State Museums and Their Representations of The Past in Malaysia

State Museums and Their Representations of the Past in Malaysia
Author(s): Abu Talib Ahmad

Source: Journal of the Malaysian Branch of the Royal Asiatic Society, Vol. 81, No. 2 (295)
(December 2008), pp. 45-70
Published by: Malaysian Branch of the Royal Asiatic Society
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VOL.81,Part2 (2008),pp.45-70
JMBRAS,
State Museums and Their Representations of

the Past in Malaysia*
Abu Talib Ahmad
In Malaysia museums functionas the protectorsof heritagebesides

projectingvisuallyand inprint
formtheofficialversionofhistory.
However,
these rolesare increasingly
beingcontestedbymyriadgroups.Thisessay
attemptsto evaluate museumsin Malaysiaand theirrepresentationofthe
past, and to ascertainwhetherthey have takencognizance progressin
of
historicalresearch. The research is based on a studyof museums in
Kelantan,Terengganu,Kedah, Penang, Selangor, Kuala Lumpur,and
Sabah, as wellas museumpublicationsand brochures.
Introduction
The officialnarrativeof Malaysia's twentieth-century politicalhistoryis essentially
the historyof the victorsin the nationaliststrugglewhile the losers have been
marginalizedor sufferedoblivion. This is most evidentin museums,which are
notable for inherentbias in theirrepresentations of the past. Museums are intrin-
sically associated with nationbuilding,and the need to projectcommonlyshared
experiencesof the past occurs not only in Africa,but also in Asia and South-East
Asia.1 Narrationof the past is done on a selectivebasis withthe foregrounding of
aspectsof thepast thatare deemed suitablein theeyes of themuseumbureaucrats.
Museum studies are burgeoning,but are very much neglectedin Malaysia.
Scholarsare beginningto look criticallyat therole of themuseumas theguardianof
both historyand heritage.VirginiaMatheson Hooker's studyhas providedsome
insightful commentson the Museum of National History2in Kuala Lumpur,while
Nigel Worden3has examinedmuseumsin Melaka, and Liana Chua, a mini-museum
in Kuching.4Museumstudiesby someundergraduate students5 have focusedon their
exhibits,artefacts,and dioramas.One studenthas even studiedtherole of a museum
as a vehicleof government propaganda.6
* Thisessayispartofanongoing research
on'Museums andMemorials andMemory ofthePast'
whichcoversmuseums inMalaysiaandSingapore. Itwasfunded bya short-term
research
grant
(2003-5)fromUniversitiSainsMalaysiawhichis gratefully A different
acknowledged. version
wasdelivered
ata publiclecture bytheMalaysian
organized BranchoftheRoyalAsiaticSociety
in2007andI amthankful fortheenthusiastic
comments from theparticipants.
I alsowishto
thanktheJMBRASanonymous reviewer forthemyriadsuggestions whichsignificantly
improvedtheessay.
1 Kaplan(1996);Sherman andRogoffs (1994);Lenzi(2004).
z Hooker(2003:1-12).
-3 Worden(1987).
4 Chua(2006).
^ Letchuman (1996);AbdulRahim(1986);Mohamad Saad(1993);Rosdi(1991).
0 Norhashimah Hassan(2005).
45

PART2,2008
In Malaysia museumsfunctionas theprotectors of heritagebesides projecting,

in
visuallyand printform,theofficialversionof history.Theirrole is beingcontest-
ed, much in the same way as the nationalhistoryis being contested.This essay
attempts to evaluatemuseumsin Malaysia and theirrepresentationsof thepast,and
ascertainwhethertheyhave takencognizanceof progressin historicalresearch.For
the purposesof this research,I visitedmuseumsin Kelantan,Terengganu,Kedah,
Penang, Selangor,Kuala Lumpur,and Sabah, and examinedthe publicationsand
brochurestheyhave produced.
Museums and Visual Representations

of the Past
In her commentson the National HistoryMuseum, VirginiaMatheson Hooker
observedthatwhile it has highlightedits nation-building aspects, it has failed to
addresstheidea of changein Malaysianhistory. Accordingto her,the'history'in this
museum,whichshowcasesthenationalhistoryto local and foreignvisitors,'is inter-
preted as any event, person, or artefactwhich provides evidence of Malay or
Malaysianachievementand "progress"', while fortheperiodunderBritishrule,it
'focuses on individualsor movementswhich resistedthe colonial intrusioninto
Malaya'.7 These resistersare depictedas heroesin thenationaliststruggle,although
it is not quite definitewhethertheycould be labelled nationalistsas well. Hooker
contendsthatthe focus on nationbuildinghas its shortcomings, especiallywithits
overemphasis on the nineteenthand twentiethcentury.While the Melaka Sultanate
stillcommandsa premierposition,themuseumfavoursurbaneventsand places an
overwhelming emphasison ethnicMalays. However,onlycertaingroupsof Malays
are givenprideofplace in themuseum.ApartfromtherulingUnitedMalays National
Organization(UMNO) party,no otherMalay politicalparty,or Malay politicianin the
Opposition,exceptBurhanuddin Al-Helmy,getsanyplace ormentionin themuseum.
Nor is muchattention accordedto theOrangAsli and to theindigenousgroupsin east
Malaysia8althoughthereis a limitedcoverageon theOrangAsli in thesmall Orang
Asli Museum located in Gombak,Selangor.Genderbias is evidentas the museum
favoursmales. Such bias occursin othermuseums,too,includingthestatemuseums,
thearmyand police museums,or thewar historymuseum.
Hooker also points out thatthe historicalnarrativein the National History
Museumis similarto thenationalnarrativein theschool historytexts.This happens
because thesame groupofwritersor historianshave been involvedin bothprojects -
chosenmorebecause theyare acceptableto thepowersthatbe withintheMinistryof
Educationand theMinistryof Unity,Culture,Artsand Heritagewhichis responsible
for the museums. Such collusion afflictsothermuseums as well, notablystate
museums.
7 Hooker (2003:5).
8 Ibid.:11-12.
46

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JMBRAS,
The Kedah State Museum

The Kedah StateMuseum is located in Alor Setar's Bakar Bata area. This museum
startedin 1957 butmoved to thepresentcomplexin themid-1990s.9It is a general
museumthatcoversvariousaspectsof Kedah's ethnicand culturalhistoryfocusing
on the Malays. Alor Setar is also known for its Royal Museum and the Paddy
Museum in nearbyGunungKeriang.The StateMuseum complexis situatedby the
slow,meandering Anak BukitRiverwitha splendidview of natureat theback and a
busy main road in front.The exhibitionhall is made up of threefloors.At a small
officein a separatebuilding,one can purchasemuseumpublications.Thereis also a
smalllibraryopen to researchers.
At the entranceon the firstfloor,a profileof Kedah coveringall its eleven
districtsstressesthestate'scontribution to thecountryin theeconomicsphere,in rice
production, and in Malay culture.There is no narration,
however,of theevolutionof
thesedistricts, theiramalgamations,or theirdetachments as 'stateswithina state'in
thepast- forinstance,the districtof Kubang Pasu whichwas turnedintoa statein
the 1840s by theSiamese, and laterrevertedto Kedah. Nor is therementionthatthe
districtof Perlis was once detachedfromKedah by the Siamese and turnedintoa
state.Historically,PerlisprovidedKedah withone of itskeyadministrative centresin
theeighteenth and earlynineteenthcenturiesat Kayang,whichis locatednearArau
and whose namewas thensynonymous withPerlis.
Significantly,the museum recognizesthe importanceof the Hindu-Buddhist
phase of the state's history and evolution,a fact acknowledgedby even Kedah
writers and history enthusiastsassociated with the museum. The arrival of
Hindu-Buddhistculturesbetweenthe fourthand the fifteenth centuryhad given a
new dimensionto Kedah, as the rice bowl state.There are limitedexhibitson this
period,also known as ancientKedah, but much more is covered in the Lembah
BujangArchaeologyMuseum in Merbok.
On the second floor is displayed a tepak sireh (betel chewing set) whose
importancein Malay cultureis explainedin luridterms,theTunkuHabsyah Sultan
Abdul Hamid Collection,and exhibitson thehistoryof transportation in Kedah via
rivers,elephants,roads,railways,and cars. On thethirdflooris displayedan arrayof
traditionalMalay weapons and canons, a varietyof Jawi manuscriptsincludinga
105-year-oldcopy of thefamedHikayatMerongMahawangsa (The Kedah Annals),
land titlesdatingfromaroundthe 1850s fromKubang Pasu, and handwritten copies
of theQuran.
At the Dewan Sejarah (Hall of History),visitorscan view a tapestrywhich
beginswithan introduction to thehistoryofthestatewithpicturesofhistoricalplaces
such as the Kuala Kedah fort,the Zahir mosque builtjust afterthe turnof the
twentieth centuryduringthereignof SultanAbdul Hamid (1882-1943), theMahsuri
tombin Langkawi,and theBaling 'peace' talksof December 1955. Also includedare
snapshotsof morecontemporary edificessuch as theAlor Setartelecommunications
towerand the North-SouthHighwaythatmore or less dissectsthe state into two
9 KedahDarulAmanStateMuseum
Board(1993).
47

