Zubir Said: Across Time and Space Dr Eleanor A

Home , Government of Singapore, Majulah Singapura, Zubir Said

Zubir Said: Across Time and Space Dr Eleanor A. L. Tan

At break of dawn, listeners of 92.4 FM (and other radio and TV channels) will be well attuned to the stirring Majulah Singapura (Onward Singapore), an acute reminder of Singapore’s monumental ascent from Third to First World nation. One particular morning, as I listened half-awake to the radio, my experience of this familiar anthem was transformed by an unexpected, but highly fitting musical juxtaposition. The Majulah was, as it were, ‘birthed’ from the gentle pastoral tones of The Lark Ascending—a contemplative work for violin and orchestra written in the early twentieth century by the English composer Ralph Vaughan Williams. The rousing timpani roll and crash cymbal of Singapore’s pride sent fireworks into the fading English sky—the solitary lark, a songbird captured in the soaring tones of the violin grew but a distant memory. No doubt it was a programming coincidence that Vaughan Williams’s poetic Lark should precede Singapore’s national anthem on that particular morning, but the suggested metaphor of birthing is appropriate in two ways. Firstly, the Majulah ideologically signifies the birth of a nation state during the transitional period of decolonization from the British Empire, and secondly, the Majulah suggests Singapore’s rebirth from an ancient Sea Town (Temasek) in the 14th century into a modern metropolis—its transfiguration from a bucolic country into the gleaming sky-scrapers of commerce. Growing up in West Sumatra, Zubir Said (1907–87) was aware of cultural and political divisions in his youth. Indonesia was then a Dutch colony, and his classmates were either of Dutch, Indonesian, or of mixed parentage. However, in adulthood, his musical activities and involvement in a Keroncong band (and later a Bangsawan in Singapore) provided an opportunity to rise above these divisions, and to make music for anyone keen to listen, even for the Japanese soldiers who were nostalgic for their homeland during the Second World War. Yet, the economic hardship and political circumstances faced during the war were sufficiently acute to arouse a nationalistic fervor for his adopted country. It is in this vein that Zubir composed the patriotic Majulah Singapura for the City Council of Singapore in 1958, grafting his imagination of a progressive nation onto the framework and dictates of western compositional style. The Majulah may thus be viewed as reflective of the interaction between different cultures as well as political ideologies, be they local, national, or global, but for Zubir, the Majulah meant dignity, destiny, and gratitude, ‘you should hold up the sky of the land where you live’ (Di mana bumi dipijak, di situ langit dijunjung).1 It would appear farfetched that Zubir’s Majulah would uphold its significance 62 years on, particularly for a majority of the population that had yet to witness strife or a war. And it would not, but for the insidious onslaught of Covid-19 which presented a national (and global) health crisis that compelled the country to draw upon its reserves, not just financial, but emotional and psychological. Against the backdrop of fear and anxiety, and a looming recession, the tenor of Zubir’s lyrics is poignantly prescient, as evidenced in the latest 2020 music video of the anthem—set against the dead silence of night, in lifeless scenes animated by fleeting images cast against concrete and metal façades. Midway through (Come, let us unite), the dynamics and tempo rev up to awaken the nation at break of dawn, urging its

people to unite in their onward march out of this darkness. Beyond doubt, Zubir’s prayer which stirred the nation six decades ago will continue to shore up its spirit for generations to come.2

Majulah Singapura Onward Singapore

Mari kita rakyat Singapura Come, fellow Singaporeans Sama-sama menuju bahagia Let us progress towards happiness together Cita-cita kita yang mulia May our noble aspiration bring Berjaya Singapura Singapore success Marilah kita bersatu Come, let us unite Dengan semangat yang baru In a new spirit Semua kita berseru Let our voices soar as one Majulah Singapura Onward Singapore Majulah Singapura Onward Singapore

Majulah Singapura as anthem In 1959, Dr Toh Chin Chye—pre-independence political leader and Chairman of the People’s Action Party (PAP)—was first introduced to Zubir Said through Ong Eng Guan, then Mayor of the City Council. Ong had earlier commissioned the music and lyrics for the Grand Finale based on the theme ‘Majulah Singapura’ for the opening of the Victoria Memorial Hall on 6th September 1958. The new government of Singapore recognized the opportunity for an anthem to serve as a ‘political instrument to unite the different races of Singapore’, and to instill in the largely migrant population a sense of belonging. Toh affirmed that the use of Malay as the choice language would appeal to all races as it would ‘strike no discordant note’ and could be easily understood and remembered.3 In an interview with the National Archives, Paul Abisheganaden revealed that ‘the PAP government at that time was very, very hot hearted about pushing the Malay language as being the national language of Singapore’ as it was their intention to ‘become part of the larger nation of Malaysia’, and to Malayanise its civil service. Reflecting on why Zubir’s Majulah Singapura was selected as the national anthem, Abisheganaden was to aver: Zubir Said’s song had two or three suitable elements. First, the music was martial enough to be considered an anthem, a national anthem. Secondly, the words were very suitable and after some modification, Mr Zubir Said made the words even more suitable for national purposes. And thirdly of course the lyrics were all in Malay, in the national language which was being promoted very, very strongly by the government at that time.4

