Malaysian Culture Group

 


MCG Events - March 2004

 
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1ST WEDNESDAY OF THE MONTH LECTURE SERIES:
Hinamatsuri—Japanese Girls’ Day
Wednesday, 03 March

Today, MCG members celebrated Hinamatsuri at Wa-Raku Japanese Dining House on Jalan Stonor.

We thank Junko Harada, Miki Udagawa and Mariko Konishi for organising this special event, which included a talk by Junko about the various Japanese festivals (matsuri) and the history of the dolls (hina) associated with Hinamatsuri. That led to a session when we made our own origami hina, after which was kaiseki-ryori or “lunch”.

Japan celebrates 5 major seasonal festivals (go-sekku). The original meaning of sekku is to eat together with the gods. These festivals were introduced from China and are based on animism, mythology and feng-shui. Each festival is celebrated in a month with an odd number of days and has its own seasonal flowers and special offerings to the gods.

  • January 7th – Celebration of the coming of spring when a special offering of 7 kinds of wild vegetables cooked in porridge is made.
  • March 3rd – Hinamatsuri or Girl’s Day is celebrated before the planting of the rice fields. Originally, this was a purification ceremony (Nagashibina) that involved the floating of paper dolls in a river to symbolise cleansing of sins. Offerings on this day consist of white rice wine and diamond-shaped rice cakes in three layers of white, pink and light green. The festive flower is the peach flower, which is believed by the Chinese to expel evil.
  • May 5th – Celebration of Boy’s Day when chimaki or sweet rice cakes wrapped in broad leaves is offered.
  • July 7th – Star festival celebrating the romantic story of two stars loving each other. A sasa or bamboo tree is decorated similar to a Christmas tree with lots of paper ornaments. Rice cakes of various shapes are offered.
  • September 9th – Chrysanthemum festival celebrating harvest time. In yin-yang philosophy, the number 9 is the most “yang” number. As the 9th day of the 9th month has a double 9, it is thought to be the extreme of yang. Yin is the dark side and yang is the bright side of everything. As September 9th is the peak of yang, after this date everything is thought to be in decline and winter approaches. This decline is also represented by death and chrysanthemum flowers are often used in funerals in Japan.

The history of dolls in Japan seems to have had rather morbid beginnings. Historical records tell of a lord who decided not to bury live slaves with the dead ruler, as was traditionally done, because their crying lasted too long. Instead he ordered that dolls made of clay (called dogu) be buried beside the coffin. When the philosophy of feng-shui was introduced, dolls made of wood, paper or rice straw were used to curse enemies. These dolls, used in place of live sacrifices and to curse enemies, may have been the origins of Nagashibina, or the purification ceremony, as Hinamatsuri was once celebrated.

Today, Hinamatsuri is the day when little girls display their favourite hina dolls, usually given by their maternal grandparents at their birth. These dolls are made of clay or porcelain with elaborate costumes often in expensive fabric. The dolls are carefully arranged on a set of step-back shelves displayed as an old-fashioned Japanese court, with the emperor and the empress at the top and other ranks below.

A full set consists of 15 dolls, including the emperor, empress, 3 ladies-in-waiting, 2 ministers, 5 musicians and 3 male servants. Friends are invited to admire the dolls and the young ladies, dressed in their best brightly flowered kimonos sit before the display and eat candies and other delicacies.

After Junko’s presentation, we folded and cut and folded some more to produce our own origami hina – the emperor and empress – with excellent direction and coaching from those who’d done it before!

When Chef Ando was introduced, we opened the lacquered boxes that were placed before us, to a stunning visual presentation of our lunch.

Japanese cuisine is derived from kaiseki-ryori, a series of light dishes served before the tea ceremony to ease the hunger of the guests.

Kaiseki means to hold a warm stone on one’s stomach to numb the pain of hunger. Kaiseki-ryori is also served at Haiku parties but in a casual manner where the dishes are served on one or two trays.

In each lacquered box there were five small beautifully arranged dishes and when you don’t know what you are eating, wasn’t it nice to have a diagram describing the delicacies in front of us!

Each dish had a name. The takimono agemono consisted of grilled salmon, yam, fish cake, egg roll, deep-fried fish and pickled lotus root; the nimono–yam, octopus and tofu; the gohan was sushi rice wrapped in baked egg; the kuchitori on hassun–yam with miso sauce, grilled shrimp, clam and vegetable tossed with fish-flavored vinegar, and the sashimi on omukoh was seabass. Green tea flavoured ice cream was the sweet ending to this gastronomic experience.

