas, currently worth USD 1 million.

Map 10 Series of Maps by William Heather, London

Map 10 The first important 19th century sea chart of the Straits of Malacca was mapped by William Heather (London, 1803) depicts the status of EIC’s role in Penang and along the Straits of Malacca.  The Straits was the busiest shipping highway at that period and so sea charts were utmost important.  For the British this was the gateway between India and the Far East. Maps with details of rhumb lines, sandbanks, mountains, street names, total population, etc were very useful. Singapore was hardly noticeable during the early 19th century and the maps on Singapore were totally wrong in shape and size in the earlier maps. This map was impressive at that period of time and soon ran into many revisions due to its deficiencies and lack of information about the Straits. Current value at USD17,000.

Conclusion

After going through the extensive history of sea charts, we tend to reflect on the maps found at Gallery B, Muzium Negara; Almost all of us referred to those maps as depicting Malacca’s popularity and the crucial role the maps played to European explorers sailing to Malacca looking for spices. However it is worth noting these were not intricate sea atlases or charts but rather simple maps highlighting the significance of Malacca during that era. Consequently, the portrayal of the entire Malaysian Peninsula as Malacca underscored the paramount importance attributed to this strategic location, with no information provided on other regions of the peninsula.

Three books were recommended by the speaker in reference to antique maps:

1. Early Mapping of South East Asia by Thomas Suarez
2. The Cartography of East Indian Islands by Dr David E Parry
3. Maps of Malaya and Borneo by Dr Frederic Durand

Reference:

MV Focus Talk by Julian Candiah at the MV Room, JMM on 24/02/2024

https://www.swaen.com/mapping-of/south-east-asia/early-maps-of-south-east-asia

https://sanderusmaps.com/our-catalogue/antique-maps/asia/southeast-asia/old-antique-map-of-southeast-asia-by-th

https://www.swaen.com/mapmakers/robert-dudley

https://oculi-mundi.com/collection/maps/SC-A-1647-Dudley-DellArcanoDelMare-VolIV-xc?viewingMode=research

LEATHER; VELLUM; PARCHMENT DRAWING AND COPYING MAPS AND CHARTS

https://www.raremaps.com/gallery/detail/60506op/strait-of-malacca-sheet-1st-and-strait-of-malacca-horsburgh

Speaker : Dato’ Kapten Professor Emeritus Dr Hashim Bin Yaacob

Write-up by Shirley Abdullah

In Malaysia and the Malay-speaking parts of Southern Thailand, Wayang Kulit may be classified into four categories;-

Wayang Kulit Siam (Wayang Kulit Kelantan)

Wayang Kulit Jawa (Wayang Kulit Melayu)

Wayang Gedek (Nang Talung)

Wayang Kulit Jawa (Wayang Purwa)

Prof Dr Hashim focused his talk on his personal experience as a practitioner of Wayang Kulit Siam . He also performed selections from  repertoires written by himself, with the assistance of his colleague, Che Su.  MV Anne was also roped in to perform as one of the characters and mustered a convincing turn as the evil protagonist  ! We could see that the performance involves a great deal of arduous effort and the tok dalang has to be highly skilled in order to accomplish a seamless performance.

Commenting on the evolution of various forms of wayang kulit  in Kelantan, he said that in the 1920’s, puppeteers from Kelantan were sent by the royal court to Java to learn the Javanese form of shadow play, primarily for performances within the confines of the royal households. However the stiff, archaic, classical styles generated little enthusiasm among viewers. “There was little movement, they kept repeating the same themes in the storylines, it was boring, thus it died a natural death, “ he said.

Wayang Kulit Siam is still performed in Kelantan, Terengganu, Kedah, Perak and Patani.  In the past, it was much cherished as a source of entertainment by village folks.. Often the performance is completed in a single night but Prof Dr Hashim recalls occasions, usually connected with wedding celebrations when the performances were extended over seven nights, and generated considerable excitement among enthralled rural audiences. 

The wayang kulit performances  take place on an open-air theatre (panggung) elevated about one metre above the ground.  Spectators will be seated in front on the grass or on benches .