PART2,2008
different sections- thewesternlittoralwithitspaddycultivationand theeasternhills

dominatedby rubberand secondaryforests.
The historicalnarrativestartswiththeMerongMahawangsaperiodand a note
on the originsof theword 'Kedah' whichfirstcame intocurrencyin AD 846 after
Arab tradersand observerscalled it Kalah or Kataha, althoughChinese and Indian
sourceshad takennoteof ancientKedah by othernameswhichprobablyreferto the
same locality.Thereis muchmoreinformation on earlyIndianizedsettlements in the
Bujang Valley in the Merbok area, as well as settlements at other localities such as
Kubang Pasu. Islam officiallycame to Kedah in 1136; this is based on the semi-
officialstatehistoryAl-TarikhSalasilah NegeriKedah, whichwas firstpublishedin
1928 (the Romanizedversionpublishedby Dewan Bahasa dan Pustakaappearedin
1968). It remainsan influentialsource for historiansand the public. Througha
preacherAbdullah al-Yamani,the rulerMaharaja Derbar is said to have embraced
Islam and assumedan Islamic identity. Kedah writersare quick to pointoutthatthere
is evidenceto show Islam had reachedKedah earlierin theninthcentury, but 1136 is
thedateof theacceptanceof thefaithby therulinghouse. The date 1136 is also taken
as thebeginningof the presentKedah rulinghouse; implicitly, the museumclaims
thatKedah, withan unbrokenline of 28 rulerssince 1136, is the oldestsultanatein
Malaysia and thefirstIslamic statein South-EastAsia.10
Otherexhibitsshow Islamic schools in Yan and Kuala Kedah of more recent
origin,weightsand measures,Kedah's earliestcoins, the Bujang Valley's external
trade,and Kedah's old administrative capital.
Kedah-Thai relationsare depictedthrougha varietyof exhibits,includinga
pictureof Siam's King Rama the Second (1809-24) duringwhose reign Kedah
was ransackedby Siamese forces.There is also a replica of the bunga mas dan
perak or gold and silverflowersregularlysentto Bangkokbefore1909. Althoughits
originremainsobscure,one account claims thatKedah had sent more thanthirty
triennialgiftsof theseflowersto Bangkok,usuallyundertaken withmuchpomp and
ceremony.Currently, the Kedah branch of the Malaysian Historical Societyis making
themuchlaudedattemptto bringhomeone of thereal bunga mas dan perak through
diplomatic channels, although official Thai intransigencehas proved to be a
stumblingblock. The museumhighlightsthe different interpretations of the bunga
mas dan perak. The Britishand Siamese consideredit as a tributeand a symbolof
submissionfromthesenderto therecipient,butto theMalay rulersof Kedah, it was
a giftto securealliance and friendship. The Kedah StateMuseumdoes notdepictthe
Siamese as imperialists orconquerors,despitetheSiamese conquestofKedah in 1821
and theiroccupationof thestateuntil1842.
The museumdepictsKedah-Bugis relationsduringtheeighteenth century, but
in
downplaystheAcehneseattack 1619 led by SultanIskandar Alam that devastated
thestate,notablyitspepperplantations.It also depictsthelease of Penangto Francis
Light on 11 August 1786 and the Kedah-Siam conflictof 1821. However the
accuracy of its presentationof Kedah-Siam-English relations is historically
questionableforitmerelysays,'RelationswiththeBritisharousedSiamese angerand
10 Ismail(2002:10-13).
48

VOL.81
JMBRAS,
Siam sent7,000 soldiersto Kedah', whichwas thepreludeto theSiamese invasionin

1821.
This accountseems to ignorethe criticismof local scholarstowardsboththe
rolesof theSiamese and theEnglishin thisepisode.11The late University of Malaya
historianRawlinsBonneyaccused Lightof playinga double game,of beinga cheat,
and of stabbingSultanAbdullahin theback by givingfalsehopes and promisesjust
to get hold of Penang Island. Bonney assertedthatLightoccupied Penang in 1786
althoughit was not leased, granted,or ceded to the Englishby any writtentreaty.
Lightwas onlyallowedto occupytheislandtemporarily untiltheEast India Company
(EIC) agreed to defend Kedah from Siamese attacks.Hence the occupationof the
island had breachedinternational law as bothLightand the EIC were unwillingto
provideany formof militaryassistanceas requestedby Kedah againstimaginedor
real enemies,and no agreementwas signedby bothparties.12Rightly,the museum
indicatesthatPenang before 1786 was part of the Kedah Sultanatealthoughthe
PenangStateMuseum conveniently glosses overthishistoricalfact.
Exhibitedin thissectionis a flagfromLangkawiused to rallytheKedah Malays
in the war againstthe Siamese during1821- 41. This flag,whichmeasures180 cm
and 90 cm,is interspersed withversesfromtheQuranagainsta redbackground.The
verses (<ayat) are the firstthreeverses fromsurah 48 entitledAl-Fat-hor Victory.13
AmateurhistorianHaji IbrahimIsmail has givena Malay translation14 butAbdullah
YusofAli providesan Englishtranslation quoted below: 'In thename of Allah,Most
Gracious, and Most Merciful. Verily we have grantedyou a manifestVictory.That
Allah mayforgiveyou yourfaultsof thepast and thoseto follow;fulfilHis favourto
you,and guideyou on theStraightWay.And thatAllah mayhelp you withpowerful
help.'15The summaryofthesurah is thatvictorycomes fromcool courage,devotion,
patience,and faith - faithin Allah and theProphetMuhammadSAW.16
These versesare sufficient to show thatMalays fromKedah thenregardedthe
war against the Siamese as jihad , or holy war, althoughthe museum does not
explicitlysay so, unliketheAl-TarikhSalasilah NegeriKedah, whichis unsurprising
as the scribe'sgreatgrand-unclewas one of thosewho perishedduringthemilitary
contestthatcreatedinnumerableheroes in Kedah folktraditionssuch as Tok Madi
fromYan, TunkuKudin (Syed Zainal Abidin),TunkuMohammadSaad, and Dato'
PekermaAli fromLangkawi.17In popularaccounts,manyof themare regardedas
11 See,forinstance,WanShamsuddin (1992a)andHaiiIbrahim (1987).

12Bonney (1974).
13 I am gratefulto Dr Atikullah Abdullah,head of theIslamicStudiesSection,Schoolof
Universiti
Humanities, SainsMalaysia,foridentifying
thesurah.
14 'DengannamaAllah
yangmahapemurah lagimahapenyayang. Bahawasanya, sungguhpun
Kamitelahbukabagiengkau sebagaibukaanyangmenyata (kemenangan)supayamengampuni
bagiengkau Allah,barang yangkamumendahulukan daripadakesalahan
kamu, danbarangyang
terkemudian (supaya Kami mengampuni).Danmenyempurnakan nikmatNya di ataskamudan
memberi petunjuk kepadakamujalanyanglurus.Danmemberi kepadakamuoleh
pertolongan
Allahsebagaipertolongan yangsehabiscemerlang'
(HaiiIbrahimIsmail1987:76-7).
^ TheHolyQuran(2005:342).
16 TheHolyQuran:AnEnglishTranslation oftheMeanings andCommentary (1989:1572^0.
17WanShamsudin
(1992a).
49

PART2,2008
martyrs while Wan ShamsuddinMohd Yusofregardsthemas nationalistswho gave

theirlives forKedah's independence.
For much of the pre-1900 period and the long reignof SultanAbdul Hamid
(1882-1943), the museumhas been extremelyfaithfulto the semi-official history
Al-TarikhSalasilah NegeriKedah althoughin a veryselectivemanner.Thereseems
to be no reference to themorecriticalstudypublishedearlierin 1911 by WanYahaya
WanMuhammadTaib,Salasilah atau TarekhKerja-anKedah. It also failsto takeinto
accounttherapiddemographicchangesthathave takenplace in thestatesincetheend
of thenineteenth centuryor the close relationshipwithPenang,notablyamongthe
Kedah elitesand aristocracy.
The periodafter1909 focuseson thestate'sadministration, economicdevelop-
ment, and the developmentof education. On economic development,there is
information on rubberplanting,paddy planting,the shoppingbazaar Pekan Rabu
(which stillexists and is a majortouristattractionwhichwas recentlyreplicatedby
theal-Bukharycomplexin thenorthern sectionof thecity).Pekan Melayu,however,
has disappeared,unlikePekan Cina, whichis thriving.
This is followedby theJapaneseand Thai interlude(1942-5). Its significanceis
theadvancement ofnationalismamongtheKedah Malays through Japaneseanti-West
sentimentand the formationof SEBERKAS - the co-operativesociety that also
dabbled in politics.18This awakeningled to the strongMalay oppositionto the
MalayanUnionin 1946 withralliesinAlor Setar.The museumindicatesthatpriorto
this, therewas littleawareness of nationalismamong the Malays, althoughthe
radicalKesatuanMelayu Muda (KMM or Young Malays Union) had alreadymade
foraysintoAlor Setarpriorto thearrivalof theJapaneseimperialforcesin December
1941. No creditis givento theKMM, theanti-British and anti-feudalMalay group;
creditis only reservedforUMNO which was formedin May 1946 as partof the
Malay reactionto theMalayanUnionproposals.Thereis verylittlecondemnation of
eitherthe Japaneseor Thai militaryrule, unlike the strongdenunciationof Thai
military rulein theKota BharuWarMuseum.
The somewhatmildand condescendingtreatment of theJapaneseis revealedin
thewake of Japan'srejectionof a proposalforMalaya's independencein early1942
whichwas submitted by MustaphaHussein,who was thentheKMM's vice president.
Subsequently,Mustapha was ridiculed by agitated Japanese officersand later,
suffered a physicalassaultby myopicJapanese.19In short,theirtreatment of fellow
Asians who were politicallyor economicallymorebackwardwas no betterthanthe
condescendingEuropeancolonials before1942. Yet manyJapanesein thepost-war
periodhave boastedaboutJapan'srole in theemancipationof South-EastAsia from
colonialruleafter1945 whichat best is a half-truth. Representations of thewartime
periodat the Kedah State Museum accord farmore accolades to the Japanesethan
theydeserve.
The Kedah State Museum depictsthe post-warperiod with coverage on the
Emergency(1948-60) and the introduction of the identitycard systemto curb the
18Baharuddin(1987:20-4).
Insun(1999).
50