We were also treated to the fine voice of Miki who sang a Hinamatsuri song.

For those interested in more information about Japanese dolls and culture, two books that were on display – Identifying Japanese Dolls by Lea Baten (Hotei Publishing) and Japan: The Cycle of Life (Kodansha International Publisher)–are available for viewing at the library of The Japan Foundation in the Citibank Building on Jalan Ampang. The Japan Foundation also sets up its collection of hina dolls during the celebration of Hinamatsuri.
- Barbara Kerfoot

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EXPLORERS REPORT
A Magical Walk in the Forest
Monday, 08 March

About 80 years ago, the present Forest Research Institute Malaysia (FRIM) grounds were little more than abandoned tin mine pits, vegetable gardens and shrubby forest. But since 1926, foresters and scientists have nurtured the park back to life, into serene forest with inspiring trees and wildlife.

Few other forests in the world have been studied as extensively as FRIM's park. As the planted trees matured, a wealth of knowledge on their growth and forest ecology has accumulated. Today, FRIM has a worldwide reputation as a centre of excellent forestry research.

With a group of ten ladies we arrived early at the visitors centre. It was raining a little and the PR officer, Encik Sulaiman, announced, "Sorry, no walk, it will be too slippery!" Instead he gave a wonderful talk - every slide was accompanied by enthusiastic stories. The pictures simply sprang to life and we hung onto his every word!

He explained about the trees with skirts or pimples, and bark used as sandpaper, about all kinds of different animals: beetles that looked like watermelons, tigers, lorises with big eyes and, of course, snakes. There are a few very poisonous snakes but most snakes here are almost harmless.

He made us all laugh and in the meantime the sun started to shine, so the guided tour to the Canopy could go ahead after all. As we made our way, our guide, Encik Jaafar, pointed out and explained the different species of trees. Almost every tree in the jungle can be used for some purpose. For example:

  • The peacock's fern is used to treat headaches, stomach aches, high fevers, rheumatism and asthma. Such plants found their way into the folk medicine of rural dwellers, and used variously for the ailments mentioned above as well as for protective medicine after childbirth.
  • A very big spiral 'Tarzan liana' can be used if you are thirsty but if the water that comes out of the liana is cloudy it should be used as glue instead!
  • We saw the world's largest bamboo (imported from South America) in its natural glory rather than as one of the many bamboo products we find all over Asia.
  • The Pinang palm, after which the island is named, is the betel-nut palm. The nut is both soothing and narcotic. Some ladies used to chew it to colour their teeth dark red in order to attract the men!
  • Rattan has spiny stems, with many curved thorns for climbing and hooking onto the nearest branch or object. Rattan is useful for weaving baskets, making fish traps, musical instruments and furniture. (During one of our guide's explanations we looked up and saw the biggest spider we have ever seen! It put on a good show by catching a fly, but it gave us the creeps.)
  • The Sandpaper Tetracera, a large woody climber with medium-sized leaves, has very rough leaves that are used as sandpaper in traditional woodcarving or for buffing pewter-ware, like Selangor Pewter.

I could write a book about all the miraculous things nature has to offer but we have to continue with the Canopy walk… Before reaching the Canopy walkway we had to trek up a steep path, accompanied by the kampong dog and the real sounds of the jungle.

The cicadas gave us an encouraging concert. During our climb we could rest on special benches, get the heartbeat down, drink some water before we continued. There was good team spirit; nobody gave up and everyone made it to the top.

The Canopy walkway was constructed in 1992 with aid from the German Agency for Technical Cooperation. The walkway spans about 200 metres, suspended between trees about 30 metres above the ground.

The walkway system and the platforms are vantage points from which one experiences life from a monkey's perspective amongst the treetops, as well as to enjoy panoramic views of the forest and surroundings. Besides this, the walkway system functions as a platform for scientific study of canopy plants and animals.

Some of us really had to talk ourselves into going on the walkway. I must admit it looked a bit scary.

However, everybody succeeded, enjoyed the view and we could even see the Twin Towers in the distance. We took photos both for the memory and to prove to the family that we had "been there, done that, bought the T-shirt!" We all felt very proud of ourselves.

Back on Earth, we found a nice little café in the park where we had a cool glass of lime juice and some enjoyed a well-deserved buffet lunch. Some ladies were even thinking of staying for the night safari. Scary.

It was a very enjoyable morning with good slides, a good walk and talk. My thanks to all the ladies who joined in this adventure.

If you want to do the Canopy walk at FRIM, it is normally closed on Sundays and Mondays because the trees around the canopy need a rest.

