05 February

The United Nations Development Programme (UNDP) has worked in Malaysia since Independence, and during that time, the types of work conducted has changed with the needs of the country. At this point UNDP is embarking on a new programme in Malaysia which both reflects Malaysia¹s very fortunate position as a middle-income country in South East Asia, and provides the possibility of undertaking unique areas of work for a development organisation. It also provides a testing ground for what UNDP might be able to bring to other countries. Dr Maxine Olson (Head of the UNDP for Malaysia, Singapore and Brunei Darussalam) will be describing the UN's innovative programmes as well as elaborating on NGOs with which the UNDP works with in Malaysia.

11 February

MCG is very fortunate to have the Head of the Asia-Europe Institute, Professor Dato´ Shaharil Talib, to talk to us about the history and aims of the Institute. Initially we will take a short tour of the building, and learn about its fascinating internal architecture, which makes one feel that one is on a ship, symbolising the 'vessel of knowledge' which the Institute represents.

Students from all over the world who are studying at the Institute will join us for our lecture. Who of us is not interested in the history of this area?  Who would not like to know more about the story of the Malacca Straits? Why did sailors in the past persevere in their quest to navigate the Malacca Straits despite the dangers of piracy? What influence do monsoon winds and sea currents have on South East Asian civilisations? What were the main movements of peoples in this area, how are their cultures mixed? Come to hear the answers to these questions and many more at what we are sure will prove to be an extremely stimulating and informative lecture from the visionary founder of the AEI.

25 February

Join us for this very special morning and learn about Wushu, the Chinese discipline which includes acrobatic movements, qi gong, dragon and lion dance.  It was developed under a shroud of secrecy by the many Chinese clans thousands of years ago in China. Our speaker, Dato Kee Yong Wee, President of the Wushu Federation since 1996 will trace the historical development of Wushu to it present day form which is recognized as an international sport by over 80 nations. We are fortunate to have Ho Ro Bin, a world champion Wushu exponent together with several other practioners to demonstrate the various Wushu movements.  They are totally committed to Wushu and train at Bukit Jalil on a full time basis.  Ho Ro Bin recently won a gold medal in his event at the Asian Games in Korea and was chosen Malaysian Olympian 2002.

As a very special treat, we will also have a lion dance performance, so bring along your camera!  This promises to be a fascinating event and a perfect way to celebrate the Chinese New Year Spirit.

27 February

The exhibition Beyond Boundaries will offer us a glimpse into the world of nomadic people and an understanding of the lives they have led, unrestricted by limits and geographical borders. Tents, or yurts as they are sometimes called, portray an important aspect of the culture and tradition of each society.  Five tents from regions along the Silk Road are featured, displayed in their entirety and fully equipped with all the typical furnishings of each culture. They reveal various designs and handcrafts from the Kirghiz, Turkmen, Mongols, Egyptians and Turks.  Nomads have a long history and are mentioned in the Quran and Hadiths, recorded in poetry, documented by travellers through the ages and depicted in Islamic miniature paintings.

 
We will be guided through the exhibit by its curator, Dr. Heba Barakat, an Egyptian scholar.

The tents will be exhibited until May 31 and during this period there will be several lectures and seminars for adults and children alike.  If you would like to be put on the IAMM mailing list, please contact Wan Adlin or Azmi Yaakop at 2274-2020, ext. 219 or 311, email azmi@iamm.org.my.

For your information, the Museum has a lively Middle Eastern restaurant with delicious cuisine, so you may want to plan lunch after the tour.

The Chinese New Year is very similar to the Western one, swathed in traditions and rituals. The origin of the Chinese New Year is itself centuries old, in fact, too old to actually be traced. It is popularly recognised as the Spring Festival and celebrations last 15 days.

Preparations tend to begin a month from the date of the Chinese New Year (similar to a Western Christmas), when people start buying presents, decoration materials, food and clothing. A huge clean-up gets underway days before the New Year, when Chinese houses are cleaned from top to bottom, to sweep away any traces of bad luck, and doors and windowpanes are given a new coat of paint, usually red. The doors and windows are then decorated with paper cuts and couplets with themes such as happiness, wealth and longevity printed on them.