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JMBRAS,
communistmenace, the Baling talks of December 1955 which were held at the
Sekolah Rendah Tunku Putra,the birthof UMNO, and the 1947 UMNO general
assemblywhich was held at Alor Setar's Balai Besar. One of the more prominent
Malay leadersof thepost-warperiodwhichthemuseumforegrounds is Haj i Hussein
Che Dol, who later initiatedthe formationof the Kedah Ulama Association and
theKedah Malay Association.For a shortwhile,he was in UMNO priorto heading
the Kedah Parti Islam Se-Malaysia (PAS). For the post-Merdekageneration,this
individualremainsunknownas his name does not appearin theschool textbooksor
othernationalnarrative.He is listedamongnotableulamas fromKedah (fromGuar
Cempedak),but thereis littleevidence of his resistanceto Japaneserule or of his
nationalism.
The museumattemptsto instilsome measureof pridein thepeople of Kedah
withregardto theachievementof the statein relationto thenation.This is done by
foregrounding all the chiefministersbetween 1948 and 1999. There were eightof
them,includingWan MuhammadSaman,theofficialwho plannedand supervisedthe
diggingof a canal at the end of the nineteenth centurylinkingAlor Setarto Kedah
Peak, whichcontributed significantlyto increasedrice productionand land specula-
tion.This canal is knownas theWan MuhammadSaman Canal. Located beside the
Alor Setar-SimpangEmpatold road,partsof thecanal are in a deplorablestate.
The otheringeniousmeans is to highlighteightindividualsfromKedah who
had attained'a first'in the country.All are Malays. These include the firstprime
minister(Tunku Abdul Rahman), the firstmedical practitioner to become prime
minister Dr
(Tun MahathirMohamad),thefirstmanagingdirectoroftheIslamicBank
(Dato' Dr AbdulHalim Ismail),thefirstVice ChancellorofUniversitiUtaraMalaysia
(Tan Sri ProfessorAwang Had Salleh), the firstdirectorof agriculture(Tan Sri
Mohamad Jamil),the firstdirectorof the Anti-Corruption Agency (Syed Abdul
RahmanSyed AbdullahAl-Jaffre), thefirstfederalcouncillor(TunkuYaakob Sultan
Abdul Hamid), the firsthead of GAPENA or theNationalWritersAssociation(Tan
Sri ProfessorIsmailHussein),and thefirsthead of theNationalArchivesof Malaysia
(Dato' Zakiah Hanum).
I have mentionedthemuseum'scoverageof thestate'seconomicdevelopment
butthereis verylittleon tinminingwhichthrivedin thesecondhalfof thenineteenth
centuryin Kulim and became an important factorin attractingChinese immigration
throughPenang. This resulted in keen for
competition mining areas amongChinese
secretsocietiesthateruptedintothe 'Kulim War' of 1888 whichseverelytaxed the
resourcesof thestate.20Britishintervention was avertedaftertheKedah government
undertookvigorousefforts to end the disturbances.Thereis nothingon this 'Kulim
War' in thestatemuseum.
Also missing is informationrelatingto demographicchanges, notablythe
Chinese who lived in the urbanareas and the Indians scatteredin rubberestatesin
southernKedah in thedistrictsof Kulim and Kuala Muda. The growthof therubber
industry in thesedistricts,quite oftenfinancedby wealthyChinese fromPenangand
20 Thow(1995).
51

PART2,2008
Europeancapitalists,led to the emergenceof new towns like Lunas, Bidong, and

Semilingwhile Sungai Petani became an importantcentreof the rubberindustry.
These groups have contributedto the state's economic well-beingand certainly
deservemorethana passingmentionin thismuseum.And so are themuchneglected
mixedethnicgroupof Sam-samswho are entirelyexcluded.
Anotherethnicgroup missing in the group is the chettiyarswho were an
important sourceof fundingforboththeroyaltyand commoners.Historianshad long
establishedthe importanceof this groupof moneylenders;yet thereis nothingon
themin thestatemuseum.Interestingly,a morerecentstudyon Kedah Malay women
has locatedmuchmaterialin theKedah archiveson thisgroupof entrepreneurs and
theirlendingactivitiesamongtheKedah royalwomen.21
The Lembah Bujang Archaeology Museum
Despite the Hindu-Buddhistlegacy, thereis consensus that the Lembah Bujang

(Bujang Valley) is the site of ancientKedah and it is an integralpartof thenation's
history.In thewordsof one respectablekeeperof Kedah heritage,theBujang Valley
civilizationshows 'how theMalays had alreadypossessed the skillsin architecture,
carving,sculpting, writingbeside theknowledgein tradingand commerce'.22For the
moment, history(and heritage)is quite safe underthe custodyof the Lembah
its
Bujang ArchaeologyMuseum whichis underthejurisdictionof thefederalgovern-
ment.
The Bujang Valley gained wide currencyin the 1970s by the grace of the
Departmentof Museumsand Antiquity. It coversan area of 400 sq km,boundedby
BukitChoras and Kota Sarang Semut(in Yan district)in thenorthto CerukTo'Kun
near Bukit Mertajamin the south,the North-SouthHighway in the east, and the
Straitsof Melaka in thewestcoveringtheislandsof Sayak,Bidan, Songsong,Tekun
Terendak,and Bunting.
In thelast 160 years,forty-one historicalsiteshave been identifiedand subse-
quentlyexcavatedby archaeologists.Some of themoreinteresting findingsfromthe
BujangValleyincludetemplesites,figurines of Hinduand Buddhistdeities,shardsof
brokenceramicsincludingceladon,earthporcelain,bead, brokenglass, and myriad
artefacts relatingto an ancienttradingnetwork.23 Eightof theancienttempleswere
rebuiltas heritagesites and for tourists;all are located in the vicinityof the
ArchaeologyMuseumwhichwas establishedin 1977.
The significanceof the the Bujang Valley is that it is the most extensive
archaeologicalsitein thecountrythatis beingpreservedto indicatetheexistenceof
an ancientkingdomin thepre-Melakaperiodlocatedon thesouthernslope of Kedah
Peak (Gunung Jerai).As a historicalas well as heritagesite, the Bujang Valley
continuesto attractlocal scholarswhose findingshave stirredmuchinterestlocally
21 Mahani(2005).
22 WanShamsuddin (1992b:2).
23 MohdSupian(2002:24-7).
52

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JMBRAS,
and internationally. In 1980 and on the occasion of theopeningof theArchaeology