Zubir’s patriotic Majulah, first written for the City Council in 1958, had to undergo a few revisions before it met with the minister’s approval for use as an anthem in September 1959 when Singapore attained self-governance. Toh also requested two different versions, one for

ordinary occasions and another longer version for ceremonial purpose. There was no discussion on remuneration at this stage; yet Zubir attested with deep humility and patriotism: ‘where you put your foot on the soil and then you must give your charity, your goodwill to that place. So that is in my mind’.5 In an interview for The Straits Times on 31 July 1979, he would affirm: ‘It’s all a question of loyalty. A man may be a citizen in name only, giving nothing to his country. Or a man may be a non-citizen and yet give everything’. Zubir became a Singapore citizen only in 1967.6

Majulah Singapura as Composition Publicity photos frequently show Zubir Said composing at the piano. Though not his favorite instrument (the violin is preferred for its timbral possibilities), he nevertheless valued the piano for its practical utility to test out harmonic progressions and improvise. It is perhaps surprising to learn that Zubir did not receive any formal music training. His music education was entirely experiential. He listened to the world around him and absorbed influences and teachings when they came his way. His natural musical inclination and good aural skills were honed during his days as an itinerant musician, as was his ‘can-do’ spirit. Zubir forged a successful career as a music supervisor at HMV (His Master’s Voice), performer, and composer in the developing music scene in pre- and post-war Singapore, but at this time would surely never have predicted his eventual acclaim as composer of Singapore’s national anthem. The lyrics of Majulah Singapura could not be further removed from Zubir’s description of a land of glittering lights, ‘mentega’ (butter) and ‘kopi susu’ (coffee with milk), his picturesque imagination of Singapore in 1928 while waiting to disembark from a cargo boat off the Singapore Strait. The lighted port of Tanjong Pagar enthralled him just as surely as lights in the dark abyss of night.7 When Zubir wrote the Majulah three decades later, he was well into middle age and could better appreciate Singapore’s political desire for self-governance, having been a subject of the Dutch and Japanese earlier in Indonesia. Zubir’s biggest challenges, however, were the crafting of simple lyrics to embody the spirit of a young nation: ‘it is not a film song. It is not a romantic song . . . It is a special kind of song’. Continuing, But the difficulty is in such a short melody. I have to put in all the words in very simple . . . understandable for all the races in Singapore. So that takes long. Not the music but the words take long. I’ve got to be very careful . . . in proper Malay language but not too deep and not too difficult.8

Clearly, his identification with patriotic music is deeper than the mere expressions of a particular aesthetic style. Zubir did not intend for the Majulah to be perceived as romantic nostalgia, but as the aspiration of its people and a nation on the cusp of independence. Although he stressed the need for simplicity in the anthem’s text, his desire for an informed encounter with the principle of nationhood is evident. He studied the policy of the government and sought to understand its sociological and political causes as he recognized the transformative potential of his adopted country. Fortunately, with the help of Malay

language expert Muhammad Ariff Ahmad and musician Paul Abisheganaden, he was able to complete the work within two weeks. Even though Zubir did not share his compositional process of the Majulah, we can surmise that his method would be to first sketch the melody in both numbered musical notation9 and staff notation, with the former as an initial and preferred convenience to conceive its skeletal form. Thereafter, he would diligently pen in the harmonic progression, fleshing out the notes of the chords supporting the melody. The neat handwriting of his manuscripts reveals a sense of consciousness and effort to convey clear musical intentions. His patriotic compositions were not the product of gushing emotions, but were carefully considered—their larger political and social purpose ever in mind. Although the thematic material of the Majulah is original, Zubir shared that he was inspired by Indonesian patriotic music which was rhythmic and uplifting, unlike the more lyrical and melodious Malay music or folksong, which had over time assimilated elements from various external influences. Perhaps Zubir had intuitively resisted the use of a folksong for the western-styled anthem as he may have perceived that as a form of musical subjugation. Thus, his melodic idea is simple, straightforward, and without much flourish, not distracting from its rhythmic impetus. Indeed, we can see from historical versions of the anthem that Zubir strived for the most precise expression of his musical phrases, revising and distilling the musical text until it reached the form that we know today.10

