Zubir Said : the composer of Majulah Singapura 9789814311816, 9814311812, 9789814311823, 9814311820, 9789814414524, 9814414522

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The Institute of Southeast Asian Studies (ISEAS) was established as an autonomous organization in 1968. It is a regional centre dedicated to the study of socio-political, security and economic trends and developments in Southeast Asia and its wider geostrategic and economic environment. The Institute’s research programmes are the Regional Economic Studies (RES, including ASEAN and APEC), Regional Strategic and Political Studies (RSPS), and Regional Social and Cultural Studies (RSCS). ISEAS Publishing, an established academic press, has issued more than 2,000 books and journals. It is the largest scholarly publisher of research about Southeast Asia from within the region. ISEAS Publishing works with many other academic and trade publishers and distributors to disseminate important research and analyses from and about Southeast Asia to the rest of the world.

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The Composer of

Majulah Singapura Rohana Zubir

Institute of Southeast Asian Studies Singapore

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First published in Singapore in 2012 by ISEAS Publishing Institute of Southeast Asian Studies 30 Heng Mui Keng Terrace Pasir Panjang Singapore 119614 E-mail: [email protected] Website: http://bookshop.iseas.edu.sg All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the Institute of Southeast Asian Studies. © 2012 Institute of Southeast Asian Studies, Singapore The responsibility for facts and opinions in this publication rests exclusively with the author and her interpretations do not necessarily reflect the views or the policy of the publisher or its supporters. ISEAS Library Cataloguing-in-P ublication Data Rohana Zubir.

Zubir Said, the composer of Majulah Singapura



1. Zubir Said, 1907-1987.



(Local history & memoirs ; 22)

2. Composers—Singapore—Biography. I. Title.

II. Series: Local history and memoirs (Institute of Southeast Asian Studies) ; 22.

DS501 I595L no. 22

2012

ISBN 978-981-4311-81-6 (hard cover)

ISBN 978-981-4311-82-3 (eBook PDF) ISBN 978-981-4414-52-4 (music CD)

The author has taken all reasonable care to ensure that the contents of the book do not violate any existing copyright or other intellectual property rights of any person in any manner whatsoever. In the event the author has been unable to track any source and if any copyright has been inadvertently infringed, please notify the publisher in writing for corrective action. Designed by Redbean De Pte Ltd Printed in Singapore by Markono Print Media Pte Ltd

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Dedication This biography is dedicated to my father who taught me everything and expected nothing in return. To my mother who taught me the meaning of sacrifice and devotion. To my late husband, Tan Sri Dato’ Dr Hj Abdul Hamid Hj Abdul Rahman, the light of my life. To my pride and joy, my children, and their families

Khairil Abdul Hamid



Dr Suhanna Abdul Hamid and Dr Johan Khong Adam and Danial



Dr Muhammad Akhlil Abdul Hamid and Dr Laura Fender Maia, Jakob Isa and Thea



Yohanna Abdul Hamid and Shaiful Zahrin Subhan Fariq and Mikail

To my siblings Zubaidah, Zuraidah and Soeyono To Salmah Sidin and her entire family To all friends. Thank you for being there for me and for the understanding and help you gave me abundantly.

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Contents Majulah Singapura

vii

Foreword by S. R. Nathan



viii

Message by K. Kesavapany



x

Preface



xi

Acknowledgements

xv

Prologue 

xix



Map of Sumatra



1

1.  The Birth of an Anthem and Challenges to Overcome



2

2.  Headlong into Adulthood



20

3.  Mystical Singapore: City of Lights, Butter, Coffee and Milk



42

4.  World War II: New Directions



54

5.  Where the Sky Above I Hold, the Earth Beneath I Tread

64

6.  190A Joo Chiat Place: A Sanctuary of Bliss and Blessed Woes

96

7.  The Lull, Celebrations, Music, Respite, Then the …

130

8.  The Storm Afterwards

210

9.  The Birthday Bash and Final Curtain

226

Epilogue

238

Bibliography

270

Index

275

About the Accompanying Music CD

280

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Majulah Singapura MAJULAH SINGAPURA

ONWARD SINGAPORE

Mari kita rakyat Singapura

Come, fellow Singaporeans

Sama-sama menuju bahagia

Let us progress towards happiness together

Cita-cita kita yang mulia

May our noble aspiration bring

Berjaya Singapura

Singapore success

Marilah kita bersatu

Come, let us unite

Dengan semangat yang baru

In a new spirit

Semua kita berseru

Let our voices soar as one

Majulah Singapura

Onward Singapore

Majulah Singapura

Onward Singapore

Copyright: Ministry of Information, Communications and the Arts. English translation from the Government of Singapore website (accessed 16 July 2012) .

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Foreword A national anthem sings of a country’s soul. It captures what it means to be a citizen, what unites citizens, and what distinguishes them from others. It is also a way of re-dedicating oneself to the Nation and all it stands for. People are urged to rise over passing occasions and be an exalted repository of a nation’s deepest aspirations and profoundest dreams. At the same time, the anthem has to be simple enough for ordinary people to understand and relate to. Most of all, it has to appeal to the young — tomorrow’s leaders and protectors of the nation who are being moulded in today’s world. There are few things more moving than to see and hear peoples and particularly children celebrate their common future around the national flag, which children greet with the national anthem at the beginning of each school day. When abroad on important occasions, the singing of the anthem stirs our emotions even more strongly. Singapore’s national anthem fulfils all these functions. What is special about it is that it reflects the special nature of Singapore as a country born out of a disrupted flow in history, and yet a country which had to prove that its exceptionalism could survive and succeed. For this, every Singaporean must be grateful to Zubir Said, whose Majulah Singapura captures the flowering of the Singapore imagination vividly yet simply. Our road to Independence began with internal self-government in 1959. That is when the great task of building our Nation awaited us. It was at that time that our national anthem was produced by Zubir Said. The anthem in the original — that is in the Malay language — is pregnant with exhortations. The wordings are simple, but they evolve a call to our people to look ahead and overcome the challenges ahead, though not specifically stated, in a spirit that is new. The singing of it is a call to all, with a promise of a new dawn. Every pause, every emphasis, every nuance in it is meant to evolve that purpose, with determination. In translation it loses its punch.

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It was a great pity that the man who is behind Singapore’s most memorable song remained little known to the public. This gap has been filled admirably in this book by his daughter, Dr Rohana Zubir. The book gives both an account and the flavour of a life of transition — from Sumatra, where he was born, to Singapore — and his passionate engagement with his new home. It is not easy to write about one’s own father. But the author has maintained a professional distance from her subject. What make her account riveting are her insights into the life and thoughts of a remarkable man. Both Singaporeans who lived in Zubir Said’s times and those who were born later will benefit immensely from reading this book. It is my hope that younger Singaporeans, in particular, will read it as an account of the Singapore spirit encapsulated in our national anthem and appreciate the depth of its meaning, even if it be not in the English with which we are more familiar.

S. R. NATHAN Sixth President of the Republic of Singapore 13 July 2012

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Message The author, Puan Sri Dr Rohana Zubir, came to see me at ISEAS about three years ago upon the introduction of a mutual friend, Ramon Navaratnam, a retired senior Malaysian civil servant. In the course of the conversation, Dr Rohana disclosed to me that she had been working on a book about her father for some time and that she was looking for help to find a good publisher. When, in response to my query, she said her father was Zubir Said, my ears pricked up. To my generation, the name was easily recognizable as the person who composed Singapore’s national anthem. As I had always been intrigued by the personality of Pak Zubir and the circumstances under which Majulah Singapura was conceived, I readily agreed to have the book published by ISEAS. After reading the manuscript, I was even more convinced that it would be a book that would shed light on the broader canvas of the region’s post-war history. It was also going to be a story about a teacher who would be instrumental in guiding a whole generation into the world of music. The story is all the more poignant and moving as it is an account by a daughter, who made the telling of it her lifelong passion. ISEAS Publications Unit, under the redoubtable leadership of Mrs Triena Ong, supported Dr Rohana in her arduous journey to have the book published. The book is accompanied by a CD, produced by Trabye, Raja Mahafaizal Raja Muzaffar, containing some of Zubir Said’s musical compositions. I am happy to have been a part of this recording of Pak Zubir Said’s life and achievements.

K. KESAVAPANY Former Director of the Institute of Southeast Asian Studies (November 2002–February 2012) 6 July 2012

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Preface Zubir Said passed away on 16 November 1987 at the age of 80 years. In 1928, at the young age of 21, with only the shirt on his back and a clean towel, he left Sumatra and crossed the seas to make his home in Singapore. For almost 60 years, Singapore was haven for him as he lived and worked by the adage “where the sky above I uphold, the earth beneath I tread”. His dedication and loyalty to his adopted country were unwavering. From being a violinist in the bangsawan, a form of Malay opera, to being a music icon in Singapore, he traversed through life building milestone after milestone, creating a personal history that leaves trails of achievements and legacies. He was a man who left little else but an unblemished character and reputation. He was a man who died leaving his name like the tiger that died leaving its stripes, as the Malay proverb says. His name is, above all, associated with the stirring national anthem of Singapore. He was well-known as a champion of Malay music, the arts and culture that is unadulterated. He once quoted his sentiment as that of Confucius, saying “I am not one who was born in possession of knowledge; I am one who is fond of antiquity and earnest in seeking it there.” This book is about the life and struggle of a man who was insatiable in his search for knowledge — any knowledge — who loved tradition and had a great respect for time-honoured customs and virtues. Zubir Said’s life was cloaked in unpretentious modesty. Coming from humble beginnings, totally self-driven all his life, humility and simplicity became second nature to him. He empathized with the less fortunate and the less educated as he himself was. A very significant driving force behind his work was his desire to pass on as much knowledge as he could to these people, especially the young. This is the story of an extraordinary man charting many facets in his life with total commitment, courage, enthusiasm and candid humour in difficult as well as in good times: a life that was strewn and enriched with his jubilations and his disappointments. He accepted his limits and had gone beyond them.

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In 1992, I took early retirement from the Faculty of Education, University of Malaya, with the noble intention of devoting my time to writing my father’s biography. But procrastination took over for many years I’m ashamed to admit, being caught up in the web of my busy life. When my mother passed away in 2007 in Johor Bahru, I had the sad and painful task of sorting out her belongings. Among these were six boxes of my father’s paraphernalia. I brought them to Kuala Lumpur and for the next two years I sifted through the enormous volume of materials that belonged to Papa and organized them in some kind of order: files and files of correspondence, newspaper clippings, music scores, 23 reels of oral history tapes conducted by the National Archives of Singapore, books, old receipts, his log books, his medals and other awards, his favourite pipes and innumerable photographs and some gramophone records. The task was not without its problems because of missing pages in some of his academic papers; some letters were undated, but generally, Papa, being a stickler for discipline, had left enough materials for me to venture to recreate his chequered life into some semblance of his personal history. For example, most of the time he had carbon copies — photocopying was not in vogue then — of letters he received and replied to. I was very aware that I was duty bound to write my father’s biography. It is an honour and a privilege. I have never written a narration before; only academic papers. I had no inkling where to begin, until one day I happened to mention to Tan Sri Ramon Navaratnam what I was doing and that I wanted to look for a publisher. He instantly and kindly contacted Ambassador K. Kesavapany, then Director of ISEAS (Institute of Southeast Asian Studies) in Singapore. Mr Kesavapany lost no time in e-mailing me and the rest is history. I felt comfortable that the book would be published by ISEAS of Singapore because Papa had dedicated his entire life to Singapore, and the island state had honoured him in many ways.

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Everything in my father’s possessions suggested narrative possibilities. The difficulty for me was to piece them together. My task was doubly hard because he wrote mostly in Malay which I had to carefully translate. Understanding his academic papers was for me a monumental effort and a task beyond me. I tried, but decided it was best to leave them untranslated — except those which were already translated. In writing Papa’s biography, I found myself being drawn into a significant part of the book. As I was writing, memories of my life as my father’s daughter kept flooding back to my mind. I was facing the dilemma of deciding whether to write quite extensively about my life that was closely linked to that of my father’s or leave myself completely out. I felt I was very much a part of the scenario of a life that I was unfolding which was my father’s and in which we — my mother, siblings, adoptive relations and for that matter other people who mattered in my father’s life — constitute the rubric of Zubir Said’s life. In fact, I at first hesitated to include too much about myself, but as they say “the past is best confronted”, especially when it served to highlight my relationship with my father. I have regrets that I did not write sooner, because so many of my father’s contemporaries have passed away. Additional input from them would have afforded a greater source of information that would certainly add colour to the man behind his music. What did I discover in unravelling my father’s life through the months of reading and re-reading the volumes of letters and mulling over his artefacts? I discovered the true man behind his music; understanding him better — his exemplary attributes: his generosity and kindness to family and friends, strangers and animals even in lean times; his steadfastness, his firmness; his bravery and decisiveness in the face of danger. The more I read of him the less I felt I knew the real Zubir Said. He appeared an enigma. Unravelling his life 23 years after his demise showed me what an unusual and remarkable man Papa was.

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I want to remember him as he was. Asma Naim, a journalist from an Indonesian tabloid, Haluan, in its 14 August 1972 edition described him as: “With baritone voice, and a tongue fluent in speaking, interspersed with natural unforced humor, I think there isn’t anyone who will not find themselves hanging on his lips.” And more: even his grammatical slip-ups, especially when he became excited and animated during conversations on his favourite topics: music, the arts and culture. I deliberately did not doctor his English because his English expressions were quaintly understandable. Whenever I had to translate his Malay into English, I also kept close to the original for fear of infusing my own meaning and interpretation into what is intended in his sentences. Hence the structure of my English translations would definitely not pass off as the Queen’s English. Instead, I have translated his words in the Zubir Said English style. As I have said, it is an honour and a privilege that my siblings have delegated the writing of the biography to me. I only hope I can do our father justice in this endeavour by one who has never before written a life story of any sort. More importantly, I hope the book may be read by one and all, especially the young who always featured very highly in my father’s groups of favourite people. May the unassuming man, Zubir Said, be a role model and an inspiration to them. Last but not least, may his legacies and his quests be useful platforms for future pursuits in research and development in music, the arts and culture. I thank Allah SWT for His Guidance and Light to finish this book. Any untoward pitfalls and expressions will be entirely of my own doing and may Allah forgive me for these.

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Acknowledgements “One can repay a loan of gold but never of a good deed – for it, one dies, forever in debt”

“I can no other answer make, but thanks, and thanks”

A Malay Proverb

William Shakespeare

My Gratitude

For a lone writer such as I, it was a journey of discovery Ambassador Kesavapany, a gentleman of simplicity Simply “Pany”, is what he likes to be called; it’s chummy Confident and decisive; and brevity is his affinity In discreet — a shadow of affability, kindness and generosity. A word here, a hint there, you have cushioned my stall Ever pushing gently to prod me onwards I recall “Never lose hope”, “Never give up” you seem to say Thank you Pany for the trust; giving me reason not to sway.

A journey of a thousand miles begins with the first step Nay, a first step that none could conjecture as yet Until that one pleasantly fateful day, a visit, sans prepare Out of care for Puan Sri Samala And Tan Sri Ramon Navaratnam the gracious pair A long-forgotten yarn to bare and notes to compare Over hot tea and samosa a welcome traditional fare. I chanced upon a notion to mention in despair, A tunnel long and dim of intent to print I would not dare. Three and twenty years lapsed, Zubir Said’s legacies in a heap I keep. Magnanimity thy name, Tan Sri Ramon, technology your game Double quick to Ambassador K. Kesavapany of ISEAS Your mouse beeped, opened floodgates with simply a click With the current, I drifted down the sudden flow Embarking on a writing adventure I hardly know. No greater words nor deeds can my gratitude say and show. Our gratitude surpasses words for thee Your Excellency, Mr Sellapan Ramanathan, President of Singapore previously A persona so honourable; exuding calm authority and dignity; Mr Nathan, fondly known to all Singapore community, Who love and treasure thee, from walks of life out there In greatness and affluence, still in commonness adjure So generous in act and tribute to Zubir, the father I adore We would thank you from the bottom of our hearts but For thee our hearts have no bottom, it’s fathomless we assure; Zubir Said and family; forever will they cherish and share Your kind sentiments, in a Foreword so blessed and rare.

Triena Noeline Ong, what a pretty unusual name, Prestigious, Managing Editor, Head of Publishing, The pride of ISEAS and her gender, multitasking her fame, Prodigious juggling’s her game; behind the brain Passed through her dainty hands, books in a train The biography on Zubir Said, yet another Painstakingly, her patient careful eyes endeavour Noting details, only the experienced eyes discover Spotting pitfalls, large and small; making sense of prose Triena takes it all in her stride, gently and composed Your name in gold I’ll carve, thanking you my beautiful rose. When despair sets in When I knew not where to begin Making sense of notes galore, pictures thrown in I cry for help I fear no one could hear But kind Noor Azlina Yunus, she did heed You are nur lighting my dark path showing the way “Even pages on the left, odd pages facing” In neat piles you rearranged my jumbled pages Into an array of delightful passages A master of brevity, you are. This I’m not

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Always long-winded twisted in a knot Deftly unravelling it with a swish of your pen Indeed as an editor you are ten upon ten Thank you Azlina. I have an English daughter-in-law, Laura her name In Latin, a laurel plant, a symbol of kingly honour, but Laura Pediatrics Radiology is her crowning glory In sufferance I made her read my maiden draft With discerning eyes, the doctor pored on errors replete Not missing symptoms, diagnosis and prognosis complete With long patience, and TLC, prescribing cure With her gentle help I healed, feeling cured and doubly sure To recuperate and write some more. Thank you my Laura ever more. Dr Ooi Kee Beng, born, bred and schooled in Malaysia Traversed farther in search of knowledge and adventure Acquired a PhD in Sinology, from Stockholm University, Far away in Sweden a lecturer on Chinese philosopy A literate so accomplished, prolific author of books aplenty Handpicked “to hold my hand” The kindly man with the nimble mind Malaysian Politics — Kee Beng’s specialty one of a kind The Reluctant Politician dedicated to Tun Dr Ismail, A biography, one among many, so well opined Though the “holding hands” is not sustained, You did jump-start my writing when under strain, With kind encouraging words my dwindling effort regain. Thank you again and again and again. Penning the biography was a journey of adventure An arduous passage strewn with silly mishaps — unsaved texts, Misplaced files, a headache and heartache to trace Little nitty gritty fundamentals so basic yet complex For a novice such as I, fuddled-muddled so perplexed Then came two IT angels to save my soul and heart to console Constantly at hand at my beck and call, a role you boldly hold To solve the slightest nightmarish problems I hated to forestall.

With dutiful patience you ushered me out of my misery Righting small errors, big errors with ease and mastery Teaching me computer tricks! Behold everything’s easily fixed Inserting footnotes, “aha” the “miraculous” that did the trick To them I am indebted and deeply gratified with pride For one is my daughter Yohanna, affectionately Mayang A choice pet name from Grandpa Zubir from young. Sister to Khairil, my first born, the next angel I called When his mother stumped, and by the computer trumped An urgent knock on his door to cure an ill so minor I recall Big or small, thank you both for answering my desperate calls. 190A Joo Chiat Place Once a humble abode where Zubir Said For three decades stayed, Where musical notes floated in the air, And musical scores everywhere Now a secreted treasure unveiled A humble place transformed, given a new face Zubir Said’s life and work immortalized Collectibles and memorabilia Saved for posterity and generations to gaze Honorable Judge Rahim Jalil unfazed Did it all — in the annals of time placed 190A Joo Chiat Place judiciously in grace Our gratitude Hon. Judge, to you all due praise. Juliana Lim, Arts Enthusiast and Advocate I have the privilege to meet and befriend From the 1980s a friendship entrenched You show me care and support that inspires When yours truly had much to aspire You came to my aid and together we conspire. A book Zubir Said: His Songs you create In quick time, with Berita Harian, it emanates In commemoration of Singapore’s 25 years of victory With foresight and a mission, to mark in history The gifts of a silent unsung hero, a man of simplicity A touching tribute to Zubir Said’s memory.

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SEKAPUR SIREH Setitik tinta sebaris bahasa, titisan peluh membasahi usaha Namun, tiada sempurna curahan kata, tiada kelopak dan bunga Tanpa desakan ikhlas mu setulus hati menggapai otak fikiran ku Ke alam emosi; rencana kian mengalir ilham bersemi. Selautan budi jasamu ku kenang, Safiah Osman biduanita bukan calang Mu lahirkan inspirasi nun dari pelusuk hati murni mu Suntingan di celah celah naskah biografi ayahanda tersayang Osman Rani suami Safiah tercinta, teknologi canggih kepakarannya, Nyata, terpaksa terlibat, sama menabur bakti via komputer sendiri Allah SWT lah memberkati mu berdua; kelu lidah ku berkata Kerana sebak, sesak penuh kasih sayang di dada. Kesilapan kecil dan besar bertaburan tiada dikesan Dengan empat mata ku pun terpintas lalu Hanya ketelitianmu, mengecam koma dan nokta, Ejaan dan nahu merata bercelaru Dikesan oleh mu Khairiah Ahmad teman intim sejati ku. Perhatian terperinci mu sungguh berharga, Ucapan terima kasih ku tak terhingga.

Ayahanda Zubir pencipta lagu, prosa dan seloka Menyumbang ilmu menghiasi wacana bangsa Tertera bagi semua pencinta lagu dan seni Haus ingin mencungkil melayari inspirasi, Sukar oleh yang buta musik, seperti ku, mentafsirnya Tanpa celik akal seorang, Fakhariah, Pye samarannya, anak kedua Datok Lokman Musa, Musikologi kehandalannya, seiring selagu dengan Pak Zubir Musik mereka unggul tanpa cemaran Bersifat tradisi tak luput ditelan zaman Terima kasih Cik Pye, aunty khabarkan Penjelasan mu pembuka hati dan minda Lembaran coretan yang pudar di ingatan Kepada intipati catatan Papa yang kian terang.

Siti Zainun, Sulaiman Jeem, Ghani Hamid, Sapiee Ahmad kebangaan negara, merakam madah pujian menjulang Dalam lipatan lipatan madah mu semua tersulam Kata hikmah menjunjung tinggi pakar seni ibu pertiwi Allahyarham Zubir Said bertuah badan, megah berdiri Syabas hai pujangga satria! Anugerahmu ku hormati Kan ku rakam dalam sanubariku hingga akhir hayat menanti

Adinda Salmah, seluruh keluarga, anak cucu, adik-adik pun jua Berkat keturunan ayah dan bonda, Sidin dan Hawa Keluarga istimewa tiada bandingannya Air dicencang takkan putus, Kasih Ilahi terus menerus Asam di darat, garam di laut dalam belanga sentiasa berpaut Berpaut sesama, budaya kita, susah senang jadikan pahala Sunnah Nabi saw dipelihara, silaturahim di antara kita dijaga. Prihatin dan bakti mu tanpa jemu sumber kebahagian Mama dan Papa Allahumma salli ‘ailaihim; Allahumma salli ‘alaiha, Bak permata intan di mahkota, jatuh sebiji sukar diganti Patah tiada tumbuh, hilang tiada berganti, Jasa mu semua tetap bererti, kasih mu menggunung tinggi, Terima kasih ku, selautan pun takkan mencukupi.

Soeyono, Noryani, Amin, Iskandar Mirza adik anak tersayang, Jauh di seberang jauh lagi Jono di negeri orang Alhamdulillah, mempesakai warisan koleksi Ilmu Kakek tunjangan abadi terbentang luas dinikmati Paduan musik cekap berlilit dijari, bunyian seni dan seri hati Kepada adinda dan anakanda, Kakek menumpang, belaian kasih berpanjangan Terimalah ungkapan terima kasih nan tak terbilang.

Maryam Andy adiak Minang tulen Sarumpun jo Pak Tuo, gadang di rantau urang Elok rupo manih di caliek sayangnyo alah bapunyo Buku langkok bahaso Minang sangaik baguno, Diagiah sarato di tarimo balandas kasiah sayang Mangasah bahaso manjadi kawan sapanjang zaman Syukur Alhamdulillah, tarimo kasiah adinda sayang Ado tampek batanyo, mancukia kapandaian Maryam

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Bahaso Minang uni alah lupuik di ingatan Maalumlah alah lamo indak babahaso Minang. Zaharah Salleh adiek juo dari Minang Elok bahaso manih di pandang bacampua riang Pandai bacarito al kisah lamo Pak Tuo Baraja piano tiado salero, manangih sajo, cari Mak Tuo Carito lamo amek lucu membuek uni tagalak sajo Manggalitiak diri tagalak, ubek sakik kapalo. Tapi kini panjang langkah jadi guru bahaso Suko dek murik2 tuo dan mudo. Danau Singkarak bakuliliang gunuang Aianyo dalam tampek kapa balabuah, Indak sampai, uni manyilam Budi mu badua amek dalam Bak kato papatah Nan kuriak lundi Nan sirah sago Nan elok budi Nan indah bahaso — ikolah sipaik tapuji adiek baduo. Bagitu juo sipaik Ade sekeluargo Pak Zubir, perwira musik sanjungan tua dan muda pada eranya Contoh dan teladan bagi mereka yang senada, sealiran, serasa, Seimpian dan seilham menjiwai hati nurani insan, jauh lebih muda Raja Mahafaizal, Trabye nama samarannya sama perjuangan Mendokong cita rasa budayawan Melayu sejati di hamparan dunia Pemusik handalan disukai ramai, penggubah lagu beraneka Usaha mu berlipat ganda menyediakan CD kumpulan nada Music lama dan baru Allahyarham Zubir, perwira bangsa Budi baik mu menolong ku, tersemat di kalbu tiada luntur oleh masa.

Asiah Aman biduanita terkenal dicorong mikrofon dan perfileman Isteri tercinta Ismail Kassim, ibu kebanggaan icon musik, Iskandar Mirza Kedua ayah serta bonda pelakon veteran dan penyanyi pujaan masa Nona Asiah nama “glamour” nya, diberi Pak Zubir ketika rupawan Suaru merdu bak buluh perindu, ayunan burung bulbul berkicauan Melagu cinta di ambang bulan mendayu merindui mawar merah menawan Dari mu, cerita lama Pak Zubir terkupas satu persatu, Pak Zubir mentor mu dari kecil hingga bintang di langit kecapaian Kini usia lapan puluh tahun kata mu! Namun wajah mu gah menyerlah Syukur, Alhamdulillah, kita dapat bertemu bersembang lama kisah dulu Terima kasih bertalu talu sejarah Papa disingkap jadi bahan buku ku Semoga Kak Nona terus direstui Allah, panjang umur sihat selalu. No writing is the solitary work of an individual It’s the culmination of many caring, helpful people. To many more I owe my deep gratitude for Making my journey fruitful to its final closure. Many at ISEAS helped: Rahilah Yusuf, Senior Editor, for her tireless effort. She spent hours poring over the manuscripts. Norshahril Saat and Nurhidayahti Md Miharja who assisted in the research and executed much mundane work and did a great job at it. Mrs Y. L. Lee, Head of Administration, and many others. To all those who care and knew Papa and Mama, and have helped in the writing of this biography, I thank you all. This book is your book. I dedicate it to you all. There are persons whose names I have perhaps inadvertently left out. I do apologize and thank you all.

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Prologue Majulah Singapura (Onward Singapore) mirrors the patriotic fervour of the composer, who earnestly wished to infuse the future generations of Singapore with a sense of urgency to work towards a progressive and dynamic, post-independent nation. It was his deep conviction and emotional drive which led, more than fifty years ago, to the birth of the country’s national anthem. Such were the prophetic thoughts he documented then. Although it is said that our country and our people are no t as yet independent in the true1 sense of the word, we will work optimally towards such true independence. We will think forward, of success, so that we can achieve true independence faster. The ways after independence: Before, straw was discarded, now it becomes paper. Before, scrap iron was thrown away, now it becomes a commercial commodity. Before, we throw away chicken fluff, now it becomes mattresses and pillows. Before, seaweed was only for food, now it becomes film, medicine, etc. Before, time was wasted, now time becomes very valuable.2

My late father, Pak Zubir Said, as he was affectionately known to one and all, was a man in a hurry. He was in great haste to see Singapore emerge as a truly independent country. To him time was the essence of everything and time was such a valuable commodity. He was clear in his thoughts and his vision that the country needed to forge ahead and work with courage and fortitude towards achieving independence in the true sense of the word. To this end, he encapsulated, in the Singapore anthem, aspirations and dreams of a people, calling them to rise and move forward in unity. But in this endeavour, Papa had to traverse a stormy journey. The highs and lows in my father’s life were linked to the national anthem of Singapore, Majulah Singapura. In composing it, he experienced both elation and despair.

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Meu

N otes

1. True independence came to Singapore in 1965. Majulah Singapura was composed in 1958 and was adapted to become the national anthem in 1959 when Singapore became a self-governing nation. 2. The original Malay version of these prophetic words: “Walaupun bangsa kita dan negeri kita dikatakan orang belum sempurna merdeka, tetapi kita akan berkerja sesuai dengan kemerdekaan yang sempurna. Kita akan berfikir lebih maju supaya kesempurnaan tercapai lekas. Cara sesudah merdeka:

Dulu jerami dibuang sekarang jadi kertas



Dulu besi buruk dibuang sekarang jadi bahan perdagangan



Dulu bulu ayam di buang sekarang jadi tilam, bantal



Dulu agar-agar hanya untuk dimakan sekarang jadi filem, ubat, kertas dsb



Dulu waktu dibuang-buang, sekarang waktu amat berharga.” Source: Private Collections.

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Palau Weh Palau Breuch Banda

Langsa

Aceh

Meulaboh

Karo Batak Highlands

MALAYSIA

Medan Berastagi

Kuala Lumpur

Lake Toba

Pulau Simeulue

Dumai

SINGAPORE

S U M A T R A Pulau Nias

Bangkinang

Tilatang Bukittinggi

Pulau Lingga

Indragiri

Pulau Singkap

Kerinci

Padang Pulau Siberut

Riau Archipelago

Pekanbaru

Lampung

Jambi

Bangko Mentawai Islands

INDIAN

Bengkulu Manna

OCEAN Pulau Enggano

Pulau Bangka

Palembang Pulau Belitung

Lahat Danang Ranau

I N D O N E S I A

Bandar Lampung

Java Sea

Bakauheni

Jakarta

J A V A

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Chapter 1 The Birth of an Anthem and Challenges to Overcome

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A Theme Song for the City Council and the Birth of an Anthem The mayor of Singapore, Ong Eng Guan,1 having heard my father’s moving patriotic songs2 recommended that Papa be invited to compose a song for the City Council. On 10 July 1958, my father was pleasantly surprised to receive this invitation from H. F. Sheppard, secretary to Singapore’s City Council, City Hall, at that time. The song, to mark the grand opening of the Victoria Memorial Hall, Victoria Theatre, on 6 September 1958 was to carry the theme Majulah Singapura or “Onward Singapore” with the lyrics in Malay. In preparation for this auspicious event, Victoria Theatre had been mystically bedecked in bright lights, with the glittering words Majulah Singapura3 spanned across the imposing building. When Papa saw Majulah Singapura in sparkling lights across the façade of the theatre, he was deeply moved. That July night was a spiritual experience for him. It touched the very core of his soul. So inspired was he that he completed the composition in two weeks with some help from friends. He consulted with Paul Abisheganaden4 on the music and Muhammad Ariff Ahmad5 on the lyrics. Both gave invaluable advice and so the original Majulah Singapura for the City Council was created. Opposite: A picture of pride showing Zubir Said wearing the Public Service Star medal, an award bestowed on him in 1963 for composing the Singapore national anthem. He was also conferred the Certificate of Honour (Sijil Kemuliaan) on 16 March 1963.

Formal invitation to compose the music and lyrics for the City Council, Singapore, on the theme Majulah Singapura in Malay in conjunction with the opening of the Victoria Memorial Hall, 6 September 1958.

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In the meantime, Singapore was making history. On 30 May 1959, the People’s Action Party (PAP) won the first general election for a fully elected government and from June 1959, Singapore became a self-governing nation with Lee Kuan Yew as the first prime minister.

The original City Council version of Majulah Singapura in number notations.

Self-rule meant that the young nation state needed symbols6 that would provide Singapore with its own identity as endorsement of its presence and mark in the world. Symbols would also be the unifying force of all Singapore citizens as one nation. The former deputy prime minister, Dr Toh Chin Chye,7 explained the need for national symbols. They were necessary symbols … since although we were not really independent in 1959 but self-governing, it was necessary right from the beginning that we should rally enough different races together as a Singapore nation.

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One of these symbols was the national anthem. In 1959, when Dr Toh Chin Chye was searching for an anthem for Singapore, he expressed interest in Majulah Singapura. He felt that the patriotic rendition of the song and its lyrics that expressed the very aspirations of Singaporeans would be appropriate for a Singapore state anthem. Yap Yan Hong, superintendent of the Victoria Theatre and Memorial Hall, was given the task of informing Papa that the Government of Singapore intended to use Majulah Singapura as the national anthem of Singapore, and that it had the unanimous agreement of the then Legislative Assembly. At its meeting, on 11 November 1959, it was confirmed and declared that Majulah Singapura was to be the Singapore state anthem. This became instant news. Papa was ecstatic. On 20 November 1959, Papa thanked the Government of Singapore in a declaration written in both Malay and English.

Zubir Said expressing gratitude to the Government of Singapore when his Majulah Singapura was declared the national anthem of Singapore.

To the Government of Singapore I am indeed greatly honoured that my humble composition, entitled ‘Majulah Singapura’ has been graciously chosen and accepted as the state anthem of Singapore with the kind and unanimous approval of the Singapore Legislative Assembly on 11th November 1959. It is my ardent wish that the state of Singapore and its peoples may fare well and prosper ever united in the new spirit of one solid community as embodied in the state anthem: Majulah Singapura. Zubir Said Singapore 20 November 1959

After the unbelievable high of having his song chosen as the national anthem, Papa came back to earth. The project was not without its problems. The anthem had begun to be sung in schools in the subsequent weeks.

A letter complaining to Mr S. Rajaratnam, Minister for Culture, that the anthem was shortened without his knowledge.

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Much to his bewilderment, Papa discovered that the anthem had been shortened without any consultation with him. He despaired, but was not crushed. He wrote to Mr S. Rajaratnam, Minister for Culture, on 14 October 1959. Dear Mr. Rajaratnam, Two days ago I’ve got one of the copies of MAJULAH SINGAPURA (the short version) which were distributed to the schools. I am very sorry to say the way it was treated to make the composition shorter, is wrong and spoils the composition; and it may affect our reputation as well. We all will be ashamed to have an anthem which is out of musical form. But yet it is not too late to put it in the right way if a short version is needed. Being the original composer of the song I am at your service to discuss the matter and do something about it. Yours sincerely, Zubir Said

Subsequently, with devotion and care, Papa successfully shortened the anthem — Majulah Singapura was born and awaiting its debut. However, the process was far from easy. Recounting his thoughts on writing the anthem, Papa said:8

The grand Strohmenger piano on which Zubir Said composed Majulah Singapura. It inspired hundreds of music compositions and nurtured musical aspirants. The prized piano graced the National Museum between 3 June and 22 August 2010 to commemorate “The Roaring Sixties”. Source: SPH — Straits Times, 1 June 2010 .

It is not easy for me to compose a short and simple song the words and music of which should contain the spirit, unity and progress of the people of Singapore. It is not a commercial song nor a romantic song. To me it is a prayer. The difficulty is, in such a short melody, I have to put in all the words in very simple [language] … it must be very simple, understandable for all the races in Singapore. So that takes long. Not the music but the words take long. I got to be very careful. So I consulted also an author in language, in Malay language so that I can do it in proper Malay language but not too deep and not too difficult.

At first, Papa lacked the confidence and felt inadequate for the huge task ahead of him; he thought his

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Zubir Said, the Composer of Majulah Singapura

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One of many drills and rehearsals in readiness for the debut of Majulah Singapura at the installation ceremony of the first Yang di-Pertuan Negara, 3 December 1959. Source: SPH — Straits Times, 27 November 1959.

anthem could not match the grand anthems of the world. He could not help but articulate his thoughts aloud that: 9 … most of the older national anthems are grand and full of majesty. I was determined to be different — to compose an anthem which is stirring to our youth and embodies the spirit of challenge.

To Papa’s great delight, the uniqueness of the Singapore anthem was recognized by a journalist writing on the world’s national anthems. Her review was reprinted in the New Nation on 3 April 1972. She noted that:10 Singapore’s anthem, composed on commission soon after the present government came into power in 1959, does not fall into any of these categories. Instead it sets out the national objectives of unity, prosperity and success.… The anthem has been described by members of the government (Singapore) as neither predominantly Malay, Chinese, Indian or Western. Just a bit of everything.

International recognition of the anthem also came from an admirer in the person of a German composer, Von Banda, who came to Singapore. So attracted was he to the anthem that he recorded it in Berlin in 1961.11 Obviously before its debut, like most anthems, Majulah Singapura had to undergo some rigorous fine tuning, and many drills and rehearsals. One such rehearsal comprised sixty teachers and ten thousand school children at the Singapore Military Forces Headquarters in Beach Road. Besides this, a brass band of the Singapore Military Forces recorded the anthem and this was released during loyalty week.12 The occasion was significant too for Paul Abisheganaden, who was given the honour to train and lead three hundred schoolchildren from Malay, Chinese, Tamil and English schools at a rehearsal at the Canning Rise Cultural Centre.

The Birth of an Anthem and Challenges to Overcome

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Finally, the much-awaited moment arrived. Precisely, at 10 am on Thursday, 3 December 1959, Majulah Singapura made its debut. It was sung for the first time officially as the national anthem on the day the first Malayan-born Yang Di-Pertuan Negara, Singapore’s Head of State, was installed. Papa must have felt triumphant and we all felt great pride for him, needless to say. For mama especially, who had been a tower of strength for my father, the moment filled her with immense pleasure and gratitude to Allah swt.13

The final original score of Majulah Singapura that Zubir Said had shortened and improved and was declared the national anthem by the Legislative Assembly, Government of Singapore, on 11 November 1959.