Museum, the Malaysian HistoricalSocietypublisheda collectionof essays on the
Bujang Valleythathave continuously appearedin thesociety'sjournalbetween1958
and 1979.24One of thecontributors, archaeologistNik Hassan ShuhaimiNik Abdul
Rahman,stillundertakesactive excavationsin thearea. In 2002 a formercuratorof
themuseumpublisheda book on theartefactsof theBujang Valleyand theirsignifi-
cance in Malaysianhistory.
The Bujang Valley firstgained attentionthroughthe attemptsof a British
officialJamesLow in the 1840s in archaeologicalresearch,followedin the 1920s by
anotherofficialI. H. N. Evans. In the 1930s,archaeologistH. G. QuaritchWales,and
his wifeDorothy,began to undertakea systematicstudyof twenty-nine templesites
in the area.25 He concludedthatancientKedah experiencedIndianizationdirectly
fromIndia. To himancientKedah was a formerIndiancolony.In thelate 1950s,this
Indianizationtheorywas rejectedby archaeologistAlastair Lamb, who carefully
scrutinizedtemplearchitecture at BukitBatu Pahat. In particular,
Lamb pointedout
the use of pillars and pillar bases which were of local origin.In short,the temple
architecturecombinedbothIndianand indigenouselements.
Lamb also speculatedthata site by the name of PengkalanBujang was an
entrepôtwhich traded with China duringthe Sung (960-1279) and early Yuan
(1280-1368) periodsas well as withthe Middle East and the Indian subcontinent.
Local archaeologistLeong Sau Heng corroboratedLamb's entrepothypothesis.26
Otherlocal scholarslike OthmanYatim,Nik Hassan Shuhaimi,and Mohd Supian
Sabtuhad also showntheimportanceof PengkalanBujang as a tradingcentrebefore
theriseof Melaka in thefifteenth century.
One local archaeologist, Mohd Supian Sabtu,had also comparedinformation on
old Kedah in thechronicleHikayatMerongMahawangsa and thesemi-official state
historyAl-TarikhSalasilah NegeriKedah witharchaeologicalevidence.The resultis
mostilluminating. Details on ancientKedah as mentionedin theindigenoussources
vary but out of seven administrative capitals mentionedin the Hikayat Merong
Mahawangsa and six in the Al-TarikhSalasilah Negeri Kedah, archaeological
evidencehas corroborated fiveof them,namely,Kota Aur,Kota Sungai Mas, Bukit
Meriam,and BukitPenjara- all in theBujang Valley.This indicateslocal chronicles
mighthave some historicalbasis afterall.
The LembahBujangArchaeologyMuseumin Merbokseeksto preserveancient
Kedah historyand safeguardits heritage.The aims of the museumare to plan and
carryoutresearch,to restore,to protect,and to conservehistoricalsitesthatdatefrom
thefifthto thethirteenth century.The museumis sitedat thefootof Kedah Peak at
Bukit Patu Pahat aroundwhich are reconstructed archaeologicalsites in what the
Department of Museums and Antiquity terms a 'National History Park'.
Commentators have notedtheoctagonalshape of theexhibitiongalleryas represent-
24 NikHassanShuhaimi
andOthman (1980).
25 Fora summary,
seeNikHassanShuhaimi(1980:18-21).
ZbLeong(1990).
53

PART2,2008
ingdeitiesguardingtheeightdirectionsas in Indianmythology. Outsidethemuseum

-
are exhibitedSagor boats thosewhichwereprobablyused in ancientKedah.
Visitorsare confronted witha three-dimensional topographicalmap showing
thelocationsof thevarioushistoricalsitesin theBujang Valley.Maps puton display
identify Malaya, Kedah, and the Bujang Valley.Beside originalexhibitslike stones
and ceramics,the museumalso puts on displayphotographs - all accompaniedby
neatwrite-ups.
The stoneexhibitscome in variousshapes and sizes relatingto varioustemple
sites,notablytheBukitBatu Pahattemple(site 8), PengkalanBujang temple(sites21
and 22) with its bronze statue of Avolokistera,terracottaBuddha, and parting
Bodhisattva,thePengkalanBujang temple(site 19), BukitPendiattemple(site 17),
Pendiat temple (site 16), Bendang Dalam temple (site 50), and Telaga Sembah
temple(site 49). Some of thesesitesare reconstructed aroundthemuseum.
Pillarbases, whichare foundat almostall templesites,are made of graniteand
come in various shapes and sizes: square hole, rectangularhole, circularhole, and
withoutany hole. These pillar bases were an integralpart of templeconstruction,
forming a base forwoodenpillarsto standon. This typeof architecture is intrinsical-
ly South-EastAsian and showsthatindigenouselementshad creptintotemplebuild-
ing. Pillarbases are stillin use by villagersin present-dayBujang Valley as well as
elsewhere;however, instead of granite,theseare made of concrete.
Also exhibitedare stoneinscriptions whichrelateto Buddhism,all datedaround
the fifthcentury AD, such as theBukitMeriamstoneinscription, theCerokTo'Kun
inscribedstone,and a replicaof thestoneinscription of Buddhaguptaof Guar Kepah
near Sungai Petani.Then thereare Buddhistfigurinesand Ganesha (elephant-like)
figuresmade of granite.
The myriadtemplesites also indicateHindu influences.The PermatangPasir
templesite(site 31) shows Hindu influencesin thetwelfth century, whiletheSungai
Batu temple (sites 1 & 2) show Hindu influencesbetween the eighthand ninth
centuries.Also exhibitedareyoni and somasutra, thelatterfunctioning as a conduit
to allow sacredwaterused to anointtheimage to flowout of thetemple.This water
was regardedas sacredby Hindusand was used to getblessingsfromthegods. Thus
templeswithsomasutrawere used forprayingto the gods ratherthanforeveryday
use.
The Ganesha statueswere chippedfromgranite;some were unfinished. There
is also a figureof Dwarapala. In Hindu belief,Ganesha is viewed as the god of
knowledge,fertility, or agriculturewho helpsto neutralizeall hardships.To date,four
of these statueshave been found onlyone in completeform.Some of themshow
but
roughor shoddyworkmanship, indicativeof thesculptorbeinga novice in thetrade
and stillreceivinginstructions fromBrahminsor thetempleauthorities.
Equally important is the Sungai Mas site located at Kota Kuala Muda, which
was an important tradingcentre.Artefactsfromthis site which are exhibitedare
ceramicshardsfromChina and theMiddle East, includingMiddle Easternglass and
beads of various shapes,colour,and sizes as well as materialsused in commercial
tradingin ancientKedah. The ceramicsincludeChineseporcelainsand martabanjars
54

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JMBRAS,
which were used to storewater duringvoyages. Scholars have agreed thatthese

exhibitswere indisputableevidence in supportof the entrepôtnatureof the Bujang
Valley which was internationally well known for its tin,ivory,and tusks and for
providingrice,freshproduce,and freshwaterto sailorsand tradingships.
The Lembah Bujang Archaeology Museum does not just focus on the
Hindu-Buddhistlegacy.Duringa visitin earlyApril2003, 1 was confronted witha
copy of the Quran Mushaf Uthman - the one read by the caliph Uthmanat the time
- on thesecondfloorof themuseum.This Quranwas recognized
of his assassination
by theUnitedNationsEducational,Scientific,and CulturalOrganization(UNESCO)
as theoldestcopy in theworld.Also exhibitedare Quranicverseswrittenon a piece
of wood which originatedfromSouth Africa. Such co-existenceof Islamic and
Hindu-Buddhisticons in thismuseumprobablydoes notmake sense but thatis the
natureof theBujang Valleywithitsintermingling of myriadfaithsand contestations.
At anotherlevel, the variousIslamic exhibitsseek to show the displacementof the
Hindu-Buddhistfaithwith that of Islam around the twelfthcenturyalthoughits
legacy continuesto live on as seen in the royal ceremoniesin manyMalay states.
Incidentally,the coming of Islam and its spread in the Malay Peninsula is well
coveredby theNationalHistoryMuseum,the Islamic Museum of Kota Bharu,and
thePenangIslamic HeritageMuseum.
The Lembah Bujang ArchaeologyMuseum has attractedinterestamonglocals
and foreigners withbusloads of themregularlydescendingon Merbok,butithas also
receivedmixedreceptionsfromarchaeologistsand historians.However,thereis not
muchinformation on theeconomiclifeof ancientKedah, althoughLeong Sau Heng
has contributedsignificantlyto its corpus of knowledge. She agrees with the
museum's effortsto rebuilt the temples albeit for the touristmarket; equally
importantto her is the need to reconstructthe historyof ancient Kedah using
stratigraphy whichshouldbe accordedpriority by theMuseum Department.To date
the studyby Mohd Supian Sabtu, the museum's formercuratorwho is presently
teachingat theUniversityof Malaya, is the mostcomprehensiveattemptto rewrite
the historyof the Bujang Valley,althoughthe studylacks depthin discussionand
evidence,comparedto similarworksforotherpartsof South-EastAsia.
Kelantan Museums
In variouspopulartextsand touristbrochuresKelantanis depictedas therepository
of 'Malayness' in cultureand the arts.Kelantanwritersoftenharp on 'Kelantan as
inheritingthe unique historyof Malay cultureand manifestingthe characterand
personalityof the Malays', while the museumsare equally vigorousin theirvisual
representationsof thisaspect.Kota Bharuboasts six museums,all locatedwithinthe
city'scultural
enclave, each withitsown area of specialization.The museumsare the
StateMuseum,theRoyal Museum,theMuseum of Royal Ceremoniesand Etiquette,
the Second WorldWar Museum,theHandicraftMuseum,and the Islamic Museum.
The Weapons Room (Balai Senjata) is not a museum,althoughat timesit has been
accorded this recognitionas it displays museum exhibitsrelatingto traditional
weapons rangingfromthe smallerlawi ayam, bukulima, and sengatpari to bigger
55