The eve of the New Year is perhaps the most exciting part of the event, as anticipation creeps in. Here, traditions and rituals are very carefully observed in everything from food to clothing. Dinner is usually a feast of seafood and dumplings, signifying different good wishes. Delicacies include prawns, for liveliness and happiness; dried oysters (or ho xi), for all things good; raw fish salad or yu sheng to bring good luck and prosperity; fai-hai (Angel Hair), an edible hair-like seaweed to bring prosperity; and dumplings boiled in water (jiaozi) signifying a long-lost good wish for a family. It's usual to wear something red as this colour is meant to ward off evil spirits - but black and white are out, as these are associated with mourning. After dinner, the family sit up for the night playing cards, board games or watching TV programmes dedicated to the occasion. At midnight, the sky is lit up by fireworks.

On the day itself, an ancient custom called Hong Bao, meaning Red Packet, takes place. This involves married couples giving children and unmarried adults money in red envelopes. Then the family begins to give greetings from door to door, first to their relatives and then their neighbours. Like the Western saying "let bygones be bygones," at Chinese New Year, grudges are very easily cast aside.

The end of the New Year is marked by the Festival of Lanterns, which is a celebration with singing, dancing and lantern shows.

Although celebrations of the Chinese New Year vary, the underlying message is one of peace and happiness for family members and friends.

When the chill north wind is blowing hard, and winter is at its most powerful, it is also the time that the Chinese New Year draws in. Folks will make lots of preparations such as repainting the walls white, making new clothes, and cooking big meals for the New Year's eve. One of the prevailing customs is buying and posting New Year pictures, especially in the countryside of Northern China. Red lanterns hanging from the eaves and the auspicious New Year poster inside the room can best describe the festive atmosphere.

The New Year poster, as a special type of art, enjoys a long history and far-reaching influence. Many artists are farmers who express their good wishes and future dreams in the poster. It also reflects their ideal life and artistic taste.

The Poplar and Willow Green county is located 20 kilometers to the west of Tianjin. It is said the place was named by Emperor Qianlong of the Qing Dynasty because of the fascinating scenery there. An old Chinese saying goes : "A great land is propitious for giving birth to great men". It is also true with great art. The New Year poster emerged and took shape there as early as the 16th century. It is characterized by the distinctive local colour, thus, widely liked by the people. The poster came into being in the Ming dynasty and became extremely popular at the beginning of the Qing. It is a wood engraving and watercolour block print, coloured finally by hand. Its content varies from historic stories, legends, local operas, folk customs, landscapes and so on. Most of them are closely connected with people's lives.

The most well-known poster is called 'having grain to spare for years coming.' There is a lovely smiling boy sitting in front of some lotus flowers and holding a big carp in his arms. In Chinese, lotus is homonymous with 'consecutive', and fish with 'having something more than enough'. Chinese consider this picture a good omen for the coming year. And it is so widespread that it almost becomes a definitive work of the New Year poster. There is also an interesting story about it. In the Qing Dynasty a rich man passed through Poplar and Willow Green County in a boat. He was fascinated by the vivid poster and brought one home. At night the boy came alive, came down from the picture, and gave the rich man a big carp as a gift. But the man was so greedy that he placed a large basin before the poster and wanted to make a fortune from it. Later the boy grew tired of him and went back to his hometown with his carp, leaving the poster a blank piece of white paper.

Goats are those people born
after 01 February this year and during the following dates:

17/2/1931-5/2/1932 5/2/1943-24/1/1944

24/1/1955-11/2/1956 9/2/1967-29/1/1968

28/1/1979-15/2/1980 15/2/1991-3/2/1992

Those born in the year of the sheep are thought to be a contented lot, happy with their creature comforts around them, wise and compassionate, especially gifted in the arts and reputedly tasteful. Charming, elegant and artistic, sheep are often envied for their success.

