Category: Focus and Special Events

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.

By Nancy Cheah

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.

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 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.

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.

by Josiane Reggane

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.

The golden nuggets of the exhibition

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.

Below are writeups on the talk and the tour
Evocations of Serenity – by Annie Chuah
Istana Satu – by Aishah Nadirah

Evocations of Serenity

by Annie Chuah

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’.

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 8^th 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.

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 20^th 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.

Masjid Tanjung Sembeling Lama Seri Siantan before and after conservation. Image credits: http://seriesiantan.blogspot.com/2011/01/masjid-lama-tanjung-sembeling-dalam_18.html

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?

Next: Istana Satu

References

Presentation Slides – Malay Architectural Houses History Tradition Transitions Najib Nadge Ariffin.pptx 2022. https://openarchive.icomos.org/id/eprint/2475/

https://www.researchgate.net/publication/266285891_Architectural_Heritage_Conservation_in_Malaysia_Recognition_and_Challenges

https://books.google.com.my/books?id=fCtFff2veXYC&pg=PA68&redir_esc=y#v=onepage&q&f=false