PART2,2008
ones like keris, spears,sundang, and swords.Such weapons have been previously
studiedby well-knownresearcherssuch as Mubin Sheppardand A. Hill. The collec-
tion at the Weapons Room is more comprehensivethan that at the Kedah State
MuseuminAlor Setar.The WeaponsRoom is locatedwithintheJaharPalace, which
also houses theMuseumof Royal Ceremoniesand Etiquette.
Researchershave takennote of the museums' architecture and the historical
natureof the museumbuildings.27The buildingsare constructedfromhard wood
(ichengal), bricks,or a combinationof bricksand wood. In cases where extensive
renovationshad takenplace, effortswere made to ensurethe preservationof the
original,quintessentially Kelantan,Malay architecture.
The Royal Museum,also knownas IstanaBatu (BrickPalace), was formerly the
residenceof the CrownPrinceTengkuYahya Petra;it was laterused as an official
residenceforstateguests.It was constructed in 1939. The architecture combinesboth
Westernand Easterninfluenceswithextensiveuse of bricks,whiletheflooris made
of hardwood. The roofis typicallyof Kelantanarchitecture as shownby the atap
perabonglima associated with traditional
Malay houses.
The Museum of Royal Ceremonyand Etiquettesis exquisitelyMalay in its
architectureand décor, includingthe motifsfound inside the building. It was
constructed by skilledKelantancraftsmen and was completedin 1887. It became the
palace of Sultan Muhammad III butlaterserved as theofficialresidenceoftheCrown
Prince.Its architecture also combinesbothWesternand Easterninfluences.Western
influencescan be seen in theshape of thebalconyroofwhichdiffersfromtheusual
Malay house. So are the pillarsthatsupportthe structure which are cylindricalin
shape insteadof theusual squareones.
Equally striking is theinternaldécorof thesebuildings,whichcombinesfunc-
tion,shape,and motifsto presenta uniqueand beautifuldesign.We are informed that
thesedesignsconveycertainmessagesto discerningenthusiasts, whiletheshapesare
determined byreligiousvalues and thesurroundings. The motifsare influenced bythe
local floraand fauna,which are organizedto projectsuitabilityand harmonywith
each other.
The groundfloorof theKelantanStateMuseumusuallyholds periodicexhibi-
tionswithvariousthemes.In 2004 themuseumheld an exhibitionin celebrationof
the silver jubilee of the ruling monarch, Sultan Ismail Petra Sultan Yahya
(1979-2004). A few monthslater,it held an exhibitionon ghostswhich made the
museumcircuitthatyearand was well received.Besides information on archaeolog-
ical sites like Gua Cha, Gua Tampaq, and Gua Reng, which are located in Hulu
Kelantan,museumvisitorsare greetedby exhibitssuch as stone tools relatingto
Kelantan's prehistory and a diorama showingthe early settlementrelatingto the
Hoabinhianand Neolithicculturedated 10,000 yearsago. The museum'smainhall,
aptlynamed Dewan [Hall] Cik Siti Wan Kembang, is graced by a 15 by 8 foot
paintingof Cik Siti and herretinuereceivingstateguests.
The silveranniversary exhibitionof SultanIsmail Petracame at a timewhen
therewas muchpolemic among the public on the institution of the Sultan in state
27 Sallehetal. (2000);seealsoMdDin(1983).
56

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JMBRAS,
politics.The exhibition'saims,meantperhapsas a responseto thepolemics,were:(1)

to clarifythe positionand role of the royal institution in the administrationof the
state,(2) to channelinformation and knowledgeto thepublic on therole and contri-
butionsof the Sultan and the royal consortin the developmentof the state,(3) to
emphasizeand instilthespiritof love and loyaltytowardstheirroyalhighnesses,and
(4) to show the role of the royal institution towardsthe sovereignty, tranquillity,
prosperity, and
harmony, development of the state.In shortthe state,thepeople and
the sovereignare inseparablein one symbioticexistence.The exhibitionsreceived
considerable sponsorship from individuals, companies, organizations,and the
Departmentof Museum and Antiquities.
Also shownis thehistoryof theKelantanSultanatefromthefifteenth century,
startingwith Sultan IskandarShah and Cik Siti Wan Kembang (hence Kelantanis
oftencitedas theCik SitiWan Kembangstate),althoughthepresentroyalfamilyhas
its originsin the second half of the eighteenthcenturywith Long Muhammador
Muhammad1.Amongtheexhibitsare photographs ofthepresentSultanand theroyal
the
consort, royalwedding,weddinggifts, and a chart positioningthe institutionof
theSultanwithinthestateadministration vis-à-visthestateand federalconstitutions.
Equally significantis the conferment of an honorarydegree in political science by
Bangkok's RamkhamhaengUniversityupon SultanIsmail Petrain November2001
whichthemuseumrecords'as a tokenof respect,appreciationand affectiontowards
theroyalcontribution in initiating
a close relationship betweenThailandand Kelantan
in particularand Malaysia in generaland forthesake of thepeople ofbothcountries'.
The second floorof the museumis reservedformorepermanentexhibits.On
displayare earthenware ceramicsproducedin Kelantanand Chinesedragonjars. This
sectionalso showcasesthevariousaspectsof Kelantanfolkculture,includinggames
and traditional musicalinstruments. On displayare hugedrumsthatwereused during
variousofficialand unofficialceremonies,big and small gongs,and kertukwhichis
a popularpastimeamongtheKelantanfolks.Thereare exhibitson thewayangkulit
(puppetshow),withreplicasof thewayangtheatresas well as collectionsof puppets
fromvariouspartsof South-EastAsia, notablyJava.The Kelantanversionis much
smallerthanthe Javaneseones. Also shown are the gedombakor typesof musical
instruments in various shapes and sizes which usually accompany wayang kulit
performances.
An important aspect of Kelantan cultureis the myriadmusical performances
and the kinds of musical instruments associated with them.There is a makyong
cornerwithexhibitsofpaintingsand dioramascompletewiththemusicalinstruments
that usually accompany makyongperformances.Also shown is the menorah,
together withthemusicalinstruments associatedwithitsperformance. Some of these
are in dioramas,witha lengthydescriptiongivenby HamidahYaacob.
Culturalenthusiastssuch as HamidahYaacob had longbemoanedthe'death' of
traditionalaspectsof Kelantanculturelike thewayangkulitand otherfolkentertain-
ments since the beginningof Britishrule.28To her, Britishrule since 1909 had
28 Hamidah
(1998:53-83).
57

PART2,2008
changedmanyaspectsof traditional entertainment as evidentby thelimitedfinancial

resourcesof wayang organizers/patrons, the rapid expansion of towns which had
changed the concept of art forentertainment to art forcash (livelihood),and the
adventof mass entertainment throughradio,film,thecinema,magazines,and televi-
sion.As a result,makyongand wayangkulitareno longerpopularand are quiteoften
banishedto museumsas relicsofa bygoneera.As forwau (kiteflying),itis stillbeing
promotedby a small groupof enthusiasts throughregularinternational kitecompeti-
tionsin Kelantanand elsewhere.
Kelantantraditionalgames do have theirphilosophicalunderpinnings, includ-
ing the encouragement of team spiritand the nurturing of the spiritof endeavour
(seisyinin Japaneseto Malaysia's wartimegeneration).In the 1990s, a researcher
identifiedforty-five such traditionalgames whichhe categorizedas follows:seven
played by adults (includingbull fighting, fowl fighting, and goat fighting);seven
playedby both adults and children(includingtop spinning,cokok,and war games),
and thirty-one whichinvolvedonly children.29Many of thesegames are no longer
playedand notmanyofthemare highlighted in thestatemuseum.These gamesstress
theattainment while othersemphasizebruteforceand bravery,
of targets/objectives,
arithmetic, unityof purpose,and co-operation.There are also games thatdevelop
leadershipskills,nurture co-operationbetweenteamleaderand others,and encourage
creativity.
One cornerof the second flooris devotedto thetypicalpastimesof Kelantan
Malays. The exhibitsincludejebak and birdcages;jebak is used to catchbirdswhich
used to be a favouritepastimeof the Kelantanesemales besides top spinning.The
otherpopulargame is kertuk,shownwithitsvariousgadgets;it is playedmainlyby
adults.Accordingto themuseum,kertukis playedin groupsof 8-10. The winnerin
a particularperforming competitionis decidedby thetone and rhythm of thekertuk
besides theshowmanshipof theplayers.Not to be missed is themainpeteri,which
also servesas a formof traditionalhealing,althoughnotmuchis heardof thisaspect
at present.30
The Royal Museum at the formerBatu Palace displaysmyriadexhibitsand
photographs of theroyalfamily,includingKelantanrulerssince 1899 to thepresent
day, the royal seals of the various sultans,photographsrelatingto Sultan Ismail
Petra's installationceremonyin 1980, and information on the presentruler.Also
shown are the officialuniformswhich used to be worn by palace servants( boy
istana). There is much on the activitiesof the royal consort,includingher visitto
Thailand,as well as photographs of theroyalchildren.
The genealogyofthepresentrulinghouse has been preparedby an officialfrom
Brunei.In anotherroom,theBilik Tembaga(Copper room),are shownthenumerous
presentswhichtheroyalcouplehas receivedlocallyor whileon overseastours.These
includea samuraiswordand Japanesedolls ostensiblygivento theroyalcouplewhile
on theirofficialvisitto Japan.
29 Mustaffa(1998:20-36).
30 Zaharí(1998).
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JMBRAS,
The HandicraftMuseum displays exhibitsof songketof various motifsand

