MV Focus 2024 Trip To Gua Niah National Park, Sarawak

Written by Serena Yee

In October, 21 MVs made their way to Miri for the much-anticipated visit to Gua Niah National Park in Sarawak. 

Niah National Park was established in 1974 within the Bukit Subis Protected Forest that was established under the Forest Ordinance in 1951. It is protected by the National Parks and Nature Reserves Ordinance and the Wildlife Protection Ordinance of 1988. At the state level, the property is protected by the Sarawak Heritage Ordinance 2019. The Sarawak Forestry Corporation takes the lead in managing the park in collaboration with the Sarawak Museum Department, who is responsible for the conservation of the cultural heritage. The management system is supported and advised by the Special Park Committee for Niah National Park.

A chartered bus ride of an hour plus long brought us to the park headquarters from our hotel in Miri town. Together with Assistant Curator of the Sarawak Museum, Mohd Sherman Sauffi and 3 Sarawak forest rangers, we set out with a slightly anxious albeit enjoyable 3-minute boat ride across the croc-infested Niah River to the start of the trail. Careful to limit each trip to 10 persons so as not to capsize the boat! 

Pleasantly traipsing on hardwood raised boardwalks and cement paths in alternation, resting briefly at the Tangap Community Craft Stalls and Washrooms, we soon arrived at the Traders Cave. Like eager little beavers, we pushed on towards the Great Cave Complex, leaving this for later.

Moon Cave

The Great Cave Complex was really very dark. Within it was the Moon Cave (Lobang Bulan) one of the darkest caves in Niah, which was surveyed in 2014-2015. Millions of years ago it was underwater, evidenced by the salt residue, seashells and an ancient riverbed. 

The prehistoric people knew how to select the right spots to settle and this was not one of them. They preferred rock shelters and cave openings. This was however the main cave for the collection of edible birds nests, made from the saliva of swiftlets high up in the roof and walls of the cave. The incessant chirping and squeaking of swiftlets and bats (apparently there are 7 or 8 kinds here!) accompanied us as we laboured up and down multiple flights of steps through the cave at an elevation of 3000+m. Here and there were metres-long ropes, wooden/bamboo poles and flimsy-looking ladders extending from eye level to the roof erected by the birds’ nest collectors. It was a sight to see! And to spare a moment for those who lost their lives pursuing this profession in the dead of night.

Before arriving at the Painted Cave, we passed by Gan Kira (no one knows the origin of this name) where the soil/clay is harvested to make the prehistoric pottery found in this area. Adjacent is where Barbara Harrisson discovered the mysterious headless skeletal remains of a prehistoric female, hence the name Murder Cave.

Painted Cave

A few more kilometres after that we arrived at the Painted Cave (Gua Kain Hitam), the furthest point today. The famous murals of the Niah Caves were discovered here, featuring images of the ships of death, which serves as a prominent drawing on the cave wall. The remains of the ships of death (boat-like coffins that were used to contain the bodies of the dead) have been transferred to the Sarawak Museum.

Sherman produced the magic key and we felt great privilege entering the fenced off area, eyes eagerly scanning the walls for the red ochre (hematite) drawings we had seen many times in Gallery A, at the National Museum. He then directed us to the back of the cave and when he shone his torch on the wall, there was a collective gasp as we saw many drawings there in greater clarity! The 45m long wall is divided into 4 sections, 3 and 4 being the furthest in. 1 and 2 being on the outer part of the cave more exposed to the elements, hence the drawings are comparatively less clear there.

122 drawings, dating from 1800 to 800 years old, were catalogued by Barbara Harrisson in 1959 but in 2016-2017, using a spectrum camera, archaeologists re-catalogued a total of 164. Encompassing anthropomorphic, zoomorphic and geometry, there were drawings of boats (Ships of Death), symbolising the journey to the afterlife, animals, a shaman, a symbol of the universe to name a few. We are currently restricted from sharing any photos of these drawings due to the ongoing research and analysis that has yet to be completed.

A number of wooden coffins were also found here used in the practice of secondary burials. There were three sizes : sub-adult, teenager, and adult. The body is first laid there upon death where the holes at the ends allow bodily fluids to flow out. After a few years the bones are collected and buried in another place. A joint team led by Associate Professor Stephen Chia in 2007-2008 discovered 6 Neolithic skeletal remains nearby, dating 2000 – 3000 years old, beyond the fence, in an area referred to as Cave B. They were buried within a depth of 1-1.5m. Why were they not buried in the Painted Cave? Because it was primarily a dwelling as the soil layer was only 5-7cm deep, after which one would hit bedrock, thus not suitable for burials. 

An unusual watermark is seen on the ceiling of the Painted Cave. Researchers hypothesise that it could be due to the mist, moisture, humidity, air circulation, temperature fluctuations, the wet and dry seasons coming from the opening of the cave.

The Great Cave

We then headed back to the dark Great Cave, through the ups and downs again, to enter another locked area at the West Mouth (Lobang Kuala) of the cave. Here, Sherman had to bring us 5 at a time due to the fragility of the walking planks, sharing with us in detail the discovery of the 40,000 year old Deep Skull in Hell Trench below a few metres of guano. Deep Skull is a fragment of a skull discovered in February 1958 in the first Niah excavation led by Tom and Barbara Harrisson after a tip-off from the locals. This area near the mouth is pre-Neolithic.

Further in is the excavation of a Neolithic ‘cemetery’ dating from 2800 to 1200 years ago, showing their awareness of the differentiation between the living and the dead. 200 individuals were found in 7 different burial methods/positions, namely, flexed, seated, cremated, mutilated, burnt, layered and supine. Some even had different hand positions. The many variations of mortuary treatments represent one of the Outstanding Universal Values (OUV) of The Archaeological Heritage of Niah National Park’s Caves Complex that accorded it its UNESCO World Heritage Status on 1st August 2024. 

Another unique find was a jade earring (lingling-o) which was excavated on 29 March 1977 by Dato Professor Zuraina from a burial. Recent analysis showed that its mineralogical characteristics resemble those of Fengtian nephrite from eastern Taiwan, about 2500 km to the north. Similar earrings were found in Batanes and Palawan in the Philippines where it could have been manufactured and then traded in Borneo. 

With evidence of long-term human habitation and near continuous occupation from 40,000 – 2,000 years ago, Niah is among the most important sites in Southeast Asia. Meanwhile, MVs waiting their turn were in stitches regaled by Kulwant with stories from the Milo Chronicles!!

Traders Cave

Finally we made it back to the Traders Cave, previously known as the Small Cave, but renamed for the traders of guano and birds nests who conducted their business here in the 1950s. Their lashed-lug (pasak) stalls were constructed with ironwood (belian). Excavations were carried out here in 2017 and 2019 with the University of New South Wales. 14 trenches were dug, 6 layers identified. Hitherto findings are roughly illustrated in the following table.

