[wpspoiler name=”Rebab üstadından muhteşem taksim…” open=”true” style=”aatw-video”][/wpspoiler]
[Information about the rebab coming soon.]

[wpspoiler name=”Rebab üstadından muhteşem taksim…” open=”true” style=”aatw-video”][/wpspoiler]
[Information about the rebab coming soon.]

Sepak Takraw, one of the most popular sports in Malaysia, is essentially a cross between volleyball and hackeysack. The sepak takraw ball is a small-ish one, made of rattan (a kind of palm). The three players on each team stand on each side of what looks like a volleyball/badminton net. As in volleyball, they must keep the ball from touching the ground on their side. As in hackeysack, they may only touch ball with their feet. The foot-only nature of the game leads to some significant acrobatics — jumps and kicks and cartwheel turns. Check out this YouTube video of the Malaysian and Thai national teams squaring off to see how the pros do it. The first team to get 21 points wins the set, and the first team to win two sets wins the match.
By the way, the Wikipedia entry on sepak takraw grants us the gift of the following two wonderful sentences: “Similar games include footbag net, footvolley, football tennis, bossaball, jianzi and sipa. These similar games all involve keepie uppies.”
In class we’re going to try a bit of sepak takraw, attempting to master the “keepie uppy.”
Malaysian music, like so much of Malaysian culture and society, is the result of an ever-evolving interplay between Indonesian, Thai, Filipino, Chinese and global (especially
Islamic) styles. Wikipedia’s Malaysian music page details several kinds of internationally-influenced musics that have developed into their own traditional Malaysian forms:
— traditional xylophone “kertok” ensembles from the Western Malay Kelatanese communities along the South China Sea
— Arabian-influenced zapin music (with accompanying zapin dance) [the dance starts at about 0:30]
— violin/drum/accordion and gong folk music called “ronggeng” from Malacca
— dondang savang, a “slow and intense” genre built from Indian, Arabian, Chinese and Portuguese influences
Malaysia’s rich tradition of nurturing folk music doesn’t prevent it from embracing Western pop. In the 1960s the Beatles and other Western bands became popular in Malaysia, inspiring local musicians to create their own rock. (In the ’80s, music journalists looking
back on the style gave it the name “Pop Yeh Yeh.”) Since the mid ’80s Malaysia has been one of Asia’s foremost centers of R&B, and rap, and, since the mid ’90s, Malay Pop. Typical of a country that readily blends the old and the new, Islamic pop styles like nasyid allow musicians to forge modern musical ground while maintaining their own ancient religious and cultural beliefs. (Though, not everyone in Malaysia is enthusiastic about music from the West.)
More information:
AsiaRecipe.com’s overview of Malaysian music | More about Pop Yeh-yeh | Malaysian kids LOVE Pop Yeh-yeh | Gotta enjoy a Nasyid boy band | The most famous Malaysian anarcho-punk band: Carburetor Dung!
In class we’re going to listen to:
— “Salaam” by Raihan (featuring Miloud Zenasni)
Raihan, or “Fragrance of Heaven,” is one of the most popular musical groups in Malaysia’s history and by far the nation’s best-known Islamic a capella singing group. Since Raihan
debuted in 1996 with “Puji-Pujian” (currently the best-selling album in Malaysian history), the group has toured the world and recorded with such global notables as Yusuf Islam (a.k.a. Cat Stevens), yet they still remain devoted to Islamic principles that helped make them popular at home. Raihan’s motto? “Play hard. Work smart.”
More information:
The BBC on Raihan | Wikipedia on Raihan | Puji-Pujian on YouTube | More about Anasheed: only percussion is allowed
— “Kenanganku” by the Jefferydin and the Siglap Five
The Siglap Five was one of Malaysia’s most influential “Pop Yeh Yeh” bands from the 1960s. They were one of the first Malaysian bands to record R&B in Malay, making global rhythms and international popular music accessible to fans in the Malaysia for the first time. You can listen to samples of the Siglap Five and more Pop Yeh Yeh bands, on the Amazon page for the the compilation, “Kugiran: Pop Yeh! Yeh!”
While Malaysia’s main language is Malay, the language of the dominant Malay ethnic group, there are a reported 137 living languages in the nation. Government-sponsored schools teach three Asian languages (Malay, Chinese and Tamil), but they also require English, which has become the primary language of Malaysian higher education and business.
English has become so popular in Malaysia that a Malay/English creole has developed: MANGLISH!! To the non-Manglish speaker, the discerning syllable you hear in Manglish is “lah,” which appears in many Manglish phrases–for example, “Don’t be so worried-lah,” or “It’s okay lah,” or “What lah you?” which means, roughly, “How could you?” Check out Wikipedia’s entry on Manglish for some fun Manglish phrases, like,
— “Got or not?” spoken is rising tone means “Did that happen?” or “Do you have it?”
— “Where got?” spoken in rising exclamation means “No such thing” or “I don’t believe you”
— “Sure ah?” spoken in rising question tone means “Are you sure?”