The panggung represents the universe. The screen at the front of the stage , on which shadows of the puppets are projected, represents the world with images of people passing through.  The dalang gives life to the puppets by switching the lamp (symbolizing the sun) , on and off

The tree of life ( Pohon Beringin ) represents the elements  ( water, earth, air, fire.)

The Tok Dalang ( dalang ) narrates the story and mimics the voices of the various characters. To do this, he has to sing as well as modulate his voice for dozens of parts The puppets have a sharp split-bamboo point  on their base which is  stuck onto  a banana stem. This enables the dalang  to deftly switch puppets for different characters. 

Apart from being skilled in puppet manipulation, the dalang coordinates his performance with the orchestra who receive cues from him.

The orchestra comprises of  between seven to ten musicians, who play a double-reed oboe ( serunai ), gongs ( tetawak, canang), hand cymbals ( kesi ), and various drums ( gendang, gedumbak, gedung ).

The principal Wayang Kulit Siam storyline is based on Hikayat Maharaja Wana, a Malay version of the Ramayana. The original trunk story ( cerita pokok ) focuses on the rivalry between Rama and Ravana for Siti Devi’s hand. 

Branch stories (cerita ranting) were spin – offs invented by dalangs who used characters from the Ramayana but developed new story lines. This afforded them the opportunity to also highlight contemporary issues, and provide social commentary. Entertainment for the masses remained  the main focus  so performances were heavily laced with humour  and rousing music .

According to Prof Dr.Hashim, he is concerned that Wayang Kulit in its current state as an art form is fast approaching the point of extinction.

He is aware that not many people are interested in viewing wayang kulit performances, not to mention actively promoting it. This is also because not many are able to understand the language used during the performances. This is predominantly the Kelantanese dialect of the Malay language, which is challenging for even native Malay speakers from out of state. 

He also felt that wayang kulit performances failed to attract a younger audience because they did not incorporate contemporary elements.  Neither the traditional storylines nor the music had evolved or adapted  to satisfy the appetites of the younger generation. 

The banning of wayang kulit performances by the state government of Kelantan in 1998 had also dealt a serious blow to the art form. The negative perception created by the labeling of wayang kulit performance as haram and going against the teachings of Islam had a considerable impact especially in deterring the older generation from patronizing the art form. The ban has since been lifted in 2019.

Prof Dr. Hashim explained the reason for the initial ban on Wayang Kulit Siam performances.

 Wayang kulit is performed by a master puppeteer known as “Tok Dalang”. The tok dalangs were also  bomohs who served the local communities as Malay shamans and traditional medicine practitioners. They were steeped in traditions and rituals in which they claimed to act as intermediaries for spirits. 

The Tok Dalangs  performed rituals in conjunction with Wayang Kulit performances such as “Kenduri” (feast), “Buka Panggung” (rites to commence the theatre ) and “Berjamu” (ritual performance). These rituals involved the recital of invocations for appeasement of the spirits which constitutes “syirik” (associating others with God). During the performances, the dalang could also go into a trance. Ascribing power to anything other than the one God violates Islamic belief (monotheism). 

While Prof Dr. Hashim  was a dentistry professor at Universiti Malaya, he was already heavily involved in the Malay poetry scene. He ventured into performing poetry recitals in public in an attempt to curb a nervous condition when he first became a young lecturer. He strongly advocates public performance to anyone who wants to conquer stage fright ! Since then he flourished as a prolific poet with five anthologies of poetry publications and the prestigious Anugerah Sastera Perdana ( National Literary Award )  under his belt. 

His close friendship with the then Vice-Chancellor of Universiti Malaya Royal Professor Dr. Ungku  Abdul Aziz Ungku Abdul Hamid also influenced  his interest in culture and arts, as both shared a mutual interest in fostering  and promoting local art forms.

The Kelantan state government ban on wayang kulit in 1999 aroused his concern for  the future of the art form. Prof Dr. Hashim  draws from a family lineage of wayang kulit dalangs; his grandfather Jusoh was a revered dalang.

After being schooled for 7 years by renowned  Kelantanese dalang, Dollah Baju Merah and his pupil Ariffin Che Mat, he ventured into live performances as a dalang  in rural Kelantan. Instead of the traditional incantations to the spirits which accompanied traditional performances, he recites Islamic prayers during the opening and closing of the show. His intention is not to transform wayang kulit into Islamic wayang kulit but to make it compatible with government rulings as well as to popularize it and enable the art form to thrive. 