Traders Cave, Niah Caves Complex : Archaeological Findings and Age Estimates 

Layer DepthAge Range (Years Ago)FindingsSignificance
Top Layer (10 cm)40,000Surface layer, recent deposits
Lower Layer55,000 – 65,000– Human toothIndicates early human presence
– Human skull pieceImportant for understanding mortality and health
Layer 375,000 – 85,000– SeashellsEvidence of marine environment
– Fish bonesSignifies dietary practices
– Crocodile back plateAdds to knowledge of local fauna
Layer 4 (2.5m down)120,000– BedrockIndicates the base of the site
Oyster Layer75,000 – 85,000– Oyster remainsShows that the area was underwater
– Microlithic toolsSuggests human tool-making activity

These findings are under peer review and research is still ongoing. Hopefully in the near future, researchers will be able to piece together the story of the ancient settlements here.

Therein lies Niah’s main Outstanding Universal Value (OUV) – the continuity of the prehistoric occupation, the longest-known records of human interaction with rainforests within a colossal complex of caverns and caves of the Integrated Niah Cave Complex. With evidence dating as far as 65,000 years, extending to a more recent period of activity just 800 years ago. Who knows what will be discovered in the future. For certain, we were all privileged to have visited it.

References:

https://whc.unesco.org/en/list/1014/

Malayan Crafts and Craftsmen Mural – Fibres

Written by Manjeet Dhillon

Melentur buluh biarlah daripada rebungnya (bend a bamboo while it is still a shoot) 

This proverb, rooted in Malaysian culture, speaks to the importance of nurturing skills and traditions from a young age. In the world of Malaysian crafts, this wisdom holds true, as artisans have passed down their expertise in fibre weaving through generations. Just as a bamboo is shaped when it is still a tender shoot, so too are the hands of young artisans guided to transform natural fibres into works of art that embody both utility and heritage.

Plaited Art

Nestled in Malaysia’s lush rainforests, lies a heritage rich in natural resources. These landscapes provide the raw materials that have shaped centuries-old fibre crafting traditions. Skilled artisans harness these natural fibres, weaving them into objects that are both functional and imbued with cultural significance.

The legend of Madame Pele, the volcano goddess of Hawaii, adds a touch of mystique to the story of pandanus, a key material in local craft. When Madame Pele initially arrived, the branches of the pandanus tree entangled her canoe. In her rage, she tore the tree to shreds and scattered the pieces across the earth. Wherever they landed, they took root, providing people with a vital source for basket-making materials. Though this tale hails from afar, it highlights the widespread importance of pandanus and its role in crafting.

In Malaysia, particularly in states like Sabah and Terengganu, pandanus is prized for its use in plaiting mats and other delicate objects. The flexibility of its fibres, which bear a resemblance to palm fibre, makes it ideal for creating both practical and decorative items.

The table below summarises the variety of plant materials that are the lifeblood of Malaysian fibre crafts, alongside the objects crafted from them:

Types of FibresCraftsDescription
Pandanus (pandan & mengkuang)Baskets, MatsShorter, finer pandan leaves for delicate baskets and high-quality mats.  Broader, longer mengkuang leaves for sturdier mats and woven objects.
Rattan & BambooBaskets, Mats, Furniture, HatsStrong and versatile. Rattan (more durable) and bamboo (split into strips) used for intricate baskets, sturdy mats, furniture, and even hats. Careful harvesting and treatment is crucial for bamboo longevity. Bamboo’s versatility extends beyond hats. It finds uses in: Musical instruments (flutes, mouth organs like the Sabah sompoton)Animal traps (various designs, made from bamboo and rattan) Decorative containers with incised designs (quivers, tobacco pouches)
Plants (bundusan, bemban, ferns)Baskets, Mats, ContainersBundusan (aquatic plant) for sleeping mats and drying pads. Bemban (similar to bamboo) for mats, hats, and baskets. Fern fibres for small baskets, containers, and decorative accents when combined with rattan or bamboo.
Palms (sago, coconut, nipa, bertam, silad, polod)Baskets, Mats, Hats, ToolsSago palms, coconut trees offer materials for household items and decorations. Nipa and coconut leaves for baskets and serving containers. Bertam and silad leaves for hats and baskets. Polod palm for tools and implements.

The museum’s collection offers a starting point into the world of fibre crafts. By studying the materials and stories behind these objects, we gain a deeper appreciation of the relationship between art, environment, and cultural identity.

As we transition to the Museum of Malay Ethnography, we are transported to a scene reminiscent of traditional kampung life. Here, a woman’s focused expression reveals the artistry involved as she skilfully weaves strips of pandanus into a beautifully crafted mat (tikar).

Mats were among the earliest surface coverings, serving as a barrier between people and the earth during the Neolithic period. For the indigenous people of Sarawak, the forest provided essentials – reeds, creepers, and leaves for mats and baskets. A longhouse family’s room was traditionally furnished with mats for sitting and sleeping and baskets for storage, transport, and rituals. Common sleeping mats, woven from pandan leaves, are soft but not durable. Stronger mats are made from bemban canes, often with self-coloured motifs. The most resilient, crafted from split rattan and bark fibre, are used to cover and strengthen longhouse floors during festivals.

Aside from mats, the scene includes various other crafts made using natural fibres. Hanging at the edge of the veranda roof is a birdcage, crafted from bamboo or similar reed-like materials. The design of these cages varies according to the species of birds they are intended for, such as zebra doves (burung merbok) or white-rumped shamas (murai batu). While some choose to display these cages empty as a statement against keeping birds in confinement, the craft itself remains a noteworthy example of intricate handiwork.

Nearby, positioned next to the entrance door, is a barrel-shaped fish trap (bubu), also made of bamboo and secured with rattan rings. This trap, wider at one end and tapering into a cone at the other, is fitted with a separate funnel at the mouth, allowing fish to enter in one direction. These traps are particularly efficient, as they require minimal attention once set up along the riverbanks, enabling multiple traps to be placed simultaneously.

Along the left side of the kampung scene, an upside-down basket known as a bamboo chicken cage (serkap ayam buluh) is displayed. This round basket, traditionally used for trapping chickens, is crafted from bamboo, rattan, or bemban.

Rounding the corner, you are greeted by a display panel featuring five distinct trays (dulang) and baskets (bakul). The craft on display here is part of a lineage that reaches back to the very origins of weaving in nature itself.

Just as Mother Nature is the first basketmaker – consider how a bird intricately constructs its nest using only its beak—so too have human hands continued this legacy, crafting objects of both utility and beauty. The winnowing tray, a vital household tool, exemplifies this perfect blend of form and function. These shallow, pear-shaped, or round baskets were traditionally used to separate the paddy chaff from the grain.

Artisans would weave them from a combination of plant fibres, with bamboo, rattan, or bemban forming the surface and rim, all securely bound with sturdy rattan twine or other resilient fibres. Yet, like the natural fibres themselves, the craft faces an uncertain future as deforestation threatens the very plants essential to its practice. The decline of these materials risks not only the loss of an art form but also the cultural knowledge embedded in their creation.