patterns, batikcloth,handwovenmaterialslike matand foodcovers(saji), parapher-
nalia used forcatchingfish(lukah,belat, and nets),woodencarvings,and embroidery
of ratherintricatedesigns.
The batik section displays myriadmotifsand patternsassociated with batik
clothbesidestheroyalbatikcollection.An important itemon displayis thehandloom
to
reputed produceextremely finebatik pieces. This handloom is made ofchengaland
uses only high-qualitysilk with importedthread.An expertweaver would require
elevendays to weave a completelengthof clothof reasonablyintricatedesigns.The
skill of weavingwas muchprizedin theold days; togetherwiththe abilityto recite
theQuran,itbecame an important precondition fora girl'smarriageintoa respectable
family.
Part of the museum is devoted to the promotionof effortsto ensure the
continuedexistenceof the much malignedtraditionalhandicrafts. It also seeks to
ensureits practitioners an adequate financialrewardby incorporating moremodern
aspects.Activitiesregularlyheld at themuseumincludeseminars,workshops,and art
shows.
The Museum of Royal Ceremoniesand Etiquettesshows exhibitsrelatingto
royal ceremonieslike groundbreakingetiquette,pregnancy(melenggangperut),
circumcision,and bathing.It also boasts a textilecollection,copper wares, and
personalitemsthatused to belongto theroyalfamily.The exhibitsare accompanied
by traditional musicwhichcan be mostsoothingto thewearytourist.
This museumis dividedintoruangor spaces. The Ruang Surungwas previous-
ly used by theSultanto receiveguestsand visitorsto thepalace butpresently houses
theroyaltextilecollection,includingsongket , kainlimat,kainpunca potong,and kain
Aceh rosak
The Ruang Serambiwas previouslyservedas theresidenceof thepalace guards
and shows variousroyal customsand etiquette.One of its rooms was used forthe
betrothalceremonyof theroyalchildren,while anotherwas used forthenewlywed
royalcouple.Also exhibitedare replicasof sweetsand instruments used in theroyal
marriageceremony.
The RuangTengahwas used forceremoniessuchas marriageand thanksgiving,
as well as forsingingand dancingwhich formedpart of the royal entertainment.
Besides showcasingaccessories of the royal ladies, it also displaysa dioramaof a
royalwedding. In theroyalbathingceremony,speciallyanointedwateris used for
thosewho have just undergonedeliveryand afterthe lapse of the forty-day period
(pantang). Otherceremoniesrelateto thehair-cutting ceremonyfortheroyalinfant
and thecradlefortheroyalbaby
Kelantanis also knownforthesmall community of Chinese and Siamese who
conversein the Kelantandialect and dress verymuch like Malays.31 The Siamese
community is foundin Pasir Mas, Pasir Puteh,Kota Bharu,Bachok, and especially
Tumpat, while thereare Siamese wat (temples)in Bachok withtherecliningBuddha.
Chineseacculturation has reachedsucha level thattheyoungergenerationof Chinese
31 Winzeler
(1985).
59

PART2,2008
onlyrediscovertheirChinese rootsaftertheirmigrationto otherstateson the west

coast.Thereused to be a displayon theChineseof Kelantanin thestatemuseum,but
I have notseen any displayon theKelantanThai community.
Museum Representations of the Japanese Occupation

Museumrepresentations of theJapaneseOccupationvaryin theircoverage,especial-
ly those in the Kedah State Museum,theNationalHistoryMuseum,and the Second
WorldWarMuseumin Kota Bharu.32
In the Kedah State Museum, coverage of the period is very selectivewith
emphasisgivento thepoliticalaspect,namely,thegeneralawakeningof theKedah
Malays after1942 from'a politicalslumber'priorto this.This representation is not
new as theJapanesehad been makingsimilarclaims of theircontribution to Malay
nationalismsince the 1950s whichfindconsonancewithlocal scholarsor thosewho
had experiencedtheJapaneseOccupation.VeryfewMalay scholarsare criticalof the
Japaneseand theJapaneseOccupation.Veryoftentheyare out of tunewiththetimes
as in a recentconferenceon Japan-Malaysiarelationsheld at the Universityof
Malaya in late 2007. As a result,very littleof the negativeside of the Japanese
Occupationis puton public display,unlikethemuseumsin Singapore.
One aspectof therepresentation is to convenientlyexcludethecollaborationof
the local elite withthe Japanese.Initially,thesecomprisedthe Malay leftfromthe
Kesatuan Melayu Muda (KMM) or Young Malays Union. They were subsequently
brandedas fifthcolumnistsalthoughtheywerejoined by hordesof administrators,
teachers,and police personnel.Collaborationwas due to many reasons,including
economicsand nationalism.The issue of collaboration(and heroism)is stillbeing
debated in Malaysian historiography and remains inconclusive.The Alor Setar
Museumdoes notuse thewordcollaborationbutinstead'co-operation',althoughone
of the museum's consultantshad publisheda book discussingelite collaboration
duringthe Britishcolonial period.33It is conceivable thatthis was done to avoid
possible controversies.The relevantdisplaysand narrativesincludeenlargedphoto-
graphsof twomilitary helmets,an emptycartridge used by theBritishdefenders, and
a wooden firesyringe(gobekapi).
One obvious shortcoming is thelack of exhibitsrelatingto thesocial historyof
the period. There is no mentionof the miseryand suffering the local population
enduredduringthose threeyears and eightmonthsof Japaneseand Siamese rule.
However,a briefreferenceon the social life of theperiodappears in a frametitled
'The Englishin Kedah afterWorldWar2', whichis accompaniedby twophotographs
of senior British officials, Sir Shenton Thomas (Straits Governor and High
Commissionerof Malaya) and Sir Edward Gent,Governorof the Malayan Union.
The accompanyingnarrativedwells moreon thepost-warperiodand the economic
and political innovationsintroducedby the controversialMalayan Union. The
wartimeeconomic conditionis merelydescribedas follows: 'During the second
32 AbuTalib(2006);seealsoAbuTalib(2007:103-22).
^ Mohamad Isa (2001).
60

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JMBRAS,
world war, the people of Malaya experienceda shortageof food and otherbasic
supplies. This led to rationingand hoarding,which subsequentlyforcedprices to
escalate.'Kedah,thericebowl ofMalaya, did notsuffer froma severeshortageofrice
comparedto otherpartsof thepeninsulawhichwere dependenton imports.As for
clothing,thesituationin Kedah was no betterthanthatin otherstates.
To theAlor Setarmuseumofficials,it is thelesson of thewar thatneeds to be
impartedto visitors,specificallythe politicalawakeningof the Malays after1945.
There is nothingat all on pre-warnationalismor the nationalismof otherethnic
groups.One frametitled'SpiritofNationalism'is devotedentirely to therisingMalay
nationalismin Kedah, accompanied by a pictureof Syed Ahmad Syed Mahmud
Sahabuddin,one of theleadingyoungMalays at thetimewhiletheMalay versionis
accompaniedby a pictureof TunkuOsman Md Jewa.A grandsonof SultanAbdul
Hamid,TunkuOsman rose to prominenceduring1942-5 as a memberof Force 136,
theBritishspecial operationsforce,whichoperatedin theKuala Nerangarea,and he
retiredas Chief of the Malaysian Armed forcesin the 1960s. There is verylittle
informationon other resistancegroups like the communist-dominated Malayan
People's Anti-JapaneseArmy,which surelymeritssome mentionin the museum.
The whole narrativecame in fourparagraphswiththe 1941-5 and 1946-8 periods
accordedthemostattention. On the 1941-5 period,thenarrativereads as follows:
Between 1941 and 1945 the Japanesepromotedanti-westsentiment by
emphasizingthe spiritof 'Asia forAsians', throughmedia propaganda,
Japaneselanguageclasses,theKoa Kunrenjotraining schools,readingclubs
(<epposho), civil defence(jikeidan
), neighbourhoodassociation( tonarigumi
),
auxiliaryvolunteer groups,volunteer reserve{giyugun
) andvolunteer groups
[s/c](giyutai). The Japaneseoccupationwas a periodof severehardshipand
thisgave riseto rebellion[sic].
In reality,
thepliable eliteof Kedah or elsewheredid notinitiateanyrebellionagainst
theJapaneseas theywere simplyincapableof doingso. Therewas a minorrebellion
led by religiousfunctionaries and villagersin theKuala Muda area butitwas swiftly
crushedby thelocal police and Japanesesoldiers.Thereis nota traceof itsexistence
in thismuseum,althoughinformation on it maybe gleanedfromtheKedah archives
locatedless than2 kilometresup thesame road at Alor Merah.
In themanuscripts sectionon thesecond flooris displayedan originalwartime
postertitled'PerkawalanMalai' [Defenceof Malaya] witha pictureof fiveable-bod-
ied local youthsrepresenting the major racial groups,namelyMalays (represented
ostensiblyby two youths),Chinese, Indians, and Sikhs against a backgroundof
Japanesearms (tank,warship,and warplane).The date of issue is unknownbut is
probablybetween1944 and early1945 whenJapanwas militarily on thedefensivein
South-EastAsia, hence the need to mobilizethe Malayan people and identify them
withthe failingwar efforts of theJapanese.One glaringdrawbackis thedepressing
lack of original displays in the museums. There are many framedphotographs,
althoughtheseare nottheoriginals.In fact theJapaneseOccupationsectionhas only
threeoriginalexhibits.
61