It is open during the remainder of the week and on the second Sunday of each month. You have to make an appointment if you want to do the Canopy walkway.

Visit their website for details - www.frim.gov.my
- Geke Tanner

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RIMBUN DAHAN
Traditional House, Indigenous Garden & Art Exhibition
Tuesday, 09 March

On a rather cool and cloudy morning, a group of about 20 MCG members gathered at Rimbun Dahan, a 14-acre estate and home to the Hijjas family.

The lady of the house, Angela, welcomed us and presented the programme: it sounded like a perfect mix of botanic, historical and artistic discovery!

We started with the herb and spice garden, Taman Sari, which is Angela's pride and joy. She explained that she had recently introduced a labelling system (very useful for the uninitiated!) and that her aim was to collect as many species as culturally relevant.

Indeed, lots of Southeast Asian varieties used both for cooking and medicine are well represented here.

For the botanists amongst us, it is a paradise planted with, to name but a few: nutmeg, clove, ginger, lime, pandan, turmeric, basil, and aloe vera.

There are also vegetables such as beans, and fruit seen in abundance in this part of the world, namely bananas and pineapples.

Our next point of interest was Rumah Uda Manap, the restored kampong house which we reached after a leisurely walk through the estate, passing enroute the classic car garage and the artists' studios.

One of Angela's on-going projects is to develop walking trails with plants throughout the garden, something both exhilarating and frustrating given the capricious nature of the local vegetation!

Angela's passion for landscaping and experimentation was again obvious when she led us to a special place called Sungei Pelong (a circle of Pelong trees).

She told us that naming places after plants or trees is part of traditional Malay culture, a custom well worth keeping especially for the younger generation who are being raised in cities like KL!

By the way, maintaining such a huge garden requires not only Angela's skilful care but also the help of two gardeners, one of them part-time.

The importance of a multicultural society is another theme close to Angela's heart. It was actually what led her to rebuild and restore an original Malay-Chinese house from Parit, Perak, dating back to the beginning of the 20th century. Indeed, Rumah Uda Manap is a delightful example of a traditional Malay kampong house decorated with elaborate Chinese carvings and paintings.

While the exterior is exotic and colourful, still showing the original building materials from Sumatra, the interior of the house is very simple, with a few original items of furniture.

Apart from some small changes, the construction still looks like what it was back in the 1900s, a remarkable achievement showing the skill and dedication of the restoration team.

It seems like a perfect get-away for a relaxing weekend! In fact, Angela told us that a writer with two children would soon be coming to stay there for a while. Some people are lucky!

Earlier, Angela had stressed the importance of cultivating strong ties between Australia, her home country, and Malaysia, from a personal and artistic point of view.

This was very apparent during the next highlight of our tour, namely the exhibition by three young artists, a Malaysian, Jasmine Kok, and two Australians, Troy Ruffels and Anne Morrison.

They were selected to benefit from the Rimbun Dahan Art Residency Programme, giving them the opportunity to stay and work at Rimbun Dahan for a year. The exhibition we saw was the culmination of their residency.

After a morning well spent, it was time for some refreshment and an informal talk in the beautiful Hijjas home. Personally, I very much enjoyed this event - a good combination of local history, tradition and modern art. Thank you very much Angela, for your hospitality and knowledgeable guiding.
- Marie-Do de Regt

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NEWCOMERS' COFFEE MORNING
Wednesday, 10 March

The Committee members of the MCG would like to invite all MCG newcomers to a coffee morning at the home of our librarian, Renata Greplova. This will be a great opportunity for you to meet the committee, other MCG members and find out more about our group.

You can give our infamous Events Planning team feedback and ideas for future events. You will also find out about our monthly Lecture Series, our two book chapters and the Explorers team. Renata will be most happy to show you the more than 600 books collected by the MCG over the past 20 years, and explain how you can take advantage of our fabulous Library.

So if you are ready to get more involved in KL and MCG life, we encourage you to join us! The MCG will need a few enthusiastic new Committee members to stand for election in May, so this is a perfect chance for you to see and hear exactly what is involved in becoming a Committee or an Events Planning team member. We look forward to seeing you there! ‘Oldstayers’ are also most welcome to come and share their knowledge of KL and the MCG with the newcomers.

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"THE ALLURE OF THE BOUND FOOT" EXHIBITION
Thursday, 18 March


We bring you two reports on this MCG event. The first is a detailed account from Karin Dixon and the next a shorter, more personal view from Kris Ang.