Prof Dr.Hashim made efforts to remove elements which are in conflict with Islamic teachings from the performance scripts. He has invested considerable time and effort to propagate a better understanding and appreciation of Wayang Kulit by writing books which provide translations of the language used in the performances and explanations of the story lines. To make wayang kulit more accessible to the man on the street, he uses standard Malay during his performances. He has also performed Wayang Kulit as a puppeteer not only in Malaysia but also in Singapore, Egypt, Indonesia ,India, Japan, and Korea He has also delivered his performances in various languages such as in Mandarin, English and Arabic.

While purists lament the decline of the art form in its original state, Prof Dr.Hashim stresses that adhering to the traditional style will only result in declining  audience numbers. He feels that wayang kulit plots should go beyond the traditional plots from the Ramayana. He has written scripts with unorthodox themes and many of them are humorous skits. When he was Vice-Chancellor of Universiti  Malaya in 2003, he taught wayang kulit as a 28- hour elective.for undergraduate students.

How did the practitioners of Wayang Kulit Siam and their audience, who were mainly Muslims, receive Hindu influenced storylines?

In his book, Prof Hashim explained that according to Dollah Baju Merah, the renowned master puppeteer , the Universe is divided into four habitats with their own inhabitants. 

Refer to the chart below :

CHART : THE UNIVERSE AND ITS FOUR HABITATS 

OF WAYANG KULIT SIAM ( WAYANG KULIT KELANTAN )

# Reference: Sejarah Dan Pengalaman Gaya Bahasa Wayang Kulit; Author : Hashim Bin Yaacob  Publisher: Pekan Ilmu Publications Sdn Bhd

The chief of the universe resides in the uppermost kayangan and he is known as Dewa Sang Yang Tunggal.  The term “Tunggal” means “one” which denotes the oneness of the Dewa, creator of the universe of the wayang kulit, who has great power over all things.

The ocean in Wayang Kulit Siam is ruled by a dragon – king called Sepit Bentala Maha Gangga, the underworld by a genie (Jin) called Jin Doho Balai Seribu  and the land by a mortal , Sri Rama.

“Sri Rama, the hero prince of Wayang Kulit Siam epitomizes the perfect man, at the very least in the physical form. What then are some of his attributes to warrant the privilege ? Whatever they are, they must be conjured up according to the taste of the day among the Wayang Kulit Siam supporters”, said Prof Dr.Hashim.

We are told that out of boredom and loneliness in the Uppermost Kayangan , Dewa Sang Yang Tunggal decided  to descend to earth to see the affairs of the world, disguised as a commoner. 

His willingness to suffer humility and become the servant of Maharaja Wana is viewed as a positive trait. The practice in humility  (  rendah diri ) and modesty is a distinctive feature of the social conduct in Malay society which persists until today.

Clear messages can be drawn from the varied dramatic repertoires, which may influence the general audience in leading their lives, in their code of conduct and in their perception of the world. Negative traits among humans such as ungratefulness, pride, greed, telling lies, slandering a person, ridiculing a person are also emphasized as undesirable traits.

The importance of forging  close ties among family members is also expounded. Sri Rama could always count on the help of his younger brother, Raja Muda Laksamana, and his son, Hanuman Kera Putih..

Prof Hashim feels that one of the most important messages is the respect accorded to learned individuals ( orang yang berilmu )  and the process of acquisition of knowledge  ( ilmu ) itself.  Wayang Kulit Islam  also emphasizes relationships between men and women through marriages. In its repertoires, we are constantly reminded of the love Sri Rama had for his wife, Siti Dewi  . Sri Rama had to face all odds and obstacles including fights against the demon king, Maharaja Wana,  in order to win back his wife after she was abducted.

Prof. Dr.Hashim feels that the positive messages in Wayang Kulit Siam are a reflection of the teachings in Islam and are imparted by dalangs through the heroes and villains of the various repertoires. He remains positive about the future of this treasured art form . He emphasizes that even though  it is necessary for the art form to evolve to ensure its survival, whatever efforts taken must ensure that the local identity of the people of the land should not be lost.