Early Inspirations and Milestones A number of milestones marked the way for Zubir Said as he embarked on his career in music. First, and perhaps most simply, he developed a love for the subject as a young teenager. Then later on, during his brief but fateful appointment as copy typist in a Dutch administrative office, a raging fire started at a two-storey building. The Dutch officer was impressed by Zubir and his friend’s courage and quick thinking efforts at stopping the fire. He suggested that Zubir travel the world to find adventure and rewarded him with 150 guilders, along with a recommendation letter and this advice: Tomorrow don’t come here [to work]. You go. And when you are doing something, you must do it good. Don’t half-way, half-way. Don’t surrender easily. You must fight for it. If you become a policeman, become a good policeman. And if you become a musician, become a good musician. And then if you become a crook, be a good crook . . . so that the police cannot catch you.11

But not everyone was as encouraging. When Zubir left his village to be a travelling musician in a Keroncong band, it was in defiance of his father Datuk Muhamad Said bin Sanang’s wishes and of Islamic principles.12 For Zubir, the opportunity to travel was not only a young man’s rebellion against his father. Rather, it presented a chance to escape the political circumstances of his youth. These included a particular personal strife between the conflicting values of his native Minangkebau culture (which is matrilineal), and the patrilineal Islamic values his family abided by. Not to be bounded by locale, ethnicity, or

circumstance, the ventures of an itinerant musician would be liberating, and a chance to forge his own identity in a world beyond Bukit Tinggi, West Sumatra: . . . because I don’t like the customs of the village. I don’t like the custom that the women controlled the men also. So that kind of feeling plus the feelings against the Dutch . . . so I better go to another place, maybe to Java. I don’t think about Singapore [then]. . . . my father also cannot support me very much.13

The opportunity for reconciliation with his father came decades later with an invitation to attend a performance of the Majulah at the official ceremony of Singapore Merdeka in 1959. Zubir’s father attended the concert as a guest of Minister of Culture S. Rajaratnam, having walked from the family home in Joo Chiat Place to the Sultan Mosque in Arab Street, then onward to the Padang near City Hall, some 8km away. He was 101 years old. Needless to say, the event was a triumph for Zubir who had ‘conquered the heart’ of his father, and at the same time achieved renown as a musician and composer. A year later, when his father was unwell and bedridden in Jakarta, it was the Majulah Singapura (played on a flexidisc souvenir record)14 that revived him and brought back his health and will to live. He succumbed to his illness a year later at the ripe old age of 103. Zubir was a cosmopolitan man who demonstrated multiethnic sensibilities in his work ethics. Once he had set his sights on a career as a musician, he never looked back or communicated a sense of displacement during his travels. He assimilated well in various environments, contributing to the ecosystem of the professions he partook in, whether as musician, photographer, composer for film music or patriotic songs,15 and in his later years, as music educator imparting his love of music. In all, Zubir remained true to his beliefs. To borrow the words of his former boss, Zubir did not do things ‘half-way, half-way’.

Controversies There are letters amongst the Zubir family donation to the Nanyang Academy of Fine Arts which reveal Zubir in a professional, yet personal, light. Zubir wrote letters of complaints to minister S. Rajaratnam as well as to the press. These letters reflect a strong sense of pride in his compositions and intellectual property rights, although this concept was not yet entrenched in a society of collective conscience in the early years of Independence. He was much aggrieved when his music and text were amended without consultation. In a firm but diplomatic tone, he declared: I am very sorry to say the way it was treated to make the composition shorter, is wrong and spoils the composition; and it may affect our reputation as well. We all will be ashamed to have an anthem which is out of musical form. But yet it is not too late to put it in the right way if a short version is needed. . . . I am at your service to discuss the matter and do something about it.16

On another occasion in 1974, Zubir wrote to the editor of the New Nation and requested for the publication of his letter of complaint. In the letter, he contends that his song Semoga Bahagia from 1957 was amended without his consent. This 2-page unsigned letter objects to the way that Several alterations in the words and music were made. I was not informed at all concerning the alterations. A melodic phrase has been changed, another one omitted and the refrain entirely cut out. A few bars squeezed in perhaps to balance the proportion of the lost climax of the melody [which] resulted from the changing. . . . And yet, somebody else’s name is written on top of the song sheet as the writer of the words. . . . So, the entire song composition has been mutilated without my consent.17