Thousands of loyal citizens jammed the Padang14 to welcome the dawn of a new era. The entire Padang resonated with the reverberations of the anthem that was sung with great gusto. To say the least, the nation state was engulfed in an indescribable mood of jubilation, happiness and pride. Imagine! One

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Zubir Said, the Composer of Majulah Singapura

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could even just dial number 2 or 3, pick up the phone, and learn the anthem. A ring tone, at that time, was certainly a technological novelty. Even my little three-year-old brother remembers his fascination when listening and learning Majulah Singapura from the telephone — he was dialling the numbers over and over again. Papa had arrived. With a pounding heart, he stood tall sharing a little of the limelight accorded to Yusof Ishak, the new Yang di-Pertuan Negara and Lee Kuan Yew, the newly appointed Prime Minister. His composition was widely acclaimed and publicly lauded. He walked in a cloud of compliments and best wishes. Papa was affectionately described as the man “who wrote Singapore’s stirring new anthem”15 and “the quiet man who makes lasting music”.16 But most touching and memorable of all, the occasion was very poignant and significant for Papa personally. His great happiness and pride as the composer of Singapore’s national anthem was only surpassed by his joy to be reunited with his 101-year-old father for whom he had great love and respect, but from whom he had sadly been estranged for thirty years. Instead of choosing to be a village chieftain like his father, he chose to defy him and move to Singapore to chase a dream. While his father may have had no appreciation of music or the arts, Papa knew that for better or worse he wanted to be nothing else but a musician. It was his unspoken promise to achieve fame one day and win his father’s heart. It was time to heal “wounds” and to make amends. so Papa sent my mother to Jakarta to personally invite and accompany my grandfather to attend the investiture of the Yang di-Pertuan Negara. Fortunately for Papa, Datuk Said condescended and came. Papa fondly remembered his father on this occasion.17 I send my wife to Jakarta. She brought him here. He (my grandfather) was guest of Mr Rajaratnam. He was put on the top floor of the City Council, sitting together with Mrs Rajaratnam, but unfortunately my father could not speak English, could not speak Malay, speak only Minangkabau. So he give only signals, gestures and so on with his hands.

Three-year-old Soeyono Zubir listening in amazement.

Q: How old was your father?

Singapore Telephone Board sponsored ringtone service.

At that time, 101. I cannot reach 101! (laughing) You know, he can walk from my place Joo Chiat Place, he walked for prayers to the Sultan Mosque.

Source: Singapore and Malaya Month to Month, December 1959.

Source: SPH — Straits Times, 4 December 1959.

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A labour of love to produce the best state anthem that was neither Malay, Chinese, Indian or Western, just a bit of everything and stirring. Source: National Archives of Singapore.

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So after the ceremony we went upstairs, including Othman Wok, who was the chief of the Utusan Melayu and all the other Press also. So then I ask my father (in Minang dialect), “What do you think now?” He said “You are right, I was wrong. I was too orthodox at that time.” He said now he is starting to love music. “Good. So what do you think of the ceremony?” “Maybe this is the first and the last time,” he said “because I am now 101.” After that he embraced me. And of course I am glad and sad also. I have tears but I thank God that it is all over now. As if I throw one stone to kill two birds. In the first place, I conquer the heart of my father, secondly I reach the top of music career, I mean to say that’s all I can do, that’s all.

It was almost a soliloquy when he uttered those few last words. He felt he had reached the pinnacle of his career and that was all he could do. Little did he anticipate how much more he was going to do. For now, he felt he was able to atone for his sin towards his father for entering the wondrous world of music. His father forgave Papa — what father would not be proud to stand beside his son, looking proudly at the raising of the national flag, and hearing the entire nation sing a song that was composed by none other than his own long-lost flesh and blood. It was also clear the bond of affection and understanding between them had never really been severed. According to Mama, Kakek18 looked at Papa through red-rimmed eyes full of affection and fatherly pride. The feelings between father and son must have been intensely profound — mutual feelings that brought tears to their eyes.

Zubir Said Explained His Anthem In 1975, Papa was invited as the guest of honour — being the composer of the national anthem — to address a group of students on the tenth anniversary of the republic. In his address, he explained that he composed Majulah Singapura in 1958 when “Singapore was not a feudal country”. To him, the prevailing strength of the country was particularly “the people and their lives”. He went on to explain at great length that it was the people who inspired him. This inspired me to write the lyrics dedicated to them (the people). Hence the reason why the first line of Majulah Singapura begins with: “Mari kita rakyat Singapura” (Come, we the people of Singapore).

At the Investiture of Yusof Ishak, Yang di-Pertuan Negara, Singapore, 3 December 1959. The poignant reunion between father and son estranged for thirty years. The anthem Majulah Singapura brought father and son together.

Throughout the lyrics of the anthem, you don’t find anything about a King or Queen or Sultan and also not about a President or a Prime Minister. Because it is an anthem of the people and the State of Singapore. Singapore is a new country with a population of different racial origins. The people must be together with solidarity to be able to create a prosperous Singapore.

Source: SPH — Straits Times, 4 December 1959.

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The 2nd line of the lyrics says: “Sama-sama menuju bahagia” which means “Together we march towards glory”. Glory should come if the people achieve to make Singapore prosper. So the next line which says: “Chita-chita19 kita yang mulia, Majulah Singapura” means “Our Noble Aim is a Prosperous Singapore”. So the people should possess the will to work hard, to respect each other, to march hand in hand as equals and to unite with a new spirit to create a new Singapore. Then we would call with one voice: Majulah Singapura. Hence the refrain of the Anthem. Refrain: Correspondence between the Director of the National Museum and Zubir Said, 29 December 1978 to 5 January 1979.

Request for an original copy of Majulah Singapura for the History of Singapore Gallery.

Zubir Said donated two copies of the music score and lyrics of Majulah Singapura and one copy of Semoga Bahagia.

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Marilah kita bersatu

I will read the whole lyrics:

Let us unite

Dengan semangat yang baru With a new spirit Marilah kita berseru

Let us together proclaim

Majulah Singapura

Majulah Singapura

Majulah Singapura

Majulah Singapura



Mari kita rakyat Singapura



Sama-sama menuju bahagia



Cita-cita kita yang mulia



Berjaya Singapura



Marilah kita bersatu



Dengan semangat yang baru



Semua kita berseru



Majulah Singapura



Majulah Singapura.

Acknowledgement letter with ‘Receipt for gifts’.

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The tune should be simple, easy for everybody to sing, and the mood should be neither predominantly Malay, Chinese, Indian, or Western. A stirring rhythm is required to make the anthem sound patriotic. Those were the general ideas and ingredients for me to write the anthem — simple, easy, stirring, and appealing to all Singaporeans, inspired by the people and the life in Singapore. So, we can conclude a philosophy for the anthem No 1 – Identity

Keperibadian



2 – Equality

Persamaan



3 – Unity

Kesatuan



4 – Progress

Kemajuan



5 – Prosperity Kemakmuran

Papa concluded his address to the students thus: Dear Students, Majulah Singapura is my contribution to the people and the State of Singapore with the message that to achieve a prosperous Singapore, the people, without discrimination of race or religion, should be together, work hard, study hard, be patriotic and loyal to Singapore.

Proposal for a new anthem to replace Majulah Singapura in the Straits Times, forum section. Source: SPH — Straits Times, 12 August 1986.

Allow me to quote our Prime Minister, Mr Lee Kuan Yew who said: “The object of the state Flag, the state Crest and the state Anthem is to evoke in the hearts and minds of our people, feelings of loyalty and unity towards the State of which they are constituent members.” We have just celebrated the 10th Anniversary of the Republic of Singapore on 9th August 1975. Today is the 25th August 1975. I think it is still not too late to wish and salute you with our national greeting, Please repeat the words after me, MAJULAH SINGAPURA!20 Zubir Said 25 August 197521

In the typical Zubir Said patriotic manner, Papa ended the delivery of his speech with the salutation “Majulah Singapura!”.

Majulah Singapura Faced Challenges To date, Majulah Singapura has served the people of Singapore for over fifty years. It is still being sung with patriotic zeal and pride. It has graced many important events locally and around the world in its diplomatic capacity. It was bellowed distinctly, as the Singapore flag flew proudly, honouring the victorious Singaporean athletes at the Olympics and the Commonwealth Games.

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Yet, there were voices of dissent. Why? The maturing period of Majulah Singapura seemed fraught with many challenges. The first challenge surfaced twenty-seven years after the birth of the anthem, on 12 August 1986. In the Straits Times forum section, a gentleman, Tan Hung Liang, proposed a new anthem, in English, for Singapore. He wrote: It seems appropriate now for us to review our national anthem. Right now “Count on Me, Singapore” looks like a winner. I have heard kids between four and five singing the song. The main thing is that they know the meaning of the words. They sing them with pride and dignity. Adults too have a certain feeling of patriotism when they hear the song. Moreover, it is in English and therefore “universal” to all Singaporeans. It should be our national anthem.

GO magazine (August 1986 edition)22 saw the opportunity to steal some thunder by printing a heading accompanying the music score and lyrics of the song. The caption boldly stated “Count On Me Singapore — Our New National Song”. It was possible, for a moment, that this pretentious new national song might have been thought to have replaced Majulah Singapura. Readers might have been momentarily confused. Singapore was suddenly swept in frenzied excitement. A wave of new pop songs ascribed as “national songs” took Singapore by storm. These songs, no doubt, were perceived to “woo the young”. In Papa’s mind, the tunes appealed to the young because of the happy melodies, but for him it was a deep disappointment. Not without protest he said: National music and songs have peculiarities of style that arise from the cultural heritage and express the spirit of its own country differentiating it from that of other countries.23

The song Count On Me, Singapore that cost its sponsor, soft drinks bottler Fraser and Neave an estimated $500,000 to produce, had caught the attention of the young masses. However, there were mixed reactions to the song being labelled a “national” song.24 Paul Abisheganaden was of the opinion that: These (new pop songs labelled “national” songs) are easy going tunes couched in everyday language and music. They’re not really national songs, but rally calls which evoke pride and love for Singapore. I still think that a national song is essentially a patriotic song which should evoke very strong feelings for the nation.

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While they may appeal to the pop-oriented younger generation, it is more difficult to recall the melody. In time to come, these songs may well reflect the recessionary times but whether they will go down in posterity, I do not know.25

The second challenge came in 1991. The issue of the language of Majulah Singapura reared its ugly head again — this time by a group of “six grass root leaders and a lawyer”, Lee Bon Leong. Part of the news in the Straits Times, 22 July 1991, read:26 The issue was raised by lawyer Lee Bon Leong who noted that he was asking a “trivial” and yet “sensitive” question in asking for a change of the national anthem because of changes in the language situation here. But he felt that “adjustments” had to be made to the national anthem, as many Singaporeans now did not understand Malay and thus did not have “strong feelings, or strong sense of emotion” when they sang the anthem.

To my mind, a “sensitive” issue cannot ever be “trivial”. By this time, Majulah Singapura had been sung patriotically for thirty-two years. Have Singaporeans been experiencing a stupor all these thirty-two years? Only to wake up to the realization that they now do not understand the language of the anthem? What did my father do to the people of Singapore — the people he loved and respected and would die for? Majulah Singapura had become the subject of public scrutiny again after thirty-two years. Why? Was there a political agenda shrouding the anthem? Papa was a true Singaporean. He had been, since 1967, a fully-fledged citizen — with a certificate to show for it. However, when he composed Majulah Singapura for the City Council, he was not even a citizen, but it was with a feeling of belonging and loyalty that he penned those patriotic words that carried Singapore through the difficult march of time to reach world ascendancy today where Singaporeans are proud to belong. It was destiny that brought him to the shores of Singapore in 1928 when he was only twenty-one years old. Before embarking on the journey, life in Sumatra was simple and peaceful, although it was not all sunshine. He learned a great deal about how to be independent, self-reliant and resilient in the face of all odds. He was prepared to face whatever challenges and difficulties life had to offer him. He felt he had the mental strength to move on. Brimming with optimism he sailed the high seas in search of an adventure. Here is the story of Papa’s chequered early life.…

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Right: Zubir Said looking pensive. After thirty-two years of singing Majulah Singapura, Singaporeans could not understand the song and could not feel any patriotism singing it. Zubir Said was puzzled and disappointed.

Zubir Said, the Composer of Majulah Singapura

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Notes

  1. Ong Eng Guan was one of the pioneer members of the People’s Action Party (PAP) and was well known among the Chinese community in Singapore. In the 1957 City Council Elections, when the PAP won the election, he was appointed mayor for two years. In 1959, when the PAP won the General Elections, and Lee Kuan Yew became the first prime minister, the City Council was scrapped and Ong Eng Guan became national development minister. C. M. Turnbull, A History of Modern Singapore 1819–2005 (Singapore: NUS Press 2009), pp. 269–77.   2. On 7 July 1957, ten national songs were showcased at the Victoria Memorial Theatre. Eight of these were patriotic songs by Zubir Said. As mayor of Singapore, Ong Eng Guan was invited to this event.  3. These two Malay words, meaning “Let Singapore Flourish”, adorned the Victoria Memorial Hall, in conjunction with its official opening. Zubir Said was commissioned to compose a theme song reflecting the essence of these words. The theme was to be in Malay for historical reasons. Singapore was a part of the Federation of Malay States and Malay was/is its national language. When the Federation of Malaya became independent in 1957, Singapore acquired self-rule under the Federation. Subsequently, Singapore achieved full sovereignty in 1965. Under the Republic of Singapore Independence Act of 9 August 1965, the four official languages of Singapore were designated to be Malay, Mandarin, Tamil and English, and the national language Malay, in Roman script.   4. Paul Abisheganaden, 1914–2007, was an illustrious musician in Singapore, affectionately referred to as Singapore’s Old Man of Music. In 1958, he conducted the Singapore Chamber Ensemble in the first orchestral performance of Zubir Said’s Majulah Singapura, which later became the national anthem. (Chang Tou Liang, “Paul Abisheganaden”, Singapore Infopedia, National Library, 9 July 2008.)   5. Award-winning writer, editor and former lecturer Muhammad Ariff Ahmad (b. 6 December 1924, Singapore), a.k.a. Mas, is a prominent expert and activist of the Malay language and culture in Singapore. (Nureza Ahmad, “Muhammad Ariff Ahmad”, Singapore Infopedia, National Library, 15 July 2004.) See also Raman Daud, Perjalanan Mas (Singapore: ASAS 50, 2003).   6. The first three national symbols — the national flag, state crest (national coat of arms) and the national anthem — were unveiled during the installation of Encik Yusof Ishak as the first Malayanborn Yang di-Pertuan Negara (Head of State) on 3 December 1959 at the City Hall Chambers. The National Pledge was written in 1966, a year after Singapore declared full independence. The national flower and the lion head symbols were introduced in the 1980s. The National Symbols KIT (Singapore: Education and Outreach Division, National Heritage Board, 2009).   7. Dr Toh Chin Chye, 1959. Education and Outreach Division, National Heritage Board, 2009.   8. Zubir Said, Oral History Interview, 13 September 1984, Reel 4 (Singapore: National Archives).   9. Ibid.

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Zubir Said, the Composer of Majulah Singapura

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10. “Arising, blessing and smiting meant to stir the soul”, New Nation, 3 April 1972. Reprint from an article in the Washington Post by Judith Martin: The term “any of these categories” refers to the style and content of national anthems, which, from the point of view of the journalist, was different from the norm. The norm of world anthems might range, historically, from militaristic rhythms of the people to eastern anthems harmonized with western style, some of which tapped the expertise of foreign advisers and native musicians who received training in Europe, or showed heavy reliance on the musical and ceremonial heritage from colonization. In the 1960s, the writer observed that world anthems could be categorized as having emerged from military call-to-arms, folk tunes, hymns, or praises to kings’ effort and heroes, devotion to heritage, devotion to ways of government, devotion to scenery and devotion to undaunted optimism. But Majulah Singapura is none of the above. 11. “The quiet man who makes lasting music”, Straits Times, 18 October 1983. 12. Loyalty Week: 3–9 December 1959 to celebrate and commemorate self-rule. 13. swt: Subhanahu wa ta’ala, an Islamic Arabic phrase meaning “Glory to Allah or God”. 14. The Padang is an open field. In Singapore, it is in front of the original City Hall and Supreme Court. It is also where the first National Day Parade was held in 1966, to be followed by many such major national events over the years. 15. “Meet the Man Who Wrote Singapore’s Stirring New Anthem”, Straits Times, 6 December 1959. 16. “The Quiet Man Who Makes Lasting Music”, Straits Times, 18 October 1983. 17. Zubir Said, Oral History Interview, 21 September 1984, Reel 16 (Singapore: National Archives). 18. Kakek means “grandfather” in the Minang dialect. 19. Chita-chita: Aspirations. This is the old spelling before Indonesia and Malaysia mutually agreed to synchronize the spellings of their common words. The new spelling is cita-cita. “c” is now pronounced as in “ch” before the change. 20. At the request of the director of the Singapore National Museum, the original music score of Majulah Singapura, the anthem, has been donated to the National Library as a historical document which, according to the director at that time, represents “a unique part of our (Singapore) history and cultural heritage”. Republic of Singapore, Receipt for Gifts, No. 26434. 21. Z ubir Said’s text of his speech to students on the anniversary of the nation state, 25 August 1975. 22. “Count On Me, Singapore — Our New National Song”, GO Magazine, August 1986. 23. Z ubir Said’s view of what constituted a national song and national music. Source: Private Collections. 24. See note 22. 25. “Zippy Tunes Help To Woo The Young”, Sunday Times, 3 August 1986. 26. “Trivial Issue of National Anthem Sparks Intense and Frank Debate”, Straits Times, 22 July 1991.

The Birth of an Anthem and Challenges to Overcome

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Chapter 2 Headlong into Adulthood

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Early Childhood and Adolescence My father was an elder brother to two brothers, Jacob and Ishar, and three younger sisters, Norma, Nuridjah and Nuriana. He had an elder brother who died at a young age. Papa was born on 22 July 1907 to Mohamad Said bin Sanang, a penghulu adat1 of Tilatang Village, Bukittinggi, Sumatra. His father worked with the railway company as a train conductor and his designation in his village was Datuk Rajo Nan Panjang. Datuk Said was a much-respected man in Bukittinggi.

Opposite: Zubir Said’s father, Mohamed Said bin Sanang, Datuk Rajo Nan Panjang. At 101 years of age, his vision was 20/20 and he walked 6 miles from Joo Chiat Place to the Sultan Mosque for Friday prayers. Young Zubir was to have inherited the Datukship according to tradition but he preferred to be free.

It was apparent that Papa loved his father dearly. During an oral history interview, with nostalgia he remembered his father and how he came to be the chief in charge of four other penghulu. … father was elected head because the other heads of the villages were illiterate. He went to school. He can write and read and he can talk. And then when a petition is to be made to the government, he can write. But he did not go to Dutch only Indonesian school. Before he went to school, he was already a datuk, but not yet the chief in the village. But he was a candidate for the chief. He went to school as an adult, his own way because he think[s] “now I’m becoming the chief so I must go to school.” Q: What position does a datuk hold socially? Just a title conferred by the villagers, like a recognition of leadership. Any man who can talk in the mosque, in the coffee shop, in the rice field. Father got strong personality, strong will, also. I remember him walking from [the] remote village to the railway station; that is 14 km; so he started after the morning prayers at 5 o’clock. He eat only hard cooked rice. He did not eat much meat like chicken; he eat more vegetables, that is why he is strong. When he read the newspaper, when he came here, he can read the newspapers without glasses. [My grandfather was then 101 years old] He looked after law and customs of Minangkabau. Under him there were four kampong chiefs — meet often every month, consider condition of kampong and rice fields irrigation. Involved in money matters. Dutch don’t interfere. Also involved in religious ceremonies.2

I remember Kakek — an endearing term in Minangkabau for “grandfather” — as a man of short stature and unassuming, but with a rather commanding personality. He had small eyes, but his vision was 20/20, right till the day of his demise. He was a grand old man whom I recall liked to sit in his favourite rattan chair in the corner of his living room watching the antics of his grandchildren, quietly enjoying their company. He would break into a chuckle from time to time, amused by what they were doing. In the short time I spent with him in Sumatra, I established a close bond with Kakek. He was truly special and much loved by all. In his village,

Headlong into Adulthood

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they addressed him as inyiak which is another term for kakek in the more traditional Minang dialect. From what he said of his father, I gather Papa was much like inyiak in temperament — “strong personality” with “strong will”. Papa was a “chip off the old block”. Physically, Papa was taller than inyiak but he was the spitting image of his father. Papa could have inherited his taller stature from his mother because, in a fleeting memory, Papa had described his mother as “a big fat woman who can cook well”. He sadly recalled that he did not remember much of his natural mother as she died when he was about seven years old. When his father remarried, Papa was jointly cared for by an aunt. In Minangkabau society, matrilineal influence was and is very strong.

Zubir Said in a family portrait. He is at extreme right in the front row. His father is flanked by Tarminah on the left and Nuriana, Zubir Said’s sister, on the right. Sutan Anwar, Nuriana’s husband, is at far left. Back row from left to right: Osman Gumanti, Matron Nuridjah, Zubir Said’s sister, Zubir Said’s daughter Zubaidah and baby, me (Rohana), Izhar, Zubir’s youngest brother, and Ruslim, Zubaidah’s husband.

Datuk Said brought up his children according to strict Islamic religious codes and Minangkabau tradition, but he also wanted his children to benefit from a good secular education. So, Papa was sent to a Dutch school which was expensive at that time. A Dutch education was highly regarded because it allowed for upward mobility and possible government employment. Few at that time had the means to send their children to such a school. But the young Zubir had other ideas about being educated in a Dutch school. He remembered when he was asked in the oral history interview:3

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Zubir Said, the Composer of Majulah Singapura

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Q: Did your father at any time say what he had expected of you children? He wants me to be an army officer, lieutenant, or corporal or captain (of the Dutch army) but I don’t like the idea, because that is his thinking. He thought, when I become an officer in the army I might get [a] medal from the Dutch because he got a medal from the Dutch because of long service. So he wants me to get in the army or [be an] administrative officer in Dutch office. At that time they say when you work for the Dutch you are an intellectual, civilized. At that time we are conscious already about being colonized by the Dutch, the young people, but my father didn’t realize that.

Obviously, Papa was not happy being in the exclusive Dutch school. The freespirited and highly principled young Zubir considered that education in Dutch was too elitist. While others saw the advantages of such an education, Papa saw it as a source of irritation. He could hardly conceal his resentment towards class and colour distinctions. There is no mistaking though that he did get on well with the Dutch children. He found them outgoing and friendly. Papa even went on picnics and scouting

Zubir Said pictured with his other sister, Norma, on his right and another daughter, Zuraidah, at extreme right. Norma, from Jakarta, was at the Sijil Kemuliaan award ceremony by the Yang di-Pertuan Negara.

Headlong into Adulthood

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activities with them. He appreciated their gesture of friendliness. Sadly, it was their colour-conscious parents who forbade them to mix with Indonesian children. This racial segregation was more noticeable at the upper levels than in primary school. So in most instances Papa found that:4 Dutch children do not mix with us. We are also afraid to mix with them. Dutch children don’t want to mix with Indonesian children.

Nonetheless, he was quick to acknowledge that he learned a lot about good manners and “courtesy” from the Dutch. This aside, Papa’s anti-Dutch sentiments might have been inevitable. Papa had strong reservations about the Dutch and this was hardly surprising. At that time anti-Dutch sentiments were beginning to be felt and flowed slowly throughout the country. However, like a good son, he struggled on, out of love and respect for his father. Of his early years, although he did not know the meaning of poverty, Papa remembered that life was hard going to school on foot – trekking 7 km daily – one way; living by kerosene light at night; and drawing water from the well. At home, he had to perform chores which might be unheard of amongst most children of today. Pensively, he reminisced:5 We, Indonesian children are used to walking. There was no piped water, no electricity. Water was fetched from the well. I had to perform work at home. I got to broom the surroundings, cut the grass and hedge, look after two horses belong to my father. The horses were for transportation — to pull a ‘sado’.

His English was not perfect most of the time, but quaintly understandable. Incidentally, in Minangkabau the term often used for a horse-drawn carriage is bendi. In recounting his early school days, Papa further lamented:6 At school there were no text books. It was difficult even to get a blank piece of paper. Everything copy from blackboard. There were no libraries, no private teachers. Difficult to carry on with studies. Also at home got no help in the studies. I got to be on my own all the time, not like now….

Having completed primary education between 1914 and 1921, he went on to middle school for another four years. Papa admitted that he was poor in mathematics but he enjoyed history — both Indonesian and Dutch. His interest and love for history was due to the influence of a school friend, four years his senior. Papa had only praises for his senior, that he was a very good student, presumably in

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Zubir Said, the Composer of Majulah Singapura

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history in particular; and that he was humble although he was “the son of a well-educated intellectual”. Papa greatly admired his friend’s intellectuality. It was strange that he tolerated Dutch history. He must have enjoyed any history of any given country because, for him, they were stories of the world in which he lived. Besides they afforded him knowledge of music, culture and the arts which he loved so much. Other subjects in the curriculum were Dutch language and English. He did not enjoy learning the Dutch language. He found it to be more difficult than learning the English language. He did not have a particular liking for literature as the

A sado or bendi. Hjh Ade and her husband Hj Rikhi Hendriadi kindly and creatively shot this picture against an old ruin in Padang. Rikhi was the supir i.e. driver of the bendi. Ade is at the extreme right with their two lovely lasses, Zalva Indra Dhiaulhaq and Zahra Ghaniyya Zeliq in the foreground. Source: Photo courtesy of Hjh Ade Nusyirwan.

focus was on all things Dutch. Clearly, literature did not give him any sense of empathy towards the Dutch. Rather, it exacerbated his anti-Dutch feelings. By this time, in the 1920s, in the face of rising Indonesian nationalism, inspired by the youth movement in Java, anti-Dutch sentiment in Bukittinggi was rife. It seemed to have spread to his school too, a situation that only served to fuel his dislike for the Dutch even further.

Headlong into Adulthood

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Once he played football against a Dutch team that ended in a broil because the Dutch students could not accept their defeat. Young Papa must have felt very gratified by their victory against the Dutch team. Much to my grandfather’s disappointment, Papa had no wish to become either an officer in the Dutch army or an officer in the Dutch administration. His love was music and it was his Dutch lady music teacher who recognized this and spurred him on. His penchant for music was evident from when he was very young. In primary school, he learned to sing by number notations from this teacher. She probably sensed Papa’s latent gift for music and took it upon herself to nurture his musical talent. Papa thought very highly of her. He remembered that she once interviewed him after school about himself and his ambition, saying that she would treasure the interview when she returned to Holland. It was apparent that she had forged a close friendship with Papa and she had a strong influence on him throughout his primary school, particularly as far as music education was concerned. Papa discovered that knowing the number notations gave him “inspirations” that he could “use for composing and copying” music. He actually made it his crusade throughout his life to influence other people to learn music by number notations. His music teacher also encouraged Papa to join the scout movement where she herself was the captain. He enjoyed these scouting activities very much for he felt that he learnt how to become independent besides learning important survival skills. Zubir Said with a group of young aspiring musicians.

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While still at primary school, and with the guidance of his music teacher, Papa formed a band with a few like-minded, music loving friends. They made music on bamboo flutes which they crafted themselves. Papa learnt to make flutes from his friend from the Moluccas. In the absence of electricity, moonlight became the kids’ romantic light. Papa and his friends had great fun roaming the village on moonlight nights to entertain the young and old — very resourceful indeed. The villagers liked them, he recalled. At first, their flutes, being hand-made, were rough, and did not produce melodious tunes. They were young, untrained “street musicians”, but nevertheless spunky. The music they created also annoyed his father and their neighbours. He became the object of ridicule by some of his other friends, but this did not deter him. Instead, he became even more challenged and resolute. Academically, he fared well in school. Given the opportunity, he would have liked to further his education, but the political circumstances of the time and his father’s lack of means compelled him to grow up quickly. In short, he went headlong into adulthood, into the world of work. With hindsight, one realizes how very much more Papa could have achieved had circumstances been better in his life. But the reality was that at eighteen years old and with only eleven years of basic education he had to leave school and find his own way in the world. With little education, his work options were very limited. He first found work in a factory making bricks, earning a minimal wage of two and a half rupiah a month, just sufficient for himself. Not long after this, through a friend, he acquired a position as a copy typist with a Dutch district officer in Bukittinggi, earning three and a half rupiah a month. Given a choice, I’m sure he would not have worked for the Dutch, but he had strength and a survival instinct. As a copy typist, he remembered that:7 Sebagai copy typist saja, saya tak pandai mengetik, mengetik hanya dengan dua jari saja. (As a copy typist, I do not know how to type; I typed with only two fingers.)

He carried on with the work despite the fact that he only typed with his two index fingers, which he did with surprising dexterity and accuracy, and doubtless with a rapid movement of the eye. His eyes must have been able to scan with speed the keys on the keyboard before even his fingers could strike the keys on the typewriter. I know this for a fact, because that was how he typed all his correspondence and seminar papers throughout his life.

Headlong into Adulthood

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Working as a copy-typist left him with ample time to pursue his passion. By now, he had graduated to playing in keroncong8 bands and continued to work for two years more as a typist until one fateful day when a fire broke out at a two-storey building nearby. The firemen could not extinguish the fire because their hose was not long enough. Perchance, Papa was good with the lasso — a skill he had acquired at the boys’ scout camp, and as Allah had willed it, he and his friend were there to help the firemen. They cast the lasso with all their might, climbed to the top of the building and from there pulled the water hose and managed to put out the fire. Their brave act did not go unnoticed by the Dutch district officer. Papa was summoned to his office. This was the story Papa related gleefully. The district officer asked him the following questions and incidentally the entire interview was in Dutch: “Where are you working?” I’m working here. He got a shock. “What are you doing, what are you working?” Copy typist. “That is no job for you young man. Go travel and make adventures.” Then he gave me 150 Rp. That’s very much at that time plus a letter of recommendation. He said, “Tomorrow you don’t come here, you go; and when you are doing something, you must do it good, don’t half way, half way, don’t surrender easily, you must fight for it, if you become a policeman, become a good policeman; if you become a musician become a good musician; and if you become a crook be a good crook, so the police cannot catch you.” Until now I cannot forget his words. I cannot forget his advice. That give me encouragement. I stopped working with him. Then I start travelling through villages here and there. One day, I join a keroncong party. Up to east coast I met a friend who happened to be a sailor, in Pekanbaru, a small town. He asked me to go to Singapore.9 Zubir Said as leader of a band and the music arranger in later life. He often had to double as guitarist, flautist and kompang player.

Headlong into Adulthood

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Papa never forgot the valuable advice of the district officer, but he was not ready to venture outside Sumatra. However, without a tinge of regret, he quit his job as a typist and, at nineteen years of age, he immersed himself seriously in performing in the keroncong band, becoming its leader. The young Zubir had an advantage over the other members of the music group because he was the only one able to read musical notes, even if they were only in number notations; the other members of the group played by heart. And so began their adventure; seven or eight of them travelled up and down Sumatra performing at weddings, funfairs and other social functions. He and his fellow musicians were well received by the public. As payment, they were given money, but in the villages quite often they were paid in kind: food, vegetables and clothing. And when they performed at weddings, they might be rewarded with rings; so the merry musicians had rings adorning all their fingers.

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Zubir Said learned to play the violin from a violinist by running errands for him. He is seen here with veteran singer Marsita.

Zubir Said, the Composer of Majulah Singapura

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Papa was a persevering young man. He never stopped challenging himself. He worked hard at improving himself. His experience was his best teacher; and humbling himself was his strength. He was always willing to learn from others whom he thought were better or more knowledgeable. He learned how to play the violin from a friend older than he was. His friend did not charge him for lessons for the simple reason that Papa reciprocated by running errands, such as going to the market. This friend played the violin to provide background music for silent movies. We have indeed come a long way today! After the flute and the guitar, the violin became Papa’s favourite instrument. He asserted that the violin produced a tone that resonated more with his keen sensuality, both in feeling and hearing. He liked the tone from the violin which he said he could control; he could create different moods: mellow, sad and happy. His first-hand experience with the other instruments led him to believe that it was not easy to feel these moods. He was not the best violin player, but he could play. And later in his life he would even teach a few willing learners to play the instrument. Papa had been a dutiful son to his father, although he might have had mischievous strings tugging at his heart. All this time, his father did not give him his blessings in his choice of a career. His father was against music. “Really fanatic and orthodox,” was how Papa described his father. His father regarded music as haram (against the Muslim religion). In such circumstances, Papa, although full of reverence for his father, was also in awe of him and would keep out of his father’s way every chance he had to avoid confrontation. One day, Papa remembered, he came home stealthily at 11 pm after performing in a keroncong band — at a time which was considered by Kakek as being very late. These days, Papa quipped, late would be sometime around 3 am in the wee hours of the morning. Papa felt amused with the incident that happened on that day.10 When I came home I saw the back door was opened. I thought it was my good luck. I tiptoed quietly, holding the guitar I borrowed from a friend, in front of me. As it turned out, my father deliberately left the door open. He was already waiting for me behind the door with a broom. My father thought I was entering first, but actually it was my friend’s guitar. Pang! The guitar was smashed and I had to replace my friend’s guitar.

My grandfather had other plans for Papa. He was adamant about his son not pursuing music as a career. He was also aware of Papa’s anti-Dutch sentiments and that Papa would refuse to join the ranks of Dutch officers. Datuk Said then

Headlong into Adulthood

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tried to persuade him to manage their farm and take over as chieftain in his place. But my father chose neither, and unknown to his father and even to himself, Papa was to set out on an exploration. And what an exploration! It was going to be his “life and death” experience. He travelled extensively in Sumatra, performing no doubt. On one of those travels to play football in Bangkinang, he contracted typhus as a result of drinking air es guncang.11 A sudden weariness seemed to envelop his entire being. Apparently, the water used in the drink, having been drawn from the well, might have been contaminated. He remembered very vividly his sojourn in the hospital. Yang dinamakan hospital waktu itu ialah satu bangsal beratap rumbia.12 Ada doktor, ada stetoskop, tapi tak ada obat. Itu namanya hospital. Jadi saya tanya doktor, obatnya apa doktor. Obat tak ada, hanya istirahat sajalah. Jangan bergerak, jangan makan nasi dan lain-lain makanan yang keras-keras. Susu saja minum. Sebab usus itu terlalu lunak dan tipis. Jadi kalau bergerak dia bisa putus, atau pun kena sebutir nasi saja dia bisa pecah. Habis! Saya pikir waktu itu saya sudah mau mati. Ah, masih muda sudah mau mati. Satu minggu saya sakit, bapak saya datang. Beliau berjalan dari Payakumbuh ke Bangkinang. Lamanya dua hari dua malam di jalan. Dulu belum ada jalan seperti sekarang. Jalan harus melalui sungai dan rimba. Sesudah dia tengok saya dia lalu bercakap dengan doktor. Saya dengar itu percakapan bapak dengan doktor di belakang jendela. Katanya, bagaimana doktor, ada harapan. Kata doktor, tak ada harapan. Jadi saya dengar itu saja, saya jengkel betul. Lalu saya janji di hati saya mesti lawan penyakit ini. Jadi itulah saya tahan, saya tak bergerak-gerak sampai lecet di belakang punggung saya. Bapak saya lalu mahu pulang dan dia tinggalkan susu, telur ayam dan kain putih. Dan juga ada wang sebanyak 50 rupiah. Kata bapak saya sama doktor, kalau dia hidup suruh dia pulang. Kalau dia mati, ini kain putih dan tanamkan sajalah dia di sini. Lalu bapak pulanglah. Sesudah 18 hari doktor pun periksa lagi, panas saya turun. Doktor jadi hairan. Eh! panas sudah turun, sudah bagus ini. Jadi krisis itu sudah saya lalui, sudah lepas. Jadi panas saya turun, turun, turun akhirnya saya baik. Setelah saya bangun doktor panggil saya. Katanya ini bapak tinggalkan wang dan kain putih. Kalau mati kain putih untuk bungkus. Sekarang masih hidup, kain putih untuk bajulah, bikin kemeja. Dan ini wang untuk pulang. Kapan mau pulang, tanya doktor. Nantilah dulu doktor. Saya pikir saya mahu pergi ke Pekanbaru dulu. Sudah tiba di sini Pekanbaru sudah dekat, cuma 60 km saja. Jadi saya pergi ke Pekanbaru. Dan sampai di sana kebetulan ada seorang kawan baru datang dari Singapura. Dia sudah saya kenal dan bekerja di kapal. Katanya marilah ke Singapura. Marilah kita pergi, Singapura kotanya bagus. Lampu listriknya banyak, dan sebagainyanya. Jadi hati saya tertarik waktu itu. Saya bilang kapan berangkatnya. Tiga hari lagi.13 (What was supposed to be a hospital at that time was a palm-roofed shed. There was a doctor, stethoscope but no medicine. So I asked the doctor what is the medicine. There is no medicine, just rest. Do not move, do not eat rice or other food that is hard. Drink only milk. Because your intestine is very tender and thin. So if you move, it can snap, even one grain of rice can rupture it. That would be the end! I thought at the time I was going to die. Ah, so young, and going to die. One week after I was ill, my father came. He had travelled from Payakumbuh to Bangkinang. It took two days and two nights. There was no road like there is today. The journey

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included going through rivers and jungles. After he had seen me, he spoke to the doctor. I heard his conversation with the doctor from behind the window. He asked the doctor if there was hope. Doctor said there was no hope. When I heard that, I was furious. Then, in my heart, I must fight this disease. So I did not move until I got sores on my back. Then my father wanted to go home. He left some milk, eggs and a white cloth. And also 50 rupiah. Said my father to the doctor, if he lives ask him to return home, this money is for his transport. If he dies, here is the white cloth. Just bury him here. So my father left. After eighteen days the doctor checked me again, my fever had gone down. The doctor was amazed. Eh! your fever has gone down, this is good. So I have passed the crisis, it’s over. So my fever went down, down, and down, until I got well. When I was up and about, the doctor called me. He said here your father left you money and a white cloth. If you had died the white cloth would have been for your burial. So you are alive; this white cloth can be for your shirts. And here is money for you to go home. When are you going home, asked the doctor. Not just yet. I think I want to go to Pekanbaru first. Now that I’m here, Pekanbaru is near, only 60 km. So I went to Pekanbaru. When I arrived there, it so happened that a friend had just arrived from Singapore. I’ve known him, someone who worked on a ship. My friend said come let’s go to Singapore. Come let’s go. Singapore — the city is nice. It has lots of electric lights and so on. So the idea appealed to me at that time. I asked when do we leave. Three days more.)