Muzium Seni Kraf Orang Asli (MSKOA)

By Yun Teng

Many visitors to Muzium Negara tend to focus on the main four galleries, unaware of the other galleries on the premise. One of the lesser-known galleries, in my opinion, is the Muzium Seni Kraf Orang Asli (MSKOA) located near the car park. I was once red-faced when vising the MSKOA with a friend, despite being a qualified Muzium Negara volunteer guide, I struggled to grasp the context from the captions provided next to the exhibits. Hence I promptly registered for Reita Rahim’s upcoming talk as soon as the poster was released.

Reita Rahim, a former graphic designer turned freelance craft researcher, has dedicated the past 20 odd years to documenting the customs, beliefs, practices and way of life of the Orang Asal, while training them to improve their crafts via colour management and quality controls.

She began her talk with the clarification that the indigenous on the Peninsular is referred to as “Orang Asli’, in Sarawak they are the ‘Dayak’ and ‘Orang Ulu’, and in Sabah they are the ‘Anak Negeri’. Collectively they are referred to as ‘Orang Asal’.

Her talk was very informative. I shall attempt to record everything in detail, for the benefit of my fellow volunteer guides. Points taken are placed into different categories, for easier reading.

Population

	Malaysia (Peninsular)	Taiwan
Population	0.64% (2019) (1)	2.5% (3)
Life expentancy	About 20 years lower than the national rate. (2)	10 years lower. (4)
Source	iDAMAK, June 2021, KKM collected it during COVID vaccination project   Masron, T.; Masami, F.; Ismail, Norhasimah (1 January 2013). “Orang Asli in Peninsular Malaysia: population, spatial distribution and socio-economic condition”. J. Ritsumeikan Soc. Sci. Hum. 6: 75–115.	(3) Data and official document  extracted Wikipedia: 臺灣原住民族   (4) Excerpt from a talk https://youtu.be/HAMf7m23M_w

Style of Living

Events	Description
New borns	New borns and young toddlers are considered vulnerable in the family. They need to be well taken care of before going out to explore the world. Note: Do not freely photograph them. It is a required courtesy to ask permission before taking any photos of them.
Amulets	A ‘durian-like’ fruit that can be found in the gallery is one of their protection amulets. The seeds found inside the fruit is glassy and sharp. See photo below. (Photo by Yun Teng)
Agriculture	According to their beliefs, heaven is called ‘Pulau Buah’ (Island of Fruits), thus named to represent a sense of security, since they were often challenged by poverty and hunger.
	Rice is the main staple food, followed by tapioca and yam. The Orang Asli eventually planted a variety of rice, some are endangered species. They ploughed and harvested rice in a variety of ways, using special tools (not a ‘sabit’), as shown below. (Photo by Reita Rahim)
		Orang Asal (Peninsular)			Penan
	Rice swiddening	They rotate the crops every 5-7 years. They are not nomadic.			They are nomadic, hunting and gathering from the wild. They do not plant rice.
Hunting	The blowpipe is a primary tool, sharp tips applied with poison from the Ipoh tree. A fine line is scored just below the tip to ensure it breaks off once it hits its target, ensuring the poison remains in the victim.
Blowpipes	Bamboo Pipes are made with bamboo (Temiang), straight in between segments, perfect for viewing and taking aim. They are two-layered, the inner pipe will nest within a wider outer pipe.			Wood Belahan techniques Wood is cut into half lengthwise, the inner part removed.			Wood A special technique is employed to drill a hole down the middle of the wood.
	Temiar	Semai		Semelai (Tasik Bera)			Penan Murud
	Bamboo is not popular amongst the Orang Asli of the South, since it is scarce in this area.
Fishing	Fishing techniques are inherited from their forefathers, using a variety of tools and traps to catch fish from rivers or clams from coastal waters. (Photo by Yun Teng)
Clothing	Clothes are made from the bark of a tree called “Artocarplus elasticus”, by pounding, soaking and stretching in order to make the material more ‘wearable’.
Accessories	They have accessories such as headgear, bead necklaces (some made of edible seeds), ear plugs or nose pricks.
Headgear and masks	Temiar	Mah Meri		Other Orang Asal			Dayak
	They are the main group. They invented headgear.	Dance with masks. (Photo by Reita Rahim)		Now they see it as an identity.			Headgear made of beads.
Masks	Masks were made with pieces of wood joined by articulated jaws. This practice is rarely seen these days as it involved a lot of workmanship. (Photo by Yun Teng)
Transportation	Some groups of Orang Asal used to live as sea nomads. They do not live that way anymore because the wood for making the boats, (which can be opened up naturally when the bark is dehydrated with a firing technique) can no longer be found in the jungle. (Photo by Reita Rahim)
Entertainment	Some musical instruments are designed for ritual, whereas some for entertainment.
Musical instruments	Percussion instruments include the genggong & kelunthong and the gambang (there’s even a double-player one). The wind instruments are the flutes Selaung, pensol and si-oi. The string instruments include the mouth harps such as jurieg, kerab meroi, din keranting, banjeng and kereb lab.
	Stampers dance (Ritual)		Magunatip (Entertainment)			Bamboo Dance (Festival)
	Semai		Aborigines from Sabah and Sarawak			Taiwan aborigines, the Ami tribe
Arts	Crafts are made from materials they are able to gather. Most woodcrafts are made with wood from the Pokok Angsana, some made with Cengal and Pulai (commonly gathered but a soft wood).
Woodcraft	Mah Meri			Jahut
	Mostly about stories of their moyang (ancestor).			Mostly about spirits that make humans ill or feel uneasy.

