Introduction
The Malay Heritage Centre was formally
known as Istana Kampung Gelam (Kampung Glam Palace). It was built in
1819 by Sultan Hussein Mua’zzam Shah Ibni Mahmud Shah Alam, the then 18th
ruler of Johor (Remember Singapore , 2012) . Even after the fall
of the Sultanate, the descendants of the Sultan continued to live in the palace
until the palace was selected as a historical monument that has to be conserved
and restored in 2001. Now, the palace functions as a Malay Heritage Centre (MHC)
with the aim of highlighting the past contributions made by the Malays and
other ethnic communities in the shaping of Singapore.
With its strategic position in the house of
the Sultan itself, one would only expect to be immersed in the true Malay culture,
traditions and history. However, the MHC’s clean and almost superficial
environment severely lacks in the Kampung Glam Spirit of community and
togetherness. Its narrow focus and “touch and go” methods results in it being
ineffective in providing visitors with a macro view of the development of the
Malay community in Singapore and the vibrancy of the community itself.
Narrow Focus
The gallery’s layout provides visitors with
a clear storyline about the development of the Malay community since 1819. Before
the visitors visit the other parts of the gallery, they are first brought to
the “Anjung” or the arrival centre. The world arrival itself is symbolic
in nature as the first section of the gallery focused on Kampung Gelam being a
thriving trading and cultural centre within the Malay Archipelago. The gallery
explained that Kampung Gelam was an established maritime centre that was
connected to the rest of the world. With the Malays practicing an open
identity, these traders eventually settled in Kampung Gelam and resulted in
Singapore having a diverse population group.
The visitors are then brought to the different galleries such as “Perintis”(Pioneers), “Kehidupan” (Lifestyle), “Pustaka” (Language and Literature) and “Kesenian” (Arts) (Malay Heritage Centre, n.d). This is done only after the visitors are well aware of the background and history of the Malays in Singapore. The history and background serves as a foundation for the visitors to be able to further understand the content of the other galleries. It provides visitors with the connecting points between each gallery. In other words, the understanding of the background of the Malays enables visitors to visualize the flow of the whole gallery itself.
However, as the MHC gallery tries to focus on many
themes under one roof, there are various facets of Malay history and social
life that are being left out. The gallery adopts a broad and generalise way of
conveying information to visitors. This “touch and go” method might result in
visitors having to form their own interpretations and assumptions about the
Malay community. For instance, the
gallery only focused on the development of the Malays since 1819. Visitors who
are unaware of the Malay history might think that the Malays only developed
during colonial rule. These visitors would not be aware that Singapore was initially founded by a
Sumatran Prince, Tan Sri Buana in the 12th to 13th
centuries (Lim, 2012 )
and was already a flourishing trade port and a popular stop for many ships from the “great
kingdoms and empires” of Asia (Magma Studios Pte
Ltd, National Heritage Board, n.d ). Even before 1819, the Malay
community was a thriving one.
One reason on why the gallery imposed the
year 1819 as the starting date could be due to the arrival of colonial powers
in Singapore. As Raffles came to Singapore on 29th January 1819 (Heriwin, n.d), the year 1819 is marked as the
founding year of modern Singapore. Hence, the curators of the gallery might
have intended to portray how the Malay community evolved and progressed under
the new umbrella of colonial modernity. Hence the other aspects that came
before 1819 might have intentionally been left out.
The
Arts
The MHC effectively highlighted the Malay
community’s significant involvement in the arts industry. The gallery emphasized
this fact in the Arts gallery and also in the “Language, Literature and
Publishing” gallery which focused more on the written arts.
Under the Arts gallery, there are 2 other sub-galleries which are Bangsawan and Music (Malay Heritage Centre, n.d). In these galleries, visitors are provided with an overview about the history and developments of the arts industry in Singapore. Unlike the other galleries in the MHC which are static in nature, the Arts gallery was more interactive. This allowed visitors to be more involved in the arts itself by playing popular Malay soundtracks or watching an old Malay film while sitting in a makeshift cinema. Such interactions provide visitors with a chance to personally experience how the arts functioned as a powerful unifying tool in the Malay Archipelago.
However, the MHC’s gallery did not mention
how Malays made used of entertainment to educate the public. Although the
gallery did mention that the Malays used the arts to educate the masses, they
did not provide examples to illustrate this point. As the point was not being emphasized,
visitors would not deem it as important point. However, in reality, “Arts for
Society” (Matheson Hooker, n.d) is a big
part of the Malay World.