On the other hand, it's also believed that sheep can be great worriers, often getting off on the wrong foot with people and having a generally pessimistic outlook on life. This often leaves sheep feeling puzzled and even timid but despite their tendency towards shyness, sheep often find themselves the centre of attention.

Those born under the sign of the sheep frequently throw themselves passionately into what they do and what they believe in. Many sheep, as it happens, are deeply religious and spiritual. This doesn't, however, curb their materialistic tendencies and they cling to their loved possessions tightly.

Financially, sheep are volatile but always manage to get by. Sheep never seem to worry about having the best in life as their abilities and artistic flare bring them the success they need in their chosen career.

Sheep look for partners who will make all the decisions for them. In love, a sheep needs a lot of pampering although they will not always return the favour. Commonly, sheep are attracted to generous partners who will give everything and expect nothing in return.

Those born under the sign of the sheep do not so much dream as imagine, appreciating the written word, peace and beauty. Sheep are gentle and caring, and are strongly family oriented and the Chinese think of them as the harbingers of peace. They are pacifists by nature unless fighting to end conflict.

Careers suited to Sheep are acting, gardening and beach combing.

Famous people born in the Year of the Sheep: Gene Hackman, Mikhail Gorbachev, Leonard Nimoy, Prunella Scales, John Major and George Harrison.

The favourite colours during Chinese New Year are red and gold. Red symbolises happiness while Gold symbolises wealth. As such, these two colours are predominant in most Chinese New Year decorations and greeting cards.

During the Chinese New Year, families in China adorn their front doors with New Year greeting couplets, which are fragrant with fresh India ink, to give the feeling of life's renewal and the return of spring. The couplets have three pieces, two longer ones vertically hung on each side of door, one shorter one horizontally hung on the top of the door.  These couplets contain traditional greetings and good wishes for things such as a very lucky year, good health and prosperity

In addition, the Chinese also decorate their doors or windows with auspicious Chinese New Year children figures, usually one boy and one girl opposite each other- both holding 'lucky' signs - symbols of 'good luck' for the New Year.

Chinese children love celebrating New Year because they can enjoy the firecrackers on New Year's Eve and hold colourfully lit lanterns during the Lantern Festival, which is on the 15th of the First Month.

In the countryside, people also decorate their windows with chuang hua - window flowers, usually in large papercut format. Most chuang hua are in red and have lucky and prosperous symbols such as children holding fish or flowers.

This month instead of visiting a place, we visited socialite, Datin May Lee Leong. You may have seen the castle like home in Taman Duta known as Camelot and wondered who on earth lives there?!  Well, it is Datin May and we were looking forward to exploring the house, but, alas, the was not to be.  She is selling Camelot and had already started packing her belongings, so were entertained in the living room, flanked by a piano and a harp.  We were treated to some stories of her past and present.  In the past, she was married to Datuk Leong Siew Meng, the first Chinese Major General in Malaysia, who died 16 years ago. They built their unique home complete with marble staircases, cupids and nymphs everywhere and large wooden doors resembling a drawbridge. During their heyday, they were known to throw elaborate theme parties, the last was 'Camelot Night' where guests and servants alike dressed to theme.  This party was such a success that it lasted three nights!  After her husband's death, the parties stopped and Datin started a herbal skincare company which she currently operates from Camelot's garage.  Her first love is music and she is an accomplished singer, pianist and harpist, often giving charity concerts for various groups. As Datin May prepares to leave Camelot for the last time, she is looking forward to a new beginning.

For a little excitement and something completely different, the Explorers' Group went on a real adventure in the dark at Batu Caves, 12 kilometres north of Kuala Lumpur. Our numbers were down as several members were away on holidays, while others felt they may have a claustrophobic reaction after reading the tour notes, so opted to avoid, or took the simple route - by visiting the Art Gallery at the Caves instead. So - a handful of intrepid explorers and friends took the internal cave trip - basically on hands and knees!