Illness and Healing

Ancestry	Moyang
Realms in alternate	The other realm is in a reverse alteration. For instance: 1) Small in this world, big in the other. Hence, the food offered to ancestors has to be small so that ‘in the other world’ it is a big portion. 2) Day in this world, night on the other side, so a candle has to be lit.
Healing rituals	Healing with the power from their ancestors is very common among the tribes. The ancestors are summoned to a location with a particular collection of woven leaves where communication can be carried out. (Photo by Yun Teng)

Death and Graves

Burial is a very important event. A proper grave is prepared for the deceased with their belongings placed on the grave and a tree planted to serve as a marking. On the sixth day, the deceased will be told to stay in the realm of the other world, everyone will move on then.

A burial side of Jahut. (Photo by Reita Rahim)

Burial side (artefact) in MSKOA. (Photo by Yun Teng)

With this brief documentation, I am now able to speak a little about the Orang Asli when I bring visitors to the gallery. There are still many more stories to learn. A two-hour talk can only provide a tiny glimpse into their universe.

This Muzium Seni Kraf Orang Asli (MSKOA) in Muzium Negara, and the one in Muzium Perak (Taiping) that I visited, are good places to start to better understand them. We should approach this understanding with due respect, embracing the uniqueness of their culture.

By Lobsang Chenrezig

(Note: MVs were invited on this visit to give feedback on ideas for heritage tours of the Merdeka Precinct.)

On 6 May 2023, a breezy and beautiful Saturday morning, MVs were honoured to be invited to witness the development of a new iconic building for Malaysia – Merdeka 118. We were greeted and given a very warm welcome by the staff of PNB Merdeka Ventures Sdn Bhd followed by a briefing by their CEO, Y.M. Tengku Dato’ Abd Aziz Tengku Mahmud. Y.M. Tengku Dato’ Abd Aziz Tengku Mahmud started his briefing with the history of how PNB Merdeka Ventures Sdn Bhd became involved with the development of Merdeka 118, which is part of Stadia Land.

Stadia Land consists of 6 lots :-

Changkat Pavilion site (Lot 354 & Lot 355)
Taman Tuanku Abdul Rahman (Lot 742)
Stadium Negara (Lot 743) – National Heritage
Stadium Merdeka (Lot 744 & 747) – National Heritage

In 1994, the Malaysian Government transferred Stadia Land to Puncak Vista Sdn Bhd (“PVSB”), a subsidiary of UEM Berhad (via Syarikat Tanah dan Harta Negara) as per the terms and conditions of the Agreement for UEM to build the National Sports Complex in Bukit Jalil. In 1997, Pengurusan Danaharta National Berhad (“Danaharta”) took over Stadia Land from PVSB due to the 1997 Asian financial crisis. On the suggestion of Tun Ahmad Sarji, the 9th Chief Secretary to the Government from 1990 to 1996, who was also a former President of Badan Warisan, PNB Merdeka Ventures Sdn Bhd acquired Stadia Land from Danaharta in 2000. The 1997 Asian Financial crisis prevented 2 heritage stadiums from being demolished. Under the PVSB plan, only Lot 747 is to be preserved as a memorial and the rest of the buildings in the other 5 lots are to be demolished.