— “Like dat cannot la!” spoken with serious expression means “I cannot accept it this way or in this condition”
— “..is it?” End any sentence with this question ignoring the grammar will mean “Is this/that correct?” or “Is the statement true?”
— “Eh hello!” (hey hello!) or just hello! spoken in the middle of a conversation means “That does not sound right” or “you don’t seem alright.” “You are not paying attention, please stay alert!”
In music class we love Manglish, but we’re still going to say hello and goodbye in Malay:
Hello: Selamat
goodbye: Sampai nanti
More information about Manglish:
More Manglish phrases: (What they say: “Why you so like that?” What they mean: “Why do you behave so unpredictably?”) | Manglish indie-pop | The Malaysian government cracks down on Manglish | Learn Malay in 64 easy lessons
Malaysia is a country that is engaged in constant balancing act–several of them, actually, all at once. Geographically, Malaysia balances two distinct regions separated by the South China Sea: Peninsular Malaysia (West Malaysia), which is the populated, urban hub of the nation, and Malaysian Borneo (East Malaysia) whose many, many animal species help make Malaysia one of the world’s few megadiverse countries. Religiously, Malaysia balances its Muslim majority (60% of Malaysians–only Sunni Islam is allowed) with its Buddhists (20%) and other religious minorities. Ethnically, Malaysia is exceedingly conscious about balancing the rights and privileges of indigenous Malaysian people, known as the “bumiputra,” (60% of the population) with those of Chinese Malaysians (25%) and others. (The distinction of “bumiputra” includes ethnic Malays as well as several non-Malay indigenous groups. Being considered bumiputra is very important in Malaysia. More about about that below.)
Before western colonizers began arriving in Malaysia–first the Portuguese (in 1511), then the Dutch, then eventually the British, who ruled Malaysia from 1795 until 1957–Indian and Chinese settlers had been present on the peninsula for fifteen hundred years. They established ports and towns and used the Malaysian peninsula as a regional trading hub. Most people on the peninsula became Hindu or Buddhist. For several centuries a succession of Indonesia-based empires ruled Malaysia, during which time many Malaysians converted to Islam. When the Westerners arrived they didn’t support conversion to Christianity with as much vigor as they did in other countries in the region; today only about 10% of Malaysians are Christian.
The British ruled Malaysia in a number of small parts for a century and a half (Penang, Malacca, Singapore, etc.). Only after a Japanese occupation during World War II did several Malaysian states come together in 1946 to form the Malayan Union. In 1957 Malaya became independent, and in 1963 Malaya united with Singapore, Sarawak and Sabah to become Malaysia.
The initial few years of independence were difficult for Malaysia, especially those immediately following the unification in 1963. Until 1966 Malaya/Malaysia and Indonesia fought an undeclared war over the future of Borneo. Indonesia’s leader at the time, Sukarno, concerned the British declaration of an independent Malaysia was a deceptive tactic intended to solidify colonial control in the region, was intent on evicting them from Borneo. Eventually the two sides came to somewhat of a stalemate and signed a peace accord in 1966, resulting in a shared Borneo. (Read Wikipedia’s “Indonesia-Malaysia confrontation” page for a blow-by-blow account of this labyrinthine conflict.)
The real internal conflict in Malaysia was the struggle between minority Chinese Malaysians and majority ethnic Malays. Historically, Chinese-descended Malaysians were more urban and economically advantaged than their ethnic Malay counterparts. With Malaysian unity and eventually independence, ethnic Malays became the dominant group, creating an imbalance with the previously dominant Chinese Malaysians. The tension came to a head several times in the early ’60s. In Singapore in 1964 Chinese Malaysians and ethnic Malay’s fought one either. Singapore, which was primarily composed of Malaysians of Chinese descent withdrew from Malaysia in part because of these tensions. On May 13, 1969 Chinese Malaysians and ethnic Malay rioted violently against each other in the Kuala Lumpur streets. The government eventually regained control, in the process declaring a national emergency and suspending parliament until 1971.
After the May 13 riots the Malaysian government took swift and substantial action to address the nation’s cultural inequities. First, Prime Minister Tun Abdul Razak introduced the New Economic Policy, which codified “affirmative action” for the ethnic Malays and other bumiputra. Then the government also stepped into the cultural arena with the “National Cultural Policy,” which defined three principles as guidelines for “national culture”:
“1. The National Culture must be based on the indigenous [Malay] culture
2. Suitable elements from the other cultures may be accepted as part of the national culture
3. Islam is an important component in the molding of the National Culture.”
Non-Malay ethnic groups like Chinese and Indian Malaysians resented this government intervention in the nation’s culture and economy, yet the Malaysian government continued to play an increasingly prominent role in it citizens’ private lives.
In the 1980s Muhathir bin Mohamad, a non-aristocratic Muslim of Malay-Indian descent known colloquially as “Dr. M,” led the country through a period of rapid industrialization and urbanization. Malaysia soared financially, replacing agricultural work with computers and electronics. During this time Malaysia’s cities transformed into modern urban wonders, full of mega shopping centers and international chain stores. Kuala Lumpur grew with such speed that skyscrapers seemed to be springing up daily, including the world’s largest buildings at the time, the twin Petronas Towers.