Close to the exit, a section dedicated to traditional games draws your attention, featuring a display of spinning tops (gasing). Historically, the strings for these tops were crafted from the bark of the bebaru tree, along with yarn and terap rope, showcasing the resourcefulness of utilising forest materials. However, in recent times, these natural fibres have been largely replaced by nylon, highlighting the broader shifts affecting traditional practices. To the right of the vitrine display is the sepak raga, a game where “sepak” in Malay means “kick” and “raga” refers to the rattan ball used. In this game, players form a circle and keep the ball in the air by skilfully kicking it with their feet, knees, and heads.

Orang Asli Craft Museum

To gain a broader perspective on fibre crafts, a visit to the Orang Asli Craft Museum is invaluable. While their focus extends beyond mats and basketry to include a variety of intricate fibre-based handicrafts, the museum offers insights into the diverse applications and cultural significance of these arts across different communities.

One standout example is the Bunga Moyang, a remarkable display of Mah Meri craftsmanship. These delicate ornaments, woven from palm leaves, hold significant spiritual value and are used in important rituals such as the Hari Moyang (Ancestor Day) festival and wedding ceremonies.

The palm leaf folding technique is evidence of the expertise of Mah Meri women. With over 30 distinct folds inspired by nature, these creations hold profound spiritual meaning, providing insight into the cultural traditions of this indigenous group.

Orang Asli traditional clothing, made from the bark of the Terap or Ipoh tree, reflects their deep resourcefulness and close bond with nature. Today, these garments are mainly worn for ceremonial events.

The Orang Asli’s accessories reflect their deep connection with nature and their creative ingenuity. Crafted from natural fibres like bamboo and tapioca stalks, these accessories are not only decorative but also serve as talismans believed to protect the wearer from natural disasters and malevolent spirits. The intricate designs of chains, bracelets, and other adornments highlight the community’s artistic expression and cultural heritage.

Weave Type

Weaving patterns play a crucial role in the functionality and aesthetics of forest-fibre crafts. A notable weave from Southeast Asia is the “mad weave” (anyam gila), or triaxial (hex) weaving, which involves weaving strips of material in three directions to create complex patterns. While I won’t explore the technical details here, let me share a fascinating tale behind this pattern:

Legend speaks of Sang Kelembai, a goblin who, troubled by humanity’s growth, tried to flee to the sky. After burning his belongings and disappearing, his woven baskets were examined by human folk who struggled to replicate the designs. Eventually, a fairy appeared, teaching them the intricate process, and thus the “mad weave” was born. The name reflects the pattern’s complexity, which demands great skill and perseverance. This story highlights how art and legend are intertwined, adding depth to the craft.

Patterns and Motifs

In the world of mat weaving, patterns are built from a series of motifs, each with its own story and significance. Commonly used motifs among the East Coast Malays are inspired by familiar flora and fauna, such as bamboo shoot, frangipani, clove blossom, and durian flower.

For the Iban, their monochrome sleeping mats tell tales of legendary heroes (e.g., Kumang), with designs like ‘leopard claw stealing fruit’ and ‘bird’s nest fern.’ The Penan, known for their tightly woven rattan mats, often incorporate motifs that reflect their close relationship with nature, such as fish and palm shoots.

Tools of trade

Creating these patterns requires more than just imagination; it demands the skilled use of traditional tools. The tools of the trade are as vital to the craft as the materials and motifs themselves. From simple knives and awls to more specialised instruments like bamboo splitters. 

As we move from examining these patterns and motifs to understanding the tools that bring them to life, it’s essential to remember that these crafts begin with the earth itself. Natural fibres, whether they come from the forests, fields, or rivers, are the lifeblood of this art. They are shaped by skilled hands into objects of beauty and function, carrying with them stories of the land and its people. But as these materials face threats from environmental change, the future of these crafts hangs in the balance.

Finding Art in the Everyday Weaves

In our daily lives, we are often surrounded by these weavings without even realising it. Consider the checker weave on a ketupat, woven from tender coconut leaves to the thoranam decorations at Hindu temples, and even the traditional Chinese bakul sia – woven baskets used for various purposes – these everyday weavings are more than mere decorations; they are a part of our cultural fabric. So, which other hidden patterns and stories might you uncover in your daily life? Keep an eye out, and you may find that art and tradition are woven into more aspects of our world than you ever imagined.

To learn more about craft work from Orang Asli communities in Malaysia:

Reference:

  1. A Malaysian Tapestry – Rich Heritage at the National Museum
  1. The Encyclopedia of Malaysia: Crafts and the Visual Arts by Hood Salleh
  1. The Crafts of Malaysia by Sulaiman Othman and Others
  1. Sarawak Style by Luca Invernizzi Tettoni and Edric Ong
  1. The Kampung Legacy: A Journal of North Borneo’s Traditional Baskets by Jennifer P. Linggi
  1. Basketry: A World Guide to Traditional Techniques by Bryan Sentance. 
  1. Gerimis Journals – Mad Weave by Gerimis Art Project
  1. A Documentation of Mah Meri Indigenous Ceremonial Attire and Ancestral Day Event Stages. https://www.scirp.org/journal/paperinformation?paperid=131710
  1. Rahim, Reita and Tompoq Topoh. Chita’ Hae – Culture, Crafts and Customs of the Hma’ Meri in Kampung Sungai Bumbon, Pulau Carey. https://www.coac.org.my/dashboard/modules/cms/cms~file/0e582556e1031b29bc5a39d0ba82f11a.pdf
  1. Barnes, Ruth. “South-East Asian Basketry” Journal of Museum Ethnography, no. 4 (1993): 83–102. http://www.jstor.org/stable/40793522
  1. Sellato, Bernard. “Basketry Motifs, Names, and Cultural Referents in Borneo.” https://hal.science/hal-02904063v3/document
  1. Mrs. Bland. “A few notes on the “Anyam Gila” Basket Making at Tanjong Kling, Malacca” Journal of the Straits Branch of the Royal Asiatic Society No. 46 (December, 1906), pp. 1-8. https://www.jstor.org/stable/41561637
  1. Mason, Otis T. 1909a. “Vocabulary of Malaysian Basketwork: A Study in the W.L. Abbott Collections.” https://archive.org/details/biostor-79164/page/n9/mode/2up
  1. Mason, Otis T. 1909b. “Anyam Gila (Mad Weave): A Malaysian Type of Basket

Work.” https://archive.org/details/biostor-176496

Focus Talk: Sixteen Naked Indians by Dr. Lim Teckwyn

Written by Manjeet Dhillon

22 June 2024: History often focuses on the conquering heroes, the explorers who plant flags and claim new lands. But what about the quiet first meetings with the indigenous communities?