The disease and the condition of the so-called hospital left him critically ill. For him life had become a nightmare. He became acutely aware of the fact that life was so fragile. On overhearing the conversation between the doctor and his father of his “impending death”, he was determined to live and fight for dear life. He fought and won the battle after one and a half months — that was how long he was laid up in the hospital bed. He was alive, he had 50 rupiah. It probably wasn’t much to take him anywhere, but he had the will and the drive, the thirst for adventure, and the courage to fathom the unknown. What would he do now? What should he do now? Those were pressing questions in his mind then. He had choices — he could return home to his father and take over as village chieftain and enjoy the privileges and social standing that came with it; he could join the army as his father had wished; or he could manage his father’s farm. He most certainly could not pursue his passion in music as a village chieftain. Actually, it was never a dilemma for him. He knew exactly what he wanted to do and what he should do — right there in Pekanbaru, when he asked his friend, “When do we leave?” Doubtless, he had made up his mind.14 Lalu saya kembali ke Bangkinang dan saya beri tahu doktor. Nampaknya saya tak mau pulang. Pulang pun apa yang mau saya kerjakan, lebih baiklah saya mengembara. Saya mau mengembara ke Singapura. Baik kata doktor. Tapi beri tahulah orang tua dulu. Baiklah, saya tulis surat kepada orang tua memberi tahukan keberangkatan saya. Sesampai di Pekanbaru kembali berangkatlah saya ke Singapura. (Then I went back to Bangkinang and I told the doctor. It looks like I do not wish to

Headlong into Adulthood

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go home. Even if I go home what work can I do, it’s better for me to travel. I want to travel to Singapore. So be it, said the doctor. But tell your father first. Alright, I will write a letter to my father to inform him of my departure. As soon as I arrived in Pekanbaru, I left for Singapore.)

While at the hospital, Papa had time to reflect on his life, recall his past experiences, and surmise what his life would be like living in a Minangkabau community. Certain episodes in his young life came to his mind.

The Silent “Rebel” He had learned the art of being a true Minangkabau at the very impressionable age of ten. He remembered one very exasperating experience of living in the Minangkabau culture, an experience, which I think, became a source of his displeasure, but which sustained his continuous link with his roots throughout his life, reminding him of his Minangkabau ancestors and homeland. So he would always be a Minangkabau, come what may. His reminiscence of the experience was one of amusement, but I am sure that he did not find it a pleasant or an amusing episode at the time. He remembered the Minangkabau as being culturally rich, steeped in strict social and cultural traditions. Once, he accompanied his father to a Minangkabau wedding, an occasion which left a lasting impression on him. Minangkabau weddings are rather unique, with a “middle person” or “go-between”, usually an elderly person of some social standing, male or female, playing an important role in the very involved process, beginning with the first step of asking for the groom’s hand, (bear in mind that in Minangkabau culture, traditionally the lass seeks the hand of the lad in marriage) followed by the engagement, the akad nikah15 or nuptial ceremony, and the elaborate Typical Minangkabau wedding. This was the wedding of Zubir Said’s nephew, son of his brother Jacob on the extreme left. Jacob’s hobby was also music, like his brother Zubir Said.

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bersanding.16 Usually if the bride and groom come from families of great means, there is much pomp and ceremony at every stage of the occasion. At this particular wedding that Papa attended, the union was between a daughter and a son of a penghulu (village headman), hence there were many social intricacies and strict codes of conduct to be observed. Papa described the part of the wedding which was the actual akad nikah ceremony after the bride’s family had already asked for the hand of the groom at an earlier time. So several stages of the betrothal had already taken place. And it now came to the marriage ceremony that would legalize the union between the couple. On this auspicious day the representatives of the bride pai menjapuik mempelai laki-laki untuk dinikahkan di rumah mempelai wanita.17 Representatives from the bride had gone to fetch the groom to be married to the bride in the bride’s home. The groom, accompanied by his own entourage and his representatives with the bride’s representatives would then make the journey back to the bride’s home for the akad nikah. The young Zubir and his father, together with other penghulu and their respective entourages, accompanied the groom on this occasion. It was customary that they had to remain in the compound of the house until invited in by the hosts. Before they entered the house, which might have been a grand Minangkabau house with peaked buffalo horn-like roofs, as it was in this instance, they had first to wash their feet using water that was placed at the entrance of the house in a large vase-shaped earthenware. With a ladle made from

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coconut shell, the guests carefully scooped the water to wash their feet. Then, they were politely ushered in and normally four senior penghulu with their entourages would be seated in each corner of the balai or dewan.18 They all sat on the floor, cross-legged. And so the ceremony began. The host invited the guests to feast — the ceremonial feast must have been already laid out — but acceptance was politely delayed. To accept at the very first invitation would appear somewhat gross and uncultured. Besides, there were more important matters of the akad nikah to be discussed first. So there was a period of a two-way exchange of pleasantries between the guests and hosts. These ceremonies placed a great deal of emphasis on the exchange of dialogue and conversation between the two parties in the poetic style of the Minangkabau dialect. The eldest of the penghulu would take the initiative, as expected, to reciprocate. He might say: “We come here not to eat. We come here to show our face and show our courtesy for the bride.”19 So as not to appear outdone, the host speaker, using a different poetic style and polite speech and words, would again invite the guests to feast, but would yet again be politely and poetically declined, while the others stressed the need to conclude the negotiations pertaining to the marriage first. Papa recalled his annoyance and impatience at what seemed like endless banter.20 And so it went on to and fro about this poetic style lectures. It is monotonous for me, got hungry already.

The dialogues continued thus. And it was not till there was a consensus among guests and hosts on matters pertaining to the wedding that the feast began.

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But it was no ordinary feasting. Again, protocol had to be observed. The eating could only commence when the chief penghulu had taken his first small handful of rice to his mouth. But being aware of the importance of being courteous and giving precedence to others to begin eating, each penghulu waited for the other to start. Papa had to wait for a cue from his father to begin. For a boy of ten, it must have been an extremely long and frustrating wait. He remembered how the ceremony started at ten in the morning, but he did not get to eat till three in the afternoon — and only three mouthfuls at that.21 You know it started from 10 in the morning until 3 in the afternoon talking, just lecture, lecture, lecture while I got hungry already. I want to eat.

Then, there was the ritual in the manner to eat that was considered polite in Minangkabau culture. When eating from the plate of rice before them — generally the Minangkabau like their rice crumbly and hard — they would elegantly scoop up a small handful of rice with the tips of their fingers, carefully cupping the rice in their right hand and with a prayer, “Bismillah” (In the name of Allah) would hurl the rice into their open mouths without touching their lips and without missing a grain. Papa with a hearty laugh explained:22 His hand is not allowed to touch the mouth because that is low. That is for animals. Animals can touch the food with the mouth. But he [had to] throw it but the art is so difficult. Not one of the rice (grain) missed his mouth you know, all went in. If you wish to be a penghulu you got to be trained like that. My father is [an] expert at that, until he was 100 years old, he still eats hard rice in the same way.

Finally, a wide assortment of dishes, which necessarily included a dish of a rather large fish, duck and chicken, might have already been laid in the middle of the hall.

These attractively decorated and succulent dishes were left as kepala jamba23 and they remained untouched. The visitors were treated to other dishes of fish, duck and chicken presented on a less grand scale. These kepala jamba, especially the big fish dish, attracted the young Zubir. I saw a fish you know, very big fish. Alamak, this is very nice. And then I want to take it. (He was reprimanded by his father.) “No! You can only eat (the food) in the surrounding. That is in the centre, for decoration only.”24

However, the good thing was, at the end of the ceremony, these special centre dishes were enjoyed by relatives and the people who had helped in the wedding, and distributed to neighbours as berkat (thank you offering). In a traditional kampung or village, the residents lived in very closely knit communities, helping one another in a gotong royong manner (the gathering of people to help one another for a good cause) at weddings, funerals and religious functions. There existed a lot of camaraderie. It makes sense that these are the people who deserve the kepala jamba. It is a good tradition, if I may say so. The ritual of arriving and entering the home of the hosts seemed “difficult” enough for Papa. Papa described how it was now also as difficult to leave the ceremony at the end of the late lunch. To Papa the ceremony of taking leave was just too elaborate and unnecessarily difficult. All poetic pleas to allow Papa and the other guests to leave were brushed aside by the hosts thus:25 No, there is still light, it is still early, we don’t want you to come just for a while. You have to stay until the night, you can stay here and sleep here. You are invited here. You can stay here. We provide you with pillows and thick mattresses and also blankets.

Headlong into Adulthood

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After an exchange of more polite, poetic conversation, the hosts finally relented. Papa came out of the experience a very tired, sleepy and hungry boy. At home, when asked by his mother how he had enjoyed the meal, he said it was “miserably boring”. He did not enjoy it because, after only three mouthfuls, he had to stop for the simple reason that the penghulu stopped eating — a big blow after the high expectation of tasting that mouth-watering, delicious looking “big fish”. The experience was a culture shock for Papa. “I don’t like this tradition,” he raged under his breath, but he enjoyed the flowery chatter, the polite and refined speech, and certainly the poetry. Papa went on to reflect and explained that he did not like the Mianangkabau custom where women were in control. In our country, the women folk control the economy. The men, they got no say about rice fields until the women agree. Men only work in the rice fields. Inheritance, usually strong houses, are owned by women; also rice fields. Sons don’t get anything. When I have a child I have no say. The uncle must look after. Q: Why the uncle? I don’t know why. I must take care of the children of my sister. Padi fields belong to daughter. Malay community here, the men approach the women. There, no, the men by the women. Ceremony, all provided by the women. Also the daily income by women. The men work or get absorbed by the Dutch firms. Rice sold by the women. In the market we see only women were involved in trade and commerce. Q: Any desire to leave home? Yes, because I don’t like the custom of the village. I don’t like the custom that the women control the men.

However, he joked that he liked the idea that in Minangkabau, the girl — that is, the family of the girl — asked through intermediaries — for the man’s hand in marriage. And that the woman’s side would bear all the expenses of the wedding. In the Minangkabau culture, if a man is a chieftain, or someone with means and high social standing, he would appear more attractive. He would be all the more sought after as a prospective husband, even if it meant that the bride might be the second, third or fourth wife. Papa also mulled over the idea of a man marrying four wives as a practical idea, his private thoughts, perhaps expressed only in jest. Despite the prospect of being a chieftain himself to replace his father — an enviable position to hold in Minangkabau, and of inheriting all: the respect and perks, including marrying four wives — the young Zubir chose to be a silent rebel, relishing the idea of being able to wander beyond Minangkabau waters, leaving behind certain aspects of Minangkabau culture which he found

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incomprehensible. In particular he could not visualize himself having to “hurl” handfuls of rice into his open mouth without missing a single grain. So, destiny determined what was to be for the young Zubir — on that one particularly lonely day after that long severe illness, the young Zubir decided to follow the stirrings of his heart. He decided to cross the seas, seeking adventure in a foreign land. It would be the beginning of a dream to chart a new life for himself. Besides, he was tired of having to do the right thing all the time, of abiding by the rather stifling social and cultural behaviour of the Minangkabau. He harboured a strong wish to escape the restraints of Minangkabau society, in particular certain aspects of the adat perpatih.26 He was, after all, viewing the adat or customs from the eyes of a ten-year-old boy, but even as a young man, Papa had strong beliefs and views on a number of things. Despite some misgivings, Papa knew that he would never lose his true cultural identity. He was born and would die a Minangkabau. So the attraction of an adventure to unchartered waters fired his plan to leave. He knew absolutely nothing about Singapore — but the pull was very strong. One would not know if he had felt any regrets leaving his motherland for an unknown country. He never mentioned it. But I am sure he was assailed by a thousand anxieties. His excitement and expectations gripped his person as he grappled with mixed emotions. Besides Singapore beckoned! That, being so, was not a reflection of his lack of loyalty to his cultural roots and people. He was, in fact, very proud to be a Minangkabau. He was described by Asma M. Naim as a Minangkabau tulen, that is, “a true, a genuine Minangkabau ... judging from his conversation, his mannerisms and his attitude”.27 The Minangkabau people were and are noted for their spirit of adventure, their prowess and seafaring habit; and for their pride and self-reliance. So many of them, who settled here in Singapore and Malaysia, had left Sumatra in search of adventure, to settle and become petty traders at least. Papa was this true Sumatran — adventure was in his blood. The unknown was tantalizing for him. Papa was strong-willed — much like his father. Although he was devoted to his family, cherished and respected his father dearly, and had a strong religious upbringing, he left nonetheless, in defiance, for Singapore. No doubt this young man may be deemed to have a strange, “rebellious” way of showing his love.

Headlong into Adulthood

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N otes

 1. Penghulu adat: Penghulu means “chieftain” and adat means “traditions or customs”. Penghulu adat means chieftain in charge of traditions and customs.   2. Zubir Said, Oral History Interview, 16 August 1984, Reel 2 (Singapore: National Archives).   3. Zubir Said, Oral History Interview, 16 August 1984, Reel 3 (Singapore: National Archives).   4. Ibid.   5. Ibid   6. Ibid.   7. Zubir Said, Oral History Interview, 23 August 1984, Reel 4 (Singapore: National Archives).   8. Keroncong music, which supposedly originated from the Portuguese, is quite specific to the Indonesian culture. Papa described the keroncong as a small musical instrument like the ukulele, but making the sound “kercong, kercong”. To appreciate keroncong music, one has to listen to it.   9. Zubir Said, Oral History Interview, Reel 4. 10. Ibid. Air es guncang is a drink made of shaved ice to which has been added rose syrup and possibly 11.  some other condiments placed in a tumbler and “shaken”. Hence the term guncang, which is actually goncang, meaning “shaken” in phonetic Malay. And es, pronounced and spelled in Indonesian, before Indonesia and Malaysia synchronized their terminology, means “ice”. 12. Beratap rumbia: Rumbia is a palm that produces sago; atap rumbia: a roof made from the leaves of this palm. 13. Zubir Said, Interview with Asma M. Naim, a journalist from Haluan, an Indonesian tabloid, 14 August 1972. Source: Private Collections. 14. Zubir Said, Oral History Interview, 23 August 1984, Reel 6 (Singapore: National Archives). 15. Akad nikah: The actual nuptial ceremony performed by either a religious head of the mosque like an imam or by the bride’s father himself, if he so wishes, with the imam being present to guide him. The nuptial ceremony can be conducted in the presence of a small or large group. However, to legalize a marriage, only two witnesses are required. 16. Bersanding: In an Indonesian or Malay wedding, the bride and groom sit on a specially decorated dais. Symbolically they are treated like a “king and queen” for a day. 17. “pai menjapuik mempelai laki-laki untuk dinikahkan di rumah mempelai wantita”: pai means “gone to”; menjapuik means “fetch”; mempelai laki-laki means “groom” and mempelai wanita means “bride”; dinikahkan means “to be married”. 18. Balai or dewan meaning “hall”. In most traditional homes of the Minangkabau, there is a large hall where people sit on the floor for meetings and other social functions. 19. Zubir Said, Oral History Interview, 4 October 1984, Reel 18 (Singapore: National Archives). 20. Ibid. 21. Ibid. 22. Ibid. 23. Kepala Jamba (or jambar): Kapalo jamba (in Minang) often refers to the leader or head of a particular event or head of an organization. In the context of the Minangkabau wedding, the

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array of delicious food served as the “head of the table”. Source: Complete Dictionary of the Minang Language (Minang-Indonesia), Drs Gouzali Saydam, Bc.TT. Book 1. 24. Ibid. 25. Ibid. 26. Adat Perpatih: This has a long history originating from Pagar Ruyung in West Sumatra, named after a Datuk Perpatih Nan Sabatang. Adat means “customs”. It is a matriarchal system of customary law whereby women are given higher social status. This is only a part of the law that governs the structure of Minangkabau and Negeri Sembilan (which also practises Adat Perpatih) society. From a wider perspective, law under Adat Perpatih governs every aspect of life e.g. it is in Minangkabau society that the adage has been often used, “biar mati anak, jangan mati adat” (loosely translated as “let the child die but not the custom”). In Minangkabau society, the everyday lives of the society are ruled by their adat i.e. customs. If one commits a crime and is convicted then the punishment meted out to the person will be as dictated by the customs. The customs have the objectives of restitution rather than punishment. Thus the Adat Perpatih and customs are rules or laws that govern the society. If your child is guilty of a crime, he shall not be excused from punishment (biar mati anak) because the customs or adat are the laws that must be respected and obeyed (jangan mati adat). 27. Zubir Said, Interview with Asma M. Naim, op. cit.

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Chapter 3 Mystical Singapore: City of Lights, Butter, Coffee and Milk

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On the Shores of Singapore One day in 1928, Papa left Pekanbaru on a cargo boat. After two nights and one day at sea, the cargo boat that was ferrying spices and vegetables to neighbouring islands, anchored off Singapore island at 3 o’clock in the wee hours of the morning. From the deck of the boat, far away from shore, the young Zubir watched awestruck. He had arrived at this port of lights, busy with boats and ships, a sight he had never seen nor experienced in Pekanbaru, which was a town shrouded in darkness without electricity. As it is said in a Malay proverb, “Seperti orang mengantuk disorongkan bantal”, Papa’s situation was “like sticking a pillow under a sleepy person”. Reflecting on his life, he recalled there was nothing in Sumatra, aside from his family, to hold him back; he did not truly appreciate some aspects of the Minangkabau way of life; for these reasons he left. Papa had come a long way from his birthplace to make Singapore his country — a place to call home.

Opposite: Tarminah, described as a popular keroncong singer from Bandung, married Zubir Said in 1938. She popularized Zubir Said’s composition, Bunga Telor Nasi Minyak. It became a hit in the 1940s and is still popular.

The young Zubir left Minangkabau, home of his cultural roots, for Singapore at the tender age of twenty-one with nothing more than the shirt on his back and a clean towel. So great was his youthful ardour and optimism to explore the “land of butter, electricity” and “coffee and milk” that he did so without his father’s permission and blessing. This kind of behaviour must have been totally unthinkable, disrespectful and unexpected from a young man of breeding. But Papa was enamoured, overwhelmed and practically speechless on seeing Singapore for the first time. His overwhelming joy over, he managed to describe his feelings. That night we came here at 3 am, the boat came to Tanjong Pagar but in the outer route and there they dropped anchor. I could not sleep, I saw the lights, I kept staring at the lights till morning (laughing) and so many imagination … actually I want, if there is any sampan or motorboat, I would like to go, there and then.1

Papa continued to reminisce on those early days on the shores of Singapore. In Kampong Jawa, I stay [for] 50 cents a night. Keep belongings with the owner. After two days, I met this friend from America who was a sailor — from the same village; we were playmates — used to play guli.2 Before I met him, I met another friend, he’s also a musician. He was already playing music at the big bangsawan3 at Tanjung Pagar. He played guitar. He said, why don’t join me. It’s a big bangsawan. Here, there are many musicians, you can join as violin player. Don’t worry you can borrow from Cik Mat who has two violins. Then I got the job — shortly after arrived. Imagine from Pekanbaru from the place where there is no electric light, no kopi and milk, I sit there in the big opera; for me that was something new. I get excited, so I join but how can I join the orchestra; they are playing different notes. So I told this man who borrow me the violin to borrow me the pieces so I can translate them to number notations.

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So at night they read staff notations and I read this number notations. (laughing) it’s okay. Because of my excitement, I don’t want to give this up; I want to make everything out of this, so at home, I rewrite the pieces into number notations, then after that when I have spare time I try to translate into staff notation. When I have difficulty I will ask the other musicians, can you please explain this to me? So I got one or two only — I can make out the others.4

Happy Days in Happy Valley Opera When his guitarist friend suggested that he joined the bangsawan as a violinist, Papa was at first apprehensive, because he did not know anyone in the bangsawan other than this one friend and neither did he own any musical instrument. Fortunately for him, he had a lot of encouragement and support. At this time he only knew how to write music in number notations. To help him practise all the songs at home, he borrowed and transcribed all the music scores written in staff notations into what was familiar to him — number notations — and practised diligently with them. His singing lessons from his Dutch teacher in Sumatra, in number notations, came in very useful. So when the other musicians made music using staff notations, he made music with number notations and did just as well. Then, in his spare time, he would rewrite all his musical scores in number notations back to staff notations. His hard work paid off. He felt such exhilaration when he discovered that writing music was easy after all. EUREKA! This lad who had no formal training in music discovered “musical families”. Music got families, you know, the C major family, the G major and so on. When you know one family, when you know how it is constructed into one key, the other keys follow suit. The only difference is the depth of tones (different pitches). It is the same. So after some

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time, I got all the music, all the tunes in staff notations and I can read and I can play them.5

Papa recollected that his second break came when the leader of the opera group, a Filipino gentleman, resigned and no one else was prepared to take over as leader of the opera. His name was proposed. He at first lacked the confidence to accept because he could play only a few musical instruments whereas the other fourteen musicians were playing modern musical instruments like the violin, trumpet, saxophone, trombone, double bass, drum, piano, etc. He felt illequipped to lead the group. However, remembering how his limited experiences in his village did not deter him from leading the keroncong group and even make a success of it, he braced himself to accept the challenge. All the other musicians did not have the music scores. I have all the music compiled in a book. When the manager asked who want to replace the band leader, my friend, the violin player recommend me because I was young. So he tried me at one rehearsal. There was a big bangsawan story, so I try. It so happened, with the help of the others also, I pass. So I became the band leader.6

He accepted the position subject to the other musicians’ agreement to support and cooperate with him. Papa said he and his other musician friends worked very hard to please the boss. He persisted in learning and experimenting and he worked closely and amicably with the other musicians. What did he actually learn from all these new experiences? He recounted: As band leader, I have to know all the songs. There are so many singers and you must know the keys for each singer. Maybe the same song for this girl is a different key for the other girl. And you have the music [he meant all the songs written in staff notations]. And then you must be able to manage the orchestra. Three times a week, we have rehearsals. So I also learn more from the prestige. I learn more.

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Papa perceived that by being placed in a position of responsibility, as leader of the band, he learned a lot more and this seemed to fill him with a sense of fulfilment and gratitude. He then discovered that learning the piano, although for the very first time, was easier than playing the guitar. And so began his love affair with the piano that later became an important part of his life. This was the story he related on how he learned the piano: It happened like this. When I joined the City Opera, as they call it — they got a big hall and in the hall there are several pianos. At day time, nobody was there; so I go and play the piano. So I got the chance to study the piano. That’s the first time. So I study different fingering than the violin and the guitar. I can manage; I consider it easier than the guitar. Later on, I can lead the orchestra while I’m playing piano.7

Knowing how to play musical instruments was not the end-all. Papa learned that different music scores were needed for different musical instruments because their keys were not the same. This of course meant that every day was hard work for him, but in the end he had the gratification that he had achieved almost the impossible for a young entrant into the bangsawan world. His learning never stopped. I learn that the notes that you can play with the violin you cannot play with the trumpet or saxophone. You have to transpose it into their keys. Every day, it’s hard work. I work hard to get this knowledge. At last I can manage it and give the parts to the musicians. The musicians are glad because otherwise they have to follow me by heart only. It’s good.8

As a band leader — to fourteen musicians — and at a very young age, Papa must have been a novelty, and one who could command and get the respect of more senior musicians. They respected him because he worked very hard and was good at what he did. I am certain that he showed a lot of warmth and respect

towards the other musicians, who, I suspect, were all much older. As I recall, he had said that he admired the Dutch for their courtesy. Even his upbringing was imbued with respect for the elderly. His father had been a role model for him and he had also learned courtesy in the bangsawan itself. Amid amusement and laughter Papa recalled an incident at the bangsawan — an incident that taught him the subtleties of discipline that were practised by the older generation of artistes. In times gone by, Papa reflected, people “never shouted, never demonstrated explosive behaviour when angry. One would not even know that there had been some quarrel of any sort.” He recalled how such courtesy and decorum were once shown by one violinist in the bangsawan: A violin player, before he start[s] the actual song, he [will] make a little coughing [sound], “ahem”, so [as] to tell everybody the show will start, but when somebody make noise like children or some women behind, he will break his violin string, make excuse, “pardon me my string is broken”. Actually he want to stop. He put another string and tune it. But the man in charge there, the master of ceremony, knows what happen. So he went to the women folks behind there, and he went to the children and said “don’t make noise”. Then he come back again and ask the violin player politely. “Oh nothing, nothing, no problem,” said the violin player. “The only thing, the string is broken that’s all”. But everybody knows what happened. Then he start again. Q: So the keroncong band is highly respected? Yes. Now I experience the habit and the courtesy of the artistes and the players. I think the old people got better courtesy. They are not shouting. No, they just “ahem”! That’s all. Even my father, when I was naughty, he come to me, he said “You are a very good son.” He said I am a very good son (laughter). “You have done good things in the past few days.” So I know already. Sarcastic, you know. So that is the courtesy and the discipline in those days. Even when there was a quarrel among villagers. Sometimes, you don’t hear that they are quarrelling. They are whispering, but they quarrel already about money about sawah9 but nobody shouts. So everything is quiet.10

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So from his father and the older generation he learned quiet anger and self-control. How to exercise anger control wasn’t the only thing he learned. From the bangsawan and his colleagues he gathered extensive knowledge and experiences on the arts and the music of the Chinese and the Indians. His stint with the opera gave him much exposure to their culture in terms of their music, their musical instruments and the ethnic décor. When it was a Chinese opera, Chinese musicians, playing the Chinese violin, would take centre stage. Similarly, when the story was Indian in origin, the main instruments used were the harmonium and the tabla. This exposure and assimilation of the various cultures enriched his repertoire of musical and cultural knowledge and was to come in useful in his work as a music composer. Besides, he read voraciously on the subjects. He prided himself in understanding the grammar of Chinese and Indian music, but he said he could not understand the “grammar of pop music”. He stayed with the opera for more than a year. He was happy with his income. As a musician, he was paid $3.00 a day in Singaporean currency. When he became leader of the opera it was raised to $5.00 S. Abdullah Keroncong Band, highly acclaimed in the 1940s in Jakarta, discovered by Zubir Said and brought to perform in Singapore. Source: Courtesy of Harry Martinez.

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and $7.50 subsequently. He remembered that his salary was enough to provide him with a comfortable living. He would spend not more than $1.00 on meals, 10 to 15 cents on coffee, and a little more on cigarettes and transport. From Geylang to Tanjung Pagar, the tram fare was only 2 cents for second class and 3 cents for the first class. “bussing” around was how he got to see more of Singapore and he continued to marvel at how fascinating Singapore was. The trams in those days were green in colour. Two long antennae-like poles attached to the top of the tram ran along electric tracks suspended above as the tram chugged along the tram tracks on the road. Here, on this island of Singapore, Papa’s frequent haunt was a coffee stall in front of Sultan Mosque, where Indonesians, like himself, gathered to exchange news and stories of home, and share their aspirations. There were not many Minangkabau people in Singapore at the time — approximately 1,000 — most of whom were running food stalls selling Nasi Padang.11 Instead, the majority of the Minangkabau had settled in Malaya. Perhaps there is a simple explanation for this. Kolang, as the Minang people called Klang, was well known to the Minangkabau immigrants. The Minangkabau, being seafaring people, most likely came in cargo boats from Pekanbaru straight to the port of Klang, bringing with them their wares, if they were traders. Similarly, others might have sailed to the shores of Melaka. Papa’s first contact with the Minangkabau people was in Melaka when he was travelling with the bangsawan group all over Malaya. Many settled here selling songkok (men’s headgear) or they ran little food stalls selling nasi Padang. Some made it big, planting rubber. Kakek Said too had been busy in the meantime, trying to locate his son. Much to my father’s surprise, a letter came for Papa from kakek, who had cleverly tracked him down. Except for one letter to his father, without a forwarding address, in which he assured his father of his well-being, there was no other correspondence between father and son for a long time. Datuk Said was trying his luck; he wanted his son to return home to Sumatra to take up an offer by a Dutchman who liked Papa and his music. In fact, he liked Papa so much that he wanted him for a son-in-law. The Dutchman had an only daughter. He offered Papa his rubber estate and the hand of his daughter in marriage. But the young Zubir, roving in spirit, regarded the offer as quite amusing, and with laughter in his voice, he jokingly said:

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He got the intention for me to marry his daughter. I’m not interested to marry. If I want to marry, I’ll marry … at home I can have four wives. (laughter) She is Dutch, I am Indonesian. Different religion. Against Muslim religion to marry Dutch.12

He probably meant Dutch who are of a different religion and not Dutch per se. Intermarriage was at that time practically unheard of. The prospect of becoming a gentleman farmer — owning rubber estates and marrying a Dutch wife — did not entice Papa to return to Sumatra. His life might have been a breeze comparatively had he taken up the offer. Instead, he pursued the pilgrimage to Singapore and found his Mecca. His first work with the opera at Tanjung Pagar opened up more windows of opportunities for him. There was no looking back, no turning back.

New Horizons with “His Master’s Voice” The opera took Papa to Ipoh, Malaya, in 1935, the first leg of a new adventure. He was then contracted to another bangsawan. He regarded his travels as an eye-opener, an opportunity to extend his horizons. As he said: Jauh perjalanan banyak pemandangan dan luas pengalaman.13 (The further he travels, the further his scan, and the broader his experience.)

Indeed his travels did open up for him an unexpected opportunity. While in Ipoh, he met the manager of HMV (His Master’s Voice), a notable recording company in Singapore at the time. The manager — who must have been impressed with Papa — interviewed him and offered him the position of supervisor with HMV in Singapore, a job which he was to assume at the end of his contract with the bangsawan. Although clueless as to the nature of the work, Papa bravely accepted the offer, perhaps with a little trepidation. He was paid $100 a month for the next six months and after that he had a raise to $150. He thought the money was ample for his living expenses. However, he was concerned that he did not have enough knowledge or experience for the new job. But Zubir Said had an insatiable drive; so yet again, he immersed himself in the unknown and with his usual astuteness “boldly grabbed the bull by its horns”. His first task was to produce a record with a recording artist. Conducting a live performance in the opera and recording songs were two very different tasks, requiring different knowledge, inclinations and skills. He faced this new challenge with his usual

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zeal, commitment and dedication. A remarkable trait about Papa was that he was always willing to learn something new, something that challenged his intellect. As supervisor at HMV, he was based in Jakarta for a year, but he travelled between Jakarta and Singapore frequently. His mission involved scouting for singing talent. He found the experience very enriching because Indonesia was already rich in traditional music — the keroncong, the gamelan and, according to him, there were many better singers there. On one occasion, he discovered a group of keroncong performers who impressed him. S. Abdullah was a band leader highly acclaimed in Jakarta. Perhaps the attraction was even greater when he laid eyes on the female lead singer, Tarminah, and heard her sing. He lost no time, brought them to Singapore to perform at Happy World, an amusement park popular at night, and perhaps unknown to her, secretly admired her. He described Tarminah as a popular singer who was the first to sing religious songs in Malay to much applause.14.

The music score and lyrics of the song Bunga Telor Nasi Minyak that made songstress Tarminah well known.

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HMV instantly employed her to cut records. The sales were very good. Tarminah, however, was criticized by religious leaders who chided her that singing religious songs in a non-Arabic

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language was haram. In fact, they claimed that singing itself was haram (against the Muslim religion). Papa stood by her publicly, explaining that the sales were in fact good because the religious songs in Malay could be understood and appreciated by listeners, helping them to understand the Quran. He was supported by the media. As the performance at the Happy World was successful, tours were arranged to many parts of Malaya. It must have been on one of these tours and somewhere on this cultural journey that love blossomed between Tarminah and the handsome Zubir. Young Zubir married Tarminah — soon to be my mother — in Bandung in 1938. She was his second wife — Papa limited himself to only two and not four wives. His first wife, Jamaliah Isa, whom I affectionately call Mak Yah, was a Singaporean, a little older than Papa. She was also an artiste in her own right, acting in bangsawan. Zubaidah and Zuraidah, my two elder sisters, are her daughters. My brother, Soeyono, came later into the family in 1956. Papa’s role as supervisor in HMV was very demanding involving much planning: choosing the songs whether they be in Chinese, English or Malay; selecting the singers and musicians; training them over many hours, and recording their songs. “It was difficult at first,” he reminisced, but after a while it “became routine”. In all this flurry of activities, he did not forget his friends. He involved them in the recording work. They were his fellow artistes, such as Sharif Medan, Aman Belon, Zahara Agus, Ahmad Nisfu, A. Hamid and Minah Nani, all of whom were musicians, actors and comedians from his opera days.

Jamaliah Isa (Mak Yah) a Singaporean bangsawan artiste, Zubir Said’s first wife, with grandson.

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Mak Yah’s daughter Zubaidah (left) with her husband Ruslim and young daughter, Rozenda. I am on the right.

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Mak Yah’s daughter Zuraidah with me.

Papa had slowly become a household name in the field of music. Even so, he did not rest on his laurels. He was hungry for knowledge and he worked tirelessly. His boss at HMV liked and appreciated him a lot. However, unforeseen events temporarily crippled the music industry in Singapore. When World War II broke out in 1939, Papa’s work at HMV ended. Nonetheless, he was given some money by the company and a letter promising him his job back after the war. This was indeed a thoughtful gesture and an acknowledgement and recognition by HMV for Papa’s unblemished character and dedication to work. The company did not wish to lose Papa. The recording company stayed open until the Japanese were in Johor, Malaya. Soon, the inevitable happened and on 8 December 1941, the Japanese began bombing Singapore. Many of the English bosses were captured and interned and many died in the war. The sound engineer was shot when he tried to escape from the camp. The manager of the recording studio also died, of a heart attack. With two wives and three very young daughters, Papa could not remain in Singapore. He felt compelled to protect us and leave Singapore.

Notes

  1. Zubir Said, Oral History Interview, 23 August 1984, Reel 6 (Singapore: National Archives).  2. Guli means marbles.   3. Bangsawan is a type of traditional Malay opera. It was known to have developed from a sort of Indian theatre performance during the nineteenth century by visiting Indian travellers. It came to be adopted also by Chinese and Indians and at one time was popular in Sumatra, Indonesia, and Malaysia. It is similar to western opera.   4. Zubir Said, Oral History Interview, Reel 6.   5. Ibid.   6. Ibid.   7. Ibid.   8. Ibid.  9. Sawah means padi fields. 10. Zubir Said, Oral History Interview, 23 August 1984, Reel 5 (Singapore: National Archives). 11.  Nasi Padang: Signature dish of rice with a variety of Minang dishes well known all over Indonesia and Malaysia. 12. Zubir Said, Oral History Interview, Reel 5. 13. Ibid. 14. Zubir Said, Oral History Interview, 30 August 1984, Reel 8 (Singapore National Archives).

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Chapter 4 World War II: New Directions

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Reproduced from Zubir Said, the Composer of Majulah Singapura by Rohana Zubir (Singapore: Institute of Southeast Asian Studies, 2012). This version was obtained electronically direct from the publisher on condition that copyright is not infringed. No part of this publication may be reproduced without the prior permission of the Institute of Southeast Asian Studies. Individual articles area available at < http://bookshop.iseas.edu.sg >

Return to Sumatra My father and family were devastated. According to Mama, she could see desolation in Papa’s eyes. There was no Dutch ship to take my father and his family anywhere. They had no choice but to take the first available means for a getaway. In the dark hours of late December 1941, 200 refugees of various races crammed into a small boat. It was a perilous journey, I was told. Included among them were Papa Zubir, his two wives and three daughters. The journey to Pekanbaru that was to have taken one day took three days. Their getaway experience was frightening. I must have been only a baby, but my elder sister, Zuraidah, remembers how Papa was ready to knock his family unconscious should they face the inevitable, in case of Japanese bombing, perhaps with the lesong batu tumbuk1 that Mama, the woman with great culinary skills, had secretly smuggled, unknown to my father, onto the boat. When Papa found out, he was aghast! He could have simply thrown it overboard, but then he actually thought that it might come in useful for any eventuality. With bated breath, the refugees crouched, keeping close to one another, while the Japanese war planes circled above them. They sailed in pitch darkness. No cigarettes were allowed to be lit. They sailed along the Jambi River. Instead of reaching Pekanbaru, they arrived at Indragiri. There, they waited a week for news about Singapore. Papa had the intention of returning to Singapore, but the news was dismal. A Dutch consulate staff who had arrived from Singapore reported that Singapore was on the brink of collapse, “terrible, cannon fire every day”. Papa, still hopeful, waited another week only to receive news from his best friend that it was hopeless, “Finish! Singapore is gone!” Only then did Papa decide to find refuge in Bukittinggi, his birth place.

Opposite: Men in the Malay Regiment, recruited from native volunteers, at bayonet practice in Singapore, October 1941. Source: Imperial War Museum.

The circumstances of his return to Sumatra are not documented. Exactly when we arrived in Bukittinggi, where and how we lived, and with whom, are not documented. My grandfather might have given us a roof over our head. What was certain was the fact that returning to Bukittinggi was a better option than remaining in Singapore. We — my parents, Mak Yah and my two sisters — might have all lived with my grandfather. I cannot be sure, I have no memory of this, but my sister Zuraidah remembers that besides us there were also our aunties and uncles — an extended family — all under one Minangkabau roof.

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The people in Bukittinggi felt safer because the news of Japanese infiltration had not penetrated inland. They only heard rumours, so they would wait and see; until one day, about seven in the morning, a month after Papa’s return, people on motorcycles and a car were banging on gongs warning of the impending arrival of the Japanese. The local people panicked. They scurried about to buy and hoard food. The people grew more fearful when a Japanese soldier and an Indonesian warned them to shut all windows lest they be shot. The Japanese had made Bukittinggi their headquarters. Papa, who keenly observed the Japanese, was cynical of them just as he was of the Dutch. First time see Japanese people. To me they look like Mongols. Their uniform, so funny. Most go by bicycles which they get on the way and they buy for 10 cents only. So they travel in convoy with the General in front.

Furthermore, his memory of Bukittinggi during the Japanese Occupation was one of horror. All the Dutch were tied up and put in jail. It was a horrible scene. The Dutch still thought that they were superior. The local people enjoyed it because the colonialists were gone but they did not know the cruelty of the Japanese.2

The Japanese Connection For Papa, life carried on as usual. In the midst of the political chaos, his music continued to find an audience. One day, when he and his group of artistes were performing in town, they attracted the attention of the Japanese general. Through an interpreter, he asked Papa to perform for his soldiers. This was the beginning of the association of his group and of him personally with the Japanese. It is said that “music is the food of love”. In this case, music was also “the food to appease the Japanese”. The Japanese people loved music. In fact, Papa noted that “the Japanese weak point is music. No matter how angry they are, when you play music they get soft.” They derived even greater pleasure if the music and songs were Japanese. In the following months, Papa’s group of musicians and singers were kept busy entertaining Japanese soldiers. Despite whatever feelings he may have harboured about the Japanese, Papa described this stage of his life in such an amusing manner.