The Muzium Negara was the venue for a talk by Susanna Goho-Quek about her exhibition of beautifully handmade and embroidered shoes worn by Chinese women who practised the custom of foot binding.

Susanna gave a very interesting recount of a few of the stories she’d heard from her own grandmother and other women she had met in China with bound feet, who are now in their 90’s.

Susanna explained to me that the purpose of the exhibition was to focus on the ‘nicer’ side and advantages of this custom, rather than portray it as being solely barbaric.

Archaeological evidence has established that the custom was practised during the 13th century, other sources suggest it may have begun long before this.

Of all the legends, the story of the last Emperor of the Tang Dynasty, who was besotted with one of his concubines, is thought to be the most credible. The Emperor built a stage in the shape of a lotus flower for this particularly gifted dancer to perform on and made her bind her feet in white silk so that the big toes curved upwards. This gave the illusion of crescent moons and as she danced she looked like a whirling cloud rising above the water.

From then on tiny feet became considered an essential mark of beauty and were desired as a pre-requisite to marriage. Other women, initially in royal and wealthy families began to copy this idea in an attempt to attract the attention of the Emperor and men of the court.

Soon the custom became popular in lower ranking families in an attempt to improve their position in society.

A woman’s shoes became a potent symbol of her sexuality, which men found erotic and regarded as objects that could arouse great desire. The women became respected as they were thought to be well disciplined, refined and submissive. Men selected women for marriage according to the size of their shoes, the design and type of stitching embroidered on them. The main characteristic of the perfectly bound foot was the length of three inches or less which would earn the woman the title of ‘Golden Lotus’.

It became very important for women to bind their feet in order to improve their position in society and enable them to marry into a good family. These women enjoyed the finer things in life such as being taught to read and write and play musical instruments. They were admired, revered and pampered, having servants to look after their every need. Not only did they attend to their binding but also carried out the cooking, cleaning and other daily tasks.

Susanna explained that despite the binding many of these women had no problem walking around or even running and for those who experienced problems, there were servants who acted as walking sticks to lean on or carried them on their backs. The parents were also praised on how well they’d brought up their daughter, the family becoming well respected and achieving a good standing in society.

However we cannot ignore how painful this disfiguring process must have been for a young child of five, who perhaps failed to understand the eventual benefits.

Research has revealed that the bandages were soaked in many different mixtures and pieces of porcelain were bound onto the skin in order to break it down. Unfortunately some girls suffered horrendous infections, which led to gangrene and in some cases death.

At the end of the 19th Century views began to change as it was thought that foot binding weakened women and any children they produced. In 1911 the custom was outlawed and eventually petered out. Of all the women Susanna has interviewed half regretted binding their feet and half did not, although in reality none of them had any choice in the matter.

The exhibition was well designed and very informative. Susanna is very passionate about her collection and this was reflected in the presentation of her talk.

For anyone who would like to read more on this subject, I would recommend reading Susanna’s beautifully illustrated book, entitled ‘The Allure of the Bound Foot’.
- Karin Dixon

SUSANNA Goho-Quek did a great presentation of the history behind Chinese bound feet and the exhibition pieces are definitely the most rare and extensive that I have ever seen. I realised how little I knew about bound feet even though I grew up with my grandmother who has them.

As the talk progressed I began to miss my grandmother even more.Her feet are not as distorted as the ones shown on National Geographic. However, they do have the hump on each foot and they definitely look the size of an eight-year-old’s.

My grandmother is about 96 years old and lives in Singapore.Similar to the women Susanna talked to during her research my grandmother also does not regret that her feet were bound.Her only complaint is that they are not as small as they should be because of her truancy.

She used to untie her feet at night when her parents were asleep. Nonetheless, she enjoys telling me stories of how much people of that time believed in having bound feet for the girls. Anyone with big feet was considered ugly and would not be able to get a husband.

Susanna was so interested in getting to know my grandmother that we are arranging to interview her soon.I am truly glad that I attended this talk. The best part is I have arranged to return to Singapore to visit my grandmother next week! Thanks for holding such an interesting and meaningful event.
- Kris Ang

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THREADS OF A NEW TRADITION
Talk on Thai Textiles
Monday, 22 March


Today we take great pleasure in introducing Percy Vatsaloo, who trained as an architect at the National University of Singapore, and will speak to us about Thai textiles. During the 1985 recession he left his architecture job for a bout of soul searching. In 1987 his wanderings brought him to the Korat Plateau, often referred to as Isan, Northeastern Thailand.