There were only 100 floors in the original plan. However, as nearly 20 floors were required for machinery, utilities, etc, the number of floors had to be increased. The management decided to stop at 118, pronounced “Yat Yat Fatt” in Chinese meaning daily prosperity! Merdeka 188, standing at 678.9m tall (a very easy number to remember, in the sequence of 6,7,8,9), is the tallest building in South East Asia and the second highest building in the world after Burj Khalifa standing at 828m tall. Its form was inspired by the outstretched hand gesture made by Malaysia’s first Prime Minister in 1957, when he declared the nation’s independence in Stadium Merdeka, which is part of the Merdeka 118 precinct.

Merdeka 118 comprises a Shopping Complex from levels 1-3, offices up to level 96, Hotel at levels 97-98, and observation deck at levels 115-118. Visitors descending from the observation deck will end at Level 3, the “Malaysian Floor” – to experience Malaysian cultural products and food.

After the briefing, all of us were geared up with PPE complete with safety boots. It was not easy to move around in the heavy PPE and every step taken wearing those safety boots felt like foot-weight lifting. We were taken up to floor 116 by the service lift, which could accommodate all 20 MVs and our guides. The journey from the ground to floor 116 only took approximately 65 seconds. Unlike other buildings, lift evacuation in the event of fire is allowed in Merdeka 118.

We were amazed by the spectacular view at level 116. We could see the National Museum, Victoria Institution School, Stadium Merdeka, Royal Museum, National Mosque, Old KL Railway Buildings, Chin Woo Stadium, Daya Bumi Building, Dataran Merdeka, Parliament Building, Bank Negara and the canopy stretching over Petaling Street. With so much to look at and a lovely cooling breeze, it was an out-of-the-world experience and we wished we had more time to enjoy it.

A brief explanation was given about the glass used for the building. There are three layers of glass. These are non-conjoining glass with space in between them. For safety purposes, if there is a slight crack in one layer, all the three pieces of glass will be replaced.

After enjoying the spectacular view and cooling breeze at level 116, we were brought back to the meeting room for lunch. We passed through the temporary office which will be turned into a carpark with a vehicle number plate recognition system. With 8,000 park bays available, visitors can use the vehicle number plate recognition system to locate their cars.

Behind the development of Merdeka 118 lies an incredible noble vision and mission. Merdeka 118 is a proud symbol of Malaysia’s independence with plans for the betterment of the people. Accessibility between the Merdeka 118 precinct and its immediate surroundings will be improved. It aims to build relationships, enhance resilience and incubate new content with the communities surrounding Merdeka 118 through its Merdeka Community Grants Programme. This Programme includes activities such as Heritage Walk & Talk, Vocational Training for Underprivileged Young Women, PESZTA Festival in conjunction with Merdeka Month at Kampung Attap and Economic Empowerment Programme.

And last but not least, the Merdeka 118 project includes the reactivation of Stadium Merdeka, which has hosted countless memorable events in the past. The preservation and restoration work had reversed the stadium back to the original 1957 look. The original floor tiles were found to be still manufactured in India, which enabled the replacement of the damaged floor tiles. The original turnstiles were found and retrieved from Manchester. Unesco has recognized the restoration works and in 2008 it was conferred the Cultural Heritage Conservation Award.

Our visit ended with a scrumptious Raya lunch, receiving souvenirs from Merdeka 118, and presentation of souvenirs from our Honorary President, Puan Afidah Zuliana Abdul Rahim to PNB CEO, Y.M. Tengku Dato’ Abd Aziz Tengku Mahmud. We left Merdeka 118 with a nostalgic feeling of what our country went through on the road to independence for all of us to enjoy a harmonious, prosperous and beautiful Malaysia with its unique diversity … proud to be Malaysian!

By Hani Kamal

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.

By Pamella Lim

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 30^th 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.

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.

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 15^th 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.