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We performed from 2 to 5 pm Then, after that, the general invited us to dinner to his place. It was a big place. So we went there. I saw Japanese officers of all sections of the Japanese, maybe Koreans also there, recognizable from their features and speech. Then we have a big dinner. I say you got cheese, that’s the first time I taste cheese (laughing), you got bread, brandy, cigarettes, I say where they got it. It must be looted from the shop. We were dining like lords there. And the Japanese general struggling to make a speech by saying pantun (poetry). Before he recite those pantun he will ask his interpreter, local Indonesian Chinese who happened to know Japanese to translate what he wants. The interpreter ask me also whether that is good Indonesian or not. So when he recite the pantun his pronunciation is so strange. Nobody understand him. He could not pronounce ‘L’, every ‘L’ with an ‘R’ you know, so the pantun become funny. (laughing) But then after that my entertainment group got the priority. We got rice from them, we got cloth that they looted from somewhere else. We got everything given to us.3

Papa and his group entertained the Japanese every week in the town theatre. They were not paid, but enjoyed many privileges, especially when they pleased the general by singing two Japanese songs besides Indonesian songs. They played for the general and his officers a song, Kojo No Tsuki, that was the Japanese version of Terang Bulan, and Miyoto Kain No Sora Kete. Papa remembered how exceedingly delighted the Japanese general and soldiers were that: The whole audience clapped. The general was very satisfied with us.4

The rendition of these two Japanese tunes “softened” the hard Japanese. Zubir Said and his musicians enjoyed special privileges as a result. Source: Written by and courtesy of Raja Mahafaizal Muzaffar.

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While Papa and his friends enjoyed special privileges from the Japanese, the people, in general, had less and less food. All food was confiscated by the soldiers. The local farmers did not want to continue toiling the fields. But if they did, they outwitted their Japanese masters. They did a smart thing. When their tapioca plants matured, they cut the plants, leaving the roots underground, but in the dark of the night they hastily collected the roots.

Source: Written by and courtesy of Raja Mahafaizal Muzaffar.

The mood of the time seemed rather mixed. The older generation, like my grandfather, Datuk Said, was more pro-Dutch because of their amicable association with the Dutch, but generally the masses were happy to be rid of the Dutch. They saw the Japanese as their salvation from the tyranny of the Dutch. As for my father, he wanted a free Indonesia. In Papa’s eyes, the Dutch did not have the interest of the people at heart. He thought the Japanese might be the catalyst to achieving a free Indonesia because he had heard over Radio Tokyo, from reports in the Indonesian papers, and from political meetings with the people in Bukittinggi, that it was the intention of the Japanese to free Indonesia from the Dutch colonial government. The Japanese claimed that “Japan and Indonesia are brothers. When we come there we will free you from Dutch colonial government.” Papa cynically regarded this as mere Japanese propaganda.

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Of his many encounters with the Japanese, Papa related three life-threatening incidents which demonstrate the kind of man he was — brave and decisive. At the request of the Japanese military regime, he formed an entertainment group of fifteen musicians and singers to entertain Javanese labourers. These labourers were workers constructing a railway line from north to south Sumatra. The Javanese were Muslims and during the fasting month they longed to return to their families. The Japanese, being largely ignorant of the significance of Ramadan to Muslims, would not release them. In desperation, they would run away and many died in the attempt. The Japanese hoped that by being entertained with Indonesian music and songs, the labourers would be appeased and not miss their kampung.5 There was no proper theatre to hold the show, only a bungalow. Chairs were arranged this way: in front, chairs were for the Japanese officers; stools were for Indonesian brokers who brought in the labourers; and mats were for heads of labourers. Papa said he was not happy with what he saw and asked: Where are the labourers? “Behind there, in the sun.” So I don’t want to perform. I was told we come here to entertain labourers. I told them we came here to entertain labourers. Now we have to entertain the Japanese officers and the Indonesian officers. That is wrong. I cannot agree with that. A big man with samurai sword, so long, and with big voice, through an interpreter asked. “What are you grumbling about”. So I told them it is not the aim. My letter, you see from the Gunsei Kanbu,6 it got the chop. They are afraid of the chop. They salute me. So they change. All officers behind, now all labourers in front.7

On another occasion, Papa and his group had to entertain Japanese soldiers and officers who had left Japan, trekking through the jungles of Korea, China, Burma, Thailand, and on to Malaysia and Sumatra. They had had no entertainment whatsoever for a long time. So in Sumatra, when they were entertained to music, they were extremely happy. In their frenzy, they threw money on to the stage. Papa protested that this was an insult to him and his troupe. He recalled lambasting the Japanese. In my mind, I still remember a broadcast from Tokyo that Indonesians and Japanese are brothers. They are equal. They must treat each other as equals but now it comes like this. So we are treated like dogs. I told my group, this is not to be allowed. So during the singing, I stopped, pulled my strings broken and then stopped. Then I

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made a speech in broken English which is translated by an interpreter to the Japanese brigadier. “You throw money just like throwing bones to dogs and cats while Tokyo Radio always announced that Indonesia and Japanese are brothers and must be treated equally. So we don’t want to play for you.” The curtain down. I told my fifteen members, now what come, we agree, we fight. So we gather beer bottles, you know (with a chuckle), put it there. When they come in bad mood we prepare broken bottles because we have no arms. Then I heard the shoes of the Japanese dragging their feet, somebody opened the back door, salute me like this … they come with good intentions.8 “According to Japanese custom,” said the brigadier “when you apologize you should offer something. Is it the same with the Indonesian,” the brigadier wanted to know. I said, “We in the East is like that.” So they bring fifteen blankets, fifteen boxes of chocolates, of cigarettes and they asked to continue the show.9

The outcome of this incident was laughable, to say the least. The Japanese still wanted to shower the entertainers with their banana money.10 They were never short of money because they were printing it freely. To show their appreciation of the shows, they devised a creative plan instead. This time around, they did not throw the money onto the stage, but created money trees by replacing the leaves on tree branches with money. These they then politely presented in person to the entertainers. Papa recounted how the money filled so many sacks, but of course at the end of the Japanese Occupation, these notes were worthless. For his work entertaining the Japanese officers and soldiers and the Javanese labourers, Papa was awarded the Ichiban Kurosu, which means Number One Medal. It’s a pity that Papa “threw it away after the war” because that medal has a history of its own to tell. In another incident, Papa observed that although the Japanese could be courteous their cruelty was legendary. On one occasion, two Japanese officers came to his house, knocked on the door, came in and politely asked: “Onano onano?” They want women. “You are looking for women in this house?” “What about your wife and your sister?” “Sure, wait, wait, please sit down.” I went back, put my kurosu here. (Pointing to his medal) and my certificate. “Here. This is my wife, this is my sister.” They rushed away. They are afraid.11

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So his return to Sumatra was not totally in vain. Papa appeared to have good control over some difficult, life-threatening situations. In his encounters with the Japanese, Papa seemed able to survive against all odds. At the back of his mind, Papa still wanted to return to Singapore. He never meant to remain in Sumatra for long. Papa did, in fact, return to Singapore alone for a short trip, probably in 1943. My sister Zuraidah remembers that Mak Yah, unknown to Papa, had returned to Singapore taking my two sisters with her. She had been unhappy — my sister thought — and moved out of the house, where we all lived under one roof. Mak Yah decided to live separately with her daughters. Besides, when Papa was not entertaining the Japanese soldiers, he and my mother were travelling extensively with his musician friends performing in tonel.12 I remember — I often accompanied them — how we went from one district to another. When they were performing in the evenings, I was left alone, locked in a hotel room. I would just go to sleep. Whenever they were away farther and for longer periods, they would sometimes leave me with a dear uncle, Suska, and his wife who doted on me because they had no children of their own. My sister remembers that her mother had sold all her pieces of furniture, but asked the buyer to allow her to keep them until the time of her secret departure to Singapore, so as not to arouse suspicion, naturally. At an opportune time, Mak Yah and the girls managed to hitch a ride in a tongkang sayur13 from Pekanbaru, an escape plan made with great determination, leaving poor Papa to wonder what had happended to them. Perhaps Papa made that short trip back to Singapore mainly to check on the safety of Mak Yah and my sisters. My sister Zuraidah acknowledged this. Both she and I agree that what he did was right. Then again, his short return to Singapore might also have been to reassess the political and economic situation in Singapore. He found the situation in Singapore quite deplorable. The Japanese invaded and occupied Singapore for three and a half years, between 15 February 1942 and 12 September 1945.14 During this time, the Japanese ruled with an iron fist; all anti-Japanese activities were purged without mercy. The residents suffered much hardship. There was so much disorder, suffering and pain. Basic necessities were scarce and the infrastructure was totally wrecked. Papa’s house was “full of bullets. At night, Singapore was very dark, no light, little food, very hard to get

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food, no restaurants. So neighbours prepare some food.” Not surprisingly, upon the surrender of the Japanese, there was a state of anomie; there was looting and revenge killing, particularly when there was a vacuum in the administration. The British military personnel did not assume the administration in Singapore until March 1946. Such was the state of Singapore that Papa witnessed. As it always seemed to happen, good fortune smiled on Papa in adversity. He met people who helped him. This time, he entered a Japanese military club that admitted civilians. I believe, having the Ichiban Kurosu with him kept him safe and that was his ticket to food. He and his friend ventured in for drinks. At once, he was spotted and greeted, “Zubirsan!” by a young, fair and tall Japanese officer once stationed at Bukittinggi who spoke English. He treated my father and his friend to noodles. Aware of how difficult it was to get food in Singapore, the Japanese officer supplied my father with rice, eggs, chilly, curry powder and salt. Shortly afterwards, Papa returned to Sumatra, because my mother and I were still there. Moreover, it was better in Sumatra as far as food was concerned, especially for him and his musician friends “because they (the Japanese) like us, so we get supplies.” With patience, Papa bided his time in Sumatra. In the meantime, I went to a village school for the first time. I remember a classroom. we were all seated behind desks. I sat at the very front row listening attentively to a lady teacher who held up a ten-rupiah note. We were learning sums. Suddenly, an incessant war siren filled the air. We were, of course, afraid. The lesson was interrupted; we were all told to lie face down under our desks. We obediently did as we were told. And when the air quietened, we were all instructed to march quietly, and in single file, home. Most of us came from homes in the neighbourhood close by. Life does seem to take unpredictable turns. Such was our fragile existence for a time. It must have been hard for Papa and his family, but not knowing a better existence I was oblivious to it and thrived happily in my childhood. Of course, as in any family, there were bound to be frictions — my parents had their share of quarrels — I did not know why, as their disagreements were always expressed in silence. There were no outbursts of grief or anger. Somehow they always

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seemed to make up. On one occasion I was asked to choose between my mother or father; they contemplated a separation I think. Diplomatically, I said I wanted to be with the both of them. That was how the quarrel ended that day. Notes

 1. Lesong batu tumbuk: A stone mortar for pounding chillies, etc. Unknown to Zubir Said, his wife had brought a set to Sumatra, which shocked him.   2. Zubir Said, Oral History Interview, 30 August 1984, Reel 9 (Singapore: National Archives).   3. Ibid.   4. Ibid.   5. Kampung: Means village where the Javanese labourers came from.   6. Gunsei Kanbu. Gunsei: Military government/organization/system. Kanbu: Leader/civilian and military man/leader(s)/ management/staff (executive).   7. Zubir Said, Oral History Interview, 7 September 1984, Reel 10 (Singapore: National Archives).   8. Ibid.   9. Ibid. 10. “Banana money” was issued in abundance during the Japanese Occupation of Southeast Asia because Straits currency was in short supply. After the Japanese surrender on 12 September 1945, Japanese money became worthless. The Japanese Government dollar was a form of currency issued by Imperial Japan during the Japanese Occupation of Singapore, Malaya, North Borneo, Sarawak and Brunei between 1942 and 1945. The currency was also referred to informally (and with more than a trace of contempt) as banana money (Malay: duit pisang), named as such because of the motifs of banana trees on $10 banknotes. The Japanese dollar was in widespread use within the occupied territories where the previous currency became a scarcity. See C. M. Turnbull, A History of Modern Singapore 1819–2005 (Singapore: NUS Press, 2009), p. 207. 11. Zubir Said, Oral History Interview, Reel 10. 12. Tonel: An Indonesian word meaning stage show. 13. Tongkang sayur. Tongkang means small boat and sayur means vegetables. So tongkang sayur is a boat ferrying vegetables from the farm; in this instance, maybe from Pekanbaru to Singapore. 14. Turnbull, A History of Modern Singapore, pp. 195–224.

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Chapter 5 Where the Sky Above I Hold, the Earth Beneath I Tread

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Third Passage to Singapore When my father returned to Singapore on his short trip, a Japanese officer he met quietly and in great confidence told him that the Japanese were about to surrender. My father was much relieved because it meant he could finally leave Sumatra. With my mother and me in tow and two Indonesian army officers, we set sail again for Singapore, leaving behind a Sumatra that was jubilant to be rid of the Dutch colonial yoke and an even greater satisfaction that they were rid of the Japanese. Papa remembered how a small group of Indonesian youths meted out severe punishment on the Japanese and gave vent to their hatred of them with a horrific act of cannibalism. They caught some Japanese MPs, tied their hands, brought them to a hill and chopped off their heads, take out the brain and make soup and they eat the soup.1

As I was whisked back to the island state of Singapore — Papa’s dream island — I carried with me pleasant thoughts of my early childhood in Sumatra, and many fond memories of Bukittinggi, in particular. Besides remembering the very brief jaunt in school, it was that — a mere jaunt — I remember indulging in traditional games that have become largely forgotten. My friends and I used to play a game called “hit the sticks”. We would dig an oval-shaped hole in the ground, recline a 20 cm piece of stick against one end of the hole, and with another stick of the same length hit and flick the stick out of the hole and continue to do this as many times as possible. The winner would be the person able to sustain the most number of hits of the sticks. I played with tennis balls, too — not lawn tennis — but I bounced the ball between my legs as I skipped left and right. For amusement, we would also catch a harmless black horned beetle from the coconut tree. I thought with my child’s eyes that it looked rather large. I put it in a box and proudly showed it off to friends. We would also catch green dragonflies which I remember were rather big. What to me was beautifully vivid were vast green padi fields, green as far as the eyes could see. I recall helping the family plant young padi shoots in knee-deep mud in nice neat rows. Then, one day, to my horror and fear, I found a leech stuck to my leg. My scream shocked and hastened everyone to my aid. It was really not anything to be alarmed about, I was gingerly told, because it was quite common. I cannot remember how my mother removed the leech — either with salt or a

Opposite: Zubir Said acting, one of his many talents, in a comic sketch with Aman Ramli Jaafar, famously known as A. R. Tompel, the actor and comedian of the 1950s and 1960s. Their act brought the house down.

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lighted match. Leech aside, harvesting time was very memorable. When the padi plants turned a luxurious gold, my family and I would picnic in the rice fields. There was a little pondok or hut for shade. There we spread our picnic lunch and we children indulged in carefree play to our hearts’ content. We were also taught to make flutes out of the golden padi stalks and weave slippers from padi straws. Another exciting pastime was going round with friends “hunting” for live eels. These were eels that lodged themselves in holes on the hillsides. With a bait — I cannot remember what — we would purse our lips and make some kind of “soft hissing” sound to lure them to the surface. When they showed up we would quickly pull them out of their hiding place. I have mentioned elsewhere in the book that dried eels are delicious and it was one of Papa’s favourite delicacies. Papa was not one to indulge in these frivolous activities; it was understandable because he was too preoccupied with his work. However, he made sure that Mama would always accompany us when we went on these picnics in the padi fields or passed our time wading in the shallow river. My vision of this river is still very clear. I can picture a calm, serene river that was wide, crystal clear and shallow, dotted with white boulders that seemed to have sprung up from its bed. They added to the natural beauty of the landscape — set against the green, lush jungle in the background. On warm sunny days, I spent many hours in the company of friends doing basically what young children would do — frolicking in the river in total abandonment. Nowadays, the same scenic view comes to mind whenever I need to escape and meditate. It is an ideal imaginary backdrop to relax. My childhood was so blessed. But, strangely, I do not recall

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the political and economic hardships that my parents and others suffered during the Japanese Occupation. The wonder of a child’s sweet, carefree innocence. So we set sail for Singapore in 1947 — I’m not sure of the exact date — probably early January or February. That was a journey of no return. Papa was resigned to living and dying in Singapore. Once, he had said “di mana langit dijunjung di situ bumi dipijak”, a popular Malay adage meaning “where the sky above I hold, the earth beneath I tread”, and at some point he also expressed the wish — “where I will die”. He lived by this adage for the next forty years. In Singapore — before we first escaped to Sumatra — I recall being taken to some deep, dark recesses of the earth. They were war shelters, I later learned. At another time, our hideout was the basement of the Cathay Cinema. Today the Cathay Cinema is still standing majestically, one solid monument, a reminder of my childhood years long gone by. Whenever the war siren sounded, we ran helter-skelter seeking refuge in the building, huddled together, feeling relatively safe in the company of other people who were as fearful as we were. But I had a fear of another kind. I was so frightened at the sight of a “monster insect”. Looking back with an adult eye, it was probably just a cockroach or a harmless beetle, which in the eyes of a little girl seemed multiplied in size. Back again in Singapore, I remember how brave Papa was. When we arrived from Sumatra, Papa could only afford a cheap hotel in Bras Basah Road. It was at this time that the British re-entered Singapore. With an air of impudence, the British soldiers marched through, rampaging and smashing everything in their way.

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Our cheap hotel was almost not spared. They charged in and were about to smash everything in the hotel lobby, but they stopped in their tracks. My father tactfully assuaged them. Because he was able to speak a little English, the incident was averted in time, and only a large mirror was smashed. I was about eight years old when we arrived back in Singapore. The short period of schooling in Sumatra did not prepare me for school in Singapore. I was also too old to enter primary one; furthermore, I knew no English. Papa, who, like Kakek, put a very high premium on education, was determined that I should be immediately placed in school. So he engaged a personal lady tutor to teach me English. He sold some of his much-loved books, fetching $15 to pay for my tuition fees. I suspect that it was with a heavy heart that Papa parted with his books. Even as I write this, tears well up in my eyes. Papa’s sacrifices for me had been immense. After three months of intensive coaching, I was accepted into St. Anthony’s Convent in Middle Road. I was the only other Malay girl to attend that convent then. Because of my age, I was admitted directly into primary two. In the meantime, Papa did anything and everything to eke out a living. We had been living out of a suitcase in that cheap hotel. I cannot remember what he did at this difficult stage of our lives. He must have made some money because we were able to move to a rented shed or perhaps the shed could have been cheaper than the hotel. The shed was the size of a small garage and had a cherry tree in front of it. It was situated in Middle Road, walking distance from my new school. This shed was an annex to some other run-down sheds in a rough

My mother and I (eight years old) on our return from Sumatra in 1947.

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compound, rented out to a couple of other families. We shared communal amenities in a separate hut in the compound. This was home to us for a while. It was my pastime to climb that cherry tree with a small bowl, and pick the red cherries — to me they were sweet and juicy. I was proud that I picked them myself, but not proud to have been such a tomboy.

All the while during this time I think Papa hunted for job opportunities. Although he was offered his job back at His Master’s Voice (HMV), with two homes, two wives and three daughters, he could foresee that his income would not be adequate. Besides, there was still a lull in the music industry. The war that ravaged the country had just ended, leaving the country in total

Lorong 33, a happy home despite being spartan. Zubir Said had friends and relatives drop in all the time. Osman Gumanti, on the extreme right, was a frequent visitor. Note the trellis at the top of the wall.

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chaos. Naturally, music and singing would be the last thing on Papa’s or anybody else’s mind.

one of the couple’s two children, was my age and we became good playmates.

Papa did not take the job with HMV, but accepted the gratuity the company offered him. It was a blessing. The unexpected windfall helped us move to a more suitable and affordable accommodation. We moved again, this time to Lorong 33, Geylang Road, above a coffee-shop. Poor Papa, he so much wanted to provide for us the comforts of life. All the same, moving to Lorong 33 was definitely an improvement over our quarters before this. In truth, I have actually more memories of this new home, perhaps because our stay in Middle Road was very short.

Doubtless, we shared a limited common working space: one kitchen with three firewood stoves, one small bathroom and one communal bucket toilet, both of which had seen the ravages of time and use. Nevertheless, despite the inconveniences, the crowdedness and the lack of privacy, I think we lived in harmony like one big family. On looking back, we were just ordinary people trying to get on with our lives after a dreadful war. It seems that racial and ethnic boundaries blur more easily in times of difficulty.

Three families shared the upstairs of this coffee-shop. One room was occupied by a Chinese couple — Hock Chew people and owners of the coffee-shop below, and their three children. They seemed unperturbed by the cramped conditions. Our one room was approximately 10 feet by 16 feet. In it were one double bed, a small dining table, a wardrobe, and my 2 foot 6 inchfoldable bed which was a wire mesh bed and rather uncomfortable. Except for this bed, I did not have any other furniture — so I stacked up four wooden crates — at the time, fruits were transported in rectangular wooden crates — and lined these with pieces of brown paper or whatever prettier paper I could get. This became my book shelf. I felt very contented and happy. It’s so true that “necessity is the mother of invention”. Our next-door neighbours, who were also Malays, lived in the third room. We shared a common wooden wall between our rooms. On the top rim of the wall was an 18-inch wooden trellis, which became a problem for us later because we could not enjoy total darkness. Our neighbours were a family of four people. Asmah,

Besides helping Papa and Mama with some chores, I think my growing-up period was that of any normal young girl — fun loving; engaging in childhood revelry. I enjoyed playing house. But we were poor. Toys were luxury items, even cheap ones. I used to drool over the lovely plastic toys — dolls, tea sets and other toys — that I saw displayed at Happy World. For entertainment, Papa and Mama occasionally took me to Happy World. (Singapore then also had two other amusment parks: Great World and New World.) Happy World was a huge amusement park, brightly lit with coloured bulbs and music blaring, to add to the festivity. Many small shops, selling almost the same products, competed to entice visitors to their wares. Papa and Mama — each holding my hands for fear that I might wander away — would just walk leisurely, enjoying the lights and the lively rhythmic music and we would then pause a while at the open joget2 stage. A joget is where pretty lasses in their sarongs and kebayas sat coyly in a row waiting to be “picked up” for the joget dance. Male patrons would have to buy tickets to dance with these lasses. This was a cultural phenomenon — seemingly

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innocent — that has become an antiquated pastime. Today, one finds sophisticated air-conditioned dance halls, where dancing is a private affair, behind closed doors. I enjoyed the atmosphere of merriment at Happy World. I could not have the toys on display in the small shops, but I was not disappointed. Our circumstances taught me to be resourceful and creative. I made dolls from scraps of material and cut out little dresses for them. So I was still able to play house: the tiny beds for the dolls were from match boxes; the little teacups and saucers were bottle caps or anything I could lay my hands on or create. My constant companion was Asmah. Asmah and I often conversed in the Hock Chew dialect — as children, we picked up the dialect with ease. I have forgotten it now except for a couple of words. It used to drive Mama mad because she could not understand our “secret” conversations. Whenever Asmah and I were allowed downstairs, we would play hopscotch on a side road, or we would rent bicycles, at 20 cents per hour each, and cycle around to our hearts’ delight. Once, I cycled straight into a narrow gutter — this was the first of many more cycling scrapes. They were worth it. Much later I was quite adept at cycling “trapeze-like”, hands free, to embroidery classes on the busy Mountbatten and East Coast Roads. By this time we had moved to Goodman Road. I was young and playful, but still had chores to do. Going to the market in Geylang, a few kilometres away from our home, was quite enjoyable. Everyone knows Geylang Market, but today’s clean, organized Geylang Market bears no semblance to the old one which was dirty and terribly wet. Most times, I would

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walk, sometimes barefoot, to the market to save on the bus fare, but I would definitely board a bus home. Unashamedly, I would go from stall to stall and haggle until I clinched the lowest price possible for fish and vegetables. I became quite good at it. Most of the time my mother was happy to leave the marketing to me, because the money for daily expenses that Papa gave her was too little, somewhere between $2 to $5. Leaving the shopping to me was smart because the vendors were more sympathetic to a young girl with a basket, shopping on her own and able to speak a smattering of Hokkien. My regulars recognized and acknowledged me. I soon struck up a friendship with them. I used to secure lower prices for the things I bought. There were times when I would get a little extra in weight. Now it all seems far back in the past, but what is important is that I cannot remember ever being unhappy or disgruntled. I was happy enough having a pet cat and a bird, and going to school diligently. I was doing relatively well in school. I took the bus to school. My pocket money was 20 cents, of which 10 cents was for my return bus fare.

The photographer Earlier I mentioned that after the war Papa was offered his job back at His Master’s Voice. The HMV Gramophone Company was unofficially reopened by Moorthy and Co., the sole agent. As an incentive and as promised, the company asked Papa to resume his work at HMV. Although the company was quite magnanimous, Papa felt compelled to decline the offer without hesitation. He decided to take a temporary respite from music because he said that at the time “there was nothing yet in Singapore”. All the same, Papa received his durian runtuh,3 that was his windfall.

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He received his back pay of $150 for over three years and also some bonus. When Papa decided to take a respite from music, little did he dream that he would become a photographer. As an art form, photography fascinated Papa. He used his unexpected good fortune from the gramophone company to invest in two cameras, a Rolleiflex and a Speed Graphic, and equipment for developing film and printing photographs. He had no knowledge of photography at all, but his interest, determination and willingness to learn from others helped him get by. He learned photography from the dealer who sold him the cameras. His first photograph was of a reclining Buddha in a temple. This was sold to Agfa film for Singapore for $800, including the negative. With a mischievous chuckle — audible from the oral history — Papa surprised himself that “it was a good snapshot”. The photograph was enlarged and used in an advertisement. He had now become a freelance photographer and for the next two years he was the picture of a reporter perpetually with his camera slung over his shoulder, ever ready to go into action at a moment’s notice. He was not the only one involved in photography. Mama and I too were inadvertently drawn into Papa’s new passion, a passion which he shrewdly developed into moneymaking ventures. In 1948, the British administration in Malaya (Singapore was then part of Malaya) and the district officer of Pontian Kecil, wanted to introduce identity cards for Indonesian workers. No photographer dared to venture there because of the communist presence in that area. Neither did the Indonesians want to go into town to have their photographs taken. So Papa applied for the assignment and was successful. With

a Leica camera, Speed Graphic and Rolleiflex and with little regard for his own safety, he travelled to Pontian Kecil. The district officer suggested that Papa be given the protection of twenty armed guards, but he declined. Turning down the kind offer he said: I do not want any armed guards … I want only one man, the kampong chief, who knows the road. Even if you give me 200…. I put people in a row of 20 or 10 at least and make a shot. I use a tripod and wide angle lens. After 20, another 20, in one day I finish.4

Zubir Said, the photographer, was ingenious — 1,500 photographs taken in a day! In the face of heightened danger from the communists, Papa strategized, photographing twenty persons in one shot. Then he developed 3,000 prints — two for each person — on his enlarger, thus cutting his cost to a minimum, perhaps to 10 cents a copy. He charged $1.50 for two copies. I remember that we did this in our Lorong 33 home. There was no darkroom. He improvized with the dining table, draped a black cloth around it, and under the table he used a dim green light. Sometimes he would deftly change films in the camera under a blanket. Quite often, we could only begin work after midnight when our neighbours had switched off all their lights so that we could get the maximum darkness. One day, it was unfortunate that our neighbours unexpectedly turned on their lights. We shared a common wall with a wooden trellis at the top. Consequently, a fair amount of film and paper were exposed, causing losses that we could ill afford. Papa also dabbled in colour photography. Unlike the colour photographs we have today, we had to use special colours to paint on black and white photographs. This fine work of artistry was left to Mama. She was good at it. I, on the other hand,

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“Bangsawan Sandals”, two of many creative photographs by Zubir Said.

Tarminah, in one of her many poses “choreographed” by husband Zubir.

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assisted Papa in developing, printing and cutting the photographs. Papa’s freelancing proved quite rewarding. The Indonesian Consulate awarded him many assignments, such as their annual national independence day celebrations in Grange Road. Again, if not exactly lucrative, it was at least a good source of income. He charged $1.50 per print. For the consul general, Papa creatively arranged the photographs in an album and charged him $150 for the album. The consul general was very happy and instructed other young consuls to pay the same amount for similar albums of photographs. He very kindly instructed the cashier of the consulate to collect the money for Papa. Papa was also given assignments by the press, especially the Utusan Melayu. The director of Utusan Melayu then was Encik Yusof Ishak5 and he was Papa’s friend. Born in Malaya, Encik Yusof was the son of a Minangkabau gentleman known to Papa’s family. Papa affectionately remembered Encik Yusof and his four other buddies as the “five musketeers” who ate satay at squat stalls. We used to go … my friend is not only him, we are five musketeers, one is Yusof Ishak, Ibrahim Kajai a journalist, Zahara Zaaba an author, footballer Rahman Tikus and myself. Five of us used to go to Alhambra Theatre every weekend to eat satay at squat stall. Then we go to the beach.6

As we all know, Encik Yusof Ishak became the first president of Singapore after independence. When asked, Papa was reported to have described Encik Yusof Ishak as: “a wonderful person, He just cannot stand and do nothing when he sees a man in need. Singapore is indeed very lucky to have such a person to represent her.”7

On another occasion he remarked again how blessed he was to have Encik Yusof for a friend. He had been Papa’s friend for twenty years and Papa would surely know what he was talking about when he said this about Encik Yusof. “a gentleman, educated, a nice man always willing to help people. Religious, not like me.”8

I think this was the second time that I have heard Papa utter sadly, with quiet laughter, that he was not religious. The other time was when he recalled how he was naughty when it came to saying prayers and that his father punished him for it. It was not out of a lack of religious knowledge, because his religious education was impeccable. He was sometimes slack in its practice. He read the Qur’an very well and he could even read Jawi. Perhaps Papa felt a conflict in his profession: between having to pursue life in the fast, colourful lane of music, the performing arts and all that this entailed, and the more serious, sedate religious obligations in which music is considered haram (forbidden). Because he was very passionate about music and the arts, he felt he had neglected to carry out his religious obligations to the level that he would have liked, as in everything he did — with perfection and total commitment. Papa remembered his friend Encik Yusof with a deep sense of gratitude as someone who presented him with many opportunities to pursue his short career as a photographer. His pictures always had a market with Utusan Melayu. At a moment’s notice, Papa would take any picture that could become news for the press that would bring him additional income. He was ever ready to go into action. On one occasion, Papa scurried to the morgue at the General Hospital. He explained excitedly his state of readiness:

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I used to have camera always on my shoulder ready and I fix the lens. One day I got news from the Indonesian Consulate. At that time there was revolution in Indonesia against the reoccupation by the Dutch. It happened that somebody from Java, a corpse was brought to Singapore on transit to Sumatra. The press wants to know who is this man. Some say he is a general, some say warrior. I went to the mortuary at General Hospital. I went to see. I see the corpse covered with white cloth. On top of the body there was a keris. So what it was all about I don’t know I took close-up photo of the whole body. There were policemen there. I told them to stand near the corpse and I take the photo. I send this photo through photo agent who sold me the camera where to sell this so he went to the sole agent for newspapers. He sold the photo including the negative. He knows how to handle the price. So we divide the money. I gave him half. He said too much. I said never mind. I still don’t know whose corpse.9

That was a funny twist to the end of his story — what mattered was that he made money.

Indonesian Club: A Dream Mansion

70 Goodman Road, a “dream mansion”.

It was about this time that we moved to No. 70 Goodman Road, which became the venue for an Indonesian Club. As an Indonesian, and a photographer

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for the Indonesian Embassy, Papa enjoyed special advantages and privileges. He was offered the post of caretaker cum manager of the club. For me, it was a pleasant change to live in a huge house with a big compound although we lived in the servants’ quarters at the back. For me it was no less than a dream mansion. Many events took place here. The annual Indonesian Independence Day Celebrations on 17 August were celebrated here with a lot of pomp and gaiety — well attended by Indonesians as well as locals and important dignitaries. The highlight was a competition to climb a very slippery tall pinang (betel nut) tree which had been smothered with wax. Promises of attractive prizes in an envelope placed at the top awaited the winner, the first person to reach the top. I looked forward to this celebration every year. There were numerous other events hosted in the club: billiard competitions, table tennis competitions, and functions to celebrate important occasions. There were frequent visits by groups of dignitaries and women’s organizations. Once an Indonesian naval ship docked in Singapore and we were hosts to the large contingent of navy personnel. The club was also once graced by a visit by Ibu Fatmawati, President Soekarno’s wife. She was a beauty, with refined elegance and very polished. Papa, needless to say, had plenty to do because, besides his involvement with the club, his new career as a music composer for Malay films began around this time. Most of the time, he personally orchestrated all the arrangements for the different events. He was still freelancing as a photographer, but on a lesser scale. He organized many activities that brought together people from the arts and culture. I remember there were many happy gatherings of artistes. Papa would always be the prime mover, not only as the coordinator, but also as

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an entertainer. He enjoyed doing comic sketches with his colourful artiste friends, such as the veteran personalities A. R. Tompel and Wahid Satay, both of whom were well-known comedians in my father’s time. My “dream mansion” was also large enough to accommodate a football team from Jakarta. When the footballers came, there was a lot of excitement. We provided board and lodging. Mama had already begun to cater food, especially gado-gado10— her specialty and my favourite dish — as part of the services we were offering at the club. There were no food outlets anywhere near the club so business was quite good. Like Papa, my mother and I were also always busy, not to mention our preoccupation with our pets: chickens, cats and birds. We never had the heart to slaughter any of the chickens, but we did enjoy lots of fresh eggs. My mother even had time to act in a couple of movies, one of which I remember was Tangisan Ibu (A Mother’s Tears). Part of the film shoots were done at the club itself. The Indonesian Club was honoured by the visit of the charming and gracious Ibu Fatmawati, wife of President Soekarno of Indonesia.

Zubir Said with close friends flanking Netty Herawati, a famous Indonesian actress. Ahmad Jaafar, a well-known composer, is at extreme right.

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Footballers completely immersed in a game of chess.

Indonesian footballers training for a match.

I do not remember having to go to the market anymore when we moved to Goodman Road; the market was now too far away and not directly on the bus route. But doing chores was still a big part of my life: washing and ironing with one of those coal irons that had to be constantly fanned to keep the coals burning. I took this all in my stride. I hated the washing, but I liked the ironing because it was gratifying to see the clothes neatly ironed and piled high — which I did deliberately — to display the amount of clothes I had ironed. I did not do this for anyone to see, but for my own satisfaction that I had done a good day’s job. The days at the club were some of my happier days. My sister Zuraidah had a modest but dream garden wedding here. It was here too that I was given Indian classical dance lessons by a well-known Indian classical dancer from India, Devatta Jetley. He used the club as the venue for his dance classes and, for me, I was fortunate

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to be given free lessons. But unfortunately for me, this was short-lived. My position in class in school plummeted from the usual top three to seventeenth. Papa instantly short-circuited my transient dream of being an Indian classical dancer. In reality, it was mere delusion on my part. Thinking back, Papa also kept me away from Jalan Ampas where Malay movies were made and artistes presumably lived a life of glamour. Until today I have no knowledge of the

location of Jalan Ampas studio. He protected me so carefully from such distracting influences. He made sure that my nose was buried only in books. But I did learn to play billiards and table tennis at the club. Papa’s love for music, culture, and the arts had not diminished. He continued to associate with acquaintances and friends in the music and film industry who now opened new doors for him.

Zuraidah married Said Hamid in a modest but beautiful garden wedding at the Indonesian Club on 5 July 1953.

Manipuri dance by Devatta Jetley’s students. I am second from right. After this one performance, Papa stopped me dancing because it interfered with my studies.

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Composing Music and Songs for Malay films In 1949, after two years as a freelance photographer, Papa landed a job with Shaw Brothers, a newly established film company in Singapore. All that was expected of him was to compose songs for Malay films. Osman Gumanti, a veteran actor and dancer, introduced Papa to the film industry. Uncle Osman, who hailed from Indonesia, was a very dear friend of the family till the end of his life. Of course it needs to be mentioned here that my mother, who had always shown great interest in the performing arts, once danced a duet with Uncle Osman in a classical dance that he choreographed. I remember watching them dance and admiring my mother’s lovely fluttering hands.

Tarminah, the graceful dancer.

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Osman Gumanti as the “Raksasa Garuda Bird” (Gigantic Mythical Bird) ready to rescue a damsel in distress.

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Uncle Osman’s familiar presence in our home helped me remember him as someone kind, affectionate, generous and always smiling. Till today the stream of my memories about Uncle Osman has not dried up, especially when he chose me to inherit his valuable antique trinkets and some of his precious songket sarong. Bless his soul, I was so touched that he had shown me so much affection as to feel I deserved these treasured gifts. I feel privileged too that I was the last person he saw in the hospital in Kuala Lumpur one evening. I had visited him and when I left, he appeared to be in good health, or so I thought, because he was quite cheerful. But I did think at the time that it was unusual for him to ask me repeatedly about the date. Little did I envisage that he would leave us that very same evening at midnight. He was close to my family, because he and Papa shared the same interests and cultural background. Hence there was always that deep connection between Papa and Uncle Osman. Papa was always in high spirits in his company. Their conversations were sparkling, full of wit and humour. After all, as had often been said before, there are strong kinship ties between the performing arts, music and song. They are all inextricably intertwined. Papa worked very briefly for Shaw Brothers. Although the job provided security, it was not challenging and fulfilling enough for him. All that he was required to do was to write songs and more songs for Malay films. After a while he found the work mundane. But it is worth noting that a film with Shaw Brothers that carried his songs was a box office hit. This film was called Chinta, acted by Siput Sarawak and S. Roomai Noor. For this movie, Papa needed to find suitable voices for the main actor. And so Papa introduced voice dubbing.

According to Nona Asiah,11 Papa was the first composer to use suara latar or voice dubbing. Kak Nona, as I affectionately call her, recalled what Papa said to her, “if in Hindustani films the voice of the famous Lata Mangeshkar could be dubbed on to another actress, why can’t the same thing be done in Malay films?” In Chinta, Nona Asiah’s voice was used for Siput Sarawak while Roomai Noor used P. Ramlee’s voice. At this time, P. Ramlee had just started his film career, but showed great promise. Papa liked him and his voice a lot. I would not be surprised that P. Ramlee found in Zubir Said a role model. At one stage in his illustrious career, P. Ramlee was known to have described Papa as a purist while he was rather eclectic in approach. The film Chinta was a huge success, partly because of Papa’s musical contributions, but it was not satisfying for him; he needed more challenging ventures. Writing in his forthright style, this was what Papa said about the nature of his job at Shaw Brothers. composing songs for fantasy films, stories about sailors, islanders … not historical, not much of value. But they were appreciated by the public.12

Papa found no depth in Malay films at the time. As he said, writing songs for fantasy films etc. was not his cup of tea. Obviously, to Papa it was music, not mere words, which was the language of emotions. Although he was known for his mastery of the Malay language, it was through music that Papa could best express his true feelings and emotions. At about this time, Papa discovered that another film company, Cathay-Keris, was looking for someone who could compose background music for Malay films. It was as if his prayer was answered. Composing background music was the very thing that appealed

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to him. Papa was delighted to accept the offer. It was likely that even unknown to himself, Papa had been wanting an opportunity like this for a long time. Any apprehension was brushed aside and he joined Cathay-Keris,13 which was co-owned by the millionaire Loke Wan Tho, whom Papa described as “warm and congenial”. The peaceful surroundings at Cathay-Keris must have helped Papa immensely. He dedicated most of his time to his work. The first film was an enormous success, but being the unassuming person that he always was, all that Papa said was “It was quite alright”.