As proof of evidence he meticulously attached the original composition from 1957 and the contested version with the ‘adulterated words and music’. These cumulative slights prompted Zubir to engage directly with the public and schools. ‘The Story of Majulah Singapura’ was a speech he wrote to express his belief that one should stay true to a purpose (the national anthem) once its selection has been determined.18 Had Zubir lived into his eighties, he would have been bitterly disappointed to learn that a group of grassroots leaders and a lawyer had brought up the matter about 'adjustments' to the anthem (The Straits Times, 22 July 1991). But this time, retired senior minister S. Rajaratnam came to its spirited defence and called out a political motivation behind the request as the difference between 'hot-potato politics and statesmanship', and that 'changing our present national anthem must also mean a significant re-writing of Singapore history'. S. Rajaratnam would be familiar with such rival national ideas as he had written the pledge (We, the citizens of Singapore, pledge ourselves as one united people, regardless of race, language or religion) to forge a sense of nationhood during the challenging period of racial conflict and political unrest. One appreciates the acerbic wit for which S. Rajaratnam was both feared and admired: Its composer Zubir Said has been officially honoured for his gift of Majulah Singapura. His Malay lyrics were so simple that anyone over the age of five, unless mentally retarded, had no difficulty singing the anthem. All Singaporean children of kindergarten age have not only had no difficulty memorising the words but have for decades sung it every morning with 'strong feelings and emotion' (The Straits Times, 26 July 1991).

It has been six decades since the Majulah Singapura was selected as the national anthem. And yet, the work still continues to attract controversies. The latest of which took place during the national day celebrations on 9 August 2019. Veteran soul artist Ramli Sarip was invited to sing the anthem as arranged by Dr Sydney Tan, music director of the national day parade. Ramli’s soulful rendition of the anthem caused confusion amongst viewers who mistakenly thought that it was the official version. Zubir’s daughter Dr Rohana Zubir also joined in the fray, attesting to her father’s faith in the Majulah Singapura which bears repeating here: It is not a commercial song nor a romantic song. To me it is a prayer.19

Controversies aside, the Majulah served to establish the concept of ‘Merdeka’ (Independence) in the early years, and asserted Singapore’s identity within Southeast Asia. Its significance for the nation and its people can thus be assessed within a creative, layered reading of the controversies that it attracted over the past decades, offering a multifaceted picture of what was within the psyche of Singapore’s evolving cultural and political landscapes. More crucially, these spirited discussions have reignited our historical and national consciousness, contributing to a rich discourse on the Majulah Singapura and what it means to be a Singaporean in the 21st century.

An Eulogy 16th November 1987—Time stood still. In all those yonder years, saddling Time, Galloping fast with ne’er a rest, O’er clouds, thunder and storms Some turbulence causing stress. No time to lose, no time to waste All in haste to chase dreams, to do your best. The Best you’ve done A blessed name you’ve carved and left. In the annals of time you’ll be remembered As the shooting star from afar Descends to touch the hearts and minds Of a people you’ve called your own. MAJULAH SINGAPURA An epitome of your vest Bequeathed to cloak posterity at its best. In Allah’s sweet embrace may you find eternal rest.

Rohana Zubir

Rohana Zubir. ‘My Father’s Legacy’ in Stories of Life. Selangor: Yayasan Rosni Noor, 2018, pp.152-53.

Funeral of Zubir Said. Seated L to R: Son-in-law Dr Abdul Hamid, daughter Dr Rohana Zubir and mother Mdm Tarminah Kario Wikromo, Dr Ahmad Mattar, Rohana’s sister Zuraidah, and relatives.