As the Malays were gifted in the arts,
entertainment was a platform for them to subtly disseminate ideas and provide
the masses with a different point of view. For instance, in his novel,
“Pengantin Baru”, writer, Ishak Haji Mohammed communicated his concerns to the
society about the need to maintain traditional values in the midst of modernity
(Matheson Hooker, n.d). From the given
example, it can be seen that unlike direct lectures, the Malay community was
able to use the arts to reach out to the masses. Unlike common believes, the
arts in the Malay community were not merely for entertainment. It served as an
educational tool which was not fully elaborated in the MHC gallery.
“Arts for Society” was more prevalent during the colonial period when some groups such as the Angkatan Sasterawan ’50 (ASAS 50) felt the need to educate the masses and address the defects in society (Matheson Hooker, n.d) The Malays took advantage of their strong foothold in the arts industry to raise awareness of the various societal ills that hinders the Malay community from progressing forward. Perhaps, this was not sufficiently explained in the gallery as it is closely tied to the act of rebelling colonial powers and modernity. The curators could have eliminated this point as it could result in misunderstandings that the Malay community was backward and refused to adapt to changes. Such a misunderstanding could result in visitors having a tainted view of the Malay community as a whole. This could result in the further emphasis on the stereotypes that the Malay community faces today in the modern society.
Islam
Lastly, the gallery also allocated a
significant space to explain about the importance of “Hajj” or
pilgrimage in the Malay community. The effective use of pictures and artifacts
enabled visitors to understand the scale of the “Hajj” business back
in the mid-1900s. It was explained that Kampung Gelam used to be a hub for “Hajj”
voyages which was manned by the Arabs who were operating in the brokering
industry.
This gallery clearly shows the importance
of Kampung Gelam to the Malay community. It was a location that saw the many
emotions of the Malay community. Visitors could clearly see the joy, hope and
despair as the relatives bid goodbye to their loved ones in hoping for their
safe return.
However, the underlying reason for the practice of “Hajj” was not mentioned in the gallery. In fact, the function of Islam itself was not mentioned at all. The gallery relied on the visitors’ own knowledge and perspective of Islam. There was evidently a clear lack of mention about the strong relationship between Malays and the religion of Islam.
The curators could have emphasized more on
Islam. This is especially due to the significance of Islam in the Malay world.
In Singapore, being a Muslim is one of the main determining factors of being
considered a Malay (Muhamad
Zuber, 2010) .
Hence, the curators should have emphasized more on Islam. The gallery should
have explained how Malays transformed from being a Hindu, feudal class
community to an Islamic community. It is important to understand how and why
the Malay community migrated and had a change in believes. The curators could
have included the various agents of change in the Malay community such as the
Sultans or the scholars. There was also a lack of mention of the Malay world being
a “Hub of Islamic Learning” (MS1102E Department,
n.d).
As the above mentioned facets are being
left out, visitors are not able to fully understand the progress, development
and social life of the Malays. Islam was a major revolution in the Malay world.
It not only changed the Malays’ religion but also their way of life. The coming
of Islam changed the thinking of the Malays, their lifestyle and also the way
in which the Malays traded. Such explanations could have aided to demystify the
current believes that Islam was only spread through wielding of a sword.
The curators could have left this part out
as the coming of Islam was much earlier than 1819. Islam came to the Malay
Archipelago in the 14th century (MS1102E
Department, n.d). Hence, the time frame
that was set for the gallery could have acted as a limit to the amount of
information that the curators could include for display. Hence, there is a
possibility that they intended to incorporate the relationship between Malays
and Islam in the “Hajj” gallery instead. However, such incorporations
were ineffective as it required visitors to derive their own meanings from the
gallery. Allowing visitors to derive their own meanings would often result in
inaccuracies.
Recommendations and Conclusion
In conclusion, in the process of limiting
the amount of information to fit the given 2 story palace, the curators have
left out certain detrimental information. This information could have aided the
visitors to understand more about the Malay community as a whole.
In order to remain relevant, the MHC’s
gallery could be further improved. As the limited space limits the amount of
information they can display, the curators can rotate the theme of the
galleries to ensure that all aspects of the Malay community are being
addressed. The curators could incorporate the Malay Kampung Gelam Spirit better
by making the displays more interactive and lively. The lengthy descriptions
currently adopted by the MHC’s gallery would only deter visitors from reading
and understanding the displays. This might result in visitors choosing to opt
for the aided tour instead which again would be a further summarization of the
gallery itself.
All in all, the MHC’s gallery has the
potential to reach out to the masses to showcase the Malays as a vibrant
community. However, without major improvements, the MHC would just be a
preserved palace in the middle of a metropolitan city.
Word Count: 1835
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