Rajan, a delightful Indian man who arranges the cave tours for 'The Malaysian Nature Society' (MNS) was the organiser of our tour, while Jaya, a young and enthusiastic caver, was our tour guide for the morning, providing us with a wealth of knowledge on the cave history and leading us into the deep, dark centre. We were told to bring a good torchlight (those with a head torch were much more sensible!); a complete change of clothes (we were ostracized by the tourists as we descended the steps, as we were so filthy!); strong and good walking shoes (with a much needed change for after the event!); towel and soap (a shower has never felt so good!); and plastic bags (to throw the dirty things into - much needed and appreciated by Suzanne who was the driver!).

We did the usual one hour tour, walking on concrete paths, looking at the masses of cave roaches making the guano (bat dung) move while feeding and living in it, as well as the domestic and larger cockroaches which crawled on the walls (brought in years ago by the Chinese workers who mined the guano for fertilizers in the valleys). The various stalagmites rising from the floor and stalactites jutting from the ceilings formed intricate formations such as curtains, flow stones, cave pearls and scallops which took thousands of years to create - some joining to form huge columns. The Dark Caves have been closed to the public for eight years, as the tourists broke many of the thousands of years of mineral collections when they had been allowed to travel through freely. With the MNS now controlling the tours, everything is protected and the history remains with those who listen on the tour.

For the second part of the tour, we moved off the concrete and dirt track and onto steep inclines and declines and through tiny crevices, where we had to lay on the ground and crawl through small chambers, wallowing in the puddles. It may have been a blessing that we couldn't see in front of us at times - but the creepy crawlies were not seen at close quarters, so our noise was muffled and only heavy breathing could be heard within our own ears! Jaya was most patient and extremely helpful throughout the ordeal, and is to be commended on his leadership and ability to cope with stressful situations. One in our group struggled with enclosed areas while being separated in the second chamber, but with coaxing and encouragement, came through unharmed and more enriched by the experience of being able to come to terms with a fear - this experience is not for the faint hearted! Another member of the group found the climb down dreadfully scary, but overcame the trauma and managed to survive.

I would highly recommend this trip to visitors who are keen to try out caving. Please make sure you wear long pants and long sleeves to protect the skin when crawling. Expect to get wet and very dirty, but the thrill of the hunt is overwhelming and well worth the intimidation! The eerie silence within the cave walls was broken at times by the dripping of water, or whirring of bats above, or our heavy breathing but it was exhilarating and an experience that will stay with us for some time. None of us are in a hurry to get back into the Dark Caves but we are certainly pleased to have done it, and would encourage others to try it.

If interested, contact the MNS, or Rajan on 012 675 0661 to book the tour. You need to give four days notice for the adventure tour (which took us 2.5 hours), as it is arranged infrequently, although if you have a group, it is not a problem. The one hour tour is done daily, and if you call Rajan, he can tell you the times, but would expect two days notice. Most tours either start at 10 am or 2 pm. You need to have expert guides, or you could easily get lost in the tunnels and chambers… never to be found again! It seems that during the war, many communists lived in the Dark Chambers - I think I would prefer to be caught, just to see daylight! Costs for the tours are RM 15 for the short tour, or RM 25 for the longer tour.

For our last event of 2002, we gathered at Leni Chan's to learn how we can all  incorporate Qi Gong exercises into our daily schedule without too much effort.  Joan Foo Mahony was our 'guide' for the morning demonstrating various Qi Gong positions which can be done at home, in the car or standing in line at the supermarket! Joan began practising Qi Gong after being diagnosed with severe osteoporosis at the age of 43.  Her doctors told her to lead a quiet life, which for this skier, sailor, diver, etc. was an absolute impossibility. With her typical determination, she refused to accept her fate and began to search for a way to reverse her illness.  Always a firm believer in eastern medicine, her 'life and fate were rewritten" when she met her guru, Master Mak.  Through diligent and regular practice, her osteoporosis has been arrested and her life is even more active than before.