Endnotes

1 Tan, Liana (Interviewer). August 1984. Accession no. 000293/23 (Reel 15). Oral History Interview with Zubir Said. Oral History Centre, National Archives of Singapore. Accessed 20 January 2020. 2 For music video of Singapore anthem in 2020, see https://www.youtube.com/watch?v=kzSWUyc-cUY. 3 Chew, Daniel (Interviewer). August 1989. Accession No. 0001063/01 (Reel 1). Oral History Interview with Toh Chin Chye. Oral History Centre, National Archives of Singapore. Accessed 20 January 2020. 4 Chua, Jesley (Interviewer). August 1994. Accession no. 001415/48 (Reel 21). Oral Interview with Paul Abisheganaden. Oral History Centre, National Archives of Singapore. See also https://eresources.nlb.gov.sg/history/events/93de19b7-7475-4d2b-a556-caee2116936f. Accessed 20 January 2020. 5 Oral History Interview with Zubir Said (Reel 15). Zubir’s English translation of Di mana bumi dipijak, di situ langit dijunjung as expressed in the NAS oral interview. Soon after, a letter of appreciation arrived from Minister for Culture S. Rajaratnam, offering Zubir an honorarium of $2000. [NAFA Collection]. 6 For a glimpse of what Singapore looked like in the mid-1960s, view documentary Mangrove to Metropolis https://www.nas.gov.sg/archivesonline/audiovisual_records/record-details/46b4445e-1164-11e3-83d5- 0050568939ad. Accessed 8 August 2020. 7 For Singapore in the 1930s, see https://www.youtube.com/watch?v=IX9oNWWN4C0. Accessed 8 May 2020. 8 Oral History Interview with Zubir Said (Reel 14). See also https://www.straitstimes.com/singapore/google- doodle-pays-tribute-to-singapore-music-icon-composer-zubir-said. Accessed 20 February 2020. 9 A notational system commonly used in Asia where the numbers 1 to 7 represent the sequential notes of a musical scale. 10 For Bernard T.G. Tan’s personal account of the origins and adoption of the Majulah as national anthem, see ‘The Hunt for Majulah Singapura’ in Cultural Connections, Vol. 4. Singapore: NHB, 2019. https://www.mccy.gov.sg/cultureacademy/resources/journals/Cultural-Connections-Vol-4 (pp.12–28).

For the City Council version of Majulah, see https://www.youtube.com/watch?v=r6kaVWiuJ2U. Accessed 20 May 2020. Tan arranged the City Council version of Majulah for the resources of Mahler’s Eighth Symphony, the main work on the programme, for the Orchestra of the Music Makers’ concert in July 2015. Personal communication with conductor Chan Tze Law on 9 July 2020. 11 Oral History Interview with Zubir Said (Reel 4). Zubir worked temporarily in the Dutch administrative government office in his late teens. At the time of this incident, he was 18 years old. In a later interview for the papers, the reward was stated as 50 guilders. 12 According to Rohana Zubir, the hereditary title of Datuk Rajo Nan Panjang would be passed on to Zubir if he had remained in Bukit Tinggi. However, playing music for enjoyment would be against Islamic principles. Private communication with author on 4 May 2020. 13 Oral History Interview with Zubir Said (Reel 3). 14 https://www.onlinecitizenasia.com/2019/12/09/audio-restoration-specialist-shares-the-original- unabridged-version-of-majulah-singapura-from-1959/ Accessed 4 August 2020. 15 Zubir Said. ‘Music in the Age of Merdeka’. In Norlia Embong & Ibrahim Tahir (Trans.), MAJULAH! The Film Music of Zubir Said. Singapore: National Museum of Singapore, 2012. 16 NAFA Collection. Letter to S. Rajaratnam dated 14 October 1959. 17 NAFA Collection. A draft copy, not on letterhead, dated 25 August 1957. Probably an erroneous date as there is mention of this song being accepted as a Student song in 1960. A similar but shorter letter to the New Nation dated 25 August 1974 exists, and it is written on his personal stationary. 18 NAFA Collection. 3-page typescript ‘The Story of Majulah Singapura’ (c1986). In the collection is a national day speech to Kong Yiong High School on 8 August 1985. A decade earlier, Zubir addressed students twice in August 1975, sharing the history and underlying philosophy of the anthem. See Rohana Zubir. Zubir Said: The Composer of Majulah Singapura. Singapore: ISEAS, 2012, pp.217-20. https://bookshop.iseas.edu.sg/publication/917. For Malay Heritage Centre documentary on Zubir, see https://www.facebook.com/malayheritage/videos/the-golden-era-zubir-said/435254110480489/ Accessed 20 May 2020. 19 Rohana Zubir. Zubir Said, p.6. See also https://www.theonlinecitizen.com/2019/12/06/every-national-anthem- deserves-to-be-sacred-not-to-be-experimented-with-dr-rohana-zubir-daughter-of-majulah-singapura-composer- on-ramli-sarips-new-rendition/; https://www.asiaone.com/digital/angry-netizens-mistake-ramli-sarips-rendition- new-national-anthem-recording. Accessed 20 May 2020. For historical versions of the Majulah, see Joe Peters’ video and timeline on youtube: https://youtu.be/VIxgy81T0Ek. Accessed 20 May 2020.

Author’s note: To cite this essay in MLA format: Tan, Eleanor A. L. ‘Zubir Said: Across Time and Space’ in Majulah Singapura: Zubir Said and the National Anthem. 9 Aug. 2020: https://zubirsaid.info/

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