Relaxing after shooting the film Chinta. Zubir Said pioneered voice dubbing. He used P. Ramlee’s voice for S. Roomai Noor. P. Ramlee is seen wearing a sarong.

It is with discreet pride that I say it was at Cathay-Keris that Papa made a huge success of himself. Throughout the 1950s and 1960s Papa provided the background music for a very large repertoire of Malay films. It was also Papa who wrote the musical compositions and lyrics of the songs sung by well-known singers, actors, and actresses, including Siti Tanjung Perak, Nona Asiah, Saloma, Rosiah Cik, Abdullah Chik, and many more. (Papa’s contributions as a songwriter will be discussed in greater detail later.) The new challenge invigorated and excited him. He plunged seriously into his work, heart and soul, to pursue his dream of being a composer of mood music for Malay movies. Music seemed to flood his mind. What is noteworthy here is that during this period, the Malay film industry was still in its infancy and the idea of providing background mood music was practically unheard of. Opposite: A mirthful practice session: Saloma with mentor Zubir Said at the grand piano. Saloma captured the spirit of Zubir Said’s music and songs.

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Being taken on as a music composer for Cathay-Keris was Papa’s opportunity of a lifetime, and if I may venture to say so, it was one of the biggest milestones in his life. He recalled: It was the first time that a Malay film was with Malay recorded music. Usually they took it from European music but this time with Malay music. Most valuable experience for me is at the Cathay-Keris because here I have to make the background music myself. Since most stories are ancient Malay stories so I make more Malay music background. In Shaw Brothers, I was not given the chance to make this background music. I am interested in background music because there are so many moods in music there, that is what I intend to experience. In Shaw Brothers I was only composing songs, so that is not much. It was also the first job for me. I have bought some books about background music — English books — and I read them, how to make mood music, the tragedy music, that kind of trend we don’t have in Malay music. So I try. It was quite alright.14

Mood music really fascinated him. It filled his thoughts and solitude. His first film was based on an ancient story (he had forgotten the title of the story), rich in expressive dialogues, and the actors were dressed in resplendent costumes. He pointed out that he found the “work hard at first” but later he found it extremely satisfying. On receiving the script from the director, Papa would diligently begin “scoring”, the technical jargon for the process of preparing the musical

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Zubir Said and Loke Wan Tho, the millionaire owner of film company Cathay-Keris, celebrating the success of their first film.

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compositions for the film, from start to finish. With concentrated passion Papa would first study the script before previewing the entire film, carefully noting the parts which required background music. Then he would preview the film to determine the genre or type of movie: horror, drama, comedy, etc. He would sieve through the film again and yet again reel by reel on the moviola.15 The process was painfully slow and Papa had limited technical knowledge, but nevertheless he persevered, focusing his attention on the task at hand, promising himself that he would produce the best background music ever. When he felt that a scene needed background music, he would pause to measure and make a notation of the footage, e.g. “footage such and such in Reel No. 1 from 60 feet to 120 feet, the music might be romantic music”. Thus he would continue translating the footage into a time frame. Quite often, he would take three reels to work at home. The work did not seem to end. Papa had to imagine the scenes, compose the background music on his piano, first in number notations with which he was most comfortable. With this rough sketch he would revisit the film in the studio to determine whether the mood was appropriate and also whether or not the footage was right. He might have to make some adjustments. All in all, there might usually be about seven reels to work on. He would leave the most difficult parts to the end. These were when the scenes changed and the mood had to change accordingly. The scene might change from romance to anger and then to murder and then maybe to ancient war. On having viewed a few reruns of the film, he would then plan the orchestral arrangement, conceptually at first, without the actual orchestra. This

was followed by an initial practice with the actual orchestra, the film and his scores, which by then would have been patiently written in staff notations for his musicians, but without the actual recording as yet. Sometimes the music tended to be slightly long. For greater effect, changes would have to be made here and there. Papa’s primary aim was to produce the best music. So he was prepared to make compromises with the man in charge of the film, thereby adjusting it backward and forward without affecting the important parts of the film. When everything was ready, that is, when the background music was ready and the songs had been recorded, they would preview the film again, this time around with the director. Should there be some issues, and if the feedback was acceptable to Papa, he would then make the necessary adjustments and this might mean repeating the recordings to the satisfaction of everyone concerned. The entire process ceased to be the object of only his own imagination. It involved much more of other people’s input and decisions and the artistic and scientific resources at hand. It is a truism what Albert Einstein said: “Where the world ceases to be the scene of our personal hopes and wishes, where we face it as free beings, admiring, asking, and observing, there we enter the realm of Art and Science.” Having composed contemporary, modern music and now legendary music, Papa found composing the legendary type of music more challenging. For modern music he could listen to other recordings, but not so for legendary music, where he had to depend much on his own imagination. He went on to explain: Malay music was only songs for singing and the singing is actually happy singing and sad singing. Injecting the “mood” into Malay music for background

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is not easy. For me it is also more difficult because it is the first time I did it. Nobody in this country, even in Indonesia, make background music composed for film. Usually they take only from recorded music. Suppose the fighting, I have to use Malay drums and the gong, and at the same time also, the orchestra will play Malay music that is fast, which I had to create because there is no fast music in Malay. Ideally, for Malay background music or for any background music, a large ensemble of orchestra is needed but a big Malay orchestra for background music did not exist in terms of time and budget. The owners cannot agree to a big orchestra. So I have to limit my musicians up to eight only and that is another difficulty, up to eight musicians only … so the difficulty is when I want something grand in the scene I could not produce it. The only thing I did to make it like this, [was] using the drum, that’s more noise. In the film anything that give a certain sound which is right, we are using. Sometimes banging on anything also will do, to give the effect, like people fighting, so they meet keris with keris or any other weapon, then we use banging on tins.16

Papa’s inspirations would have blossomed into “grand” music greater than what he could produce then, had he been free from any constraints. With “only eight musicians” and lacking suitable instruments, he was still able to create masterpieces that won him awards. Cathay-Keris successfully produced a couple of box office movies in which Papa’s songs were acclaimed. The object of Papa’s pride was the film Jula Juli Bintang Tiga, which was recognized by the judges at the Asian Film Festival in Kuala Lumpur in 1959 as best film portraying traditions and folk music. Then again, at the 9th Asian Film Festival in Seoul, 1962, he was thrilled when Dang Anom, a historical drama by Cathay-Keris, won an award for best folk songs and dances. The latter was a sad story of the struggle of early local Malay warriors who had to leave their loved ones to defend their country, and of how Singapore

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Previewing film to determine the genre of the movie prior to composing mood music and revisiting the movie reel by reel to perfect music to film.

fell to the Majapahit invaders. The music and songs in this movie exemplified his understanding of the emotions and significance of life (in the context of tragedy) in order to portray such emotions in melody....

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Second by second in slow rhythmic tempo, (the music) tells of a woman’s emotions when her fiancé leaves her to defend his country….17

It was a challenge to create “grand” mood music with only eight musicians.

Through his hard work, Papa had created a niche in the film industry composing “mood” music. In Tangisan Ibu (A Mother’s Tears), his background music so moved the audience that there was not a dry eye left around. He was duly complimented. … lagu “mood” Zubir Said di mana alat musik biola yang menenggelamkan nada musik lain dan menghantui perasaan, ia memperkuatkan nafas sedih filem itu, malah membuat penonton terlibat pilu hingga titisan air mata yang terakhir. Filem yang begitu kuat ceritanya dan melodramanya diberi dimensi baru oleh lagu latar belakangnya, maka paduan lagu latar dan jalan ceritanya menjadikan filem ”Tangisan Ibu” filem klasik.18 (… Zubir Said’s “mood” music, whereby the violin drowns the musical notes of other instruments, haunts feelings; it intensifies deep sadness in the film; in fact the audience partake in feeling such painful sorrow till there were no more tears. The story of the film and its melodrama that is so powerful is given a new dimension by the background music; so the combination of the background music and the thread of the story makes Tangisan Ibu a classic film).

In Tangisan Ibu his music was so melancholic and soothing that it deeply moved the audience. It is no exaggeration to say that he received considerable critical acclaim.

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If we can think of a thousand things that have made Papa happy, I think the success of the film Tangisan Ibu would be one of the top on the list. I think no one was more surprised about the huge success of the film than Papa himself. Most significantly, in this film it was his wife, Mama Tarminah, who played the role of the neglected and long-suffering “mother”. If I may say so, in her younger days, Mama was not only a dancer, known for her beauty and grace, but also a fine actress. I can only imagine it, but to Papa it must have been a great personal joy to see Mama acting incredibly well in that film. He must have been overjoyed. Mama, in her old age, just smiled sweetly when I probed about her feelings for Papa. She volunteered, however, to say that she relished his company and truly appreciated his advice and guidance throughout the filming of Tangisan Ibu. Probably, this was what Papa meant when he said about the importance of “understanding emotion and the significance of life in order to portray the desired emotions in the melody”.

acted in a film on the Malayan Emergency period — a story called Pengembaraan Yaakob or The Adventures of Yaakob by Filem Negara, Malaya, and Papa was the music director.

Encik Hamzah Hussein, who was editor of a weekly focusing primarily on films, did an almost exhaustive review of Papa’s music contributions in films. That was indeed a huge credit to Papa. But apparently Papa composed a great deal more background music and songs for films, some of which cannot be traced.

On the subject of Papa’s compositions of music and songs for films, I have only been able to document a short list. It is difficult to access these because of copyright issues.

Kak Nona recalled that Papa also composed many songs for the first Shaw Brothers’ film Chinta. For a Nusantara Film entitled Pelangi, directed by Nas Achnas, she remembered he composed several songs, one of which was a humorous song, Sambal Belado. I do not have the score for this. In the late 1940s or early 1950s, Kak Nona said that she and her husband, Ismail Kassim,

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Fifty years is a very long time and many of my father’s contemporaries have passed away. L. Krishnan, now Tan Sri, directed a large number of the films in which Papa was the music director. He left Cathay-Keris and moved to Malaysia in the 1960s. He is a wellknown philanthrophist and the chairman of Gaya Film Advertising. He pioneered the film industry in Malaysia and continued to be involved with film until his retirement. Now in his nineties, he is a picture of health, and still goes to his office occasionally but he could not remember many of the films that he directed. However, he said he remembered Zubir Said as being a “no nonsense man” when it came to work. They were the best of friends and working mates he claimed, although they had their differences at times, which was to be expected.

Although Papa composed numerous songs for various films, I will only mention those which have remained evergreen. Sayang di Sayang was a song composed in the 1950s. It was not a song composed for any film. However, it was later used in the film Racun Dunia. It was first sung by Rubiah and over time it was popularized by Kartina Dahari. It has more recently been adapted by Ning Baizura to fusion and blues. Setangkai Kembang Melati (A Stalk of Full Jasmine Bloom)

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A neglected and long-suffering mother’s sad story acted by Tarminah in Tangisan Ibu (A Mother’s Tears) with M. Amin and Umi Kathum, shot at the Indonesian Club.

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Title of films

Production company; Director

Azan

Cathay-Keris Films; directed by L. Krishnan

Badang

Cathay-Keris Films; directed by S. Roomai Noor

Bawang Putih Bawang Merah

Cathay-Keris Films; directed by S. Roomai Noor

Berdosa

Malay Film Production; directed by B. S. Rajhans

Buluh Perindu

Cathay-Keris Films; directed by B. S. Rajhans

Chelorong Cheloreng

Cathay-Keris Films; directed by S. Roomai Noor

Chinta

Malay Film Production; directed by B. S. Rajhans

Chinta Gadis Rimba

Cathay-Keris Films; directed by L. Krishnan

Chuchu Dato Merah

Cathay-Keris Films; directed by M. Amin

Dang Anom

Cathay-Keris Films; directed by Hussein Haniff

Dendam Pontianak

Cathay-Keris Films; directed by B. N. Rao

Dewi Murni

Malay Film Production; directed by B. S. Rajhans

Gul Bakawali

Cathay-Keris Films; directed by B. N. Rao

Hang Tuah

Malay Film Production; directed by Phani Majumdar

Jula Juli Bintang Tiga

Cathay-Keris Films; directed by B. N. Rao

Jula Juli Bintang Tujuh

Cathay-Keris Films; directed by B. N. Rao

Kasih Menumpang

Shah Film; directed by L. Krishnan

Laila Majnun

Cathay-Keris Films; directed by B. N. Rao

Mahsuri

Cathay-Keris Films; directed by B. N. Rao

Masuk Angin Keluar Asap

Cathay-Keris Films; directed by Hussein Haniff

Mega Mendung

Cathay-Keris Films; directed by L. Krishnan

Nur Islam

Cathay-Keris Films; directed by K. M. Basker

Pelangi

Nusantara; directed by Naz Achnas

Pengembaraan Yaacob

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Pontianak Gua Musang

Cathay-Keris Films; directed by B. N. Rao

Puteri Gunung Ledang

Cathay-Keris Films; directed by S. Roomai Noor

Racun Dunia

Malay Film Production; directed by B. S. Rajhans

Raden Mas

Cathay-Keris Films; directed by L. Krishnan

Selendang Delima

Cathay-Keris Films; directed by K. M. Basker

Sri Mersing

Cathay-Keris Films; directed by Salleh Ghani

Tangisan Ibu

Cathay-Keris Films; directed by L. Krishnan

Tun Fatimah

Cathay-Keris Films; directed by Salleh Ghani

Yatim Mustapha

Cathay-Keris Films; directed by B. N. Rao

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from the film Buluh Perindu was rated as “very successful” by Hamzah Hussein. He described the song as a “melodious asli song that reflects the joyous romance of courtship”. Hamzah regarded it as “perhaps one of Zubir’s best creations which taps the flexibility of the human voice”.19 From the film Bawang Putih Bawang Merah, the song Ikan Tembakul20 was considered exceptionally moving. This fish is what the Malays call ikan dua alam, that is, a fish that lives on both land and water. In this fairy tale, Bawang Merah’s mother died leaving her in the care of her evil stepmother and sister. Her deceased mother appeared as the ikan tembakul in the story. Daily, Bawang Merah would visit and sing to her “fish mother”. Her stepmother, Kundor, and sister, Bawang Putih, discovered this, caught the fish, fried it and fed it to Bawang Merah. Of course, out of spite, Bawang Merah was told that she had eaten her own mother. Bawang Merah then collected every one of her “mother’s bones” and buried them. Lo and behold, a huge tree sprouted in the exact spot where the bones were buried and there was a swing that hung from it. Bawang Merah began to swing and sing melodiously and attracted a passing prince. The songs and the music accompanying the various scenes exuded different moods: calm and melodious to portray goodness; rough and strong to exude evil and anger. The song Ikan Tembakul, which was also known as Perigi Biru in the movie, was particularly sad so as to “draw the audience into the story”.

Zubir Said composed mood music and songs for many of the films directed by L. Krishnan (Dato’) (first from the left).

One other song, Cempaka Biru, was popularized by veteran singer Nona Asiah. It was not a song from any film. It was a song specially composed for a member of one of the royal families in Malaya. The story of Cempaka Biru will be unfolded later in this book.

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Papa’s stint with Cathay-Keris was extremely productive. Everything happened so fast that at times he must have wondered if he was not dreaming. He was greatly admired and had that enviable reputation of being almost synonymous with mood music. The film The Virgin of Borneo or Chinta Gadis Rimba took Papa to Sarawak to acquire the feel of the Sarawakian culture and to compose his music on location. After he had done this, the music was then blended with Malay music. The entire film tells of a sweet love affair between two people from different ethnic backgrounds. Yet, there could be unity in diversity. This is especially brought to bear by the clever fusion of different cultures effectively intermingled through different musical forms. The story essentially depicts Malay cultural scenes on mainland Malaysia and the culture and traditions of the Iban and Kedayan communities in Sarawak. Papa successfully combined music from Sarawakian musical instruments with appropriate Malay asli (traditional) songs, using traditional musical instruments, which, in the final scene, reached a climax with the ever popular joget, to portray the happy celebration of dreams fulfilled. The music was acclaimed as a clever combination of different cultural music created deliberately, but appearing incidental, to become music that “menunjang perasaan” (music centred in core feelings) as described by Hamzah. One particular scene from this film was of two young children, Noor and Asun, around which the story revolved, innocently chasing a baby bear. The background music was able to capture effectively that innocence. It just seemed so wonderful that the scene had an undertone of sensitivity and innocence, still pure and unblemished. Hamzah Hussein remembered:

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Hingga kini saya masih dapat mendengar rentak cepat adegan ini. Ia begitu cepat seolah-olah mengikuti rentak kaki anak-anak itu.21 (Until today I can still hear the quick tempo in this scene. They were so fast, it’s as if following the children’s quickening steps).

Because of its historical theme — crossing geographical and cultural borders — The Virgin of Borneo was soon shown to an elite audience. Tan Sri Kamarul Ariffin, a well-known movie maker in Kuala Lumpur, a very creative personality himself, was impressed with the music. He invited Papa to compose the background music for his new movie Jasmin Dua, but Papa politely declined, saying he was too old to travel to Kuala Lumpur. It is not surprising; his heart would always remain in Singapore. Hamzah regretted Papa’s decision and considered it “a big loss for the Malaysian film industry”. Perhaps the thought of travelling up north to Kuala Lumpur appeared too daunting for Papa. He could have been averse to flying too. As I recall, it was a long journey to travel to Kuala Lumpur at the time. It would have involved a travelling time of six hours through rough roads and the bends of Mantin. I remember that it was definitely not an enjoyable journey, unlike today. The splendid highways nowadays from north to south have really made travelling easy and fast, but maybe still risky because of some irresponsible road demons. Perhaps it might also be that Papa could not spare the time. With so much on his plate in Singapore itself, he had to prioritize. But busy as he was to travel anywhere, he accepted an invitation from M. C. Sheppard in Kuala Lumpur to compose the music for “Merdeka Historical Water Pageant”, which essentially required mood music. Apparently, Papa had become well known as

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a composer of background music, particularly mood music. From his letter, it was obvious that Sheppard required legendary music suitable for portraying romance, valiance, anger, finally capped with a “majestic finale”. Sheppard had no doubts that my father was able to do what he required, but he realized that he had given Papa too short a time. Sheppard described in detail the kind of music he wanted from Papa but gave Papa only five weeks to do it. Here is what he wrote to my father. … I would now like to make a formal request that you compose the following modes as priority, and if you have time that you might add others which I will name below: A. Priority 1 – Lagu Peperangan Zaman dahulu (ancient war music) 1 – Lagu untok Raja Kecil, with variant versions where required. (special music for Raja Kecil in his various moods) 1 – Gay convivial music for Raja Kechil’s court (before betrothal ceremony) 1 – Angry mood after jilting 1 – Pomp and circumstance (grand, impressive stirring music for victorious return from battle) 1 – Gay romantic music for bridal procession 1 – Majestic Finale B. If time permits 1 – Stormy music for explosion scene 1 – Tragic mournful music when injured are brought out For the completion of A, when accepted, I hope you will accept an offer of $400. If in addition, you complete and we accept the 2B modes, I suggest an addition of $100. An important condition of this proposal is that all music must be ready not later than Monday, July 1st.22

That seems like a lot of music to compose in five weeks. Judging from Sheppard’s reply, Papa did honour the

Thank you letter from M. C. Sheppard to Zubir Said for composing mood music for “Merdeka Historical Water Pageant”.

request and Sheppard was very grateful for the music Papa composed, but expressed disappointment that Papa did not attend the pageant in Kuala Lumpur when invited. Papa had again declined the invitation to Kuala Lumpur, but I should add that in his lifetime he and Mama travelled a number of times to visit us to be with their grandchildren, bringing with them lots of goodies and presents. They always travelled on the train and it had to be the night train. Sheppard’s prompt thank you letter to Papa dated 3 September 1957 is shown here.23

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Source: SPH — Straits Times, 6 November 1982.

Sadly and regrettably, however, it seems that his request for a copy of the recorded music of the Water Pageant went unheeded — so it is another piece of work that cannot be accounted for. There are so many missing and untraceable works of Zubir Said lost to posterity. Efforts at trying to trace his innumerable work is futile. He felt guilty himself for discarding his voluminous work on masses of paper which he found impossible to document. The task to organize these was too tedious for him; besides, at that time, he did not place much thought on how valuable they would be. He gave them all to the Chinese vendor who collected old papers for a living. Papa did not wish to repeat the mistake he made with the Water Pageant. He began to keep and treasure all his work, song sheets, tapes, letters from fans and his replies and, of course, the academic papers he wrote. He became a stickler for discipline. So it was important for him to be able to retrieve a copy of the recorded music from the Water Pageant. He made several attempts to acquire this because he wanted “to keep it in my music file as a remembrance”. He even provided the blank tape for this purpose. He wrote to M. C. Sheppard himself; to the Prime Minister’s Department in Kuala Lumpur;

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to H. H. Beamish, deputy director, Department of Broadcasting, in Singapore on November 1957; and to Encik Dol Ramli, but all to no avail. Such were his little frustrations in life. He was a man who would hardly let anyone down, and was always prompt in meeting the requests of other people, never failing to reply and acknowledge any correspondence. Often he did not receive reciprocal treatment from other people. I know for a fact that Papa would then become annoyed and disenchanted when his efforts were not appreciated, especially by members of his family. He did not hide his irritation when they did not acknowledge his letters or his gifts. He said he did not expect much, only a line or two to indicate that they had received what he sent them. Going back to his work at Cathay-Keris — Papa was once asked how much he was paid. Papa explained his work was by contract per film. He was never salaried. Papa’s passion for mood music was not motivated by money. That was how he liked to operate — free as a bird, and independent. For $3,000 he composed the music, sourced out and paid his own musicians and singers, organized practice sessions with them and covered their transport and food. Clearly, nothing was further from Papa’s mind than making as much money as possible from his music. Now, looking back, I find it incredible that Papa would work so hard for so little money. It never crossed his mind to enquire about royalties for his compositions. All he said was: “At the time I don’t mind much about money because what I want is the experience.”24

With Papa, music would always come first and so he did not really mind working under immense pressure.

Call by the media to trace Zubir Said’s missing work. Source: SPH — Straits Times, 6 November 1982.

Since background music would usually be the last to be applied, Papa had to complete the task at hand within a short period of time, usually within two weeks. Despite the mounting difficulties, Papa was happy and uncomplaining, forever grateful to Allah swt for his talent and “bounteous life”, as he put it. He was always contented, never expecting much. He was an individual who always saw the cup as “half full” rather than “half empty”. I think he amazed an Italian producer who

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once asked him about how much time he invested in his work and how much he was earning. When told, the Italian gasped in disbelief. “This is peanuts, in my country when you compose 1 or 2 songs only you can buy a car.” Papa merely chuckled saying, “That is your country. We just starting.”25

His final response to his interviewer from the Oral History and Archives summarizes what he really felt about working in the film industry. He said: For me this film work was an experience, a new experience. I am satisfied that I’ve tried to do. Of course the facilities is not up to date, not like composers of Italy, or America or even India and also Hong Kong. They got more facilities. While here, the Malay film industry was just beginning, so they have to be careful with the budget.…

Pertaining to the performance copyright (he added): because I was keen on doing this so I don’t mind about the copyright. So the company took all the copyright. When it is recorded on records I get some royalties about 5% per retail.26

Papa worked with Cathay-Keris for twelve years. He stopped working around 1964. By this time he had composed background music and songs or had rearranged old traditional songs for a good number of films. They can now be regarded as classical films. By composing background music for Malay movies, he created a niche for himself as perhaps the only composer of his time to have done this. So why did he stop? There were good reasons, to which I will return later. Notes

  1. Zubir Said, Oral History Interview, 7 September 1984, Reel 10 (Singapore: National Archives).   2. Joget is a popular traditional dance performed to a fairly quick tempo. The joget is performed at cultural festivals, wedding celebrations and other social functions. The origin is traceable to the Portuguese during the era of the spice trade. It has now become assimilated into the Malay culture. In Melaka it may still be known as chakunchak, perhaps due to the rhythmic beat of the music and dance.   3. Durian runtuh is a Malay expression for a sudden unexpected windfall. Durian is noted as the king of fruits, which the Times magazine once described as “tastes like heaven and smells like the toilet”. It is a seasonal fruit. In a bountiful season, lots of the durian fruit will literally fall to the ground — plenty for the picking.   4. Zubir Said, Oral History Interview, Reel 10.   5. Encik Yusof Ishak was Papa’s friend, born in Malaya, the son of a Minangkabau friend of Papa’s family. He later became the first Yang Di-Pertuan Negara of Singapore.   6. Zubir Said, Oral History Interview, Reel 10.

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  7. Singapore and Malaya Month to Month, December 1959.   8. Zubir Said, Oral History Interview, Reel 10.   9. Ibid. 10. Gado-gado: An Indonesian salad dish of vegetables, pressed rice and peanut sauce. 11. Telephone interview with Nona Asiah, 29 April 2010. Follow-up interview with her by Noryani Sulaiman at her residence in Singapore, 1 May 2010. 12. Zubir Said, Oral History Interview, 9 September 1984, Reel 12 (Singapore: National Archives). 13. Cathay-Keris: In 1952, Ho Ah Loke opened a studio in Tampines Road, Singapore, calling his company Rimau Film Productions. After producing one film, he changed its name to Keris Film Productions. Ho owned a few small theatres through his earlier venture as a film distributor. He managed to produce a number of films, and in 1956 merged with Cathay Organisation, owned by millionaire Loke Wan Tho. The company was renamed Cathay-Keris Film Productions, with its studio in East Coast Road. 14. Zubir Said, Oral History Interview, 13 September 1984, Reel 13 (Singapore: National Archives). 15. The moviola is a device that allows a film editor to view film while editing. It was the first machine invented by Iwan Serrurier in 1924 for motion picture editing. See David Bordwell, Janet Staiger and Kristin Thompson, The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (London: Routledge, 1988), p. 285. 16. Zubir Said, Oral History Interview, Reel 13. 17. “Pak Zubir Sebagai Insan Musik” (Pak Zubir as the Man of Music), by journalist Hamzah Hussein, from Mingguan Filem Raya (A Weekly on Films), undated. Source: Private Collections. 18. Ibid. 19. Mafoot Simon, “Night of Nostalgia for Malay Culture”, Straits Times, 8 September 1997. 20. Ikan Tembakul or mud-skipper, also known as timpakul or blodok or belacak. Ikan means “fish”; tembakul refers to the state of the fish, i.e. swollen with fat. It inhabits mangrove swamps. It can be seen near shore muds at high tide and hides in holes at low tide. It breathes through its gills and its skin. It can keep water in its neck to enable it to get oxygen. After a few minutes, it will have to return to water to breathe. The ikan tembakul is often connected to the Malay legendary mythos of a mother who craved and found the egg of this fish, fried it, but her two children ate it all. She lamented this and was prepared to sacrifice herself out of sheer sadness. The legend is Batu Belah Batu Bertangkup. The same fish is featured in the story “Bawang Merah, Bawang Putih” because it is a unique fish that can live on both land and water. 21. Mafoot Simon, “Night of Nostalgia”. 22. Letter from M. C. Sheppard requesting music compositions from Zubir Said, 23 May 1957. 23. Letter, 3 September 1957, from M. C. Sheppard thanking Zubir Said for the music for the Water Pageant, staged in conjunction with the Merdeka celebrations of the Federation of Malay States on 31 August 1957. 24. Zubir Said, Oral History Interview, 13 September 1984, Reel 14 (Singapore: National Archives) 25. Ibid. 26. Ibid.

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Chapter 6 190A Joo Chiat Place: A Sanctuary of Bliss and Blessed Woes

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It Was Not the Place. It Was Where the Musical Hearts Were In 1956 we moved house again. The Indonesian Club had closed. We moved to a three-bedroom flat, but occupied only two bedrooms. One room was Uncle Dahari’s room. Through the kindness of Uncle Dahari, my father’s musician friend, we were able to share the flat with him, therefore cutting rental costs. Uncle Dahari was the father of Kartina Dahari, a veteran singer in Singapore who sang and popularized Papa’s song Sayang di Sayang, a song which has remained an evergreen and has been sung by many other singers. This flat at 190A Joo Chiat Place was on the first floor of a three-storey apartment building — one that taxi drivers recognized as rumah merah (red house). The flats were not really red, they were actually dark pink in colour. Ours was the corner unit, fronting the main Joo Chiat Place and Chiku Road, a side road. It had a large front balcony, my favourite spot, from where I watched the world pass me by: cars honking, lorries emitting lots of smoke, buses screeching their brakes, a small hotel across Chiku Road, and the PWD (Public Works Department) complex and quarters in front, across the main road. My family formed lasting friendships with some of these neighbours, especially those in Chiku Road, which was a short distance away. It seems incredible that more than fifty years have passed. Everything has changed dramatically except No. 190A, which has remained very much as I remember it. But the “world” that I watched is now only a lingering memory. As for the flat itself, I remember three rooms encircling the living area. There was a narrow passage between two adjacent rooms that led to the kitchen. There was no dining area. Though it was narrow, we were still able to place a long bureau, salvaged from the Indonesian Club, along this corridor. The small area at the end of this corridor, that was meant to be the kitchen, became our dining area. It was just big enough to fit in one small refrigerator and a cheap wooden dining table for six. In one corner of this was the bathroom; and next to it, the toilet; thankfully, it was not a bucket toilet as was the case in Lorong 33. My mother cooked on a single-burner kerosene stove perched on a makeshift top. A simple cupboard was squeezed into whatever space was available in front of the shower area and toilet. The kitchen, shower area and toilet measured only

Opposite: 190A Joo Chiat Place where memories are made. A view from Chiku Road.

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approximately 8×8 feet. Beyond this was a narrow spiral staircase that led to the bottom of the stairs, out the back door and into the alley below where we placed our rubbish in a dustbin. Simple, basic, almost spartan, but this was our home. Here, at 190A Joo Chiat Place were the happenings — both joyous and sad.

anthem, several school anthems, numerous folk songs and film scores, he’s surprisingly deaf to the screeches of cars, drones of airplanes and playful screams of children outside.

Uncle Dahari, whose first wife had long passed away, remarried a young, pretty woman. They soon moved to their own place elsewhere. How happy Papa must have been to have his very own “studio” at last — the room that was vacated by Uncle Dahari. The grand piano,1 a gift from the Indonesian Club, occupied half this room. Another identical wooden bureau, the same as that along the corridor, lined one wall of the “studio”, which Papa filled with papers, files and other paraphernalia. There was also a steel cabinet. He was surrounded by musical instruments: violin, guitar, angklung, drums, rebana, flutes and many more, and, of course, the small ukulele. There were two mahjong tables right in the middle of the room; on these lay his current works: sheets of musical scores, stationery and his pipes. Though an organized man, he was not very tidy. His working tables were cluttered but to him they were an organized mess because he knew where everything was. So woe betide anyone who moved around his things.

In response to those kind remarks, Papa quipped that he would have liked to soundproof the room, but it was too expensive. In any case, he said, he was “sentimental about the noise” and remarked that he had lived there over twenty years and in his usual jocular mood had said: “The noise has often been a source of inspiration though.” This was his way of making light of a serious situation.

Papa’s modest studio was the noisiest part of the flat as it was just above the main road. His music competed with the noisy traffic below — buses, lorries, taxis and motorcycles. A journalist, interviewing Papa at home, could not help but notice this, and recorded her observations. At the junction of two very noisy streets lives Inche Zubir Said. For the composer of Singapore’s national

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The din would have disturbed Beethoven but not Inche Said. The 30 odd pupils he gives piano and violin lessons too have grown accustomed to the noise.2

As I said, he and his music students and the artistes who frequented our home for rehearsals were quite unperturbed by the noise. In fact, most of his creative and prolific years as a music composer were spent in this room. Indeed, it was not the place, but the musical hearts that occupied and frequented the place that gave our home that special ambience and character. Papa himself was the classic picture of an artiste. He spent hours in his “studio” — pensive, far away in his own private thoughts, with a pencil tucked behind his ear, an unlit pipe in his mouth, a half-completed musical sheet near at hand, and fingers tinkering on the piano keys. Notes, initially in number notations, would evolve into stanzas of beautiful melodies, which may serve as inspiration and ideas for background music or songs for a new film, not to mention patriotic and children’s songs. At bedtime, he would have paper and pencil ready by his bedside in case a spark of inspiration for a new tune hit him. Indeed, inspiration came to Papa anywhere and anytime, as he said:

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Sometimes in a crowded bus, sometimes in the night. And when it does I have to write it down immediately.3

And it was always written in number notations to begin with. So Papa was the proverbial artist, talented but rather eccentric. Quite often he was oblivious to his surroundings and to his own annoying habits. He irritated my mother with the ashes from his pipe. Before smoking he would knock his pipe on the sole of his slippers to loosen the “ash” from the previous smoke, thus littering ashes on the floor. This obviously upset my mother, but he carried on doing it anyway — rather subconsciously — especially when he was engrossed in his own thoughts or in some rapt discussion. Talking about rapt conversations — Papa was a good story teller, able to fascinate his listeners. He had the gift of the gab, often capped with humour. Asma M. Naim, in an interview with him, had this to say of him. Dengan suara baritone, dengan lidah yang fasih berkata-kata dan di selang-seli dengan humour yang tidak dibuat-buat dan keluar dengan seadanya, saya kira tak ada orang yang tak akan bergayut di bibirnya. Sehingga dalam bercerita kita telah dibawanya hanyut menyusuri celah-celah kehidupan yang telah pernah dilaluinya.4 (With a baritone voice, and a tongue fluent in speaking, interspersed with natural, unforced humour, I think there isn’t anyone who will not find themselves hanging on his lips. Hence in his tales, we have been taken adrift into the very recesses of his life through which he had traversed.)

His friends, relatives and even children would listen to him enraptured. I remember in one family gathering he amused the children; he made up a story of one “windy” animal character who couldn’t stop farting; he made

laughable sound effects, which had us all breaking into peals of laughter. When it came to serious matters, he also seemed to have so much knowledge to share with his audience and hold their attention. Obviously he read voraciously. Aside from his favourite subjects which were history, art, music and culture, he read other books on various subjects. He read on health, religions and also novels. He would cut out useful and interesting newspaper articles on these subjects — even advertisements for medicine. He was most interested in medicine and often indulged in self-medication. He had given me books to read on jiu jitsu, the benefits of garlic and the brain, and passionately talked about these subjects. He was not only theorizing about the benefits of exercise for health, but he actually also put theory into practice. When he was younger, Papa cycled to keep fit. Three times a week he would wake up at 5 am and cycle to the lagoon at Marine Parade. He loved to watch the sunrise and breathe the fresh morning air. As he said: “I enjoy the dawn, see the fishermen come in and buy a few prawns. Then I ride home for breakfast.” And as he drifted far into the horizon at the break of day he could not help but be amazed at the wonder of creation. Instinctively, he would raise his hands thanking Allah for such a beautiful creation. I have had the pleasure of accompanying him a few times on these cycling trips. Then he would remember Mama. He would bring home for her a buah tangan5 — it might only have been some fresh fish or prawns — but he remembered her. He purchased these from the fishermen who came in early and moored at the lagoon with their fresh catch. Mama would then cook him his favourite dish.

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With my pet cat, Chomel.

Having pets was also therapeutic for him, but cleaning the cat litter was an unpleasant chore for me and Salmah, my “sister”. All the same, I love cats till today. My children, my daughter Suhanna in particular, adores these feline creatures. Once she saved a newborn kitten that was deformed and rejected by its mother. It is interesting to note that in feline society, deformed kittens are mercilessly disowned and abandoned by their mothers and they are not accepted by their “siblings” either. So Suhanna, taking pity on this poor creature, brought it home, and for a few weeks nursed it with love and care, forgoing much of her sleep because she was vigilantly observing the kitten’s regular feeding times and ensuring that it was comfortably warm. Suhanna called her Chenit because she was so very small and lame on her hind legs, but extremely cute, a mix between a Persian and a local breed. Chenit survived and grew into a lovely female cat, but sadly for her, she was still weak in the hind legs.

Chenit, the limping cat, after Suhanna nursed her back to life.

Papa had boundless compassion for all creatures. He loved his animals. We had cats and chickens as pets when we lived in Goodman Road. Once he briefly adopted a sick stray puppy, took it to the vet, and gave it shelter until he could find it a permanent home. At Joo Chiat Place, we still had cats and birds, but not chickens,

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and, at one time, even a goat on a leash. We had a tiong bird that flew freely in the house and it was company for my cat. Interestingly, the bird would chirp and hop on to the dining table beside Papa and he would feed it with food, including sambal belacan.6 He had a green parrot once, and when his parrot died, it broke his heart. He embalmed the dead bird and kept it in his drawer for a week. This was surely a demonstration of his sentimentality, a trait that he bashfully denied.

Zubir Said loved his pets. When his pet parrot died, he embalmed it and kept it in his drawer for a week.

Papa had, by this time, achieved quite a lot in his young life — status in the music industry — and he was particularly well known as a music composer of Malay films. A new wave of interest gripped him. He found himself being swept along on a wave of nationalism, which aroused his nationalistic feelings yet again.

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Swept Along on a Wave of Nationalism The 1950s were a new dawn in the history of Malaya. These were years of heightened nationalism. After 1948, the Federation of Malaya came under British protection. The British, however, were besieged by the Malayan Communist Party that advocated the end of British colonial rule in Malaya. They claimed they were fighting to free the Malayan people of the colonial yoke. The communist insurrection, which lasted into the early 1950s, was seen as a threat to the British hold on Malaya. Independence for Malaya was, therefore, seen as the only answer to the communist threat. The Federal Legislative election in 1955 in Malaya resulted in a victory for the United Malays National Organization (UMNO), headed by Tunku Abdul Rahman, who became Chief Minister for Home Affairs. Subsequently, on 31 August 1957, Malaya became nominally independent from Britain. On 16 September 1963, Tunku became the first Prime Minister. The newly independent Federation of Malaya needed an anthem in a hurry. Tunku himself presided over a committee to choose a suitable anthem. At the time of independence, each of the eleven states of Malaya that made up the Federation had its own anthem, but there was no anthem for the Federation as a whole. Tunku Abdul Rahman, at the time the Chief Minister and Minister for Home Affairs, organized and presided over a committee for the purpose of choosing a suitable national anthem. On his suggestion, a worldwide competition was launched and 514 entries were received from all over the world, including a special submission from recording artist Is’real Benton. None was deemed suitable.