Qi Gong is an ancient Chinese discipline which practised regularly can improve health, strength, energy and peace of mind.  Qi means 'vital life energy' and Gong 'exercise' and when our Qi is blocked, illness and fatigue can occur, so the fundamental idea behind Qi Gong is to get our Qi to circulate smoothly and continuously thereby encouraging good health and storing vital energy.

Although it was a warm morning, Leni's garden was the perfect place for us to put some of our newly gained knowledge to the test. First, we learned a basic stance Joan  calls the 'John Wayne' pose which is the perfect exercise to do while queuing, which we all do regularly!  The basic idea is to look like a cowboy ready to draw his pistols - feet placed shoulder width apart, bend slightly forward, squat as if ready to sit down, palms facing inward and fingers spread, head and eyes straight ahead. Joan also demonstrated exercises to help insomnia, headaches, low blood pressure and much more.  Several members felt a tingling sensation which is quite normal as the qi begins to flow smoothly once again.

We have Joan's book and VCD Indispensable Qi Gong for people on the go in our MCG library.  Her book is very reader-friendly with all the exercises simply explained in step by step detail. If your New Year's resolution is to start an exercise program, Qi Gong may be the perfect discipline for you!

-18 November

In Tomlinson's Bangsar Gallery a large group was seated on beautiful chairs for a talk on antique silk garments from the Qing Dynasty. Nisha gave a scholarly introduction on silk and the history of court garments in China before handing us over to Felicia from Tomlinson's, who gave a slide presentation explaining the symbolism on the robes, highlighting how these related to status in the Imperial Court.

Felicia explained that these silk garments are highly regarded, rare and as expensive as they were in the past. There are now very few examples in China and most are traded in London. As textile conservation is very difficult, fewer quality pieces come on the market and some museums do not even display their collections due to their fragility.

Imperial Silk Workshop records show that one good robe took two years seven months to produce, including 16 days for drawing the design, 13 months for the gold work (silk thread twisted with 24K gold leaf) and a further 16 months for the silk embroidery. This didn't include production of the silk itself!

In the 17^th century, nomads from the north, under the leadership of the Manchus, overran China and established the Qing dynasty in 1644. These were not very cultured hunters and herdsmen but were accomplished horsemen and although admiring the established examination system they asserted their own culture by reforming official court dress. The impractical robes of the Ming dynasty were replaced by garments in the shape of traditional Manchurian riding coats with sleeves shaped like hooves. The use of rich Chinese silks, expert craftsmanship and traditional Chinese decorative motifs made the Court robes the magnificent garments that we were able to admire on display.

Ban Gu had established dress regulations in 1636 but these were formalised in 1759 by Emperor Ch'ien Lung in The Illustrated Catalogue of Ritual Paraphernalia of the Qing Dynasty which showed what should be worn when and by whom! The use of badges to signify the rank of the wearer was common in the Ming dynasty and continued into the Qing with civilians wearing birds and lower stature military officials, animals.

There were three types of dragon robes- the most common being the semi-formal dragon robe.

Only the emperor, his sons and other highly regarded princes or officials were allowed to wear robes decorated with the five-clawed dragon called long. Other princes and third and fourth rank officials used the four-clawed dragon, mang and fifth rank officials the three-clawed dragon.

The emperor would be transformed into the 'Son of Heaven' ( the tenth dragon) by wearing a 9-dragon robe. Eight dragons would be on the outside of the robe and the ninth, also exqusitely stitched, would be hidden on an inner flap. Also on the Emperor's robe would be the Twelve Symbols of Sovereignty:

1.The Sun represented by a red disc with the legendary 3-legged crow.

2.The Moon represented by a light blue or green disc with a hare making the elixir of immortality.

3. Three Stars. Sun, Moon and Three Stars together are symbols of enlightenment, heaven and the cosmic universe.

4. Mountains for stability and the earth.

5. Dragons symbolic of adaptability as they are capable of transformations.

6. The Pheasant is symbolic of literary refinement.

(Dragons and pheasant represent the animal and bird kingdoms hence the whole natural world).