PART2,2008
However, at the National History Museum, the section on the Japanese

Occupationis on the second floor,but it is repletewithoriginaldisplaysthatwould
engage thevisitorsmuchmore.Thereis a pictureof GeneralTomoyukiYamashita,
oftendubbedthetigerof Malaya (the sobriquetis also claimedby others,including
TengkuMahmood Mahyiddeenof Kelantan,Tani Yutaka who led a band of merry
menRobinHood stylein Kelantan-Siamin thelate 1930s, and Sir GeraldTempler),
a pictureof Japan'swartimeprimeminister, GeneralTojo Hideki,Japanesemilitary
a a
swords, map, Japaneseflag with names of officerswho were probablyfromthe
same militaryformation, wartimecurrenciesin variousdenominations, helmets,and
photographs relatingto theJapanesesurrender.
Equally significant are theaccompanyingnarratives. On thewar in Malaya, for
instance,one narrative seeksto inform visitorsthat'althoughtheJapaneseoccupation
broughtsufferings to thepeople italso to a certainextentbroughtnew awarenessthat
led themto reconsiderthecapabilityof theBritishcolonial powerand subsequently
enhancedtheirstruggleforindependence'.Undoubtedly, thisline of argument would
placate ifnotplease theJapanesegovernment and themajorityof Japanesevisitors.
Anothernarrativerelatesto Malaya's economicdecline and the emergenceof
new politicalawarenessand new perspectiveamong Malayans who had awakened
suddenlyfromtheirslumberwiththerealizationthatBritainwas notas powerfulas
theyhad believed. This led them,especiallythe Malays, to fightfortheirpolitical
independence. Whatitdoes notsay is thatthisawarenesswas mostdiscernibleamong
theelitewho had collaboratedwiththeBritishand had been extremelyloyal to the
colonial administration before the Occupation. These were the locals who were
convincedof Britishmilitarysuperiority untilthesinkingof thePrince of Walesand
theRepulse offtheKuantancoast in December 1941 dashedtheirhopes of a British
victoryand led to theirenforcedacceptanceof Japaneserule.
Visitorsare informed thattheJapaneseperiodwas veryhardand Japan'siron-
fistedrulewas neversupportedby thepeople who formedunderground organizations
withAllied assistance.Strangely, the MPAJAwhichwas communist-led and which
rebelledin mid-1948 was neverassociatedwiththisunderground movement.Instead,
theMPAJAis placed in anothersectionrelatingto theEmergencyand condemnedas
villainsin thenationalnarrative. In contrastto therecentproliferation of accountsby
formerMPAJAmembers,thereis no attemptin the National HistoryMuseum to
recognizeits role in theanti-Japanese resistancewhichled to certaingroupssetting
up an MPAJA memorial in Negeri Sembilan. By comparison,thecoveragein school
historytexts is stillminimal,although the MPAJA does make a cameo appearancein
thesectionrelatingto theJapaneseOccupation.
Thereare manymoreoriginaldisplaysrelatingto theperiodwhichare located
nearthemuseum'sexit.These includepictures,militarysword,Japanesearmyberet,
armysignal lamp, and a Japanese-Malay-Englishdictionary.This dictionarywas
compiledby ChongLang Fong; itwas publishedin Kuala Lumpurwiththeapproval
of theJapaneseand sold at $1.50 per copy.
The otheritemis the surrender noticedistributed by theJapaneseArmyat the
timeof the invasionwhichis wronglylistedas a land grant.Writtenin bothMalay
and Chinese,thenoticeinformedMalayans thattheywere not theenemies,but the
62

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JMBRAS,
Americansand Britishwere.In theeventthatanyone of themwas located,Malayans

were asked to deliverthemimmediatelyto the Japanese.The delivererwould be
amply rewarded.The notice was signed 'Tentera Besar Jepun' [Chief Military
Officer].
There are a numberof troublingissues. One is Lt Adnan Saidi, who appears
among six photographsof prominentMalays of the 1930s located in the section
devotedto nationalismwhichis adjacentto the'JapaneseOccupationSection'.Adnan
is now acceptedsemi-officially as Malaysia's heroby virtueof his exploitsin resist-
ing the Japanese early 1942, althoughhis inclusionraised ratheremotiveissues,
in
notwithstanding a similarclaim by Singaporeand the kind of treatment given to
Adnan's formermatesat theBukitChanducommemoration of theMalay Regiment.
CertainlyAdnan'splace in Malay nationalismis problematicas his strugglewas
in defenceof a colonialpossessionwhose futurewas stillundecided,in contrastto the
actionsof othernationalists,like Burhanuddin Al-Helmy,locatedin thesame section,
who triedveryhard to end thatempirein orderto create an independentnation,
even if it meantcollaboratingwiththe Japanese.PerhapsAdnan should be placed
elsewherein the museum,a move thatmightoffendcertainpolitical or military
sensibilities.
The otherissue is theabsence of anyreferenceto theMPAJAin thesectionon
theJapaneseOccupation,althoughitsinclusionin thesectionon theEmergencyis not
farwrong.Otherissues thatare conspicuouslyabsentincludereferencesto wartime
race relationswhichaffectedpost-warrace relations.The museumis equallysilenton
theJapaneseuse of Islam and thereligiouselite fornon-religious purposesto win a
war in whichneitherMuslimsnor Malayans had any vestedinterests.The Japanese
abuse of religionand thereligiouselitewas veryskilfullydone behindtherhetoricof
defendingthefaith.34
To me the best effortsto commemoratethe wartimeperiod is foundin the
Second WorldWarMuseumin Kota Bharu,whichwas openedinAugust1994.35The
museum'sofficialbookletdescribestheexhibitsas follows:
. . . testimonies,photographs and materialsrelatingto theSecondWorldWar
in
especially Kelantan, Britishdefences,thefallof Malaya and thechrono-
logy of eventsin thecapitulationof Kelantanto theImperialJapanesearmy,
theperiodof theJapaneseOccupation,theJapanesesurrender in 1945 and
explosion of the atomic bombs in Hiroshima and Nagasaki. Also in thefore-
ground are materials to
relating the birthof nationalismand the historical
development of the nationuntilthe formation of Malaysia.
34 AbuTalib(2003:Chap.5).
Thereis another warmuseum locatedinPenangwhichis commercially
runandcatersmainly to
thetourist market althoughtheoperatorsinsisted
muchresearchwas undertakenpriorto its
opening. It is sitedata formerartillery atBatuMaung.I agreethatthismuseum
battery does
conveya morerealistic oftheperiod
representation thanthePenang
StateMuseum although war
veteransarelessenthusiasticabouttheexhibits
andthewaythemuseum isbeingmanaged (Abu
Talib2005).
63

PART2,2008
Some of the exhibitsare out of consonancewiththe Museum of NationalHistory's

storylinebut neverthelessreflectaccuratelythe local situationin Kelantan during
thoseturbulent years.36Equally interesting are exhibitslocatedoutsidethemuseum,
includinga replicaof a pill box, one of themanyconstructed in Kelantanbeforethe
invasionbutwhichprovedto be ineffectual, thepropellerof a warplane,an armoured
carrierused duringtheEmergency(1948-60), and a warmemorialdedicatedto seven
Australianairmenwho perished while defendingthe Kota Bharu aerodromeat
Pengkalan Chepa in December 1941. This memorial was constructedby the
Australianand Kelantangovernments and provedto be a populardestinationfora
certainsegmentof theAustralianwar veterans.
The museum'sexhibitsare locatedon thegroundfloorof thetwo-storey build-
ing and arrangedin various sectionssuitablytitledas follows: 'The Second World
War in Kelantan', 'Kelantan under the Japanese(and Thai) MilitaryRule', 'The
JapaneseSurrender','KelantanunderBritishMilitaryAdministration (BMA)', and
'Malayan Union and Merdeka'. However, theirarrangements are ratherhaphazard.In
early 2004 there
was a reorganizationof the exhibits and some of thesignificant ones,
includingthe replica of a Japanesememorialstone and a copy of a reporton the
conquestof Kelantanwrittenby the25thArmyin December 1941 were banishedto
the storeroom,while the sectionon the Death Railway was considerablyreduced.
The museumstaffmightbe unawareof the significanceof theseexhibitswhichare
onlycomprehensible to thosewho can read Japanese.Information on thememorial
stone is still available in the museum handbook,Muzium-Muziumdi Kelantan,
publishedin 2000.
The reorganization was necessitatedby theneed to have a mini-theatre within
thepremisesto accommodatea video giftfromtheJapanesegovernment. The video
is shown upon request to visitorsand shows importantfootage of the Japanese
invasionof Malaya, beginningwiththe transportships steamingacross the South
China Sea to the landingat the Kelantan beach on 7-8 December 1941 and the
victoryparadebeforetheSingaporeCityHall in February1942. To thehistorians, the
video containsinvaluablefootagealbeittingedwithJapanesepropaganda.However,
it is worthlessto thosewho cannotunderstand Japaneseas no subtitlesare provided.
All thesectionsshowmanyphotographs and materialseitherreplicatedor in the
original.At theinsideentrance,wherephotographsof theinvasion,Japanesebomb-
ings of Kelantan,and senior Britishand Japanesemilitaryofficersare exhibited,
visitorsare greetedby an old bicycle similarto the ones used by Japanesesoldiers
duringtheinvasion.One picturethatmanagedto attractmyattention is thatof Sabak
beach takenby a Japanesephotographer on 10 December 1941. Between 7 and 8
December,the beach witnessedfiercefightingand shellingby both sides, and the
photograph managedto capturethedestruction and theeerinessof death,althoughall
corpseshad alreadybeen removedby thecombatants.
36 Thefollowing is basedonmuseum
discussion exhibits
prior themuseum
to2008.1understand
is
authority in the of
process the
rearranging which
exhibits willbe for
ready viewing
public
sometimein2008.
64