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Zubir Said and Benjamin Britten were among selected composers invited to submit compositions for the national anthem of the Malayan Federation. Source: SPH — Sunday Times, 28 July 1957.

Next, the committee decided to invite selected composers of international repute to submit compositions for consideration. The composers chosen were Benjamin Britten; Sir William Walton, who had recently composed the march for Queen Elizabeth II’s coronation; the American opera composer Gian Carlo Menotti; and Zubir Said, who later composed Majulah Singapura, the anthem of Singapore. Their compositions were turned down too.7

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It was very fortuitous and humbling that Papa’s reputation as a composer had placed him in the category of “composers of international repute”. He felt it a great honour to accept the invitation. The following is his journey on the matter of the national anthem for the Federation of Malay states. A surprise invitation came for Papa in an official letter from the Federation of Malaya dated 27 June 1957. This was a busy year for me. I was in the last year of my secondary school. I must admit I knew practically nothing of what was happening in Papa’s hectic life then. I can only imagine now how very proud and happy he must have been to receive the invitation. It was an honour and an acknowledgement of his status in the music arena, particularly at a time when his national songs were being broadcasted to many places

in the Federation of Malaya and elsewhere. Here, in chronological order, is the sequence of events in Zubir Said’s short but historical journey in 1957 when he was invited to compose a national anthem for the Federation of Malaya. 27 June 1957: An official letter from Encik Yaacob bin Abdul Latiff, Director, Information Services, Federation of Malaya. The important gist of the letter stated: July 1956, a competition was held in the Federation of Malaya to find a national song. 514 songs were received, but none was suitable. The National Song Competition Committee decided to invite Zubir Said who has a lot of experience (banyak pengalaman) in Malay culture to compose a Merdeka song. The song must be of high quality, patriotic, have Malay or Eastern elements, and be not more than a minute and a half long. A token of $500 would be paid with an additional $5,000 if the song was accepted.8

Letter of 27 June 1957 inviting Zubir Said to compose the national anthem of the Federation of Malaya.

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Reply by Zubir Said accepting the invitation, dated 1 July 1957.

1 July 1957: Papa’s reply with opening salutation, “Merdeka”, accepting the honour with “perasaan terharu and bangga” (with feelings of pride and honour), but he stipulated three conditions as his basis for accepting: 1) I will continue to do my utmost to compose the national song to the satisfaction of the Committee. 2) I cannot allow the song that I compose to be in any competition. 3) As a matter of principle and as an artist, I do not agree with the monetary reward that will be given to me. I appreciate the honour, but for me the honour in receiving the invitation from the Committee of National Song is reward enough. With God’s will, I may be able to send the song the soonest possible to the National Song Competition Committee.

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He closed his letter with “Merdeka” again. For Papa, this invitation from the Government of the Federation of Malaya was in itself a great honour for him; and for him that was reward enough. 27 July 1957: Exactly a month later, Papa wrote a long letter to Encik Yaccob and on the same day he posted three, not just one, songs by registered mail. He apologized for taking a month because he needed to fine-tune the songs, both the tunes and the lyrics. In this letter he explained:

*Every one of the three songs is a minute and a half each. All three songs I have written in Piano- part together with the lyrics.

*In all three songs, I have emphasized “sovereignty of the motherland” (kedaulatan tanah air), “the spirit of unity” (semangat persatuan) and “loyalty to the people and country” (taat setia kepada bangsa dan Negara).

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Letter by Zubir Said dated 27 July 1957 enclosing three songs for the Federation of Malaya.

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*I implore you that when the song is played before the Committee or whoever are concerned, the song be played as written so as not to impact the original music and the Malay element. Hence I have written on the music score “PLEASE DO NOT IMPROVE: PLAY AS WRITTEN”. Should any of the songs be chosen then I would like to call it PER-TA-ME short for “PERSEKUTUAN TANAH MELAYU.” He even wrote in Jawi the word PERTAME.9 It may be worth noting that one of the compositions that he sent might be “Kesatuan Malaysia”. I have not been able to identify the other two national songs. 2 August 1957: Papa sent to Encik Yaacob a signed declaration endorsing the authenticity of his three compositions. It read: DENGAN SURAT INI SAYA MENGAKU DENGAN SUNGGOH BAHWA TIGA LAGULAGU YANG SAYA KIRIMKAN KEPADA KERAJAAN PERSEKUTUAN TANAH MELAYU BAGI DIPILIH UNTOK LAGU KEBANGSSAN (National Anthem) PERSEKUTUAN TANAH MELAYU, ADALAH CHIPTAAN DAN GUBAHAN SAYA SENDIRI, SAMA ADA MUSIK-NYA ATAU-PON KATA-KATANYA SAYA MENGAKU BERTANGGONG JAWAB ATAS LAGU-LAGU YANG TERSEBUT. (With this letter, I sincerely declare that the three songs that I sent to the Government of the Federation of Malaya for selection for the National Anthem of the Federation of Malaya are my own creations and compositions, both the music and the lyrics. I declare I hold responsibility over the said songs.) Singapore, 2nd August 1957 Tanda tangan saya yang mengaku (My signature as one who declares) 15 August 1957: A registered letter arrived from the Department of Information, from Encik Yaacob. Papa’s songs were rejected. Whenever I read this letter, I cannot help but feel a lump of sadness in my throat — of sadness for Papa, because the Committee did not honour one of the conditions of his acceptance. i.e. he “cannot allow the song that (he) composed to be in any competition”. And yet the first paragraph of Encik Yacoob’s letter indicated that they did just this very thing. I cannot even begin to imagine Papa’s state of mind, his anguish, and his disappointment.

Encik Yaacob’s letter read: Dengan hormat-nya dima’lumkan ia-itu Penghakim2 Peraduan Lagu Kebangsaan telah mengadakan meshuarat pada malam 5 hari bulan August dengan Ketua Menteri menjadi Pengerusinya untok menimbangkan gubahan lagu tuan bersama-sama dengan gubahan yang di-hantarkan oleh lain2 Penggubah lagu untok digunakan menjadi Lagu Kebangsaan Persekutuan Tanah Melayu. (With due respect, I would like to inform you that the Judges of the National Song Competition held a meeting on 5th August with the Chief Minister as Chairman to assess your composition together with the compositions which have been sent in by other composers that would be used as the National Anthem of the Persekutuan Tanah Melayu).10 6 August 1957: (Wrongly dated: could be 16 August 1957 in reply to Encik Yaacob’s registered letter of 15 August 1957) Papa replied in a polite one-page letter, accepting the decision of the Committee and adding that he would donate the $500 token that he received to a body that concerned itself with the research and development of Malay music. He finished off with a suggestion on the latter subject: … badan yang seperti itu (meaning R&D body) adalah mustahak dan berfaedah diadakan di suatu Negara yang merdeka, supaya unsor2 musik Melayu dapat diselidiki, diperbaiki untok dijadikan bahan pendidikan.11 (… The existence of such a body (meaning R&D) is important and beneficial in a Nation that is independent so that the elements of Malay music can be researched, improved to generate materials for education.) And he signed off with Terima Kaseh dan”SELAMAT MERDEKA” Wassalam saya, (Zubir Said) (in his swan signature)

Zubir Said’s swan signature

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Zubir Said, the Composer of Majulah Singapura

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Registered letter of rejection from Encik Yaacob Latiff, 15 August 1957.

Letter of 6 August 1957 (possibly 16 August) thanking Encik Yaacob Latiff.

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Taking the Fall with Dignity and Renewed Zeal This brief sad event in Zubir Said’s life probably bruised him a little. Anyone reading Encik Yaacob’s insensitive letter of 15 August might be able to understand why Papa felt slightly insulted. All his life, Papa had not been motivated by monetary considerations. His small request that his songs be not lumped with the rest in any competition for prize money was not taken seriously. Nonetheless, he was able to maintain his good reputation as a composer of national and patriotic songs. In fact, he became more highly respected and was much sought after for advice and help. Like a true patriot, he took the fall honorably. In fact, the years between 1957 and 1959 were his most productive in composing patriotic songs. Even prior to the invitation from the Government of the Federation of Malaya, Papa had kept abreast of the nationalistic movement for several months. He was not a citizen, but deep inside him he felt a loyalty equal to any citizen. Once he was anti-Dutch; now he also wanted Malaya to be free from the British yoke. For him, a proactive participation would be his small gesture of gratitude towards his adoptive country. He continued to compose many more national songs to enliven the citizens and arouse their national feelings. He felt that what Singapore and the Malay states needed were patriotic songs to boost the country’s morale. Towards this noble ambition he made a promise to himself to compose one song a month from 1 January 1957 until the eve of Merdeka Day on 31 August 1957. Papa made the pledge in a “Declaration of Calendar of National Songs”. I do not know to whom he sent it or where it was published. I am quite sure the calendar was duly disseminated. The full text of his “Declaration” reads: Pada tgl 1-1-1957, kita akan memasuki tahun 1957, tahun yang bersejarah ya’ni tahun Kemerdekaan. Dan pada hari bulan 31 August 1957 akan terbitlah HARI KEMERDEKAAN. Tahun 1957 adalah Tahun Persatuan. Mulai dari 1-1-1957 sampai pada Hari Kemerdekaan 31-8-57, kita harus semakin hari semakin bersatu. Segala yang masih bercerai berai, harus kita satukan, sehingga pada 31 bulan August 1957 kita telah bersatu dalam perpaduan kebangsaan yang kokoh! Kesatuan rakyat sangat penting ertinya sebagai dasar kemerdekaan bagi memperkuat tubuh kebangsaan. Untuk ikut pula menyokong semangat persatuan itu maka mulai Januari 1957 dan seterusnya tiap-tiap bulan pada sampai Hari Kebangsaan pada bulan August 1957, saya akan karangkan (tiap bulan sebuah lagu) lagu-lagu nasional yang mengandung unsur-unsur persatuan ra’yat.

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Untuk bulan Januari 1957 sebagai permulaan saya telah sediakan sebuah lagu yang bernama: “Tanah, Bangsa Dan Daulat.” Begitulah selanjutnya suatu rangkaian terdiri dari 7 lagu termasuk lagu “Hari Kemerdekaan” sebagai menyambut kedatangan Hari yang mulia itu! Semoga saudara-saudara yang ada minat mengarang lagu2 seperti ini, akan ikut juga menyumbangkan bakatnya bagi mengisi Kaledar Lagu2 Nasional kita supaya pada waktu Hari Kebangsaan datang, kita telah mempunyai khazanah lagu2 nasional untuk pemakaian rakyat. Kerjasama yang begini akan menggalakkan semangat gotong royong dalam suatu pekerjaan untuk kepentingan ra’yat dan Negara. Hal ini bukanlah berarti mengarang lagu untuk peraduan, tetapi bergotong royong dalam satu bakti yang suci murni: MARILAH! Merdeka!12 (On 1 January 1957, we will enter the year 1957; a historical year — the year of Independence. And 31 August 1957 will be INDEPENDENCE DAY! The year 1957 is Unity Year, starting from 1 January 1957 to the day of Independence, 31 August 1957. We ought to become more united from day to day. We ought to bring together in unity those who are still disunited so that by 31 August 1957 we will achieve national integration. The unity of citizens is crucial as the basis of a strong independence. To support this effort at unity, from the month of January 1957 and subsequently every month until Independence Day in the month of August 1957, I will myself compose (one every month) national songs which would consist of elements of unity. For the month of January 1957, as a start, I have composed Tanah, Bangsa dan Daulat. Subsequently, a chain of seven songs, including Hari Kemerdekaan, will follow as a way to welcome the arrival of the honourable day. I hope that others who are interested in composing national songs would also join me to fill the calendar, thus creating a collection of national songs in time to usher independence in and which can become a national heritage for the people. Such an endeavour can stimulate the “spirit of working together” (gotong royong) in achieving a common goal for the benefit of the citizens and the country. The effort is not to be aimed at any competition but at working together for the common good that is sincere (suci murni). Come along!

Zubir Said’s Calendar of National Songs, an invitation to other composers to compose national songs in the spirit of nationalism. His own pledge to compose one national song every month between January and August 1957 to welcome the Independence of Tanah Melayu was duly kept.

Merdeka!

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Papa’s reputation as a patriotic soul was recognized when someone said that Zubir was viewed by many as a composer with a “true Malay soul”, as his songs, traditional yet modern and patriotic, were interwoven with historical messages and Malay truisms. Papa’s patriotic fervour was felt and duly recognized in some quarters. The late well-known journalist, A. Samad Ismail, commented that Zubir and his Minangkabau contemporaries awoke a wave of national consciousness in the 1950s.13 “Apa dia kata dia kota” is a Malay saying that refers to a person who stands by his word, as Papa did. True to his promise, by 31 August 1957 he had composed more than eight national songs. I was able to identify the patriotic songs from music scores which are in my possession, or from letters which allude to the existence of such songs, some of which I could not locate. However, I cannot ascertain which eight songs he completed in the eight months, and in what particular order, although it is quite easy to eliminate the ones composed after 1957. It was certain, however, that Tanah, Bangsa dan Daulat was his first composition and Hari Kemerdekaan was his last before Merdeka, as he indicated. The following is a list of Papa’s patriotic and national songs. He labelled these “songs of patriotism” or “songs of loyalty to a nation”. • Abadi (Union Song of Singapore General Printing Workers’ Union, composed in the 1960s.) • Angkatan Pemuda Satria • Bendera Singapura • Berdikari (Darul Ihsan Berdikari) (The music was composed in September 1978 at the request of the Muslim Trust Fund Association, May 1978, to a given set of lyrics.) • Bersatu • Hari Kemerdekaan • Ikatan Budaya • Kepada Perwira • Kesatuan Malaysia (probably one of the songs submitted for Merdeka, 1957) • Melayu Raya

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• Rakyat Singapura • Satria Jaya • Semoga Bahagia (Singapore school anthem) • Tanah Melayu Permai • Tanah Melayu yang ku cinta The year 1957 was a very busy one for Papa. His dedicated efforts attracted the attention of his friends, who mooted the idea of organizing a concert on national songs. Consequently, a group of thirteen friends formed a committee, with Encik Mahmud Ahmad as the chairman, to plan a concert to showcase national songs as a mark of loyalty to the nation on the brink of its historical achievement. The committee met for the first time on 3 February 1957, and for the following five months, the members worked feverishly preparing to stage the show at the Victoria Memorial Hall. The singers in the show were young boys and girls whom Papa trained in his own home at Joo Chiat Place. Papa was also given the honour of writing the Foreword in the souvenir programme. In doing so, he found a platform to express his sentiments as to what constitutes nationalism. He wrote: The time has come for our children, our youth and the entire society to “wear” (the quotation marks are my own) the cloak of national songs that consist of elements of education, development, fervour (semangat) and national awareness. At present, singing and songs are merely for entertainment that distract the mind, and serve as commercial tools. In our common effort to achieve independence, it is imperative that we harness a collective zeal towards unity as the basis of our journey towards independence. A nation is constituted by its subjects. The subjects who constitute a society reflect levels (strata) and these levels are constituted by the individuals. These individuals ought first to unite to achieve independence i.e. be united in heart, united in purpose, united in aspirations, united in conviction, united in declaration and so on. (“bersatu hati, bersatu tekad, bersatu cita-cita, bersatu pendapat, bersatu ikrar dan sebagainya”) National unity constitutes the main trunk of nationalism, and this main trunk has branches and these branches support the steadfastness of the trunk. The branches, though fine, are very important, because they are the culmination of all the efforts and the sacrifice (bakti) of individuals to support and strengthen this unity in striving towards independence. No matter how lofty the aspirations for independence, they cannot succeed without the effort and sacrifice/dedication (bakti) of the people. It is time that Malay music reflects the elements of nationalism, and particularly now, the time has come to produce national songs that consist of elements of patriotism, development, education and national unity. National awareness cannot be forced on an individual. It has to be personally felt. It is crucial, however, to guide and channel these feelings towards the coordination of all the efforts of individual citizens. Singing and songs, and national songs in particular, can contribute towards national unity — so very essential for a united front towards achieving independence.14

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The cover of the souvenir programme of the National Songs Concert.

Training sessions with schoolchildren at Joo Chiat Place for the Concert of Malay National songs at the Victoria Memorial Hall, 7 July 1957.

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I especially like that he said that “national awareness cannot be forced on an individual. It has to be personally felt. It is crucial, however, to guide and channel these feelings towards the coordination of all the efforts of individual citizens.” These, to me, were sincere, inspiring words born out of deep feelings from the core of his heart. Without doubt, Papa’s national awareness was not forced upon him. Needless to say, Zubir Said was a true patriot. The sentiment expressed by Papa was also the main thrust of a special message from S. Rajaratnam, then Minister for Culture of Singapore, in conjunction with Loyalty Week from 3 December to 9 December 1959: “National Loyalty Week is … a celebration of what the people of Singapore have achieved in the past and of what they hope to achieve, as a united people, in the future” (my italics).15 The concert at the Victoria Memorial Hall featured ten national songs, eight of which were Papa’s compositions: • Bakti Mulia (by Hawari Ramlee) • Bersatu • Hari Kemerdekaan • Kepada Perwira • Melayu Raya • Merdeka (music by Mohd Wan Yet and lyrics by Zainal Abbas) • Satria Jaya • Semoga Bahagia • Tanah, Bangsa dan Daulat • Tanah Melayu Permai The show was a huge success. But the moments he enjoyed from the success of the concert were also moments of heartache for Papa. With the accolades also came accusing voices from others, that Papa had monopolized the concert and that he had not invited other composers to participate. These were really blessed woes, for with them came blessings in the guise of more affirmations of Papa’s work. In support of Papa, Berita Harian commented on 19 January 1962 that it was a case of “Rumah sudah, pahat berbunyi” — a Malay proverb which describes persons who give no input, but make noise after the event as in the case of “a house completed, then the hammer strikes”. The concert committee, through the media,

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had in fact invited anyone interested in composing national songs to submit them for the show, but the response was dismal. Papa himself, in his “Declaration”, had invited people to contribute towards the pool of national songs for Merdeka. This was clearly stated in his Declaration, which is reproduced here. Semoga saudara-saudara yang ada minat mengarang lagu2 seperti ini, akan ikut juga menyumbangkan bakatnya bagi mengisi Kaledar Lagu2 Nasional kita supaya pada waktu Hari Kebangsaan datang, kita telah mempunayai khazanah lagu2 nasional untuk pemakaian rakyat.16 (I hope that others who are interested in composing national songs will also join me to fill the Calendar, thus creating a collection of national songs in time to usher in independence and which can become a national heritage for the people.)

Why were eight of the ten national songs in the show, songs by Zubir Said alone? The committee probably miscalculated the response they would receive from other composers; they had expected many songs to come in before July 1957. Perhaps one of the reasons might be that there was not enough publicity and drive to encourage the composition of national songs. This was really unfortunate as they had spent many hours planning and promoting the show, and training the children, not to mention the money that was spent. The show had to go on. Papa’s songs saved the day. He could not have foreseen that a large number of the songs showcased would be his. He too was certain that more songs would be forthcoming since the idea of the concert was mooted in February 1957. My father was not easily fazed. He ignored the accusations and in his inimitable way never bothered with small minds. He took the setback with good grace and, with renewed vigour, he channelled his energy towards composing more national songs. He devoted

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his energy to nurturing and guiding youngsters who shared his interest in national songs. Moreover, something positive did come out of this show. Two more competitions to encourage more compositions of national songs were held to fill the annual “Calendar of National Songs”. As expected, Papa was one of the judges invited. Judging from the numerous letters between 1957 and 1962 that Papa received requesting the scores and lyrics of his national songs, one may surmise that there was a dearth of patriotic songs at a time when Tanah Melayu and Singapore were experiencing a frenzied national fervour. Schools and NGOs in Singapore and the states in Tanah Melayu were hungry for patriotic songs to rouse feelings, in celebration of nationalism and merdeka that was fast approaching. Papa’s national songs filled the vacuum. He was beside himself with excitement. In almost every letter he wrote and in his replies, his final salutation had always been, “Salam Bahagia. Tetap MERDEKA” or “Salam Bahagia Raya. MERDEKA”. The requests for his songs and lyrics came from many people in Singapore and many parts of Tanah Melayu: Selangor, Perlis, Kelantan, Kedah, Perak, Johor, Negeri Sembilan, Penang and Butterworth, and Kuala Lumpur. In fact, one request for the score and notes of Majulah Singapura came from Plymouth, Devon, England, from a Mrs M. D. Taylor. In a letter dated 15 July 1971, Mrs Taylor, a complete stranger to Papa, wrote him a letter congratulating him on receiving an award for Majulah Singapura and for his other works. She asked for the piano score of Majulah Singapura for her eleven-year-old

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daughter Pat. Naturally, Papa obliged saying how honoured he felt by the request. Judging from the date of Mrs Taylor’s thank you letter of 20 July 1971, it was apparent that Papa lost no time in dispatching her the piano score of Majulah Singapura that he had also autographed. Then, in a letter of 18 August 1971, Mrs Taylor again thanked Papa for what she described as “a beautiful piece of music score”. I do not know what song it was that Papa sent her — and along with this, he had enclosed stamps for Pat, her daughter. Around 30 December 1971, Papa sent Pat a Christmas card and the music score of a folk song. Papa had always been very fond of children and would go out of his way to make them happy. I have not mentioned how a big part of Papa’s life was dedicated to nurturing children through music. As I have just mentioned, Papa loved children and creating music for children gave him a lot of pleasure, especially when the music that he composed could be played by his children and grandchildren and, he hoped, by his greatgrandchildren too. When he taught children music, it was to help them develop the finer points of life such as music appreciation, understanding the language of music, that is, what music is; how the human voice was the origin of music. Through his Solmisasi system, he was also teaching them whole numbers and fractions. He also taught them voice intonation as an art, and it was in their articulation that their discipline lay. He had composed numerous children’s song, many of which cannot be accounted for. Many were songs used in schools. I was fortunate that Kak Nona (Nona Asiah) handed me six songs which were once broadcast to schools in Persekutuan Tanah Melayu and Malay schools in Singapore from 1959 through to 1965.17

Five of the six songs were composed by Papa, both the lyrics and the melody. One song, Budi Pekerti, was composed by Zubir Said and the lyrics were by Zainal S. Abbas. They were songs for Primary IV and V. The music scores of two of the songs were written in both staff notation and number notation. The six songs are Ulang tahun negara Singapura, usaha sendiri, kampong yang ku cinta, jangan putus asa, budi pekerti and sampan laju, which was a popular tune from the film Buluh Perindu. Papa had chosen these songs for schools because the lyrics are appropriate as a form of advice for children and the tune is melodious and pleasant to the ear. It seems strange that Papa did not keep the scores of these songs. Acquiring them from Kak Nona really gives me a wonderful feeling of finding something precious that I had lost a long, long time ago. I’m reminded of how thousands of Papa’s other works have gone missing. For keepsake, I am reproducing one of the songs here (see page 116)— Ulang Tahun Negara Singapura. Papa’s pre- and post-Merdeka days were very hectic. Joo Chiat Place was a hub of activity — a sanctuary of bliss and blessed woes. Papa could not now cope with the mountain of commitments he had: there were the artistes-musicians and singers who met frequently for rehearsals; background music and songs for a new film that were due; letters arriving almost daily requesting the scores of his national songs and for all sorts of advice that had to be answered; seminar papers to write, polish and present; and a lot of social commitments as well. The huge amount of correspondence was testimony to his untiring effort at pleasing every request. Other people’s needs were important to him. How did he cope? He seemed calm, but what he felt deep inside him — only he and Allah swt knew.

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Missing chords discovered. One of six songs composed by Zubir Said for broadcasting to schools in the Federation of Malaya, Primary IV and V, 1960. Courtesy of Nona Asiah and rewritten by Raja Mahafaizal Muzaffar.

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One day, as if in answer to his prayer, a jobless gentleman from his village in Sumatra approached Papa for help. Taking pity on him — after all Papa himself needed assistance — Papa employed him. I can’t remember his name, so I will call him Oom (Indonesians used to address uncle in the Dutch language as oom). Oom was a great help. He assisted Papa for a few years until Papa found him a more stable job.

With Oom’s assistance, Papa could now attend to the numerous letters that he received, which he felt obliged to answer. A couple of these provide a flavour of people’s appreciation of him and their admiration of his work. Some of his responses illustrate his interesting and rewarding life as a well-known composer of national and patriotic songs. Yet, it was a life he described as portraying “gelombang hidup yang hebat-hebat”,

An ardent admirer of Zubir Said, A. R. Ismail was a frequent correspondent. Here are samples of some of his handwritten letters to his mentor, Zubir Said.

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literally meaning “great stormy waves in his life”, the Malay expression for “the storms” or “ups and downs” in one’s life. It was rewarding for him to read a letter from a fan who had only heard his patriotic songs over the radio. The writer requested the musical scores and lyrics of Papa’s patriotic songs. An ardent admirer, A. R. Ismail, wrote: kini lagu-lagu tuan telah menjadi nyanyian anak-anak bangsa, ini menunjukkan seni lagu kebangsaan dari gubahan tuan chukop mendalam ke jiwa rakyat.18 (now that your songs have been sung by all citizens, this shows that the national songs that you composed have penetrated deep in the hearts of the people.)

His replies to so many such requests were written in a similar flavour, each with some variations in style and purpose. I have not read any two replies which were identical. His standard format would be to thank them, praise them for their interest, encourage them, provide positive remarks where required, make provisional statements where necessary, and then send them what they asked for. He always ended his letter with his unique “Merdeka” salutation. Of the numerous people who wrote to Papa, A. R. Ismail corresponded most frequently with him. He appeared to be a truly aspiring composer of national songs. He had wanted to compile his songs jointly with those of Papa’s into a book of national songs. Without dampening his spirit, Papa replied: (With due respect, I thank you very much for your letter dated 15 January 1958 regarding the compilation of your national songs with the songs that I have composed into a book.

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I’d like to inform you here, that last December I submitted my national songs to a publisher in Singapore at their request. But until now, it’s not ready. I myself am not confident that the publishing of national songs can benefit the publisher because there are very few Malays who read songs; most of them only know how to listen to them. So, I cannot promise you on the matter of producing the song book that you mentioned. If you would like me to give my comments on your songs, please send them to me. What I mean is, your songs with their lyrics. If it’s only the song, there is no need to send it. You do not have to feel embarrassed or ashamed that people will laugh at you. You have to believe in yourself. I too have often been criticized and been hit by “huge stormy waves of life” (gelombang hidup yang hebat-hebat). If your compositions are good I will support you in whatever way I can so that your songs will flourish in society. At least you can fill the calendar of national songs for 1958. Do not forget to also send me schoolchildren’s songs.) Best wishes and wish you success (Zubir Said)19

A. R. Ismail was not disappointed. He participated in composing for the 1958 calendar. And as Papa had predicted, one of his national songs was accepted and published in a magazine, Satria. The Calendar Of National Songs that Papa started in 1957 had by then become a yearly event to encourage the composition of more national songs. Many people from all walks of life sought help and advice from Papa. This pleased him and made him very happy. Some sent him lyrics and asked him to compose the music for them. He would oblige as best he could. There were one or two

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requests where the writers sent in their lyrics without their music scores. Papa improved the lyrics, but assigned the music composition to Encik Zainal S. Abbas, who sometimes assisted him in writing the music scores when Papa was inundated with work. Encik Zainal would then be acknowledged as the music composer. Papa would even attempt to provide the music without being asked, as in the case of Ahmad Hambalee of Hutan Melintang, Telok Anson, Perak. He sent Papa the lyrics for a school song that contained patriotic sentiments for Papa’s comments. Although his letter did not specifically request help to compose the music, Papa instinctively scribbled a piece of music in number notations on the back of Ahmad’s letter. Besides this, he also improved the lyrics to reflect a more meaningful message; for example, he did not like the connotation of “Kita belajar sambil bersuka ria” (We study and at the same time we enjoy) to “Kita belajar bersungguh sungguh”. (We study with diligence and determination), which was obviously more meaningful. Another aspiring composer of national songs sent Papa the lyrics of a song he called Pusaka Bangsa. Papa had encouraging words for him. Atas sokongan anakanda dengan cara hanya memperbuat senikata (sajak) itu saya merasa bangga kerana anakanda telah ikut sama menabur bakti bagi mengembangkan semangat nasional dan pendidikan kepada masharakat kita dewasa ini, juga saya merasa bangga dengan adanya anakanda seorang pemuda sebagai pelopor menerajukan rasa sedar kepada lagu-lagu kebangsaan yang perlu ditanamkan dan diajarkan kepada rakan-rakan sejawat, dengan harapan agar anakanda dapat diikuti pemuda2 yang lain memperkembangkan lagu-lagu Nasional.20 (I feel proud of your support even if it was only with your lyrics (sajak which means poetry) because you have also contributed to the development of national feelings and education in our society this day. I am also proud of you that as a young man you have become a catalyst in initiating people’s awareness of national songs. It is important for these to be instilled in and taught to your fellowmen so with some luck you can become a role model for others in spreading national songs.)

Papa had experienced elation and gratification in much of what he had done, but he had also experienced disillusionment and sadness. He described his life’s experiences as “gelombang hidup yang hebat-hebat”. His experience of being accused of monopolizing the national songs concert at the Victoria Memorial Hall was really just a ripple in the waves. He was yet to experience the tidal waves. The tsunami to come would be his biggest challenge yet.

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Did Papa ever face disappointment? Yes. A rather painful memory for him was when he applied to fill a vacancy for the post of music director with Radio Malaya, but was rejected. His reputation was impeccable; in the field of music, he was already widely acclaimed; he had vast experience; he had conducted many orchestras; he was known for his integrity. Yet his application was turned down. Naturally, he was disappointed that so much emphasis was placed on paper qualifications. This explained his tenacity to prove himself all his life. He was disappointed, no doubt, but he never showed a tinge of bitterness. Having his extended family, colleagues, friends and acquaintances kept him very busy.

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“The role of flowers in the Malay Culture”, researched and written by a doting father for his beloved daughter, Rohana. Highlighted with illustrations using fresh flowers, I delivered a lecture to wives of foreign dignitaries that was impressive. Such a great help!

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Time for Family and Friends Joo Chiat Place was essentially a sanctuary where we, the children, Papa’s family — near and far — and his friends, looked up to him for guidance and help. Not only did Papa take time to entertain his fans, he also devoted a lot of attention to his family. This he did dutifully as a big brother, as an uncle, as a brother-inlaw and, not least, as a husband and father. When I was in Universiti Malaya in Kuala Lumpur, I was invited to present a talk to the wives of foreign dignitaries on the role of flowers in Malay culture. Culture! Of course! My Papa would be the best person to advise me. Without hesitation, he offered his help. He practically wrote the entire paper for me. All I had to do was to prepare the visuals and arrangements of fresh flowers for illustrations when explaining the concepts of sireh junjung, bunga rampai, bunga manggar and sireh tepak, all of which may be used in Malay weddings or at funerals, and other traditional, but somewhat superstition-based events such as the “shower of single maidens”. It was — and may still be — a belief in the Malay community — perhaps even in Indonesia — that girls of marriageable age, who had difficulty in getting suitors, could have the “curse of their singleness” lifted if they were bathed in “seven different sweet-scented flowers which had been ‘fortified’ with specific prayers or chants”. This may sound unbelievable, but this event was exactly just that! Superstitious and irreligious, it puts the power of flowers above the will of Allah, something considered a mortal sin in Islam. When my youngest daughter was born on 13 May 1975, Papa was kind enough to take the trouble to ponder on a good name for her. Papa loved tradition,

so to think of a name, he delved into the roots of his culture. He considered the name Mayang21 for her and thought it appropriate because she was born in the month of May— a month when beautiful and aromatic flowers bloom at their best; even the simple coconut tree bears sprays of beautiful blooms. As it happens, a legendary princess named Mayang Mengurai was born in the month of these sweet blooms. So Papa named her Mayang. On further thought, he reasoned that if Mayang represented flowers and all flowers have leaves, why not call her Seludang Mayang as mayang represents flowers and seludang represents leaves. We call her Mayang endearingly but her actual name, Yohanna, was registered before Papa could give me his chosen name for her. Papa was displeased. “What’s the hurry to register her name?” he chided. I had no answer to that. I just grinned. Papa’s love for us all extended beyond the call of his duty as a father or grandfather. He once sent me by mail a package of self-instructional materials to be used to teach myself and my daughter Suhanna the piano, complete with a cardboard mock-up of piano keys (see Chapter 7). It was an experiment. He had thought and devised materials for distant education even at a time when this was not yet the norm. He wanted to try the materials out on me first — but I did not follow it through. I failed him miserably and it was unforgivable, an act which I regret very much. I was married with two young children and teaching in a school. This might appear a lame excuse and if I’m honest, it actually was. Papa helped his family and friends in Java and Sumatra many times and in so many ways. When they were sick, he would mail them medicine and vitamins. When they

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needed financial help, he would remit some money to them. He would answer all letters most of the time and entertain requests, however trivial. I have even found the carbon copy of a letter to my sister Zubaidah in Jakarta, in which he sent her recipes on how to cook dalca and beef curry. Naturally, as expected, Papa also sent her the curry powder. Till today, dalca and curry are not typical Indonesian dishes and curry powder might not have been available in Jakarta at that time. Papa was never choosy about food. However, he did have some cravings for his gastronomical delight. He would write to his siblings asking for some of the following items: Kerupuk jangek

Crackers made from the dried skin of the head of the buffalo

Kerupuk jengkol

Crackers made from a plant called jengkol in Indonesia and jering in Malaysia

Daun kumis-kucing

Misai kucing tea, a botanical beverage (orthosiphon aristatus) recently commercialized in Malaysia, known to be good for controlling high blood pressure. Yet, forty years ago, Papa already knew of the benefits of drinking this tea.

Emping melinjo

Crackers from the melinjo plant

Beras pulut hitam

Black glutinous rice, rich in vitamins

Kacang rendang

Broad beans for cooking with rendang (a meat dish)

Belut kering

Dried eels (I have eaten this. It’s nice when fried, nicer than fried anchovies.)

Abon

Beef floss, a favourite with children

Buah salak

Fruit with snake-like, scaly brown skin found widely in Indonesia, and presently imported into Malaysia

Dua atau tiga mangga (kalau musim)

Two or three mangoes (if in season)

For the special tobacco for his pipe he would, at most times, ask his youngest brother, Uncle Ishar. His small, meaningful gestures were all exemplary attributes which I find most endearing, but difficult to emulate. Unlike Papa, keeping up with correspondence has never been my forte. Soeyono, my brother, on the other hand, was very good and wrote ever so often to him from Europe. There are two files of correspondence between Soeyono and Papa. But regrettably there are only about a dozen letters from me to him in his file.

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Zubir Said, the Composer of Majulah Singapura

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We did have some family problems sometimes — not serious ones — but like all problems, big or small, they required attention and solutions. When he was younger, up to his fifties, Papa was a handsome, relatively tall man, with good physique. His pipe smoking added machismo to his personality. It is all conjecture on my part of course, but could the occasional tiffs he had with my mother be due to the big capital “J” or simply normal lovers’ quarrels between man and wife. I truly didn’t have any inkling.

We, his children, in all likelihood might have contributed to the greying of Papa’s hair. Like any overly protective father, nurturing children, his own and the adopted ones, must have had its challenges. He worried about our education and he worried about our future. Perhaps, I was the one who caused him the most concern and worry. My two sisters lived with Mak Yah. They married quite young. My brother Yono is another story.

The handsome Zubir Said in his thirties, with his best friend.

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I worried him when I fell behind in school; I worried him when boyfriends came a-calling; I worried him when I was in university and was proposed to; he even worried after I got married. Papa just had to worry about someone and that someone was me. This next experience was memorable, but was it pleasurable? No. Papa was strict. He severely reproached me when I performed poorly in my school examinations. Curiously, I could think of no better excuse than the fact that I had used my time to indulge in learning Indian dancing. I enjoyed learning the art very much and was even more thrilled when we gave a public performance, but this meant that we had to spend a lot of time rehearsing for the show. I danced the Manipuri dance. My punishment was a “lunchless” day and a very long sermon. He sat me down in his “office” and gave me a long lecture that was to last a lifetime on the efficacy of education, the importance of working hard for future happiness and fulfilment, and so on. I practically switched off after a while, but I was grief-stricken because I had fallen from grace. He was formidable and seemingly unforgiving. With an angry look on his face, he piled my books high by the stove — we cooked using firewood at the time — and threatened to burn them all. He had no such intention, of course, or he would have gone ahead and burned them. I think he just wanted to scare the living daylights out of me and forced himself to appear garang.22 It was only a threat. I was made to make promise after promise. I went without lunch that day because he did not let up at all. Papa was very serious that I should do well and become an achiever. I’m not sure how much of his sermon stuck in my mind, but I did improve my academic achievements, much to his delight.

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What is pleasurable to this day are the thoughts of the rare outings Papa organized; the surprise day to a movie and a meal outside. Going to the movies was not simply a matter of “get up and go and see any movie”. He would vet a movie first by going to it himself, and if he felt that it was suitable for me, he would then take me and my mother to watch it. Such outings became memorable for me because they were very rare treats. When I completed secondary school, I wanted to join a teacher training college; the course would be short and I could graduate quickly and become a teacher. The prospect of earning my own money was attractive. I also wanted to help ease Papa’s financial burden. He would not hear of it and said, “If you want to be a teacher then you can become a teacher at the university.” This was exactly what I did. Papa probably continued to worry about me when I was a teenager and even when I was an adult. As with any young teenage girl, there were boys who showed interest in me. Papa was very emphatic that any boy who wanted to befriend his daughter had to come to the house and be introduced to her parents. I was obedient and did as I was told, and fortunately the boys were willing to comply with his wishes. They had no choice if they wanted to be my friends. Whenever I was invited to a home party — incidentally, in my time, young people organized parties in the home — my friends would first have to seek permission from my parents. I was then picked up at my home and sometimes chaperoned. I had to be home by 10 pm, and if I needed more time, my friend would telephone my father to ask his permission to extend my party time by another hour. It was somewhat embarrassing, but I earned the respect of my friends.

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I graduated from the University of Singapore in 1964.

This next experience was perhaps the most harrowing. I was truly frightened when Papa and Mama one day came after me with a pair of ominous looking scissors — with the intention of snipping off my long precious tresses because of what they perceived to be an unforgivable misdemeanour on my part. That must have been another one of those threats which Papa would not have had the heart to carry out. While I can confidently say that now, at the time I literally ran for my life and attempted to seek refuge with any neighbour living nearby. As luck would have it, I knocked on a wrong door — no one was in then. My parents pursued me. I could run no more. I was cornered and marched home.