7. Pair of Bronze Sacrificial Cups symbolise filial piety. The tiger on one representing physical strength and the monkey on the other, cleverness.

8. The Waterweed represents purity.

9. Grain represents a country's capacity to feed its people thus prosperity and fertility.

10. Fire represents intellectual brilliance

4, 7-10 symbolise the five elements, earth, metal, water wood and fire.

11. The Axe represents the power to punish.

12. The fu symbol represents the power to judge.

In China physical objects have traditionally been used to express ideas and feelings and many of these come from visual puns such as the bat motif being associated with happiness because that is pronounced in the same way as the word for bat. Other such rebuses are found on robes such as the endless knot or' intestines'one of the Eight Buddhist Emblems of Good Fortune which is pronounced chang which also means 'long and continuous' hence long life. Other symbols found on the garments are the Attributes of the Eight Immortals, Eight Precious Objects (or Treasures of Wealth and Fortune) and Flowers of The Four Seasons.

Different coloured robes were worn for different sacrificial ceremonies and different seasons.

Yellow for earth and only worn by the emperor, light blue for the moon , dark blue for sacrifice to heaven and red for the sun.

Wedding robes were decorated with cranes for longevity and phoenix for beauty. Only four emperors married whilst in power so only four Imperial wedding robes existed. One is in the Palace Museum in China and a recent loan of Imperial Robes for exhibition in Australia excluded this as it is so rare and valuable.

The Empress Dowager Cixi insisted on wearing the 12 symbols of sovereignty on her robes despite this being reserved for the emperor. Women's clothes were not subject to the same rules as the men but butterflies, birds and flowers were popular for good fortune and health.

In addition to dragon robes we were able to see examples of PoFu the outer coats and other ChaoFu (court robes). Felicia pointed out different stitches and showed us examples of kesi - a tapestry weaving technique. We were also given the chance to handle the garments( with disposable gloves), to find the 9^th dragon and look for all the symbols and admire the silk embroidery at close quarters and see how the silk changes in the light.

These beautiful robes, among the last artistic legacies of dynastic China were all for sale but with prices from 10,000 to 45,000 RM they are serious collectors' items and although Tomlinson's offered a generous discount we all had to content ourselves with refreshments and a browse through some books of dress accessories surrounded by those exquisite treasures.

Jill Thistlethwaite

KENDI WATER VESSELS

In Asian countries earthenware is an excellent material for storing water due to its slight porosity allowing a slight evaporation and thereby cooling the contents. There are a variety of earthenware water storage containers from large to small made throughout Asia. The largest can be as big as ten feet tall and as many feet in diameter, dwarfing the small sometimes even palm size water vessels for religious ceremonial use. Among the myriad vessels for water storage however, one particular class of vessel is pervasive throughout the entire South East Asian region - the kendi.

The kendi form is believed to have its origins in India. In fact the word kendi evolved from the word kundi, which in turn evolved from the word kundika, the word for water vessel in India. In Hindu iconography Kundika sometimes appear as a godly attribute of Siva or Brahman. Kundika also have prominence in Buddhist cultures as one of the 18 holy vessels held by a Buddhist monk. One of the characteristics of the kendi, is that it has no handle. To drink from it, the neck is firmly grasped with the spout pointing towards the mouth and slowly tilted to let the contents flow.

The kendi has manifested itself in many forms throughout South East Asia as it was manufactured in varying regions for specific uses. As the uses varied the form changed and adapted. Kendi were probably one of the first objects produced by the Chinese purely for export, and not for use within China. With the Indian influence, kendi was widely produced across the Mekong delta as early as in the latter half of the 1st millennium A.D. Within Indonesia the most common form of kendi is the single neck bottle; however, there are also many excellent examples of multi necked and spouted kendi vessels.