Yet at the same time as Malaysia embraced shopping malls, consumer goods and other manifestations of modernity, the government solidified its role as ethnic, cultural and economic mediator. The government has specifically concerned itself with the behavior of the ethnic Malays. Article 160 of the Constitution declares that all ethnic Malays are considered to be Muslim, and are therefore required to follow the decisions of Islamic Shariya courts in decisions that have to do with their religion, like marriage, divorce and religion conversion. The nation’s “religious police” have the power to arrest ethnic Malays on moral infractions, and, since civil courts in Malaysia don’t decide matters that have to do with Islam, those who disobey the rules of Islam, as interpreted by Malaysia’s
government, face Shariya justice.
Today Malaysia continues to walk a line between being an internationally savvy economic powerhouse and an ultra-intrusive state that micromanages its people’s morals. Though Muhathir bin Mohamad resigned as prime minister in 2003 his legacy as someone who led the country boldly along this line remains strong. For the foreseeable future Malaysia seems as if it will to continue to actively manage its ethnic, religious and cultural diversity as a way to make its way in the world.
More information:
Wikipedia on Malaysia | Megadiverse Malaysia is home to Indochinese tigers, the clouded leopard, the Sumatran Rhinoceros, the Malayan tapir, the Sambar deer, sunbears, Sunda Otter Civits, Bornean orangutans, Proboscis monkeys and yes, even Gaurs | Malaysia’s Mega-diversity Under Threat (pdf) | Malaysia’s rapid deforestation | The 1963-1966 Indonesian-Malaysian conflict through Australian eyes | Despite its being a democracy, Malaysia is also a monarchy: All hail the Yang di-Perturan Agong!! | Brunei carves out a little section of Malaysian Borneo | They usually say, “Don’t try this at home,” but if you’re going to try this anywhere, definitely don’t try this on the Petronas towers.
Country: Malaysia
Language: Temiar
“I’m Shy” is a song from Borneo, the eastern half of Malaysia. It is a song of the Temiar people, who have a proud and rich tradition of communicating with spirits in vivid, often musical dreams. In fact, you’ll hear an original version on a Smithsonian Folkways recording called, “Dream Songs and Healing Sounds in the Rainforests of Malaysia.” On the Smithsonian CD the track.” On the Smithsonian CD the track is titled, “Penhe:y.” The story in the original is about a man who has fallen in love with two women, a local woman who he sees dancing and a visiting ethnographer. An interesting “twist” is that, while the person sharing the dream and melody with the Smithsonian ethnographer is female, the “spirit” whose narrative she’s relating appeared to her in the dream as male.
Lyrics of All Around This World version
Hey-ey eh eh ey eh eh ey ah
I love the woman in the market
I love the woman in the market
I love the woman in the market
But I’m shy, I’m shy, I’m shy
I love the woman who is dancing
I love the woman who is dancing
I love the woman who is dancing
But I’m shy, I’m shy, I’m shy
If I could talk with one or with the other…
If I could talk with one or with the other…
If I could talk with one or with the other…
But I’m shy, I’m shy, I’m shy
Maybe I will talk with them tomorrow
Maybe I will talk with them tomorrow
Maybe I will talk with them tomorrow
‘Cause I’m shy, I’m shy, I’m shy[/wpspoiler]

Country: Malaysia
Language: Malay
“My Rickshaw” (“Abang Beca”) is traditional Malaysian song about the rickshaw drivers in the tourist-friendly parts of Melacca,
a port city on the southwestern coast of the Malay Peninsula.
Founded as a port town in the early 1400’s, Melacca had became a strategic pan-Asian trading hub long before the Portuguese conquered it in 1511. The Dutch ruled from 1641 to 1798, then the British until World War II, then the Japanese during the War…eventually Melacca became part of independent Malaya.
Today it is a tourist-friendly, Portuguese-oriented port town, and a UNESCO-registered World Heritage site. We sing in class about the town’s uniquely colorful, musical three-wheeled pedicabs.
Original lyrics:
Naik Beca di Melaka
Abang beca, abang beca di tengah jalan
Rickshaw driver, rickshaw driver in the middle of the road
Cari muatan untuk mencari makan
Looking for passengers to earn a living
Puter puter, puter puter kaki mengayung
Round and round, round and round go his pedaling feet
Pergi jauh keringat pun lalu jatuh
As he goes far so he begins to sweat
Repeat
Dari pagi hingga matahari terbenam
From morning until the sun sets
Barat timur selatan serta utara
West, east, south, and north
Hujan panas tiada merintanginya
Rain or shine, nothing stops him
Lyrics of All Around This World version:
Abang beca, abang beca di tengah jalan
I drive my rickshaw in the town
Abang beca, abang beca di tengah jalan
I pedal hard to keep those wheels going ’round
At sunrise I wake up and drive my rickshaw
When the sun sets I’ll be driving too
Round and round go my feet as we glide down the street
Who will take a ride? Will you?