This often-forgotten chapter in history was recently brought to life at our focus talk thanks to Dr. Lim Teckwyn. His talk, titled “Sixteen Naked Indians: First Contact Between the British and the Orang Asli in the Late 16th Century off the Coast of Penang,” challenged our understanding of the island’s earliest encounters with Europeans.
Dr. Lim Teckwyn, an Honorary Associate Professor at the University of Nottingham, Malaysia, whose work focuses on the interface between forests, wildlife, and people, spoke about this historic encounter between British sailors and the indigenous inhabitants off the coast of Penang in the late 16th century.
Early European Arrivals
Dr. Lim first discussed the possibility of earlier European arrivals, including a Greek sailor named Alexandros in the 6th century and a possible Roman vessel around the same period. Additionally, Marco Polo’s potential voyage past the Malay Peninsula during his explorations in China is explored.
The audience is presented with a trivia question: Did the renowned explorer Sir Francis Drake visit Malaysia? The answer is no, as his circumnavigation steered south of Java on the return trip.
While a lesser-known figure, Ralph Fitch, holds the distinction of being the first Briton documented in Malaysia (though he arrived on a Portuguese vessel in 1588), Dr. Lim’s talk focused on Captain James Lancaster, a key figure in early British exploration of the region.

In June 1592, Lancaster arrived in Southeast Asia aboard the Edward Bonaventure, one of the first English vessels to venture into the region. His fleet, initially consisting of three vessels, was reduced to one by the time it reached Penang, largely due to the ravages of scurvy (an illness caused by vitamin C deficiency) and the loss of ships during the journey.

The Encounter
The first recorded interaction between Lancaster’s crew and the indigenous people occurred on the mainland near Penang on August 31, 1592. According to the journal of Lancaster’s first mate, Edmund Barker, the British sailors initially observed signs of recent human activity, such as burning fires, but encountered no people until the following day. When they finally met the locals, they described them as “sixteen naked Indians” in a canoe. This brief encounter, however, offered valuable clues about the identity of the islanders.

Dr. Lim clarified that the term “naked” in Elizabethan English often referred to people who were not fully dressed by contemporary European standards, rather than being completely unclothed. These indigenous people, likely wearing minimal attire, engaged in a friendly exchange with the British sailors, promising to provide fresh victuals (fresh fruit) to help restore the sailors’ health and allow them to continue their voyage.
Dr. Lim’s research suggests that this encounter proved to be a valuable learning experience. On a subsequent voyage, Lancaster implemented a preventative measure by regularly providing his crew with lemon juice, effectively combating the illness.

Orang Asli or Malay? Examining the Clues
The identity of these “naked Indians” became a subject of exploration for Dr. Lim. He suggested that the term “Indians” in this context referred broadly to non-Muslim inhabitants of the region, as opposed to the Muslim Malays, who were often referred to as “Moors” by European explorers of that era. This distinction is crucial in understanding the nature of the encounter and the cultural background of the indigenous people involved.
The canoe described in Barker’s journal, likely a dugout with an outrigger, is consistent with those used by the Orang Asli and other indigenous groups in the region.

Dr. Lim’s extensive research into the Orang Asli provides further context, suggesting that these people were part of the diverse and complex network of indigenous communities inhabiting the Malay Peninsula.
While the evidence for this encounter may be circumstantial, it holds significance as the first recorded contact between the British and the Orang Asli. It offers a glimpse into a period where European influence in the region was nascent and the Orang Asli way of life remained relatively undisturbed.
A More Inclusive Narrative
The Orang Asli, the indigenous people of Peninsular Malaysia, were likely the first to greet the European sailors. Their presence sheds light on a facet of Penang’s history that has been overshadowed by later colonial narratives. This chance encounter, though brief, reminds us to consider the perspectives of the Orang Asli, who inhabited these lands long before European arrival. Understanding these early interactions allows for a more complete and nuanced understanding of Malaysia’s past.

Q&A Session Highlights

The talk was followed by a Q&A session that shed further light on Dr. Lim’s research and the broader context of European exploration in Southeast Asia. Here are some key takeaways:
● Captain James Lancaster’s Voyages: An audience member inquired about Captain Lancaster’s other voyages. Dr. Lim confirmed that Lancaster undertook several expeditions, and the encounter with the Orang Asli likely occurred on an earlier voyage before his more famous exploits aboard the Dragon, a ship funded by the East India Company. He also mentioned that Captain Lancaster was likely knighted for his achievements on a separate voyage.
● The Use of the Term “Malay” Another interesting question explored the possible use of the word “Malay” by Europeans at that time. Dr. Lim suggested that while contact with Malay-speaking people in other parts of the archipelago likely occurred, the term “Malay” in the English language might have been introduced by explorers like Magellan, whose journals were translated soon after their voyages.
● Denisovans The discussion briefly touched upon Denisovans, an ancient human relative. Dr. Lim acknowledged ongoing research on their possible presence in Southeast Asia (referencing twelve skulls found near the Solo River in Indonesia). Their presence is hinted at through DNA markers. Aboriginal Australians, Papuans, and some Filipinos possess Denisovan DNA, suggesting interbreeding between these ancient humans and early modern humans in the region.
Recent genetic studies paint a fascinating picture of human migration in Southeast Asia. The Orang Asli share DNA with people from Melanesia, suggesting ancient connections.

Note:

The Orang Asli (meaning “original people” in English) are the indigenous communities of Peninsular Malaysia. They encompass a diverse network of sub-ethnic groups, each with its own language and cultural practices.
Traditionally, many Orang Asli groups have lived semi-nomadic lifestyles, attuned to the rhythms of the rainforest and practising activities like shifting cultivation, hunting, and gathering.
This encounter with the British sailors in 1592 sheds light on a period when their way of life thrived in relative isolation. Today, the Orang Asli face challenges related to land rights and modernisation, yet their culture and connection to the environment continue to be celebrated.

New Research into the History of the Patani Sultanate in the 16th-17th centuries.

A MV FOCUS TALK by Professor Daniel Perret (27th May 2024)
By Hani Kamal

Professor Daniel Perret, the head of the French School of Asian Studies at the Faculty of Arts and Social Sciences, History Department, Universiti Malaya, is currently serving as a visiting professor at the same institution. His research specialises in the history of epigraphy and archaeology in proto-urban sites throughout Southeast Asia. His presentation, titled “New Research into the History of the Patani Sultanate in the 16th-17th Centuries,” focused on investigating the historical aspects of Patani.

Perret and Jorge Santos recently conducted a translation of a substantial collection of articles sourced from European, Japanese, and Chinese historical records. These sources shed light on the extensive trade relationships established by European powers such as the Portuguese, Dutch, and British in Patani during the 16th and 17th centuries. Through their study “Patani Through Foreign Eyes: Sixteenth and Seventeenth Centuries,” published in 2022, Perret and Santos meticulously translated and re-analysed these foreign historical manuscripts detailing the dynamic events within the Patani Sultanate, particularly the reign of four successive queens.