The gourd, commonly used throughout the world as a water vessel, is often replicated in early kendi forms, and in fact some areas of Sulawesi still produce gourd shaped kendi vessels. The Gayo area of Aceh has many gourd and pumpkin shaped kendi as well for both daily and ceremonial use. One unique form of kendi is the maling, or thief's kendi, which has to be filled from the bottom. This ceremonial kendi from the Mayong, Pati province has an internal central funnel running from the base to the shoulder, and is usually made with two false spouts. Bali and Lombok, with their production of kendi maling, prove this form to be a traditional one in many areas of the archipelago. Palembang area produced highly unusual kendi with as many as five spouts from any of which water can be poured. Palembang also went on to produce zoomorphic vessels taking the form of roosters and other birds most often with some lizard and other animal forms.

The kendi with the widest variety of shapes are the spouted kendi ranging in form from round to ovoid or flat, with either short or tall feet. The neck and spout areas vary widely from tall and narrow to short and wide. As was stated earlier most water vessels produced in Indonesia are unglazed earthenware; in the Majapahit kingdom of East Java during the late 13th to early 16th centuries however, we begin to see the production of high fired glazed kendi which basically followed the forms of the unglazed earthenware.

The kendi as a drinking vessel is an important part of the material culture of Indonesian life. Often filled and placed in front of homes as an offering to thirsty passers by demonstrates the hospitality inherent in the culture. Even today such offerings are common especially in Java (and also India). Other uses of kendi are

for the administration of liquid medicine to the infirm so they do not need to sit up to drink. Some kendi believed to have magical properties were shaped in the form of male genitals with an inscription to the effect of 'medicine for those who...'. Kendi are also commonly used in ceremonies such as weddings and inaugurations. The cool water in kendi signifies a perfect marriage and in West Java the bride washes the feet of the groom with water poured from a sacred kendi after which the groom shatters it symbolizing the wive's faithfulness to the husband. Also used in naming ceremonies and inaugurations, full kendi are frequently shattered mirroring the western tradition of the breaking of a wine bottle or wine glass.

The kendi susu or breast kendi is fashioned in the form of a breast serving as a metaphor for the life sustaining mother's milk, and pointing to the importance of such in Indonesian culture. In a Central Javanese dance called the Tari Bondan a small girl with a doll in her arms dances atop a kendi taking care not to break the vessel. Such a dance symbolises the importance of a gentle upbringing by mothers of small children, and as such the kendi serves as a vehicle for transporting cultural values across generations, and reinforcing traditions.

Lampung province has a marriage tradition where the bride and groom carry a spear between them from which hangs a kendi, sugarcane, paddy stalks, and other symbolic elements to a river where the kendi is filled and used to bathe the couple. This is believed to purify the couple bringing harmony to the marriage through the cool sacred water of the kendi. Kendi are used in marriage as a symbol of fertility and are believed to enhance the fertility of the bride. The pratolo kendi or earth kendi are especially associated with fertility and the following Javanese legend is often relayed in relation to the pratolo kendi:

A girl walking in the forest saw the kendi filled with water under a large tree. Being thirsty she drank from it. The water was delicious and tasted like nectar. The girl brought the kendi home with her but shortly afterwards she became pregnant. Her family did not believe her story that she only drank water from the kendi, and sent her away. She gave birth to a beautiful son. Although she barely survived, the baby did not lack nourishment because every time she drank from the kendi her breasts were filled with milk.

There are many other legends of fertility connected with kendi, and pratolo kendi have pervaded Java as an ethno-unique symbol of fertility.

We can see that kendi with their long history dating back to ancient India, with both Hindu and Buddhist significance as holy vessels give kendi a special significance in the culture of Indonesia. Kendi are used throughout Asia, and their use even extends to the Middle East where they were adapted for hookah smoking. The ancient symbolism of fertility associated with kundika has carried over into Indonesian culture giving kendi a highly symbolic presence for such a commonly used article of daily life. As evidence of their hospitality, and with myriad uses, kendi serve as an important part of the Indonesian material culture, and act as a unifier of cross cultural elements throughout the archipelago of Indonesia.

