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MEDIA RELEASE For immediate release MINANGKABAU CULTURE TAKES CENTRESTAGE AT THE MALAY HERITAGE CENTRE Singapore, 16 May 2015 – The Minangkabaus – originally from West Sumatra, Indonesia, is a community which advocates that their people integrate and adhere to the lifestyle and practices of the new homeland in which they settled, while retaining the Minangkabau culture and traditions at the same time. Guided by this philosophy, notable Minangkabau personalities Yusof Ishak, Zubir Said, Eunos Abdullah and Lieutenant Adnan Saidi gave selflessly and significantly to the new country in which their forefathers had migrated to – Singapore. 2 In partnership with the Singapore Minangkabau Association (SMA), the Malay Heritage Centre (MHC) presents MARANTAU: Dima Bumi Dipijak Di Sinan Langik Dijunjuang (MARANTAU: Migration and Integration of the Minangkabau Community in Singapore), an exhibition which traces the history and development of the Minangkabau community and their fascinating culture. This is the second installation in MHC’s Se- Nusantara (“Of the Same Archipelago”) series, held annually to celebrate the rich ethnic diversity of the Malays in Singapore. The exhibition will be launched by Dr Maliki Osman, Minister of State for the Ministry of National Development and Ministry of Defence, on 16 May 2015, 7.30pm. 3 The Minangkabau people are unique among other ethnic cultures in the region as they are considered to be the largest surviving matrilineal society, in which lineage and inheritance are handed down via the mothers. Scholars have attributed this to the Marantau tradition – a rite of passage where men in the community leave their hometowns to explore other islands and regions, typically to trade or seek employment, in order to gain knowledge and experience. The women stay behind to take care of family and property. 4 The stories of the Minangkabaus are told through more than 60 community- contributed artefacts that reflect their vibrant culture and lifestyle. Star exhibits include a traditional wedding dais, a two-metre long handcrafted model of the Istana Pagaruyung (the royal palace of the former Pagaruyung Kingdom), rich gold-woven songket textiles, as well as salendang (women’s shoulder cloth) which are usually worn draped over one shoulder, over the traditional baju (costume), handed down over generations from mother to daughter. 5 As part of the exhibition, MHC and SMA will also be presenting a host of exciting programmes from music, dance, drama to textile-weaving demonstrations and public talks, which aim to provide deeper insights into the Minangkabau culture and traditions. Some key highlights include the performance of randai, a folk dance-drama which is rarely performed outside of West Sumatra; an evening fashion showcase which presents the colourful traditional Minang costumes; and a talk on Zubir Said and the Ishak brothers by their close family members. 1 6 Said the President of SMA, Mr Irianto Safari, “We are excited to work with MHC on this exhibition to present the uniqueness of the Minangkabau culture. Not only is this an excellent platform to further the public’s awareness of our culture, but also for us all to better appreciate and honour the contributions of prominent Minangs, like Singapore’s first President Yusof Ishak, Zubir Said, the composer of our national anthem, Majulah Singapura and Lieutenant Adnan Saidi who sacrificed his life defending his home. It is a fitting exhibition to celebrate our nation’s 50th year of independence indeed”. 7 Chairman of the Malay Heritage Foundation, Mdm Zuraidah Abdullah said, “The MARANTAU exhibition is the second exhibition to be held under the Se- Nusantara series. It aims to present a comprehensive overview of Singapore’s place in the wider Malay world and the significance of the Malays as part of the larger Singapore story. As Singapore’s Malay community comprises several sub-ethnic groups, it is important that we get to know the cultures of these groups. We hope through our exhibitions and programmes, visitors will gain a better understanding of how the different Malay sub-ethnic groups, such as the Minangs, Baweans, Javanese, add richness to Singapore’s multi- cultural society and spark conversations of our shared heritage”. 8 Please refer to Annex A for artefact highlights and Annex B for the full list of programmes. - End - For media queries, please contact: Keith Kay DID: 6220 5010 Mobile: 9628 4263 Email: [email protected] 2 About the Malay Heritage Centre Officially re-opened by Prime Minister Lee Hsien Loong in September 2012, the Malay Heritage Centre (MHC) showcases the history, culture and contributions of the Malay community within the context of Singapore’s history and multi-cultural society. MHC’s permanent galleries focus on the history of Kampong Gelam and showcase an interesting collecting of artefacts from the National Collection and the Malay community. Through its exhibitions and programmes, the centre aspires to be a vibrant destination of historical and cultural significance for both Singaporeans and international visitors. MHC is under the management of the National Heritage Board in partnership with the Malay Heritage Foundation. About the National Heritage Board The National Heritage Board (NHB) was formed on 1 August 1993. As the custodian of Singapore’s heritage, NHB is responsible for telling the Singapore story, sharing the Singaporean experience and imparting our Singapore spirit. NHB’s mission is to preserve and celebrate the shared heritage of our diverse communities, for the purpose of education, nation-building and cultural understanding. It manages the national museums and heritage institutions, and sets policies relating to heritage sites, monuments and the national collection. Through the national collection, NHB curates heritage programmes and presents exhibitions to connect the past, present and