Perret’s presentation emphasised the significance of combining physical evidence, such as monuments and artefacts, with information extracted from ancient manuscripts. These elements provide valuable insights into the events unfolding in the 16th and 17th centuries, showcasing Patani as a pivotal trading hub in the Eastern Seas under the influential rule of these queens. Examples of such artefacts include ancient royal tombstones such as Batu Acheh gravestones, a sketch of the old citadel and manuscripts documenting the legacy of the Patani queens.

Background of Patani

The word Patani originated from the Malay word “pantai ini” (this beach), and as mentioned in Hikayat Patani, it is where a white mouse deer was spotted. In the early days, Patani covered the entire Thai provinces of Patani, Yala, and Narathiwat and included parts of northern Kelantan in Malaysia. According to Hikayat Patani, which was recorded by various authors between 1690 and 1730, the early history of Patani must have been established in the early 2nd century when the strategic cape of Patani was sought after by ships travelling straight from the Gulf of Siam across from the Vietnamese point before going to the Malay Peninsula ports. According to Teeuw and Wyatt’s translated version of the “Hikayat Patani: The Story of Patani”, published in 1970, Patani was believed to be Langkasuka (208BC), situated in a very strategic location geographically ideal for a very complex Asian trade system. Professor Wheatley, in his book The Golden Khersonese, A Study of Asian Historical Geography, concludes that Langkasuka transitioned into Kota Mahligai (now Yarang). But it became almost non-existent when the Srivijaya empire became powerful in the 8th and 9th centuries, dominating the Malay Peninsula. There were major power struggles among the Siamese, Khmer Empire, the Burmese Mon/Pagan Empire, the Cholas, and the Javanese in Southeast Asia during the same period. It is not clear as to when Kota Mahligai became Patani before 1500. However, three main themes emerged in the literary sources on Patani: Siamese influence, its conversion to Islam and its economic rise. (Bougas, 1990: Pg 114)

The peak period in Patani’s history is typically identified as the 16th and 17th centuries. However, by the latter part of the 17th century, the influences of Siamese Sukhothai and Ayuthaya began to dominate the region. In 1902, Siam further weakened Patani’s authority by dividing it into seven districts. The Treaty of Bangkok in early 1909 officially acknowledged Siam’s sovereignty over all the northern Malay territories, thus sealing the fate of Patani ever merging with the peninsula Malay states. Consequently, the Sultanate of Patani was dissolved, and its heir resided in exile in Kelantan. Following World War II, the Treaty of Songkhla in 1949 solidified the inclusion of Patani and the other northern Malay states into Thailand. The ongoing conflict and struggle for independence in Patani persist to this day amid continuing disputes.

The organisation of the Patani capital in early 17th CE

No maps portraying Patani during the 16th and 17th centuries have been discovered. The sole visual representation from that era is a depiction of the city, displayed in Figure 1, which was crafted by Jacob van Neck during his visit to Patani. An intriguing account from 1678 suggests that two trading officers from the British East India Company voyaged to Patani specifically to procure this city map, subsequently dispatching it to their office in Ayutthaya. Regrettably, Perret noted the absence of this document in the British Archives.

The illustration or sketch of the Patani capital, featured in Figure 1, offers a broad overview of the city during the 16th century. Jacob van Neck’s rendering highlights key locales such as the palace, the citadel, various town districts, the merchants’ quarters, and the harbour. This visual portrayal of the Patani capital’s layout is derived from on-site surveys, oral traditions and written accounts documented by diverse sources, including the Malay, Dutch, Portuguese, British, Japanese, and Chinese. Based on field data, it is inferred that this depiction dates back no further than 1584, a pivotal year marking the ascension of the first queen.

In Figure 1, Panarican—which appears eight times in the rutter—or “Penarekan” in Malay, denotes the dragging of boats across the river. “Tanjung Lulo”, appearing seven times in the rutter, is described as a headland on the sandy coastline with two bastions, including the largest in the city and its main gate. Tanjung Lulo is certainly the Tanjung Lulup mentioned once in the Hikayat Patani. Kuala Baca, a sandy beach area, was a town in Patani—it is the “Kuala Becha” mentioned in Hikayat Patani, as well as Dutch and Portuguese sources. On the west coast of the citadel, Garzen, which is frequently mentioned, is likely “Kerisik”, meaning coarse sand. This location fits well with the current location of Ban Kru Se (Kerisik). The “PINTU GARBA” mentioned is the Pintu Gerbang (main gate) in Hikayat Patani, large enough for elephants to pass through, also referred to as Pintu Besar (Big Gate) at the west of the Citadel. Kuala Saba (river mouth of Saba River), north of Panarican, has disappeared in the last four centuries.

Fig. 1. Sketch map of the city of Patani (late sixteenth – early seventeenth centuries) (adapted from Perret et al. 2004).

Portuguese sources—recounting a Portuguese attack on Patani in 1524—recorded Chinese living in brick houses in Patani. Dutch sources cite that Dutch lodges were built with bricks and that the English and Dutch lodged near the bay. The rutter also described the city as having a defence system that served as a channel for communication. According to the sources, the citadel walls were about eleven feet high and seemingly had a very imposing fort. Foreign sources also noted the formidable size of a cannon placed near the Pintu Gerbang. The royal family and Orang Kaya lived within the citadel. A small mosque was also located near the citadel. Salt pans, where salt was produced, were situated north of the citadel.

Similar sources also mentioned how the palace walls were adorned with gilded panels and other wood carvings. This is probably the earliest mention of woodcarving in the northeast state of the Malay Peninsula. The balairung (main royal hall) was described as abundantly decorated with gilded material and velvet-trimmed dais, and the queen sat by a large gilded window. A royal graveyard is also mentioned, and, based on oral tradition, the first Sultan of Patani could have been buried there. The tombstone could have been moved out of the city.

Unfortunately, the city was destroyed by fire four times between 1524 and 1613. By 1786, the Siamese had destroyed the entire city in retaliation to Patani’s assertion of independence.

Ancient Islamic Tombstones

Perret divided the tombstones he found in Patani into three styles: Batu Acheh, Batu Patani Brunei and Bai Sema.

The Batu Acheh tombstones, found across the Malay world, offer a unique insight into the region’s Islamic history. Characterised by sophistication and widespread distribution, these tombstones hold rich epigraphical data. Originating possibly in the 15th century around Pasai, these sandstone monuments signified a departure from local traditions. Although sharing similarities with architectural styles from Central Java and Siamese funerary monuments, batu Acheh was primarily reserved for sultans, high-ranking individuals, their relatives, and possibly affluent merchants. Despite a decline in the 18th and 19th centuries, a resurgence of batu Acheh can still be observed in regions like north Sumatra (Barus), Kedah, Pahang, and Penang.