VOL.81
JMBRAS,
The museumexhibitsa numberofmaps,includingthosein Japanese.One ofthe

Japanesemaps shows militarypositionson thepeninsula,completewiththerelevant
datesuntilthelast week of December 1941. Thereare also photographsof members
of the Kelantanelite like TengkuMahmudYusoff,who was one of the membersof
the State Council. One documentthatattractedmy attentionis the speech of the
Sultan duringthe handingover of the state to Siam in 1943 entitled'Uchapan
kepadapegawai2 dan KakitanganKerajaan sertarakyat2Kelantanberkenaanserahan
negeriKelantankepada NegeriThai'.37 The originaltextwas writtenin Jawibutthe
museumalso appends the Romanized version.However,in the process,the Malay
word 'serta' was transliterated as 'setia' (loyal) and thismakes a significant differ-
ence, somethingthatshouldnothave occurred.
The museum is equally critical of the Thai militaryoccupation (October
1943-August 1945). The accompanyingnarrativementionsthe rise in crime,the
failureof the Thai government to rein in the militaryin Kelantan,and the unruly
conductof Thai soldiersvis-à-visthelocal population.Accordingto themuseum,'A
smallsegmentof theThai soldierswereinvolvedin immoralactivitieslike disturbing
womenresultingin the latter's hesitanceto leave thehouse. Then thereare cases of
unsolvedmurderswiththebodies dumpedin secludedareas whilethekillersremain
undetected.'
There are picturesof six individuals,all men togetherwiththeirtestimonies
abouttheJapaneseOccupation.The firstwas a formerdeathrailwaylabourernamed
JaafarSeman fromMachang,who lefthis village fortheThai-Burmaborderat the
age of nineteen to replace his father-in-law. After the war, he stayed on in
in
Kanchanaburiand only returnedto Kelantan 1988.38 Anotherformerlabourer,
Ismail Yaakup,was interviewed by themuseumin 1994 at theage of 72. Ismail had
a variedexperience,includingbeing a driverfortheJapaneseArmy.He was also at
the receivingend of Japanesebrutality. Interestingly,Ismail's testimonyis the only
one translatedintoEnglish.
Perhapsthemostsignificant testimony was providedbyHaji Nik MuhamadNik
Abdul Kadir. Born in 1925, Haji Nik Muhamad was in the teachingprofession
duringtheJapaneseOccupationand he looks at theperiodin a verypositivemanner.
This is in sharpcontrastto the testimonyof a formerShihanGakko graduate,Haji
Wan Ismail Mohd Saad. Born in 1918, Haji Wan Ismail saw the period as one of
hardshipwith the Japaneseextremelyuncompromising in all matters,the people
living in constant fear,and the collaborators perpetuallytakingadvantageof the
situationfor personal gain and at the expense of others.He still remembersthe
meagremonthlypay in the formof materialbenefits,while theJapanesevigorously
attempted to instilanti-Westfeelingsamongthelocals.
Thereis one sectionoftheexhibitsthatrefersto heroism,thewar againstJapan,
and anti-Japaneseactivities.Some of the individualsin the foreground include Lt
37 'Theroyalspeechtostateofficials,
government andthepeopleofKelantan
employees, relating
tothecessionofthestatetotheThaigovernment'.
See alsoZa'im(1988).
65

PART2,2008
Adnan Saidi, TengkuMahmoodMahyiddeen,Mohd Zain Jaafardan IbrahimIsmail,

Lt IbrahimAla Ditta, TengkuOsman Md Jewa,GurchanSingh, and membersof
Force 136 like Claude Fermer.Mohd Zain and IbrahimIsmail were Force 136
memberswho wereparachutedintoTerengganuin 1944, caughtby theJapanese,and
subsequentlyinternedin Taiping.39As in othermuseums,theMPAJAwas excluded
fromthis section and banished to the section 'Kelantan under BritishMilitary
Administration'. In short,the MPAJAis depictedas the villain of the Emergency,
whichis no different fromthenationalnarrative.
Afterthereorganization, thereis stillmuchinformation on theDeath Railway
in thismuseum.It is commonlybelieved thatKelantanprovidedthelargestnumber
oflocals fortheDeath Railway;sometookpartvoluntarily, whileotherswerecoerced
or hoodwinkedby thewartimeauthorities, includingthoseat thevillage and district
levels. However,the Death Railway was wronglytranslated'Lethal Railway' from
theMalay wordmaut.The displaysand limiteddata appendedare gruesomewiththe
projectclaiminga total of 16,000 lives or one life for every28 yards! There are
photographs of thelabourersand a sectionof a railwaytracksimilarto theone that
straddledtheThai-Burmafrontier fromThanbyuzayatto Nongpladek.A map of the
railwayshows some of the stationswhichwere providedby formerlabourersthem-
selves. The familiarones include Tamarkhan,Tamajo, Songkhlaburi,and Kanburi
while the undecipherableones includeNikki,Rinton,and Tonchan.The pictureof
sicklyand malnourishedlabourersdriveshome theinhumantreatment metedout by
the Japaneseto defencelesslabourersand- in the popular mind and to museum
visitorsas well- the negative aspect of Japaneserule. However, in the popular
onlywhitevictimsare accordedcentrestage.A pictureof seniorJapanese
literature,
officersand theMalay rulersduringthecelebrationof theTenchoSetsu in thesame
sectionis certainlyout of place here.
The section'KelantanunderBritishMilitaryAdministration' containspictures
of theJapanesesurrender withJapaneseofficershandingin theirceremonialswords,
weapons, and the trialsand executionof Japanesewar criminals.Then thereare
visualson thedestruction of Hiroshimaand Nagasaki whichaim to showvisitorsthat
war is destructiveto man, property,and the environment. War can also change
individuals,causingtheinvaders,or theconquered,to act inhumanely, as attestedby
numerousoral sourcesfromKelantanand elsewhere.
Conclusion
The foreground of exhibitsin Malaysianmuseumsis done in a selectivemanner.Only
those exhibitsthatare deemed suitablein the eyes of the museumbureaucratsand
consultantsare puton public display.These neitherencompassall ethnicgroupsnor
take intoconsiderationmore recentresearchon the nationalhistory.In the Penang
State Museum,thereis not a word on Japaneseprostitution in the museum'sfore-
of
grounding Penang 's since
multiculturalism themid-eighteenth centuryas thiswas
TanSriIbrahim
General (1984).
66

VOL.81
JMBRAS,
deemedoffensiveto JapanesesensibilitiesalthoughJapaneseprostitutes wereknown

to have existedin Georgetownin the earlypartof thetwentieth century.Afterfifty
yearsof independence,thereis a need fora paradigmshiftin thenationalnarrative
taking into account the currentneeds of the nation-building process which are
differentfromthose of the 1970s or immediatelyafterMerdeka. Otherwise,the
nationalhistorywill remainas museumexhibits.Museums shouldbe able to reflect
on these changingprioritiesand act accordinglywithoutsacrificingthe nation-
buildingaspect.
Equally selective is the depictionof the Japanese Occupation period in
museumswithmanyimportant issues convenientlyglossed over.A relatedissue of
heroismstillremainscontestedin Malaysianhistoriography withmanyclaimants,and
theirvocal supporters,highlightingthelegacyof theOccupation'sdivisiveimpactin
Malaysia.40On anothernote,museumexhibitson theJapaneseOccupationas found
in the Sabah State Museum seem to be less relevantcomparedto the Petagas War
Memorial41or monumentsand cemeteries42thathave become importantsites for
mourningand remembrance. This is in starkcontrastto thekindof commemoration
undertaken by Singaporemuseums,notablytheFortSiloso Museum and theChangi
Chapel and Museumwhichdo nothidethenegativeaspectsof theOccupationforthe
state'snation-building
aims.43For Singapore,themuseumvisitor'sbooks do indicate
some displeasureamong Japanesetouristswith the way the Occupationperiod is
beingcommemorated in therepublic.
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