It all began when one of Papa’s friends reported to him that he saw me with a certain gentleman and a little girl somewhere in town. In those days, the elders looked out for one another’s children and this was acceptable. The gentleman that Papa’s friends saw me with was one of Papa’s acquaintances, a handsome, debonair thirty-five year old divorcee with a beautiful nine-year-old daughter. His ex-wife was Australian. Unknown to my father, both father and daughter were my secret admirers. Their frequent social visits to Papa were also excuses to see me. It was a case of “hoping to win the daughter through the father”. I was only nineteen years old in pre-university at

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Bartley Secondary School. I did and do not think it was a misdemeanour, but we are talking about the 1950s, when parents have a great spiritual influence on their children and children obeyed their parents. My friendship with Mr X and daughter was merely casual. But it was a good thing that Papa nipped it in the bud. I was terribly traumatized and I cannot remember what punishment he meted out to me. I must have suffered some kind of selective amnesia. But it most certainly ended an almost close encounter between a lass with a girlish fascination for a father figure — an older, kind and attentive gentleman almost twice her age, who bought her a hair accessory made of ivory beads for her long tresses, washed them in perfume, and then, beautifully wrapped, presented them to her through his daughter. Looking back, I blame only myself. I failed to bear in mind what would and what would not anger Papa. But I remember feeling the heat because he did not speak to me for days. It was as if time stood still. The house was deafening with silence. His continued silence crushed me. For me, it was punishment enough. At some point, I begged his indulgence and forgiveness. Papa’s silent treatment of me worked. In the meantime, another admirer waited patiently on the sideline. In contrast, he was shy, not given to any display of affection in public, and was very down to earth. He was an unpolished diamond, rough on the outside but brilliant inside. He was Abdul Hamid Abdul Rahman. I wondered then what my father’s reaction would be to my friendship with Hamid. I vaguely remembered that Papa played it cool. He neither objected nor encouraged the friendship. I could not fathom his thoughts and feelings and so remained cautious. I had learned my lesson.

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In 1960, Abdul Hamid graduated with an MBBS from Raffles College, Singapore. He thought it was an apt time to ask my parents for my hand in marriage. I had just entered the University of Malaya in Singapore, and was in my first year. A delegation — his two elder sisters and a few other elders — paid a social visit to my parents to merisik23 on behalf of Hamid. Papa turned them down saying that I was still studying. They came a second time, and this time Papa gave the excuse that as Minangkabau people, and according to tradition, he ought to consult his family in Sumatra first. Then they came a third time and this time Papa accepted the proposal. I think I understand how my father’s mind worked. Papa perhaps felt assured that this young man called Abdul Hamid was sincere in his intention to marry his precious daughter. To the surprise of everyone, including myself, he relented, much to the relief of Abdul Hamid’s family, who had by now become rather frustrated, probably insulted and angry too. Unbeknown to Hamid, my father had also diplomatically delayed accepting the proposal because Mama did not agree to any of them. She was hoping I would marry an Indonesian man. Papa finally won Mama over. By now, I was in the final year in university. I think Papa also felt more assured that I would not abort my university education in favour of an early marriage. Papa was kind-hearted and loving but very firm. All that he wanted for me was merely motivated by his desire to see me become a good, educated and successful person. I have no cause for any regrets. I now feel blessed to have benefited from my parents’ strict upbringing. My brother, Soeyono, or Yono as we affectionately call him, was attending regular school at St. Patrick Secondary School in Singapore in 1962. He was in

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secondary three when he became a potential dropout on account of the automatic promotion system then. By the end of his secondary three, “everything became black and blur” for Yono, according to Papa. He came crying to Papa saying, “I cannot go on, I want to become something else, even a labourer I don’t mind”. He could not cope with accelerated learning and neither could the headmaster do anything for him because of a system that was rigid. He had already wasted three years in secondary school and was getting nowhere. He made good in the end, but certainly not without a struggle. Only Papa could discipline him. Papa was also a peacemaker. He might have had his own peacemaking to work out with his music critics, but his family was important to him too. Being the eldest in his family, he cared for his brothers and sisters. He was often consulted whenever there were problems among his family members in Java or Sumatra. He tried to mediate whenever possible, but even his patience had its limits. He would then not hesitate to tell them authoritatively to solve their own quarrels. Or he might take the gentler approach of analysing the problems for them and suggesting ways to overcome them.

Abdul Hamid Abdul Rahman graduated with an MBBS, Raffles College, Singapore, in 1960.

One such occasion was when his brother in Jakarta wrote him a letter in July 1981. Uncle Jacob had confided in Papa on some disagreements he had had with the other siblings and family members. Papa replied in a long, three-page letter, with somewhat gentle, but appropriate advice of a big brother to his younger sibling. As an elder brother, he felt he needed to treat the matter with impartiality. Papa wrote that he had read uncle’s letter many times over to understand its content. He concluded that:

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kanda yakin bahwa isi surat itu bukanlah timbul dari pikiran adinda sendiri, kerana you do not have that kind of attitude. Jadi hal ini mungkin terbit dari ‘lamak mengecek atau ma-ota’ sehingga menjelma jadi gunjingan. Seperti kato urang awak: Dek lamak makan, paruik sandek, Dek lamak ota, tasasak mengecek!24 (I am sure that the contents of that letter did not come from your own thoughts because you do not have that kind of attitude. So this matter might have surfaced from idle talk or empty chat until it becomes idle gossip. As our people would say: Because of the pleasure of eating the stomach gets bloated Because of the pleasure of idle talk one blurts out unthinkingly.)

The letter arrived in the fasting month, which is a holy month in the Muslim calendar. Papa urged uncle to observe the holiness of this month by: buang segala keraguan2 dalam pemikiran kita sehingga terbit kejernihan naluri kita supaya di Hari Aidil Fitri yang telah ada diambang pintu, kita dapat saling mempererat hubungan silaturrahim antara sesama Muslim dan Muslimat umumnya, dan khususnya sekitar keluarga. Kalau berdekatan, kunjung mengunjungi, berjabat salam sambil bermaaf-maafan, zahir dan batin, dunia akhirat. Kalau berjauhan, berhubangan surat atau dengan berpesan sekalipun. Yang muda-muda menghulurkan salam Aidil Fitri kepada yang tua sambil memohon maaf zahir batin, dunia akhirat. Agama kita menyuruh kita bermaafan jadi vice versa timbal balik. Begitulah menurut pendapat kanda. Yang tua pun harus memohon maaf dari yang lebih muda barulah adil. Karena yang tua-tua juga tak luput dari kesilapan kepada yang muda-muda atau anak-anak, pernah juga bersalah, pernah terdorong kata, pernah marah-marah dengan sewenang-wenang, pernah berdosa kepada anak-anak karena salah memberi pendidikan atau lalai memberi asuhan yang baik dan sebagainya. Barulah ada courtesy atau budi bahasa: (to remove from our minds all misgivings, and to make room for clear emotions so that when Aidil Fitri25 which is just around the corner comes, we can strengthen our kinship with our Muslim brethren and our family. If we are close by, we visit one another, shake hands and ask for forgiveness zahir and batin, dunia, and akhirat.26 If we are far apart, we communicate via letters or even send messages through other people. The young ought to seek out

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the old, shake their hands and beg for forgiveness “zahir and batin, dunia and akhirat”. Our religion enjoins upon us to seek forgiveness, and vice versa. It is my opinion that it is only fair that the old must also seek forgiveness from those younger. Because the elderly are not altogether free from wrong towards the young or towards their children. They have also wronged them: have uttered the wrong words, have got angry without rhyme or reason, have done wrong by their children: for not providing the right education or for being negligent in their nurturing and so on. Only then is there mutual courtesy.)

Papa finished off the letter with a Minangkabau poem — an often quoted poem in the Minangkabau culture: Nan kuriak lundi Nan sirah sago Nan elok budi Nan indah bahaso27

The important gist of the message in this poem appears in the last two lines: What is admirable are good deeds What is beautiful is fine speech. N otes

  1. The “grand piano” from the Indonesian Club was a gift to Papa. When he passed away, it was donated to the National Museum. It had to be hoisted out from the balcony of the second floor because the staircase was too narrow. Currently the piano is in disrepair. Source: Google. LATEST NEWS: The national museum of Singapore will be displaying the piano later this year (2010). “This is good news!”, 3 May 2010, the deputy director, MICA, Sze Wee.   2. Margaret Joseph, “While Riding a Bus, Dear”, Fanfare, Incorporating Radio and TV Weekly, 20 August 1971.   3. Ibid.   4. Zubir Said, Interview with Asma M. Naim, a journalist from Haluan, an Indonesian tabloid, 14 August 1972.   5. Buah tangan (buah literarily means “fruit” and tangan means “hand”) is something one carries in the hand to bring for

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someone one visits or sees, e.g. on a visit to the sick, one always brings chocolates or flowers, etc. These are buah tangan.   6. Sambal belacan: A very popular appetizer of chilly, prawn paste and lime concoction, eaten with rice and raw vegetables to whet the appetite. Much liked by the Malays, Thais and Indonesians.   7. New Straits Times, “The history of Negaraku”, 31 August 2009.   8. Letter from Encik Yaacob bin Abdul Latiff, 27 June 1957. Source: Private Collections.   9. Letter to Encik Yaacob bin Abdul Latiff enclosing the three songs by registered mail, 27 July 1957. Source: Private Collections. 10. Ibid. 11. Ibid. 12. Zubir Said, “Declaration of Calendar of National Songs”. Source: Private Collections. 13. A. Samad had an extremely illustrious career as a journalist, writer, editor and political figure with outstanding credentials. See “Introduction”, in A. Samad Ismail: Journalism and Politics, edited by Cheah Boon Kheng (Kuala Lumpur: Utusan Publications, 2000), pp. xv–xxvi. 14. Zubir Said, “Foreword” (translation) to Programme of the National Song Concert at Victoria Memorial Hall, 7 July 1957. 15. A message from S. Rajaratnam in conjunction with Loyalty Week, 3–9 December 1959, Radio Weekly, 22 Novermber 1959. 16. Zubir Said, “Declaration of Calendar of National Songs”. 17. Music scores of six school songs composed by Zubir Said by courtesy of Nona Asiah, 1 May 2010. Acquired by the kindness of Noryani Sulaiman from the residence of Nona Asiah in Singapore (1 May 2010). 18. Letter from one of Zubir Said’s many fans. Source: Private Collections.

19. Letter by Zubir Said in reply to A. R. Ismail’s letter, 15 January 1958 (translation). 20. Zubir Said’s reply to a fan. Source: Private Collections. 21. Mayang: Blossoms of the coconut palm. 22. Garang means ferocious. 23. Merisik: A situation where the man’s family makes an initial visit to the woman’s family to find out whether the woman is already betrothed, with the intention of asking for the daughter’s hand in marriage. Perhaps it could be done poetically e.g. the man’s family might indirectly mention that the purpose of their visit was to explore whether the flower in their garden had already been picked. If not then they had come to seek permission to pick the flower for their son. 24. Papa wrote in the Minangkabau dialect. 25. Aidil Fitri is the celebration on the first day of the Muslim month of Syawal, after the obligatory one month of fasting in the month of Ramadan. The Ramadan month is a holy month when Muslims (except those who are ill, aged and unable, infirm and insane) have an obligation to abstain not only from food and drinks, but also to fight all temptations of the flesh, such as over-indulgence in food, idle gossip, greed, anger, etc., and to spend the time in prayers, meditation, charity and forgiveness. 26. Zahir means on the outside, i.e. from the physical sense, and batin refers to our thoughts and our spirit; dunia means, “in this world”, and akhirat means “the hereafter”. 27. Source: Adat Alam Minangkabau (Custom of Minankabau World) by H. Idrus Hakim V. Dato Rajo (Penghulu: PT Remaja Rosdakarya — Bandung [Not dated]), p. 17. The poem defines a peaceful society as one in which the people practise kindness and good deeds.

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Chapter 7 The Lull, Celebrations, Respite, Music, Then the...

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Where are the Thunderous sounds of our national songs? As far as his work was concerned, Papa in the 1960s was still strong enough to weather the “storms”. Did he emerge from them bruised? He must have. He had experienced glory; he had experienced hurt. At some stage, he felt a sense of futility from his life’s work and a little jaded. There was a sudden lull in the vibrant sound of patriotic songs played over the radio on both sides of the Straits of Johor — in Singapore and Malaya — particularly of Papa’s three legendary national songs, Melayu Raya, Tanah Bangsa dan Daulat and Ikatan Budaya, which, “before 1962, had a great following from the very young to the very old”. The media highlighted this sudden lull: the 9 January 1962 issue of Berita Harian carried the headline “Ka-mana-kah gema lagu2 nasional kita?” (“Where Are the Thunderous Sounds of Our National Songs?”). A few subsequent issues of Berita Harian raised the same question and called for the reawakening of youth to garner their efforts to rekindle nationalism through radio broadcasts. One such report was by a journalist, Setiabudi, of Berita Harian in the 11 January 1962 edition, who remarked how people had easily forgotten the existence of the memorable patriotic songs that Papa had composed.

Four years after national songs had stopped being aired on both sides of the Johor causeway, there was a call to youth to rekindle national spirit through rousing national songs. Source: SPH — Berita Harian, 9 January 1962.

The Lull, Celebrations, Respite, Music, Then the ...

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It was as if they had been deliberately obliterated from the face of the earth. This was sad, he felt, because national songs ought to work in tandem with the people’s progress in every aspect of their life, including their culture.1 I feel that the separation of Singapore from Tanah Melayu in 1963 could be a reason that Papa’s songs were considered more relevant to Tanah Melayu, but even in Tanah Melayu they stopped broadcasting his songs. Could it be because Papa was a Singapore citizen? It is not likely because Papa was not yet a Singapore citizen. He became a citizen only in 1967. These three national songs, Melayu Raya, Tanah Bangsa dan Daulat and Ikatan Budaya, were especially close to Papa’s heart, particularly Melayu Raya. As Setiabudi pointed out, Melayu Raya was described as powerful, arousing patriotic feelings, and the prose in which it was written was very meaningful. It was as if the lyrics were berpadu terpahat — “fused and engraved” with the musical notes. Setiabudi described Papa’s exceptional ability. di sinilah pula sebernarnya kelebihan Pak Zubir Said yang sebagai sa-orang putra Mingankabau mahir menjalin bahasa pusaka.2 (this is the exceptional ability of Pak Zubir, who, as son of Minangkabau, is skilful in interweaving language and heritage)

Papa had the extraordinary ability to compose national songs that touched the very core of the heart of the singers. As an example, the lyrics of Melayu Raya display intense insight into what it means to have sovereignty and freedom. Bahagia, bahagia, tanah yang ku chinta Merdeka hidup Tanah Melayu Pusaka bangsa kita berdaulat dan mulia Tetap hidup merdeka

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Bersatu, bersatu ra’ayat di-Tanah Melayu Berdaulat, berkhidmat dan berpadu Sa-hidup dan-sa-hati, sa-jiwa dan setia Merdeka, Merdeka, Merdeka Tanah Melayu yang merdeka, dengan satu Bendera Satu bangsa, satu Negara serta satu bahasa, Berkibar Bendera, berdaulat dan mulia Melindong tanah ayer yang satu Bangun-lah hai bangsa-ku, membina Negara mu Merdeka, Merdeka, Merdeka!

I read and reread the prose many times to get a feel of Papa’s message — what he was actually saying. The language he used was very poetic and is not easily understood. It was with much effort and repetitive reading and discussions with other people that I was able to fathom Papa’s thoughts. The song recognizes the people of Tanah Melayu — he was of course referring to both Singapore and Malaya — as a sovereign group with dignity and, therefore, deserving of freedom — hence the refrain Merdeka was repeated many times. It calls for the people to unite in loyalty with one heart and soul, in service and solidarity. The flag is personified as the protector of the land, calling the people to rise up and build the country. Be happy, be happy my beloved country Merdeka! Live on Tanah Melayu Our people, our heritage, sovereignty and dignity Forever in freedom live Unite, Unite citizens of Tanah Melayu In sovereignty, in service and solidarity With one life, one heart, one loyalty Merdeka, Merdeka, Merdeka A free Tanah Melayu, with one Flag One people, one Nation, and one language The Flag, flying with loyalty and dignity Protecting this one land Arise, hail my people, build your country Merdeka, Merdeka, Merdeka

The message in his other two patriotic songs is similar, with a slightly different poetic slant.

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On the question of the disappearance of national songs from the air, Papa remarked sadly that his national songs might perhaps have become irrelevant to both countries because of the political situation of the time. The separation of Singapore from Tanah Melayu, formalized in 1965, was like the separation of two close families who had to split their belongings — a common heritage in this case — that bonded them and which both treasured, but decided to abandon for the sake of peace. In a letter to Papa on 26 January 1959, A. R. Ismail expressed sadness over the disappearance “off the air” of the “rousing sounds of national songs”. He wrote: Kedudok-kan lagu-lagu nasional nampak-nya harus akan muram, ini dapat saya rasa satelah pemisahan Radio Malaya dan Radio Singapura... (It looks like the status of national songs will become dim. I sense this after the separation of Radio Malaya and Radio Singapore).

Papa shared A. R. Ismail’s sentiments thus: Bagi diri saya memang terasa betul apa yang Sdr. tuliskan dalam surat itu. Perpisahan antara Radio di Tanah Melayu dengan Radio Singapura memang telah menyekat usaha dan cita-cita saya dalam perkembangan lagu2 nasional. Apalagi, kerana Radio Singapura hanya kedengaran setakad Renggam dan Batu Pahat sahaja. Walau-pun Radio Singapura kuat gelombang-nya, tetapi tak akan mungkin Radio Singapura mahu menyiarkan lagu2 untok Tanah Melayu, di-sebabkan perbedaan politik pada masa ini. Memang sifat “divide and rule” masih bersarang dinegeri kita ini.3 (I can actually feel what you have written in that letter. The separation of the radio in Tanah Melayu from Radio Singapura has hindered my efforts, and aspirations for the advancement of national songs, especially when Radio Singapura can only be heard from Renggam and Batu Pahat. Although Radio Singapura has a strong radio wave length, it is unlikely that Radio Singapura would want to broadcast songs for Tanah Melayu because of the political difference at this time. It is a fact that an attitude of “divide and rule” is still nesting in our country at this time.)

In the above letter, Papa could hardly conceal his sorrow and disillusionment. He had sincerely composed his songs to cross political boundaries. He had dedicated his compositions to the people of Singapore and the Malay States and as indicated by the words of Setiabudi: menyerahkan dengan rela sebagai amal bakti-nya kepada masyarakat, menjadi hak milek masharakat, boleh di-bunyikan dan di-perdengarkan bila sahaja.4 ([his compositions were] presented with free will as his contribution to society, to become the property of society, [so they] can be sung and heard at any time.)

I think it is a real waste of good patriotic music, especially when I know and think back to how Papa, with his heart and soul, had dedicated his time, energy and sincere love for Singapore and Tanah Melayu then — and for that matter Malaysia to the end of his days — in composing these songs for the youth and society of both nations. He had repeatedly written in his letters to those who requested the scores and notes of his national songs that: Lagu lagu nasional adalah pakaian bagi pemuda pemudi bangsa yang berjiwa nasional.5 (National songs are the cloaks of national youth, male and female, who possess national fervour.)

Today, I find it incomprehensible that his patriotic songs are no longer relevant. It is as if people have forgotten the extent of his vigour and dedication to the country in its strive for independence. Being a Minangkabau did not make him less of a citizen of Tanah Melayu and Singapore at that time. Later, as a citizen of Singapore, he found a place in the hearts of the people there. His patriotic songs do have a place in either country, whether it is Singapore or Malaysia. They have historical and cultural significance and should be kept alive and his contributions cherished and remembered.

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The only thing left to be seen is to have his legacy live on and for someone capable and creative enough to emerge and rejuvenate his songs, without compromising the essence of the purist in this composer. That was the lull in Papa’s life. His national and patriotic songs were no longer relevant. And then, sadly, he came up against yet another adversity. For twelve years, between 1953 and 1965, Papa was very involved with composing songs and background music for Malay movies. From 1966, the revenue from Malay films in the cinemas took a dip, forcing Cathay-Keris to finally slow down. The company tried to cut costs by not using music specially composed for background music. Music and songs for Malay films had been composed by well-known composers such as Wandy Yazid, Wan Yet and Zubir Said. Canned music and archived music replaced specially arranged background music for Malay films. Background mood music was no longer an art. Television became the fad of the day and commercial interests overtook art. Many composers of background music for Malay films faded away. Papa would not be compromised. He would not stoop to using “canned music” for a quick buck, or replace his diligent and meticulous process of composing background music. Yet he turned down an invitation to compose for a veteran film producer, Tan Sri Kamarul Ariffin, in Kuala Lumpur. Tan Sri was impressed with his compositions for the movie Chinta Gadis Rimba (The Virgin of Borneo). Papa said he was too old to travel to Kuala Lumpur. Possibly, Papa had become weary. He had struggled for twelve years with CathayKeris to establish background music for films as a

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recognizable art and now to have his work in this field suddenly truncated sapped him of his energy and spirit. He possibly felt discouraged.

A Happy Interlude My marriage took the heat off my father, for a while at least. The excitement of making the initial preparations for my wedding helped Papa take his mind off his malaise, his own feelings and emotions, at this low point in his life. In earnestly wanting to give me nothing short of a beautiful wedding, he came to terms with himself. I remember how in the calm hours of night, in one corner of the flat, Papa would still be up, his head bent over his shoulders, not writing his musical scores, as he would normally do, but jotting down a host of things that needed to be done — items to be acquired or purchased. While on the one hand Papa took his responsibility as “father of the bride” very seriously, my doting mother, on the other hand, remained very much in the background, occasionally whispering words of comfort and advice to me. During the day there was often a flurry of shopping. Materials for the bridal bed, new curtains and carpets had to be bought. Except for my personal things, Papa, a man of modest means, paid for everything. I may be wrong, but I think planning for the big event was a form of catharsis for Papa. In fact, for both my parents, my wedding, from beginning to end, was one long therapeutic journey. My wedding was spread over a few days, because we lacked space at home to host the full series of events there within a day. Our akad nikah6 or ijab kabul or the “nuptial” ceremony was performed by an imam7 from a mosque on 10 July 1964 at 8 pm in our home

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at 190A Joo Chiat Place. As was customary, the akad nikah was held at the bride’s house. I notice, however, more families nowadays are opting to hold the ceremony in a mosque, not just due to the lack of space at home, but more for the spiritual significance and awareness of being in a place of sanctity, a house of worship. Personally, I wanted the akad done at home; true, the space was limited but my heart was overflowing with joy and I wanted to share it with those close to me, and the best way to do this was to rally them round at home to participate in every aspect of the wedding preparation, before and after. Besides, I needed all the help and support I could get, physically and emotionally. It is always more intimate and meaningful if the akad is held in the home because the entire family from near and far can congregate to rekindle and strengthen family ties. It is an auspicious occasion for bonding. On occasions such as a wedding (also funerals and other functions), members of the family come together to help in whichever way they can. Some, from faraway places, simply sleep just about anywhere in the house at this time. For example, it is not unusual to find a group of young family members, the innumerable cousins — first, second and third — roughing it out on the floor in the lounge on tatamis. We always have a stock of pillows for such occasions; even scatter cushions do fine. Quite often, by the time they retire to bed, it is the wee hours of the morning. There are just so many stories to be told, so many jokes to share, and such delight in reminiscing about childhood days. Sleep deprivation is a small matter compared with the joy of being together.

A solemn promise made by the groom to care for and love his bride as sealed by a firm handshake with the kadhi, witnessed by my close relatives and friends.

The groom handing over the wedding ring and the mas kahwin of S$22.50 to the bride, witnessed by aunts and friends of my mother.

The wedding celebration the day after the akad was along Chiku Road. There wasn’t ample space in the flat to accommodate Papa and Mama’s large number of friends. As it turned out, it did not matter where the reception was held as our hearts were full of happiness and all the people shared in that joy. My wedding was a joyous one. The main reception did not

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take place in some plush hotel ballroom or even in a community hall. It was on the sandy road below our home in Chiku Road that was a cul-de-sac. Additional tables and chairs were also placed on the pavement below the flat to accommodate the extra number of guests and entertainers. Because we were friendly with most of the neighbours living on this road, it was not a problem getting their agreement to let us erect a long canopy on the road. I had lived among them throughout most of my young and adult life and knew them very well. We might have been from different races, but we got on well and respected one another. It was remarkable that there was so much tolerance, friendship and cooperation among us. Our lives were one long celebration because we celebrated one another’s festivities, such as Hari Raya, Chinese New Year, Deepavali and Christmas. Our neighbours were, of course, all invited to my wedding. Their presence was a big support for me and my parents. It was an illustration of our close relationship as I was encroaching on their space. There are many important aspects of a Muslim marriage, the most significant of which is the nuptial or akad nikah ceremony. After the solemnization ceremony that required Abdul Hamid to declare his intentions to my father, witnessed by all those present, Hamid presented me with a S$22.50 compulsory mas kahwin.8 Even to this day, it is still RM22.50 in Johor but it has increased in Singapore and is currently fixed at S$100. A point to note is that the mas kahwin is extremely low for a reason. In Islam, the lack of means on the part of the groom should not be a deterrent for him to get married. There can be no excuse, from the religious perspective, for a relationship not to be solemnized and legalized in

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a marriage. The mas kahwin is strictly for the bride to use in any way she wishes. It is her right. With my S$22.50, I bought myself a pair of gold earrings — in those days, gold was less than S$15.00 per gram. Today, my nuptial pair of earrings must be worth more than ten times their original value. In addition to the mas kahwin is the “optional dowry” or wang hantaran,9 which is a gift to the bride’s family, usually to help with the wedding expenses. It varies according to the financial means of the groom. A marriage is the first step to bridge relationships between two families. As such, at the marriage ceremony there is a mutual exchange of gifts to express sweetness in the union, acceptance and respect. It happens this way. On the day of the akad nikah, the groom, accompanied by his entourage, arrives bearing gifts, both for the bride and for her family. As the Malay saying goes, “ada budi ada balas”, which means “a good deed deserves another”, so the bride and her family reciprocate with suitable gifts. Apart from the mas kahwin from the groom, which is fixed and obligatory, and the wang hantaran, which varies and is optional, the gifts that accompany the groom and those that are laid out by the bride in reciprocation vary according to the means of the two families. What is significant and meaningful is the immense thought and warm feelings embodied in the gesture by both families — in the loving care that goes into the selection and presentation of the gifts. Pictures speak a thousand words, as in the sample gifts shown. A few days before the wedding, relatives and friends rallied round and helped with the final decorations and other preparations. The mood was one of mirth and high excitement, even in the midst of a lot of work.

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1. The sirih junjung, created from betel vine leaves and nuts, and roses, signifies friendship and welcome and takes central position in the array of gifts accompanying the bride or groom. 2. The mas kahwin from the groom to the bride in the form of a small bunch of roses created from red RM10 notes. 3. Wang hantaran from the groom sculptured into the form of a house. 4. A songket sarong and material from the bride for the groom’s Malay attire shaped as a rose. 5. A pair of men’s shoes camouflaged as elves’ shoes from the bride. It is not respectful to present uncovered shoes on a tray. 6. A towel in the form of a piano. 7. A Qur’an and bookends formed from a prayer mat. 8. Love birds created from handkerchiefs in a cage. 9. A butterfly on a shirt from the bride. 10. A decorated egg (bunga telor), given to guests to express gratitude for their presence, good wishes and friendship. The egg symbolizes fertility.

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One of the many important preparations was to convert my parents’ bedroom, which was relatively the bigger room in the flat, into a bridal chamber fit for a “king and queen” of the day. A new bedroom set, only queen size as we couldn’t afford a king size nor had we the space for it, a twin-door wardrobe, and a dressing table replaced my parent’s old set of furniture. I remember the three-piece set cost Papa $600. Then my family and friends set to work to embellish the bedroom. The bed was, of course, the main focus of their attention, and was greatly fussed over. I think I stepped in at this point and determined what I wanted. I wanted the mattress to be draped in a specially designed maroon taffeta bedcover, which was overlaid with inexpensive white lace — thus showing up the maroon tafetta — and beaded all over with artificial pearls. A white flowing lace mosquito net, not a full net — again to economize — in the same lace as the cover, hung above the bed head, just for aesthetic enhancement. The ensemble was not expensive but pretty. The bersanding dais 10 was finally looking quite attractive; the bedroom, particularly the bridal bed, was then ready — thanks to the hard work by family and friends. By the time they were done with the bedroom, the room began to smell really sweet with the aroma of specially concocted bunga rampai11 and beautiful floral arrangements of sweet-smelling red roses, that blended so well with the full carpet on the floor. It is true that “many hands make light work”, but from my experience of my wedding, there ought to have been only one mind to conceptualize an idea. Still, it was with the effort of so many people that I had a beautiful bedroom and a bersanding dais to be proud of. I certainly had a great deal to be grateful for.

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Excitement mounted as the main reception day of my wedding drew nearer. Finally, 11 July arrived. I could hear the distant sounds of the kompang getting louder and louder. What stood out in my memory was that my heart was beating and pounding as loud as the beat of the kompang. It was as if it could be heard from across the room. Under the bright pristine noon sun, sweating in the heat, my poor “suffering” groom, dressed in full wedding attire, had to walk in a slow procession for a stretch of about 50 metres along Joo Chiat Place. Following closely behind him, accompanied by the loud but joyous sounds of the kompang, were his close relatives and friends. Till today, having the kompang to enliven the occasion is very much a part of a traditional Malay wedding. Papa had always asserted and somehow I share his sentiments that the silat pengantin, the kompang, the bunga rampai, etc, are unique elements of Malay cultural heritage which must be preserved. I recall that for my wedding, the kompang ensemble was a gift to Papa from his generous and kind musician friends. Papa’s stern personality might overwhelm us all, including those who were his friends and acquaintances in the music world, but what was evidently clear was that there were times when the man could be endearing. Papa became a sort of elder brother whose authority was always accepted. They certainly showed a lot of affection and respect for him. Perhaps, at some point in time or other, Papa had done a good turn for them, had touched their lives. As the groom and his entourage came closer to the bottom of the steps of 190A Joo Chiat Place, the sounds of the kompang grew even louder, if not outright thunderous. To some it was probably even deafening

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but to me it just lent a festive atmosphere to the day. By this time I had learnt that I could not stop the pounding in my heart. There was so much excitement as a group of older women from the bride’s side walked down the steps to shower the groom and all those gathered around him generously with air mawar or rose-scented water and the bunga rampai, as mentioned earlier, perfumed, finely sliced pandan leaves mixed with rose and a large variety of other sweet smelling flower petals. This tradition is not too different from the shower of confetti at a church or western-style weddings. I was told later that there were broad smiles of approval from my guests when they saw Hamid for the very first time. They thought the young doctor from Johor was terribly dashing.

Joyous kompang accompanied the groom as he approached 190A Joo Chiat Place.

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And there Hamid was, practically at my door step, ready to begin the seemingly long journey to the pelamin or bersanding dais. But first, he had to witness the silat pengantin (this took place on Chiku Road), a courtly gesture of respect for the raja sehari or the “king of the day”. The silat (Malay art of self-defence) was a two-minute presentation to the accompaniment of the kompang.12 Here it needs to be mentioned that the silat is an impressive display of the art of self-defence by two, or sometimes four or more young men. It is exciting to watch them use a wide range of well-coordinated movements to overcome their opponents skilfully as if in a real duel or combat. Only when the demonstration was over could Hamid walk up the steps to the beautifully decorated pelamin, accompanied by his best man, none other than his almost look-alike eldest nephew, Yahya Abdul Rahman. All the while, like other Malay brides from Singapore and Johor, I was already waiting at the pelamin, seated on the left side, as is customary, with bated breath. Imagine the congestion, the huge crowd of curious guests straining their necks to catch a glimpse of the bride and her groom. They were all inching their way to the already crowded space around the bersanding dais. It was as if the place was bursting at the seams. They didn’t seem to mind the heat; there was only one ceiling fan in the middle of the living room. There was no air-conditioning. By this time the sounds of the kompang reached an even greater crescendo. My bridesmaid, in this case, my mak andam,13 with a pack of tissues in one hand — in case she needed to wipe the sweat off my brow — and a bridal fan in the other hand, stood by me, lending me moral support and fanning me. It was comforting to know that she

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Bersanding reception at 190A Joo Chiat Place. The actress Umi Kalthum was my maid of honour.

was there for me. As Hamid approached, she quickly covered my face with the fan for no other reason than to create some suspense for the groom before he was allowed to steal a peek at his bride. It was only after he had presented me with the sireh lat-lat14 that my mak andam revealed the countenance of his bride. As he was helped to his seat beside me, he gave me a furtive glance with his smiling eyes, which I returned

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coyly, not daring to lift my head too high or look in his direction. In those days, brides were strongly reminded by their elders neither to venture to look directly at the guests and certainly not at their groom, nor smile too broadly. In fact, they were reminded to gaze pensively at the floor. Was I glad not to be given such reminders! Because I remembered. I could, however, see from the corner of my eyes my dear friends and relatives busy chatting and teasing us, quite oblivious to the heat. With the exception of the “king and queen” for the day sitting on “our throne”, everyone else sat on the floor. It must have been uncomfortable, but they didn’t seem to mind. They were just happy to share my joy and to join in the merriment themselves. On the other hand, I was sweltering. Yet, all the time I had to maintain my composure and a “queenly serenity”. Hamid, a picture of bewilderment, managed a little smile. He was a shy person by nature, but always patient and pleasant. That was what attracted me to him in the first place. He was probably too overwhelmed to be conscious of the heat although he too were sweating. But the few more hours of perspiration were, I believe, relatively “cooling” for him compared with my father’s scrutiny before and the waiting game he had to play with me for seven years. We were both dressed in traditional wedding attire in rich beige and gold songket, a wedding gift from my parents-in-law. For me their gift came complete with the wedding finery and the sunting.15 Besides the mas kahwin and the wang hantaran, Hamid had also given me a set of diamond necklace, bracelet and earrings as wedding gifts which I wore for the bersanding. Hamid wore a tanjak (the headgear of a Malay warrior) and a

The bridal bed of maroon tafetta overlaid with lace and embellished with artificial pearls.

keris, tucked in his broad songket belt, with the head of the keris facing his right hand. It is for this reason that the bride always stands or sits to the left of the groom during the ceremony. As a Malay “warrior”, the groom was supposed to be ready to draw his keris at an instant and defend his bride, if necessary. So Hamid had the full regalia of a warrior, but he did not in the least bit look like a warrior! I was charmed just the same. Worthy of note is that even to this day, young couples prefer to use the delicately hand-woven, exquisite songket, which comes in such rich and vibrant colours, for their wedding apparel. It has become part of the Malay tradition.

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From the bersanding, after the usual blessing ceremony by the elders — with scented rose water and bunga rampai — my husband and I, still in our complete bersanding attire, were escorted quickly to pay respects to my parents-in-law. They had come from Muar in Johor and stayed with a family in Bukit Timah. As was

the custom at the time, his parents did not come to the reception at our house. The drive to Bukit Timah from Joo Chiat Place took about an hour. It was a short reprieve from the revelling crowd we had left behind. But alas, a large crowd also waited to welcome us in Bukit Timah, the home of Hamid’s uncle.

Zubir Said thanking the guests after the bersanding ceremony.

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Hamid’s maternal uncle, Hj Ahmad Hj Taff, was a Malaysian and manager of the Dairy Farm Company then. Wak Mat, as we affectionately addressed him, was an endearing person, loving and caring, and was very close to Hamid. We visited him every so often, partly for the very fresh, undiluted cow’s milk he offered us which was so delicious. I hardly ever drank milk, let alone fresh milk. Wak Mat and his family lived in a big house with a sprawling garden full of greenery. I could see many cows grazing in the distance. It was a drastic change of scenery from Joo Chiat Place and Chiku Road, but the wedding gaiety was the same: the bride and groom anywhere would always be the object of admiration and attention. We were entertained to a sumptuous tea with lots of local delicacies and, of course, fresh cow’s milk.

And still the celebration was not as yet over. It continued the following day when we were treated to a tea party by Papa at the Adelphi Hotel. For me it was grand. My modern Malay wedding baju kebaya16 of white, pearly textured brocade was only $4.50 a yard and I used up four yards for my suit. The kebaya which had a V-neck, was tailored rather cheaply by my mother’s friend. To glamorize the suit, I accessorized it with costume jewellery. And on my head I wore a diamante crown that I had won when I was chosen University Queen in 1961. I sewed on three additional rows of diamante to the original to give it more height, and then I wore it upside down with the peak pointing down my forehead, à la Hindustani. Hamid, in his shirt, dark suit and tie, looked quite handsome although somewhat nervous.

We stayed a while, but not too long because we were rushing back to Joo Chiat Place, after paying our due respects to Hamid’s parents and other members of the family and their friends by kissing the hands of the elders. In Malay communities, kissing the hands of someone older is a sign of courtesy and respect. As was expected of us, we kissed their hands when we arrived and on leaving. Then quickly, we were whisked back to Joo Chiat Place to mingle with our guests and with whoever was there at the time. Papa and Mama’s guests came and went because the invitation time was flexible, enabling guests to come any time between 11 am and 5 pm. The celebration did not end then as many guests still arrived after dark and continued to contribute to the joy and merriment. All the while, live music and singing by Papa’s friends kept the atmosphere lively and this left me with happy memories that are hard to forget.

The tea reception was for my school friends, as well as friends from the university — Hamid’s and mine and Hamid’s family from Johor. His parents and Uncle Mat and his wife came too this time. Hamid was a Johorean. I said “was” because my husband passed away on 30 June 2009. Hamid came from a very large family. As he was the eldest of fifteen siblings, many of our guests, as could be expected, were related in one way or another to Hamid. The other guests were of course close members of my family and my parents’ selected friends. We were truly delighted that the handsome actor and actress couple, Umi Kalthum and Roomai Noor, were our matron of honour and best man — they flanked us as we walked down the aisle to the main table, with my long net train trailing on the floor behind me. The guest of honour was the Tengku Mahkota of Johor and his consort.

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As we were driven in a friend’s car to the hotel, I remember what my husband, sweating in his outfit, said, “This is worse than going for my examination.” Perhaps, Papa too might have felt some anxiety, but being thoughtful as he always was, he had planned everything beautifully: there was a wide assortment of dishes at tea. The ambience of the hotel was cosy and the reception room was well decorated with lots of flowers. Our arrival was again heralded by the silat pengantin and to make the event truly memorable, this time Papa also brought in traditional dancers to entertain the guests. The highlight of the function was the presentation of gifts from their Royal Highnesses to the bride and groom, followed by a photo session. And at the end of the reception there were more photo sessions.