Batu Acheh tombstones are generally made of sandstone, granites, quartz, river pebbles, marble, cement and wood. The types of material used for the tombstones also give an indication of the economic strength of the state—intricate quartz was used during the 17th century while wood and natural stone were used when the state was in decline. The Batu Acheh tombstones were imported from Acheh and had different shapes, motifs and Islamic Khad inscriptions. The grave of Raja Kuning (the last Queen of Patani) is marked with quartz markers found in Kubo’ Barahom.

Batu Patani Brunei (Figure 2) are tombstones brought in from Brunei. Brunei and Patani were trading partners between the 15th and 17th centuries. Two such grave sites were identified with Batu Patani Brunei in Kampung Parit and Kampung Pintu Gajah. The design was very specific to that found only in Patani and Brunei. It has Chinese motifs, such as clouds. One of the tombstones is believed to be that of the son of the founder of the Sultanate of Patani in the 15th century. It has an Arabic calligraphic inscription stating the son of the sultan on the south side and “Malik bin Mohamad” on the north direction. Unfortunately, no dates were found. Perret postulates that these tombstones could belong to the Brunei people who lived and were buried in Patani.

Fig. 2. Tombstone at Kuboʼ Barahom (D. Perret-EFEO, 1999)

Roeloefsz (1601-2) mentioned the existence of royal graves on the Seberang peninsula and this is the only source citing this interesting information. There were few tombstones found but no indication of a royal one. Ludvik Kalus (2004: 193-206).cited that there were two tombstones found and one of them believed to be the grave of the first Sultan of Patani (Fig.2).

According to oral tradition, Raja Ijau’s tombstone was made in the Bai Sema style (Figure 3), which is heavily influenced by Thai-Buddhist engravings. Originating from India, the Bai Sema designs resemble the Kala-Makara design, which is commonly found in the entrances of temples in Thailand and India. This style may have reached Patani from Trowulan, Surabaya. In Patani, Bai Sema tombstones are very rare.

Fig. 3 Raja Ijau Bai Sema Tombstone (Bougas: Pg 39)

Queen of Patani “The Rainbow Queens”

Female Rulers in the Malay World

When James Brooke visited the Bugis state of Waco, Brooke observed that six out of the eight prominent chiefs were female (Brooke, 1848 I, 74-5). In Islamic Southeast Asia, the presence of female rulers appeared to be a common occurrence. Notably, female Muslim rulers were intricately connected to the realm of commercial trading. Throughout the 15th to 17th centuries, women in these regions played a significant role in engaging in trade activities. For instance, Pasai, the first Muslim state in Southeast Asia, had two queens during its prosperous trading era (1405-1434). Similarly, Japara in North Java emerged as a key naval and commercial hub under the rule of its female queen, Kali Nyamt, in the 16th century.

“Similarly, the women rulers of the diamond-exporting centre of Sukadana in Southwest Borneo (c. 1608-22), pepper-rich Jambi in East Sumatra (163~. 1655), and the sandalwood base of Solor, to the East of Flores (c. 1650-70), were on the throne during the brief period these states were important commercial centres.” (Reid, 2020, Pg 641)

In her research on “Ratu Acheh,” Sher Banu explored the lives of the four Queens of Acheh in the 17th century. The first queen, Sultanah Safiatuddin (1612-1675), took the throne following the death of her husband, Sultan Iskandar Muda. She was succeeded by her daughter, and four Acheh Queens ruled the kingdom for sixty years.

Similarly, a comparable scenario unfolded in Patani during the 16th and 17th centuries, with the kingdom being governed by four consecutive queens. Patani served as a significant trading post, particularly with China, during this period. The preference for female rulers stemmed from the cooperation of the Orang Kaya (male royal councillors and religious ulama) with the queens, recognising their adeptness as rulers with business acumen rather than because they were running out of males to inherit the thrones. During the reign of Raja Ijau:

“Patani the first queen has reigned very peaceably with her councillors … so that all the subjects consider her government better than that of the dead king. For all necessities are very cheap here now, whereas in the king’s time (so they say) they were dearer by half, because of the great exactions which then occurred.” (Van Neck, 1604:206)

Patani, under Raja Kuning, the Orang Kaya, paid less levies as Raja Kuning was a wealthy heiress and a capable businesswoman. The Orang Kaya saw how female rulers were more businesslike and profitable for themselves. They were also mild in ruling the states compared to male rulers.

Raja Ijau, the eldest daughter of Sultan Patik Siam, took power in Patani after the sudden deaths of many male family members. During her 32-year rule, Raja Ijau led an army against Pahang and defended Patani against Ayutthaya, fostering diplomatic relations and promoting culture and art. She is credited with the origins of the Mak Yong dance. Raja Biru continued her mother’s diplomatic legacy and was an adept mediator between the Dutch VOC and British EIC. Raja Ungu defied Siamese rule, aligning with Portugal, Pahang and Johor to repel a Siamese force and further solidify alliances through strategic marriages. Raja Kuning enhanced Patani’s economic prosperity and established it as a prosperous Malay trading post. Following her overthrow by a minister, she retired to Kuantan, Pahang, marking the end of female rule in Patani.

As outlined by Perret, the era of female rulers in Patani was characterised by a decrease in violent incidents and massacres within the royal families. This period was notably peaceful, fostering a sense of safety that encouraged traders to conduct business with relative security. However, following the reign of these queens, the Patani throne shifted to male lineages, possibly influenced by conservative factions aiming to enforce Islamic practices that restrict female leadership over men. The subsequent male rulers exhibited intense competition and a diminished focus on trade, leading to a decline in safety and profitability for Patani as a trading hub during their governance.

The Queens’ Title

Perret noted the Patani Queens used the Indian Sanskrit male title “raja” instead of the Islamic “sultanah” or the Malay “ratu.” Historical sources from Patani do not provide evidence of the title “Sultanah” being used. The discovery of a gold coin inscribed with the words “al-sultana-al muazam” (the great Sultanah) and “Khalada Mulkaha” (May God preserve her government) has led some to speculate that it may have been associated with one of the Patani Queens. Perret pointed out discrepancies between this coin’s inscription and those on coins issued by the Sultanah of Aceh, as well as the absence of coinage from the Queens of Sukadana and Jambi in the 17th century. He further questioned the authenticity of the claim that the Patani Queens ever adopted the Islamic title of Sultanah and pondered why there is a lack of mention in Malay sources regarding minted gold coins.

The Color Names

The Patani Queens were named after colours, and thus, the acronym ‘’Rainbow Queens of Patani’’ was coined by Teuuw and Wyatt. Some scholars likened it to how in Malay tradition, females were given names associated with colours, or that green is an Islamic colour, and Raja Kuning (yellow) had yellow skin and was given the colour yellow. Jocelin de Jong’s documentation in 1961 highlighted the prevalent use of colour names among Malays. For instance, titles like Tun Hitam or Tun Putih were commonly bestowed upon Malay women in Sejarah Melayu. 