There he discovered his purpose in life–a calling to be with the people of the land. His love for textiles and his background in design led him to new traditions. On a wintry morning in January 1997, while sitting in a rice hut in the padi fields, he stumbled across the idea of combining two ancient weaving techniques into one. Using a fresh and non-traditional palette of colours and patterns has thus provided the people of his adopted village with a new “tradition”.

With great excitement he gathered three good weavers from his village to weave his designs. The quality and the uniqueness of this new tradition has created quite a storm in recent years. Today, a group of nearly forty men and women from Isan work together on this weaving project to give new life to traditional threads.

Percy will give a presentation of his adventures and work in Isan, and will also show us some of his latest silk shawl creations.

As this event has limited places, please reserve early. If you are unable to attend the event, please inform the event coordinator at least 48 hours before the event, so someone else can take your place.

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DISCOVERING MALAY TEXTILES
Textile Museum Visit & Talk
Wednesday, 31 March


The Jalan Conlay Craft Complex is well known to many residents and visitors to KL, and so it was no surprise that the visit to the museum and talk on Malay textiles drew an enthusiastic crowd of MCG members.

We were shown around a recently redesigned and refurbished area within the complex by Zurina binti Anuar, the promoter for the Complex. The new layout contains room settings and displays Malaysian arts and crafts in a way most likely to appeal to customers from Malaysia and visitors from overseas.

The Malaysian Development Corporation works with local craftsman and women, and suggests new ideas. Designers then adapt traditional techniques and materials to produce goods for an international clientele.

The room settings are varied and imaginative, using different colour schemes and styles to show how locally crafted items can be used or displayed in the home. On display were some beautiful fabrics – batik, songket and ikat – used in different forms: wall hangings, table runners, cushions, even curtains, and baskets, boxes and vases woven from bamboo and rattan. We then moved outside for a demonstration of hand-drawn batik by the resident artist, Latik, and some of us tried our hand with the canting and dye brush, with mixed results!

We saw how block-printed batik is produced, and I was impressed by the accuracy of the pattern produced – it needs a steadier hand than mine!

We left the heat of the outdoor workshops and the warm smell of the molten wax for the welcome airconditioning of the museum for a tour of the textile exhibition. Although there was no textile expert on hand, our guide Roziah was happy to answer our questions.

The most widely recognised Malay textile is batik. It was explained to us that it was only in the 1950’s and 60’s that the distinctive hand-drawn batik of Malaysia was developed, originally by the wives of the fishermen of the East coast in order to supplement the family income.

It is still largely a cottage industry. The word ‘batik’ comes from the Javanese word amba and the Malay word titik, and literally means ‘to draw dots’.

As a technique, batik has been around for centuries, and has been practised in cultures as far apart as Peru, Egypt and India.

Malaysian hand-drawn batik uses a mixture of wax and resin melted together. Motifs, usually stylised forms of flowers, insects and other natural forms, are then applied with a canting, a small copper vessel with a fine spout.

The wax acts as a resist to block the absorption of dyes applied to create the rest of the design, so it is important to keep a continuous line between areas of different colour, otherwise the dyes will bleed through and blend together. With block-printed batik, wooden blocks were originally used, but today copper blocks are almost universal.

The patterned blocks are dipped into molten wax and applied to the fabric, which is then dyed the lightest colour in the design. The dye is then fixed, areas of that colour are then waxed, a deeper shade of dye applied, and the process repeated until the piece is finished and the wax removed. For a multicoloured piece, this process can take several days.

A series of dioramas show the processes involved in batik and songket production, as well as how the kain pua – ikat cloth – of the Iban people of Sarawak is prepared and woven.

It is interesting to see how the two processes differ from each other. With ikat fabric, the colour is applied to the warp threads (the threads travelling along the length of the fabric) using a system of tying twine around sections of the threads to block absorption of dye. The fabric is then woven on a simple backstrap loom, giving a narrow finished piece of cloth. With songket weaving, however, a traditional floor loom is used to weave a fine piece of cloth, often in silk thread, but the pattern is carried in supplementary weft threads (threads travelling across the fabric). The weaver has to be incredibly dextrous, picking out individual warp threads and weaving the metallic thread in and out of the threads used for the background fabric.

Several styles of embroidery are on display; tekatan embroidery, metallic thread worked on velvet in lovely rich shades, was traditionally used in the palace at Kuala Kangsar, but now more widely seen, and metal thread embroidery on wedding shawls – now very rarely seen, but very beautiful.

All too soon, our time at the museum ran out, but I felt that we gained an insight into what is a fascinating and varied tradition of craftsmanship in Malaysia.
- Judy Carr

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