Bibliography

Adyatman, Sumarah Keramik Mutakhir Bergaya Antik, The Ceramic Society of Indonesia, 1983.

Adyatman, Sumarah Kendi, The Ceramic Society of Indonesia, 1987.

Kartiwa, Suwati, Dra. The Role of Pottery in Our Lives, Museum Pusat, 1977.

Yudhoseputro, Wiyoso Album Keramik Tradisional, Ministry of Education and Culture, 1984.

If we speak about 'biography' as a literary genre, this book wouldn't be a good example. Considering that this was supposed to be a biography, we didn't get a clear impression of the leading character, as details about his personality were insufficient. Many events were described superficially and we felt that the book wasn't well organised. Some events, described over more than one chapter were repetitive and didn't seem to have an end.

Diana found that a lot of the information in the book was not accurate, as there were mistakes in dates, names, geographical locations and history. Therefore the group agreed that if there are such mistakes in this kind of book, it doesn't make the author, or his story credible, convincing or reliable.

However, we were still able to appreciate some moments from the book, for example, the description of Thailand during the Second World War, the relationship it had with its neighbouring countries and especially the description of how Thailand was influenced by the Japanese and the CIA.

It is difficult for me to criticise this book so much, but a biographical book should have accurate information and create a real image and personality of the person, and our group had to concur that this book failed to comply with the above criteria.

To conclude, we hope that next month's selection, Life and Death in Shanghai, will be more enjoyable and interesting than this book.

Renata Greplova 

There was no review received from Chapter II.

The House of Blue Mangoes by David Davidar

David Davidar is the head of Penguin Asia. This is his first novel. The story opens in southern India at the end of the 19^th century and spans a period of almost 50 years. It concerns three generations of the Dorai family and focuses mainly on the lives of the three generational heads of the household.

As we follow the family we also trace the story of India during this remarkably eventful era. Davidar's novel opens with the caste wars of the late 1800s, and covers the rise of Indian nationalism, both world wars, colonialism and the fall of British Rule. Social issues - a notable example being the inequality of women in a highly traditional society - and the alarming protocols of the caste system, are also addressed in some detail.

The author's attempt to weave these historical events into this story overwhelms what is basically a family saga. Characterization has suffered as a result and characters such as Solomon, Aaron and Kannan are used primarily to introduce the many historical issues to the reader. We would have liked fewer characters with more developed personalities. Helen for example, an Anglo-Indian - not quite English or Indian enough - had a potential, which sadly, was never exploited.

On occasion the editor may have allowed the author a little too much freedom. The novel is punctuated with detailed descriptions of seemingly insignificant events such as wedding preparations, a tennis match or the hunt for the perfect mango etc. We found this change in pace and style disconcerting and it distracted from the main thrust of the story.

As a first novel, Davidar's book also has its strengths. We all agreed there were descriptive passages of remarkable beauty. In particular, the author's images of southern India are exotic, colourful and fragrant - just like his ever present mango!

Thanks to our host Arlene and facilitators Nancy and Jan.

Among the White Moon faces memoirs of a Nyonya feminist by Shirley Geok-lin Lim

If you are interested in joining us, please send an email to the Book Club Coordinator and the date of its receipt will determine your placement on the waitlist.

I would like to  remind you of the wonderful books we have in our library.

In February the Chinese celebrate New Year. We have some books describing the Chinese habits and customs.

Bloomfield F. - Book of Chinese Beliefs

Burkhardt V.R. - Chinese Creeds and Customs

Leong G. - Festivals of Malaysia

Wong C.S. - Chinese Festivities

We bought some new books in January:

Mahony J.F. - Qi-Gong

Lagatree K.M. - Feng shui

Winsted Richard - The Malay Magician

The Merlion and the Hibiscus - Contemporary short stories from Singapore and Malaysia

Mahathir M. - A New deal for Asia

I hope you will check our website www.malaysianculturegroup.com where the library catalogue is listed. If you are interested in any of the books, please contact me.

Happy reading,