Professor Perret suggested that the tradition of using names based on colour could be rooted in religious or traditional beliefs associated with auspicious symbolism. For example, the Katika Lima system—where a day is divided into five periods, and each period is associated with a colour—is directly related to a Hindu god. Each colour represents the time of birth of the queen. A second possibility is that the colour was related to the day/time of birth, like the zodiac. It could also be related to Buddhist influence. In Buddhism, each cardinal points are related to a colour as also with the Chinese belief. It is also believed that names with colours are linked to the traditional culture of Chinese zodiac practises:

“The centre of the system is Vairocana, associated with the white colour, while interestingly, the colours of the four cardinal points correspond to the names of the four queens: North is associated with Amoghasiddi and the green colour; East is associated with Akṣobhya and the blue colour; West is associated with Amitābha and the red colour; South is associated with Ratnasaṃbhawa and the yellow colour. Moreover, the colours are associated with the same cardinal points in traditional Chinese culture.” (Damais 1969: 83-84: extracted from Perret’s article, 2022) 

Perret also found through the sources that the use of colours for the queens was only used within the palace, and as for the foreigners, the queens were referred to merely as “old queen” or “young queen.” These colour names are definitely not by chance but linked with greatness for the royal household, or they were intentionally meant to legitimise the queen’s sovereignty in the state of Patani.

Power Sharing

Perret also noted the unique power-sharing practised by the four queens. The old queen is assisted by a young queen who acts as a regent and is the next in line. This power-sharing system seems to have worked for the Queens, as during their reigns, Patani flourished economically and politically.

Chronology of the Queens

Perret suggested that the dates of the Patani queens require further investigation since dates were never mentioned in Malay writings (namely Hikayat PataniSejarah PataniSyair Patani and Kelantan). However, when various sources written in foreign records surfaced, this suggested that the periods or dates as deduced in Hikayat Patani were different and required re-examination. Some foreign sources cited Christian years while others utilised the Muslim calendar, and confusion emerged.

More confusion arose when understudying the Patani sources as the use of colours for the Queens was only for the internal royal court; thus, for foreigners, it’s either the Old Queen or Young Queen, as names of the queens were never cited in any foreign sources. It was quite a task to identify the period of rule of the Queens also because the Malay sources did not include dates/periods. However, a letter surfaced, the correspondence between one of the queens and the King of Portugal dated 31 March 1637. This threw new light into the confusion of the chronology of the queens. According to Perret, the dates of ruling for the queens require some rearrangement. Perret summed up these reigns as follows:

  • Raja Ijau (Old Queen: r. 1584 – 28/08/1616; d. 28/08/1616)
  • Raja Biru (Young Queen: r. ≤ 1601 – 28/08/1616; Old Queen: r. ca. 09/1616 – ca. 03/1636; d. ca. 03/1636)
  • Raja Ungu (Young Queen: r. ≤ 1629 – 1634; d. between 1636 and 1638)
  • Raja Kuning (Young Queen: r. end of 1634 or 01/1635 – ca. 03/1636; Old Queen: r. ca. 03/1636 – ≥ 1642; d. ≥ 1642)

Fig. 4 Chronology of Patani Rulers 

Patani’s Emergence as a Trading Hub

Following Malacca’s fall to the Portuguese in 1511, Patani emerged as a lucrative alternative trading centre. It was also a strategic port for sailors travelling from China to Java to stop at Patani for shelter, repairs and trading. The region attracted a diverse array of merchants, including Chinese, Malay, Siamese, Persians, Indians, Arabs, Portuguese, Japanese, Dutch, and English traders. The peak of Patani’s trading significance is often associated with the reign of Raja Ijau. Chinese entrepreneurs played a pivotal role in Patani’s rise as they exchanged goods like porcelain, silk, and lacquer for cloves, nutmeg, sandalwood, and pepper sourced from the spice islands.

Historical records indicate that Patani’s influence as a trade hub extended beyond local waters. Patani junks engaged in trade with Banda for nutmeg and mace as early as 1526, while Chinese junks from Fujian frequented Southeast Asian ports like Pahang and Patani in the late 1520s. Indian traders also participated in the exchange, offering textiles in return for pepper, gold, and food items. Chinese and Indian goods brought to Patani were further distributed by Malay traders across Thailand and the Indonesian archipelago. Additionally, the Kingdom of Ryukyu served as a crucial intermediary linking China, Japan, and Patani, facilitating trade growth in the region.

“Like all major coastal trading places at the time in Southeast Asia, Patani was home to a cosmopolitan population. It is thus reasonable to suggest that some twenty languages were in daily or occasional use in Patani during the sixteenth and seventeenth centuries. (Perret, 2022: Pg 143)

However, Perret summarised that Patani’s position as a trading hub declined by the mid-17th century as trade restrictions limited the movement of Japanese traders and hindered Chinese-Japanese trade interactions. Furthermore, shifts in market demands led to a decreased interest in local spices like pepper and a decline in the popularity of Indian cotton materials. Patani struggled to adapt to changing trade dynamics during this period, failing to sustain its earlier prosperity and meet evolving commercial challenges.

Conclusion

Perret and Santos’ examination of foreign sources proved useful in shedding light on how Patani emerged as a significant state during the 16th and 17th centuries. These sources offered insights into the queens’ chronology, Patani’s administrative system, the layout of the old city, and its economic, political, and social structures during that era.

Determining the precise timeline of the queens proved challenging due to discrepancies in various historical texts. Foreign sources often referred to the queens generically as ‘old queen’ or ‘young queen’ and not by their names. Perret’s meticulous analysis allowed for the reorganisation of the queens’ chronology based on available manuscripts.

Once again, foreign sources are abundant and detailed in their description of the city’s location and design, but they are also confusing or, on many occasions, contradictory. Perhaps as suggested by Bougas, where only by excavation of the city/citadel location, artefacts excavated will provide evidence to support the history of Patani. The old city has never been excavated, nor have any archaeological methods been used to verify the sites and compare them with historical narratives.

The extent of real power wielded by the Patani Queens within the kingdom remains a subject of inquiry. Questions arise regarding whether the queens held substantive authority or if the influence lay with other figures like the Orang Kaya, councillors, Islamic leaders, Chinese merchants, or Javanese traders. While Malay sources like Hikayat Patani and Syair Patani remain silent on the queens’ authority, foreign accounts highlight their roles in trade management.

It is possible that the real power was with the court councillors, while the queens handled foreign traders. But then again, the four female rulers reigned for almost a century. It could not have lasted 100 years if it had not been for their skilful manoeuvring of the Orang Kaya and social-economic skills when dealing with foreign merchants.

Perret and the foreign sources may not have found the answers to establish the use of the queens’ titles. However, these sources are able to clarify many questions concerning the presence of female rulers in Patani. They can probably inspire the people of Patani today.