future generations of Singaporeans. NHB is now a statutory board under the Ministry of Culture, Community and Youth. Please visit www.nhb.gov.sg for more information. About the Singapore Minangkabau Association (SMA) The Singapore Minangkabau Association (SMA) was established on 31 August 1995 with a mission to preserve and promote the Minangkabau culture in Singapore as well as to introduce and educate on Minangkabau customs and traditions to Singaporeans and non- Singaporeans. In 1996, SMA was the bestowed the honour of the Custodian of Minangkabau Culture, Traditions and Customs in Singapore by the Governor of West Sumatra, Indonesia (the homeland of the Minangkabau people). Comprising an executive committee and three sub-committees (Women’s, Youth and Culture), SMA has built a network with Minang and non-Minang associations across Kuala Lumpur, Johor Bahru, Terengganu in Malaysia and Riau, Batam, Bandung and West Sumatra in Indonesia. Currently, SMA has more than 250 members including support from local Minang-run businesses such as the nasi padang restaurants around Kampong Gelam. 3 ANNEX A Highlights of the MARANTAU exhibition MARANTAU: Dima Bumi Dipijak Di Sinan Langik Dijunjuang Migration and Integration of the Minangkabau Community in Singapore 17 May – 13 September 2015 Tuesdays to Sundays, 10.00am – 6.00pm Last entry at 5.30pm (Closed on Mondays) Galleries 1 & 2 Free Admission Artefacts Significance Model of Istana Basa Pagaruyung This handcrafted replica depicts the grand palace On loan from the Minang Welfare of the Pagaruyung dynasty who were once rulers of Association of the State of Johor the Minangkabau people. Although the Perang (Persatuan Kebajikan Anak Minang Padri (Padri War) in the early 19th century resulted Negeri Johor) in the end of Minangkabau monarchy, the istana (palace) is a symbol held in high esteem by today’s Minangkabau society. Built in the vernacular Location: Gallery 1 architectural style of the rumah gadang crowned by buffalo horn-shaped roofs (bagonjong), it is distinguished by its large scale and three-storeyed structure. Pelaminan (Visual reference only) This is a traditional Minangkabau wedding dais replete with rich and colourful gold-woven textiles Location: Gallery 1 and symbolic representations. Tabia drapery This is a feature installation along the back wall of Gallery 2. Composed of long elaborately Location: Gallery 2 embroidered cloths (tabia) overlaid with colourful bunting-like runners, this ceremonial drapery is quintessential to Minangkabau material culture. They are often put up to decorate walls (even tent- walls) and stage backdrops for every family, clan or community festivities. Carano (footed tray) with dulamak The carano is a bronze footed tray upon which the (embroidered cover) ingredients and implements for making a betel quid (sirih) are placed. This is then covered with a Location: Gallery 2 sumptuous velvet cover known as a dulamak. This complete presentation signifies an important aspect of Minangkabau culture as sirih occupies a central place in customs and traditions across the Nusantara. Sirih is offered to welcome guests and signal the start of any proceedings. Different preparation of sirih quids also convey coded messages to the recipient. Complete set of traditional wedding This is a complete set of traditional wedding dress dress and finery for the bridge and groom, mostly closely associated with Padang, the city capital of the Location: Gallery 2 Minangkabau territory. Although Minangkabau wedding costumes across West Sumatra will defer according to region, this Padang version is emblematic of Minangkabau culture as whole. It features
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  • The Hybrid Aesthetics of the Malay Vernacular: Reinventing Classifications Through the Classicality of South East Asia’S Palatial Forms

    The Hybrid Aesthetics of the Malay Vernacular: Reinventing Classifications Through the Classicality of South East Asia’S Palatial Forms

    International Journal of Recent Technology and Engineering (IJRTE) ISSN: 2277-3878, Volume-8 Issue-1S, May 2019 The Hybrid Aesthetics of the Malay Vernacular: Reinventing Classifications through the Classicality of South East Asia’s Palatial Forms Shireen Jahn Kassim ( PhD), Noorhanita Abdul Majid ( PhD), Harlina Mohd Shariff ( PhD), and Tengku Anis Qarihah construction capabilities. In South East Asian architectural Abstract: The paper attempts to re-enact the framework of the historiographies, stylistic evolvements dichotomise between ‘vernacular’ of Malay architecture while extending the the ‘indigenous’ and the ‘modern’ . Yet there is another face classifications of its vernacular to include a Classical style ; of the ‘vernacular’ which is less mapped but representing the defined as monumental vernacular expressions representing gradual stylistic changes and ‘hybrid’ constructions throughout degree of aesthetic tastes and predispositions of the local the early modernisation period of Malay history which coincides populations. Historians and ethnograsphers have also with its evolvement during the Colonial era. During this era, both remarked a certain silence in the historiographies on the structural, constructional and ornamental skills absorbed aristocrats of 1800s and early 1900s in once-colonised external influences without compromising its vernacular nations such as Malaysia. Yet during this era, it is the principles. Based on a group of case studies of palatial forms – modernization of these leaders of the community which i.e. palaces and aristocratic houses - from the late 19th and early 20th century, Gottfried Semper’s’ anthropological definitions of brought about stylistic trends within the region but expressed the essence of the vernacular is used to categorise combinations within the palatial-monumental typologies of their vernacular of masonry and timber IN these cases, seen as a manifestation architecture .