Fig. 5. Salt ponds, Ban Pa Re (D. Perret, June 1997)

References:

MV Focus Talk by Professor Daniel Perret on 27th May 2024, MV Room, JMM.

https://journals.openedition.org/archipel/2849 The Sultanate of Patani: Sixteenth-Seventeenth Centuries Domestic Issues by Daniel Perret

https://www.eksentrika.com/pattani-queen-southeast-asia-ratu-kuning/Legendary queens of Pattan

Teeuw, A. and David K. Wyatt, 1970. Hikayat Patani = The story of Patani. The Hague: Martinus Nijhoff, Pg 1-13.

https://play.google.com/store/books/details?id=V_mPBAAAQBAJ&rdid=book-V_mPBAAAQBAJ&rdot=1Origin islam in Patani before Melaka (Pg 12)

https://www.academia.edu/35716822/Hikayat_Patani_pdf

Hikayat Patani Diselengara oleh Siti Hawa Hj Salleh, DBP, 2010

https://journals.openedition.org/archipel/2799 Patani and the Luso-Asian Networks (1516-1642)

Jorge Santos Alves , 2022

https://www.persee.fr/doc/arch_0044-8613_1990_num_39_1_2624. Wayne Bougas Patani in the early 17th century

https://angkordatabase.asia/publications/female-roles-in-pre-colonial-southeast-asia. ://about.jstor.org/terms

Modem Asian Studies 22, 3 (1988), pp. 62!r645. Printed in Great Britain. Female Roles in Pre-colonial Southeast Asia ANTHONY REID 

https://k4ds.psu.ac.th/ebook/pdf/b002.pdf Wayne Bougas “Islamic cemeteries in Patani” 1988 (pg 28-48)

Sher Banu A.L. Khan, Sovereign Women in a Muslim World, NUS Press, 2017 

(2007) https://www.researchgate.net/publication/233132109_Some_reflections_on_ancient_Islamic_tombstones_known_as_Batu_Aceh_in_the_Malay_world.Some reflections on ancient Islamic tombstones known as Batu Aceh in the Malay world: Daniel Perret

Highlights of the Manila Galleon: From Asia to the Americas Exhibition 

By Karen Loh

Model of a Manila galleon sitting proud at the ACM, constructed by master ship modeller Máximo Agudo Mangas, and historical researchers Iván Valdez-Bubnov, Jorge Loyzaga 

During our MV Training Programme, we learn about the Treaty of Tordesillas of 1494 when an imaginary demarcation line was drawn 370 leagues to the west of Cape Verde islands, from pole to pole, dividing the world between Portugal and Spain to explore new lands outside Europe. In this treaty, it was agreed that the Portuguese would sail east while the Spanish sail west. While we are familiar with what happened to Melaka when the Portuguese arrived after sailing south of the West African coast, around the Cape of Good Hope and then India, we do not know as much on how the Spanish fared. Well, maybe except for Ferdinand Magellan, who had a personal servant (/slave) and interpreter called Enrique of Melaka, or Henry the Black, believed to be the first person to actually circumnavigate the world.

Sailing west, Ferdinand Magellan, a Portuguese who changed allegiance and worked for Spain under King Charles, arrived at the islands later known as the Philippines (named after King Phillip II) in 1521. Magellan had sailed south of the Americas and made a courageous voyage across the Pacific Ocean. Meanwhile, in the same year, the Spanish conquered the Aztecs and captured their city of Tenochtitlan, capital of the Mexica. 

The Spanish soon found their way overland to the port of Acapulco located on the west coast, but it would take another 44 years before the Manila galleon Transpacific trade began. 

The Spanish could not find a favourable route back to Acapulco. For example, while it generally took around 40 days from Acapulco to Manila, the return journey took around 6 months, if the ships survived the rough and turbulent Pacific Ocean. It would take many failed Spanish expeditions before they found a route with agreeable winds to take them home. From 1565 -1815, a period of  250 years saw thriving trade between these two ports, carried on Manila galleons. The galleons only made one return journey per year and were funded by the Spanish royal treasury. 

In 1571, Miguel López de Legazpi conquered Manila for Spain. Manila became  Spain’s only link to Asia since the other route through the Indian Ocean was controlled by the Portuguese and later the Dutch and the British. It was an important link for several reasons. Not only were the Spanish able to purchase much sought-after commodities from China, Japan, Southeast Asia and India to import to Mexico, the Americas and Spain, but the galleons also brought silver, gold, and new types of food (especially chocolate) to Asia. Furthermore, they had a spiritual mission: to spread the Christian faith, carrying priests onboard these galleons. 

This special exhibition entitled: Manila Galleon, from Asia to the Americas at the Asian Civilisations Museum in Singapore focuses on the trading network of goods and commodities. Through its 130 exhibits collected from the 16th-20th centuries, the exhibition features the trading network not only of goods like porcelain, silk, textile, tea, spices, silver, and other commodities, it also tells the story of the people and the exchange of their technologies and cultures. What was most interesting for me were the food and animals from the Americas. Did you know that maize (corn), chilli, papaya, pineapple, peanuts, cassava (tapioca), tomato, sweet potato, avocado, turkey, and chocolate made from the cacao bean were brought from the Americas?

This Tree of Life has photos of people of African, Chinese, Filipino, Mexican, and Spanish descent, most of them mestizos, which means people of mixed heritage besides cutouts of food and luxury items carried on the Manila galleons

Mancerina. A Mancerina is a cupholder attached to a large saucer, used to serve hot chocolate. The saucer makes the hot chocolate easier to hold avoiding burnt fingers, serves to catch any hot chocolate which may spill over and also to hold pastries! Mancerinas come in many designs and can be made in porcelain, silver, brass etc. This mancerina with crab legs is one of my favourite designs

John the Evangelist, Mexico 17th century. I found this exhibit very interesting as it is made out of feathers! Painted paper or gild is sometimes added to add brilliance. Take a closer look. Can you see the gold halo?

A silver bird ornament with silver picks and a Spanish dollar. As China demanded to be paid in silver, and Spain had access to it through its conquest of the Americas, which produced this white metal, huge amounts of silver came on the Manila galleons. It was the first global currency! The Spanish dollar, also known as ‘pieces of eight’ because it was worth eight reals, was also minted in silver  

Life-sized portrait of Hasekura Tsunenaga c1616. Hasekura Tsunenaga (1571-1622) was a samurai who was sent to Rome by the feudal lord of Sendai. He met with Pope Paul V in 1615. This portrait was painted to commemorate the event. Look at the fine details of Hasekura’s outfit, the ship representing his voyage and angels above the ship representing his faith

Afidah and I, taken at the Manila Galleon Exhibition

The Manila Galleon Exhibition at the ACM is on until 17 March 2024. Do PM me if you have any questions.

References:

  • Oon, Clement (Exhibition curator) (2023). Manila Galleon: From Asia to the Americas. Oxford Graphic Printers