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Tea reception at Adelphi Hotel.

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His Excellency the first President of the Republic of Singapore, Encik Yusof Ishak, and his gracious wife, Puan Noor Aishah, greeting Hamid and me and my parents and our entourage at Istana Negara.

Obviously, Papa had invited his long-standing friend, Encik Yusof Ishak — one of Papa’s five musketeers — and his gracious wife, Puan Noor Aishah, to our marriage. As Encik Yusof was the new president of the new Republic of Singapore, strict protocol had to be observed. He and his wife could not come to either of our receptions. Instead, they graciously organized a tea reception at their Istana in our honour and Papa’s. Forty guests were invited. Papa had to prepare a guest list for security check. I was dressed by my mak andam in a Minangkabau bridal costume — this was partly to honour the president who was a Minangkabau — of maroon songket, complete with horn-like headgear and glittering accessories around my neck. Hamid wore a matching ensemble of the same songket and a tanjak. We had the honour of sitting between our distinguished hosts. It was a two-hour reception with tea and an array of very elaborate and delicious food on silver platters and fine China. The highlight of the reception were the speeches, one made by the president himself,

who gave us kind words of advice on matrimony. This was followed by Papa’s speech thanking Encik Yusof Ishak and Puan Noor Aishah for their kindness in throwing for us the wonderful tea party. And finally, the presentation of wedding gifts — I felt very honoured to receive a suit of beautiful, rust coloured songket, which just happened to be my favourite colour. It was a heartwarming reception which I cannot and will never forget. As in everything they did, Papa and Mama put so much love, care and meticulous planning and execution into the wedding celebrations despite their circumstances. I was truly blessed and could not ask for more. Also worth mentioning would be our first night as husband and wife at Joo Chiat Place. I was too anxious and shy to retire to our bridal chamber so I spent most of the night chatting with friends and relatives, mostly on what transpired during the entire wedding celebrations, and spent the night in the company

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of Salmah and her daughters. Hamid, through exhaustion, had retired to our beautiful wedding bed with Yahya as companion. He was probably feeling as nervous as I was. In the morning, I was surprised to discover that my husband and his nephew had gone missing. Shortly afterwards, I received a telephone call from Johor Bahru. It was Hamid. He sounded sweet and apologetic that they had left after subuh for Johor without informing me. As it turned out, it was a Johorean custom that the groom would sleep with his best man and would then quickly make an exit back to his own home at the crack of dawn. I had one more surprise later that morning when I made the bed and found some money under the pillow. I was really amazed and a suspicion crossed my mind. Was Hamid testing my honesty? I was later told that that money was to say “thank you” to whoever made the bed. Of course it was expected, in traditional homes, that the wife would make her husband’s bed. Perhaps it was a test after all, of the wife’s attribute as a homemaker. The experience was a lesson for me — that a good, lasting marriage should be grounded on absolute trust. To my knowledge, this custom is no longer practised in the cities although it might still be common in the kampung among traditional families. In retrospect, I’m happy that I was still that traditional bride, so I can share the memory with my children, if nothing else.

His Excellency the first President of the Republic of Singapore and Puan Noor Aishah.

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Soon, after all the receptions in Singapore, it was time to bertandang17 in Muar, Hamid’s hometown. This trip will always be embedded in my memory. We travelled in our bridal car. Some family members and friends followed closely behind in two cars. As was the custom, my parents did not make the trip. We actually enjoyed

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the privilege of travelling to Johor Bahru across the Causeway in a motorcade of police escorts. Papa’s friend, Encik Latiff, was an officer in the police force in Singapore and it was certainly a kind gesture on his part to ensure that we reached our destination safely. No, we did not travel as VIPs — I wish we had. There was a curfew. As I recall, at that time there was some tension in the air as the Indonesians had launched a much unexpected Confrontation 18 against Malaysia. To prevent infiltration, our coastlines especially had to be closely guarded. As part of the heightened security, from time to time curfews were imposed. Somehow I can’t remember much about the duration of the Confrontation or how it ended. Despite the fatigue of the journey and the imposition of a curfew, we reached Muar in time for the reciprocal reception. The day was pleasant, all sunshine and blue sky. Unfortunately, however, because of the curfew, I could not get in touch with my mak andam, who was supposed to have accompanied me to Muar to dress me up. I decided to become my own mak andam and dress myself from head to foot. I was looking less like a bride this time. Whether I liked it or not, I had to be ready to face my in-laws and their seemingly numerous friends and relatives — all curious, as if I was an alien bride from another planet. When Hamid’s marriage proposal was turned down twice, his family had wanted him to marry a Johorean. His family even promised to find him a dato’s daughter for his bride — I was later informed. It was no wonder that the guests were curious to see this bride who had given Hamid’s family much anxiety. My Papa judged Hamid well — bless his soul. Full of hope, Hamid had remained steadfast and loyal.

The wedding in Muar was a typical Malay wedding where everyone in town seemed to have been invited. The guests came and went during the five hours that they were invited. The bersanding thankfully was at a fixed time. I was then meeting the rest of Hamid’s huge family and friends for the very first time. It was very daunting for me, especially at the end of yet another bersanding. I changed from my bersanding attire into a set of Bugis clothes of loose, but sheer, transparent organza over a colourful sarong. Looking demure — or so I thought of myself — I sat among the guests who lingered behind and then my father-in-law saw me. He gave me a swift glance, a sharp, piercing look, as if to say “who do you think you are to be dressed in that indecent clothing?” I must admit here that Hj Abdul Rahman bin Mahmud, my father-in-law, was really a very religious person. My first encounter with him did not augur well for me. But, I was later to find out what an adorable man he was. We began to establish a very close rapport and, in fact, right from the start, I think I earned his respect and deep affection. This was evident from the way he treated me; he always asked for my help and advice on many matters pertaining to the affairs of his family, mostly pertaining to weddings. I would be his emissary when he wanted something from Hamid. This way he could be sure of getting what he wanted. Indeed Abah, as I called the dear man, was a wonderful father-in-law: affectionate and caring. He was much respected in his hometown and practically everyone knew him for his kind and generous personality. Just mention Pak Haji Aman in Muar and everyone seemed to know him. I was a favourite daughter-in-law, but no wonder, I was his only daughter-in-law for a very long time. Looking back to my bertandang, Abah then appeared a formidable

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person but as the Malay saying goes “tak kenal maka tak cinta”.19 It is commonly said in English that “familiarity breeds contempt”. The anthithesis is also true and in the Malay culture the belief is that “familiarity breeds love”. When Abah gave me that stern look, I immediately took the cue and quickly changed into a less revealing, very decent baju kurung. I hope I pleased him. I wonder what a young bride today would have done under such circumstances. I really wonder! We left Muar with lots of good wishes from Hamid’s large family and lasting pleasant impressions. Having said all this, I must add that my wedding was modest. I had the whole works, no doubt about it, but it was not a fairy-tale wedding. However, it was extraordinarily lovely, a wedding rich in memories and I have my parents mainly to thank for this. One would think that my parents would be very exhausted from all the preparations and hard work and deserved a much-earned rest. But Papa had other ideas. It was Papa’s idea of culture, I think, that if there was a grand opening, there ought to be a suitable closure also. Besides, he was a man steeped in traditions, and for whom respecting the elders and remembering people who mattered was of primary importance, and certainly more important than a honeymoon, which could be deferred. I totally share my father’s sentiment.

Hj Abdul Rahman Mahmud, my loving and caring father-in-law.

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It was a trait he inculcated in all of us. So he insisted, based on his concept of tradition, that after the entire wedding, Hamid and I went on our round of visits to express our gratitude to all who were involved in the wedding. My very patient husband, who had himself been brought up to honour the elders, accommodated my father’s every wish.

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Accompanied by my parents and a few members of the family who formed the entourage, we visited family and friends who helped at the wedding, bearing buah tangan as an expression of affection and to thank them. As expected, the atmosphere was one of gaiety. Wherever we went, we were given a rousing welcome. We felt like royalty and were treated like royalty. Some even presented me with wedding gifts, perhaps because it is another time-honoured tradition that when newlyweds visit, they are showered with presents for a special remembrance. For our close neighbours at the PWD (Public Works Department) and down Chiku Road, Papa, the motivator and planner, organized a gathering at an open space in the PWD grounds with lots of food and drinks prepared by the neighbours in a gotong royong fashion. They served fried pigeon among other interesting dishes — it was the first time I had ever eaten pigeon. It tasted delicious, like kampung chicken. But that was the only time. Out of respect to those serving this, I tried a small piece. Deep down I was thinking of my pet birds. Papa himself organized a badminton competition. Hamid and I were the guests of honour to present the prizes — trophies which Papa himself purchased and decorated — at the end of another memorable day. That was a truly final closure for my dearest Papa. My wedding was the first of many more weddings. Mama and Papa organized or sponsored five more weddings. They all took place at 190A Joo Chiat Place. By the time I got married, our family had extended. Papa was a people person and he loved children. What made him stand out for me was his generosity and compassion for friends and relatives, near and far, and even strangers. Although not of great means, he was always simple and kind-hearted.

He was a loving but strict father to his children and grandchildren, including his adoptive ones. He loved and regarded people close to him as family. He was especially compassionate to anyone who was less fortunate and needed help.

The Extended Family Members of Papa’s adoptive family grew. It started in 1956 when Salmah came to us. She was the eldest child of Uncle M. Sidin, who played the accordion for Papa, and Aunty Hawa Bi. Salmah was only twelve years old when her father died, leaving Aunty Hawa, Salmah, and her five younger siblings, the youngest of whom was only ten days old. Aunty Hawa had a difficult life after the demise of her husband. Salmah had to drop out of school to help her mother support all her brothers and sisters. At twelve years of age, what could she do? It was providence that brought her to us. We now regard her and her extended family as our own family. My aged mother, in fact, lived with Noryani, Salmah’s daughter, in Johor Bahru until she passed away in 2007. Mama did not want to live with me in Kuala Lumpur because she was very attached to Yani’s young children, Faizah and Faiz. They were attached to her as well. Mama was their Buyut, meaning great-grandmother. So Mama would only make infrequent short visits to Kuala Lumpur. Usually, after only a week in Kuala Lumpur, she would be homesick for Yani’s children. In her lifetime, my five grandchildren were living overseas. So coming to Kuala Lumpur was coming to a childless home and Mama did not enjoy that. For doting Buyut, my home was an empty home devoid of children’s laughter and cries.

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M. Sidin in the middle, a musician like Zubir Said, died leaving a wife and six children, the youngest being only ten days old and Salmah, twelve years old, who became my “sister”.

Hawa Bi, wife of M. Sidin, who was widowed very young with six children.

My parents practically nurtured Noryani (Yani), her brother Amin and her sister Noryati (Yati). Kamal, Salmah’s youngest child, never left his mother’s side. Papa educated them in music, but only Yani and Amin made the grade. They had musical talent, like their father who, as mentioned, played the accordion and other instruments for Papa. Yati, however, dropped out of the music lessons but continued to live with us most of the time. She became a wonderful homemaker with three boisterous teenage sons. Yani is now a gifted music teacher teaching the piano. I am very proud of her. She has carried on my father’s legacy and now applies Papa’s teaching techniques in her own work. In addition to my brother Yono and my two sisters Zubaidah and Zuraidah, Salmah and her siblings are now my extended sisters and brothers. They are such a closely knit family and support one another in good and bad times. I have never seen a family more united and interdependent and I am proud to be part of it. These admirable traits

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Zubir Said’s extended family, the children of M. Sidin. Front row from left: Maryam, Salmah and Maznah. Back row from left: Sulaiman, Samsudin and Osman, 1963.

have filtered down from Uncle M. Sidin and Aunty Hawa Bi, who were great role models for all their children and grandchildren when they were alive. I personally am blessed to have them in our family. Salmah and her five other siblings grew up before our very eyes. One after another they got married and had children. Some of them now have grandchildren. Salmah, herself a mother of four, has nine grandchildren. That makes me a grand-aunty many times over. Besides, to date I have seven grandchildren of my own. My marriage was a timely diversion for Papa from the lull in his life as a result of the backlash of an ailing film industry. After all the excitement and the flurry of activity during my wedding he had to come back to earth. What did he do? He certainly did not become disillusioned or devastated. He made some important decisions. He turned to his next love — children, music, and the piano in that order.

Zubir Said, the Composer of Majulah Singapura

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Me and Salmah with the second generation of M. Sidin’s family. They are Maryam’s triplet daughters, born in 1991.

Zubir Said’s granddaughter Suzanna and her daughter Nurliyanna Izzah Yam Hui Ling (b. 27 October 1999) and son Muhammad Danial Yim Wah Tim (b. 7 July 1997).

Salmah with her husband Sulaiman at the marriage of their youngest son, Kamal.

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One of Zubir Said’s grandsons, Samsudin bin Said.

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Hamid and my family at our youngest daughter’s akad nikah, 6 January 2005. From left: Johan Khong, Shaiful Zahrin and Yohanna, Suhanna, Muhammad Akhlil and Laura Fender, and Khairil.

Adam Johan Khong b. 18 September 1999.

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Danial Johan Khong b. 22 February 2002.

Jacob Isa Muhammad Akhlil b. 5 August 2006, Thea Muhammad Akhlil b. 8 February 2009, Maia Muhammad Akhlil b. 28 May 2003.

Fariq Shaiful b. 18 April 2007, Mikail Shaiful b. 14 July 2009.

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An Experimental Pedagogic Journey Papa was not a trained piano teacher. But that did not stop him! He felt the need to move on; music was and would always be in his blood. He turned to the piano and immersed himself in his newfound joy of playing and teaching the piano. His first attempt to teach the piano, and to use his own pedagogical plan, must have been with my brother Soeyono. When Yono did not make the grade in an accelerated school environment, the headmaster of his school, who knew of my father, suggested to Papa to teach him music instead. Thinking it was a very good idea, Papa with no doubt in his mind relieved Yono of his misery — of continuing in a school that placed too much emphasis on academic excellence. He quickly enrolled Yono in an adult education class and began to coach him forthwith. But Papa could not make any progress with Yono. He must have sensed that Yono needed a different kind of music from the one he was teaching him. Retrospectively, Yono described the music that Papa taught him as “lacking in rhythm”. Perhaps, being young, Yono preferred music that was more upbeat, more modern, not Papa’s kind, which was more traditional. Realizing this, Papa enlisted the help of his friend’s son, Roland, who ran a shop selling electronic organs, which at that time was a new craze. I think Papa, though not wanting to admit it, was actually quite excited about this new instrument. In a flash of enthusiasm, he bought an organ from Roland which came with ten free lessons as an incentive for the purchase, and Papa paid for a further ten lessons for Yono. Perhaps this new interest was a pleasant diversion for Yono. From indifference, he began to

Soeyono at six years old.

Soeyono, extreme left, with one of several bands.

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truly appreciate music and made good progress. As they say, “Where there is a will, there is a way.” My father was impressed with Roland’s ability to teach Yono. Roland was kind enough to invite Papa to sit in during Yono’s lessons. In fact, Roland encouraged Papa to give Yono music lessons himself, but Papa acknowledged that he tried for six months without success. He remembered the conversation he had with Roland. “Maybe you don’t know the way,” said Roland. So I watch for two months. How do you do it? So he told me. “Teaching is not the same as for playing. You want him to be quickly clever as you. You cannot. You must go down also” (Papa quoted Roland in rather imperfect English.) So he recommended me some books. So after two months I started to teach him and then we make some progress.20

After two years, by Papa’s rather high standards, Yono became an “able musician”. At Papa’s suggestion, Yono enrolled as a member of the Singapore Musician Union. Just a week later, much to his own surprise, Yono secured a job playing the piano with a band, earning $600 a month. This was a substantial amount of money at the time, especially for a young man just entering the job market. Bursting with fatherly pride, Papa’s reaction was a simple, big “wow”! Yono turned out to be a ray of sunshine in Papa’s life. Indeed, Yono had carved a career for himself! Luckily for him, he did not let success go to his head. He went on to play in night clubs, with bigger bands of six to seven persons. His band travelled to Sarawak and Taiwan. Travel broadened his mind and Yono’s band became even more sensational. After Taiwan, he came home to Singapore and continued to play the piano in his own musical style, to packed audiences. Every evening the hall resounded with applause. Things turned out unexpectedly and certainly for his good when a German talent scout discovered the “Starlite of Singapore” as Yono’s band was known and engaged him and his fellow musicians. For the next five years, the “Starlite of Singapore” performed in several cities across Europe, including Scandinavia. Their performances delighted the Europeans who seemed to enjoy their diverse acts and wide repertoire of Indonesian and Singaporean songs. They were highly rated largely because they were able to bring diversity to the fore.

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Through their music, they were able to cross cultural boundaries. They made quite an impact, partly because of their tanned skin, ebony hair, gentle demeanour and tremendous reserves of vitality. They were so popular that even their rehearsals were attended by large audiences. Writing about Yono brings back memories of how cute he was when he was young. He was so mesmerized when listening to Majulah Singapura on the telephone. At the time, those wishing to learn Singapore’s national anthem could dial No. 2 or No. 3 on their telephones, over and over again to learn the anthem. How time flies. He is no longer that little three-year-old boy, but a grown man, married with a beautiful family. Currently he is residing in Zurich with his lovely wife Manuela (Jamilah) and their three gorgeous young daughters: Suriana Sara, Munisah Asmara, and Shaira Lara. Now when I think of Yono, I think of the Swiss Alps, the calm and tranquil lakes, so deep and ice-blue, the seagulls, and the beautiful milk-white swans. However, I also remember the cold spells. In 2009, Yono and his family made a trip to Kuala Lumpur and stayed with us. I was truly glad he did because we were able to reminisce about Papa, Mama and our childhood. His memory of Papa helped me a great deal. We were both feeling nostalgic about those times gone by. Yono has done well. Besides occasionally freelancing as a pianist, he is part-owner of the Singapore Restaurant in Zurich. Indeed, he is a brother to be proud of — dark and kacak.21 It is almost his signature that to this day he is always impeccably dressed only in immaculate white — long white trousers and white, long-sleeved, round-neck tee-shirt, white shoes and sandals. Even his watch strap is white. Nostalgically, Yono recalled how patiently Papa taught him, not just about music, but also about life’s important lessons. Not surprisingly, he remembered Papa’s strict discipline and frequent outbursts of temper. He said he knew that Papa was overly strict with him simply because he was a son, not just a student, and he realized that Papa wanted only the best for him. Because of this, Yono was never fearful of him. He recalled that with other students Papa was more patient, although just as strict. Yono, in a flow of verbal gratitude, said this about Papa. He not only taught me music, but also the facts of life from his experiences as a musician himself. Almost every morning during breakfast he will start telling me all sorts of stories of his travelling orchestra and his ups and downs. Now I’m following in his footsteps but not his music. His music is beyond me to reach. I’m more into

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contemporary music: pop, Latin and jazz. For a short period, I also taught the piano and had my own students. I learned the technique of teaching from Bapak. What stuck in my memory was what he said about who one can teach and who one cannot teach. Bapak said, “Mengajar orang yang bodoh lagi senang dari mengajar orang yang malas.” (Teaching a stupid person is easier than teaching a lazy person.) People who are stupid may be willing to learn, but those who are lazy simply have no interest whatsoever.22

Papa’s brief pedagogical encounter with Roland and his experience of teaching Yono the piano launched him on an experimental journey teaching music. Papa was creative and learnt well, and with his usual passion he developed his unique method of teaching. He initiated his teaching method by using Roland’s technique.

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He taught Yono and his other young students by starting them off with the easy music first, such as children’s rhymes and popular songs, which the children knew. I am not familiar with Papa’s actual method because I hardly learned to play the piano. Fortunately, Yani, who said that she uses Papa’s technique, provided me with a description of his method. … Kakek would start teaching his young students the piano by introducing the keyboard first. The students will have to familiarize themselves with the letter names of each key. Those struggling to remember will have the letter names (the seven letters of the alphabet used in music i.e. A, B, C, D, E, F, G) written on the keys in pencil to help them initially. Since the letters were written in pencil, it was easily erased.

Soeyono with his family today.

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Then he devised another innovative tool, a cut-out cardboard with the letter names placed on the keys of the cardboard piano. Even those students who were keen to learn, but could not afford to have a piano (piano and electronic keyboard did not come cheap then) were encouraged. They were given the cut-out keyboard, [so] that they could place on a table or any flat surface, to practise with at home. Of course there was no sound, but the idea was to familiarize the students with the keyboard. These ingenious ideas were all his own creations through his “self-effort”.23

Learning notations came later. Once the keyboard was mastered, learning the musical notes was less tedious. By then the students would already be able to recognize each key by their letter names and would then have to associate the sound or keys with their respective notes or position on the stave (musical notes are written on five lines called the “stave”). To reinforce learning the musical notes, Papa prepared practice quiz cards. So his method was first to instil in his students a love and understanding of a melody and then allow them to internalize it. He would next familiarize them with the notes in letters of the alphabet and numbers on the keyboard and later write the number notations. Following this, Papa would then proceed to teach them the chords. Afterwards, the students were taught the technique of juxtaposing the melody with the chords. He held to the Chinese philosophy that “it is better to teach one how to fish rather than to give him fish”. His innovative pedagogic method was a departure from the more traditional approaches of teaching the piano. One thing was clear, he did not teach to help students pass any required examination. In devising his own method, he incorporated into his lessons some components of the literature of music from European and Eastern music. Papa emphasized the need to

Zubir Said recovered from his malaise to turn to children, music and piano education.

teach the nature of music and the knowledge of music. “What is music” and “what music says” is the essence of his philosophy of teaching and learning music. It is more than just being able to play the piano. For him, nurturing one’s creativity in making music was more important than learning by rote. Learning by rote, according to Papa, was an “artificial” approach where children were taught in a “parrot-like system” to imitate a teacher’s piano playing note for note. Papa once tested a student who had completed Grade 7 of the piano examination. He considered Grade 7 to be a good grade to achieve. That student could play the piece very well, but when he was asked to play

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only two bars from the middle of the piece, he could not do it. This was because he could not read the musical notes. He played by conditioned imitation only. However, Papa believed that music exwaminations were still important as an inducement for the students. He would encourage his students to attempt examinations in the theory of music and to achieve the highest grades possible. He regarded this as very essential, but he preferred to let them space out the practical examinations. His students were also taught the fundamentals of composition, but the extent of their success in composing music was very much subject to their own inclination and abilities. Papa claimed he had no control over this. The children who were sent to Papa were as young as four or five years old. He was amused at the thought of this and said: I become like a kindergarten teacher. If they got talent then they can carry on. If they don’t have talent, I will tell their parents. In the case of the five-year-olds, just like parrots only. They only copy me until I can teach them the seven letters going up and going down. Even children of secondary school, although they can spell the alphabets from A to Z, they can only go up, but never going down. This is the trouble. In music the alphabets go up and down. So I make a system how to practise going up and down.24

In his approach, it was crucial to cultivate the interest of the learner first, no matter what the age. But this was by no means an easy task. As any teacher would know, one needs a lot of patience when dealing with very young children. Papa was able to meet this challenge. As with all musicians, there was no lack of feeling or sensitivity on his part. He was also aware of the importance of addressing the different ethnic groups. He helped children from the various

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ethnic groups — Malays, Chinese and some Indian children — to become familiar with the beautiful songs in their own vernacular. When they could understand and were able to play, they would then be taught to write the music in number notation first. He went on to explain: Suppose, before I teach Indian music I have to know the grammar of Indian music so I myself compose short pieces with [an] Indian flavour. The Indian children like it. Likewise Chinese music for Chinese children. I know the scale. I have no difficulty composing. After that, gradually I switch over to international music. Gradually I improve. It was interesting for me to have that experience. When children become able to write they can then shift to another kind of music, e.g. European kind of music.25 When I’m composing in a particular language I must keep the scales in mind. Indian music has over a thousand scales.26

I wonder what happened to all the short pieces of music — most probably little tunes — that Papa composed for the children in their vernacular. His mention of the fact that he understood the thousand scales of Indian music reminds me what he said about not understanding the “grammar of pop songs”. Soeyono’s accomplishments were a great achievement for Papa and he was pleased that Yono was successful in carving a reputation as a musician who could read and write music. This more than made up for Yono’s lack of academic achievements. With Yono’s help, Papa continued to teach music theory related to other instruments, such as the violin, guitar, rebana, angklung and gendang, but his main focus was on teaching the piano. And in teaching the piano Papa created a niche, promoting a unique method which was unconventional but effective and produced the desired results.

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Two of Salmah’s four children were tutored by Papa in music because they had talent. Noryani went on to become a music teacher. Papa’s musical legacy lives on through Noryani. I remember Yani — as she is lovingly called — as a baby. At the beginning, her mother Salmah would bring Yani to our home daily when Salmah came to help Mama with the domestic chores. We found her so adorable. Papa had grown very fond of this cute little baby and so her visits became very regular until one day it just happened that she came and stayed on with us. We would often seat her — she was then just over a year old — in the middle of the dining table and pamper her and play with her. Papa gave her a rather uncomplimentary but endearing pet name, Birat, because as a baby she had dark skin which is considered less attractive by many Asians. She is no longer dark, but has grown up to be a beautiful “white swan” and definitely very accomplished too. In the past, in some traditional Malay homes, a beautiful baby would not be described as cantiknya (so beautiful) but rather the baby would be described as buruk (unattractive). This is like reverse psychology in practice. Whatever her nickname, Yani blossomed and little did we realize that this little girl would one day carry on my father’s legacy. Time passed on. Yani grew up very quickly right before our very eyes into a lovely lady with exemplary character. Papa was very proud of her. Yani herself has many beautiful memories of her Kakek, as she calls Papa. She described her experience as a pupil, learning the piano from Papa. Music comes naturally to me, having been brought up amidst the tinkling sounds of piano keys and other musical instruments. When I was a child, I remembered people coming in and out of the house as early as 9.00 am. They were Kakek’s (that was how he wanted us, his grandchildren, to address him) students. They came to pick up music knowledge from him. One of the rooms in our house was where he conducted his classes. There was a grand piano, drum set, some guitars, xylophone, violin, accordion, glockenspiel and even the ukulele. Abang Yono, my brother Amin, sister Yati and I had music lessons at some point of time. I could not remember when exactly my formal training started. I guess that was because Kakek would call any one of us or sometimes all of us into the music room and give us practical or theory lessons in music whenever he was not busy with teaching or other commitments, and also when we were not in school. One thing for sure, I remember learning music because of my fear of him. Kakek was strict with education, be it academic or music. I think it was his sincere wish to see us, his adopted children and grandchildren, do well in life. It was [due to] this eagerness to impart his musical knowledge that his lessons would stretch for hours. He would blow his top whenever we were not focusing on his lessons or slackening in practising the piano. I dreaded those long sessions and especially his outbursts. Once, I had my music books thrown out of the room because I was not able to pick up his lessons. I went out crying into the comforting arms of my grandmother who pick[ed]

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up my books and sent me back inside the room. Kakek, after calming down, would tirelessly continue with the lessons. When I was growing up, Kakek was already a household name, being the composer of Singapore’s national anthem. I did not realize how famous he was then. When I was nine years old, I was hospitalized and diagnosed with nephritis. From then on I was unable to participate in any physical activities, especially in school. Luckily, my school music teacher found out about Kakek being my guardian and so auditioned me as a pianist for the instrumental ensemble. At that time I had attained Grade 3 level, thanks to Kakek, and so was chosen to be the pianist for the Telok Kurau East School Instrumental Ensemble till I completed my primary education. I continued my music education with Kakek and obtained Grade 8 in 1978. By then, what had started as something inevitable turned to passion for me. I do not know if Kakek had intended me to continue with his legacy. I know I will never be able to fit in his shoes but I remember one of his quotations, “Ilmu itu jangan dibawa ke dalam kubur” (knowledge is not meant to be taken to the grave). This probably drove me to teaching music and passing down the passion for music. I have adopted some of Kakek’s teaching system and have been using them on my own students successfully. I usually start with the lettering system before going on to the notation system e.g. I will use letters A B C D E F G on the keys of the piano to familiarize the students with the keyboard. Once they are familiar with the keyboard it will be so much easier to introduce the musical notes to them. I had fared quite well in my theory of music, having scored distinction and merit for my Grade 7 and Grade 8 respectively. All due to Kakek’s method. One particular system that had helped me and which I have adopted from Kakek is the theory formula chart. It helps students remember relevant information such as major keys, harmonic/melodic minor keys, key-signatures and tonic triads.

Yani (at six years) followed in Kakek Zubir’s footsteps. She is now a piano teacher. Source: SPH — Berita Minggu, 18 July 1971.

Kakek had never attended music colleges, but his method and formula are proven teaching techniques. I, for one, have been fortunate enough to be able to gain from his knowledge. The success of his students and myself reflected his ability and achievement not only as a composer, but also as a great teacher.27

Amin, Yani’s brother, was another of Papa’s protégés. Like Yono, his interest in academia had waned. He was not doing well in school. But he loved music and the piano. Papa thought that Amin could amount to something as a pianist and began coaching him besides giving Amin all the encouragement he needed to pursue his dream. At one time, the mere mention of the name of the music lounge, California Jam, and the group band “Speedway”, would immediately bring to mind its keyboardist, who was none other than Amin. Brian Miller,28 the journalist from the New Paper, regarded Amin as one of the most accomplished keyboard players at the California Jam. But Miller was amazed that Amin turned out to be a rocker and that he was so unlike his grandfather, Zubir Said. Miller was reported to have said that “Zubir Said and

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Yani today, still at the piano with her two children.

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the rock and roll just don’t gel. In fact, I’ll call them strange bedfellows.”29 This was in fact true. Papa was a purist. In the 1950s, there was an influx of foreign music, such as the woogie boogie, jive and rock and roll. It was around this time that Papa might have been associating with a film director from India by the name of Vasant Borker. Borker was actively involved in films from the 1950s to the 1970s. Judging from the tone of Papa’s letter to him, Papa insisted that he drop the songs for a film that had an element of rock and roll. In bold lettering, Papa stressed that “it is a serious matter!!!” should Borker choose to continue his intention. He went on to say that: … in Indonesia there is a ban of such tunes.… If we carry on, our prestige as oriental artistes is at stake. You’ll find that Radio Indonesia stops broadcasting similar tunes. We may be accused of corrupting Indonesian or Malay songs. I personally [sic] in agreement with the general opinion of the public. My principle in regard to music is against imported rhythms which are not suitable to our people and their art.30

It is obvious that Papa had done an amazing amount of thinking about music. He remained strong in his convictions about the importance of maintaining a strict, purely classical form and of preserving the cultural characteristics of the indigenous people in local music compositions. But Papa could not hold back the tide of change. Aware of this, and aware that Amin chose to perform rock music, he probably became somewhat accepting. What was more important for him was to encourage and not dampen any enthusiasm that young people had for music. He supported Amin when he observed how serious Amin was about his choice of music. Amin also said that Papa “enjoyed music — all kinds of music. Papa used to say to Amin ‘do what you want as long as you are happy doing it’.”

Amin today, more mellow and a music teacher in schools, adopting the Zubir Said method.

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Amin the rocker (at left) in “Speedway”. He was described as a very accomplished keyboardist.

Amin had music running through his veins from his natural grandfather, M. Sidin, and his adoptive grandfather, Zubir Said. But he preferred rock music when young. Source: SPH — The New Paper, 6 April 1990.

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Papa would be happy to note that rock and roll came and went and Amin is today hardly the rocker he was in the early 1990s. Amin too, with age, has mellowed. Amin often reminds me of the immense part Papa played in his life. Like Yono, Amin too has performed in Taiwan and has composed a few songs. He was once the musical “director/arranger/programmer of songs” compiled by a Singaporean composer, Abdolah Lamat, in Singapore Heartbeat in Harmony — which was truly a credit to his reputation. Today, Amin teaches music in schools and freelances as a keyboard player in night clubs, playing evergreen music. When talking about Amin, I have only admiration for his modesty and sincerity. He is a man anyone would be proud to have for a son. His love, respect and care for the elderly, particularly his father, Hj Sulaiman Naim, before the old man passed away in 2005 was beyond the call of duty. When his father was sick in the hospital and at home with a severe stroke, Amin performed the daily ritual of caring for his father. Every morning before he went to work, he made it his responsibility to clean and shower his father. Amin literally had to carry his father to the bathroom. What was admirable was his happy disposition when nursing him. He realized the importance of helping his father move and vocalize simple sentences. So, as he bathed and dressed his father, Amin would continue to massage him while carrying on a light-hearted banter with him although his father could hardly respond at all. He is also extremely affectionate towards his mother, Salmah, more so now that his father has passed away. Besides his frequent visits to his mother, he calls her almost daily to check on her and make remarks to cheer her up.

When Papa was ill, Amin was there for him too. Yono was in Europe, and I was in Kuala Lumpur. It was regrettable that we could not be there for Papa all the time. It was also unfortunate that my sister Zubaidah, who was in Australia, could not be with him although she wanted to. My sister Zuraidah was able to visit from time to time, but her work and a young family to care for made it difficult for her to spend much time with Papa. Luckily for us, Salmah and Amin showed a saintly devotion to both my parents. I felt truly comforted by this knowledge because I knew how loving and committed Salmah and Amin — and in fact her entire family — were to my parents. Amin spent a great deal of time with his Kakek. He was very close to Papa. Whenever Papa needed a massage, it was Amin he asked for. The massage session was like a bonding session between them because Amin and Papa would have hearty conversations about anything and everything. During the last few months of Papa’s life, when he was very ill, Amin took time to nurse him before he went off to work, and he did this with a lot of tender loving care, and a happy face full of joviality. Amin was really a dear and I feel so very blessed. The most successful of all Papa’s pupil is Iskandar Mirza Ismail, whose initial music lessons were with Papa. Then he went on to study in Berklee College of Music in Boston, Massachusetts. His father, Ismail Kassim, and his mother, Nona Asiah, who, as the Malays say, “have music running through their veins” were a great influence on him. His mother instinctively knew that all her children had musical talent. She herself was one of Papa’s protégés and favourite singers and had the sweet voice of a nightingale. It was not surprising that Nona Asiah started her children early in their music learning with Papa. Iskandar was sent to Papa at the

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tender age of eight. I was told that at the beginning Iskandar hated the idea of having to practise the piano. I’m not surprised that this might have been at the early stage when he began his music lessons with Papa, especially when Iskandar remembered that Papa caned his knuckles for making frequent mistakes on the keyboard. Iskandar admitted that he preferred to play by heart rather than read music scores. Iskandar is now a celebrity, a musical icon in Singapore with international standing. He has arranged many glorious orchestral arrangements which have won many awards. Indeed, he has done his parents, Pak Zubir and his country proud. In an e-mail to me in 2010, he remembers Papa with much fondness: My earliest memory of Pak Zubir was when in the late 60s, at the age of eight or nine, I accompanied my mum to music practices with Pak. As a playback singer for Cathay Keris Malay films, mum was learning many of Pak’s songs. Pak Zubir and my mum thought I was “musical”, so for three years I took weekly piano lessons with Pak Zubir. The lessons held in his home at 190A Joo Chiat Place were an hour long during which Pak would teach me the scales, classical pieces, folk songs and his own compositions. As he wanted his students to do well, Pak Zubir was a super strict teacher and I remember receiving a number of well-deserved knocks on my knuckles and twists of my ears whenever he caught me playing by ear instead of reading scores. Under Pak Zubir’s guidance, I passed the ABRSM Grades 2 and 3 examinations and these lessons equipped me to “accompany” my mum at home. To help her master the melodies and lyrics of Pak’s new songs, I would play the song, line by line, for her. When I turned 18, I aspired to pursue pop/jazz music studies overseas. My mum supported my decision but our relatives wanted their “kampong boy from Kampong Kembangan” to become an engineer or doctor. They felt that pop and jazz music studies were not a sensible option. Faced with a dilemma, I mustered up my courage to ask Pak Zubir for his

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Iskandar Mirza Ismail, the musical pride of Singapore, once tutored by Zubir Said, later graduated from Berklee College of Music with flying colours. Source: SPH.

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advice. Pak Zubir was then 76 years old, and in all his wisdom he encouraged me to pursue my dream in the spirit of his song Semoga Bahagia. With his blessings, I proceeded to the Berklee College of Music in Boston to pursue my music studies. I know that he was very proud of his former student, for being one of the first few Singaporean Malay musicians to attain a professional music diploma from an American university. We visited Pak Zubir and his family regularly during the annual Hari Raya festival and I have very fond memories of him although I also must confess to being rather frightened of him. I learnt many of his songs but Semoga Bahagia remains my favourite. This song, which inspires boys and girls to pursue knowledge continually, has a timeless appeal. It features frequently at the annual Singapore Youth Festival and I was very proud to perform it during the Opening Ceremony of the 1st Youth Olympic Games held recently in Singapore. I will always be grateful to my first music teacher, Pak Zubir, for inspiring me to greater heights. Thank you, Pak Zubir!

I was also Papa’s pet project but only for a very short period. He taught me the piano, but I was a project that failed. He gave me a few lessons, but seemed unable to make much headway with me. Through eyes full of tears, I struggled, just to please him. He seemed to sense my silent anguish, my lack of inclination and interest. There were times when I thought I could succeed. The truth was that I was so very afraid of disappointing him. Another reason could also be the fact that Papa did not really have much time to focus his attention on teaching me the piano, or for that matter, any other musical instrument. At that time, life was difficult enough, and making ends meet must have filled Papa’s thoughts. His priority had to be on his paying students. Papa worked very hard and I was left to study hard and excel in school. That was how it was meant to be. I did not learn the piano, but I learnt living skills. Papa taught me the virtues of discipline and hard work.

Iskandar remembered his mentor, Zubir Said, from Boston, Berklee College of Music, 1976. Source: Private collections.

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Iskandar returned from Berklee College to a great future. Source: SPH — Berita Harian, 21 December 1978.

Transferring knowledge, in this case, knowledge in music and the piano, was, for Papa, spiritually rewarding. He was a splendid teacher, extremely hard-working, which was taxing on his immense patience. But I think his students were also very patient. Papa tried too hard and he was too strict. His forty-five minute lesson could stretch longer and he would be on them like a “hammer on a stubborn nail”. Some, who were resilient, survived and made the grade to become good musicians themselves, as Iskandar and Noryani did. Papa’s lack of formal schooling left him hungry for knowledge. I’m inclined to think that what learning Papa missed in the classroom, he made up for from life itself. This had perhaps made the man a slave driver. He had high expectations of others to strive doggedly and persevere as he

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himself had to do. He forgot that his students came from a different age and different circumstances. So those who were in awe of him and could not cope because they lacked the “Zubir Said drive”, fell by the wayside. Zaharah Salleh, one of my many “sisters”, was one of those people. She fondly remembers how her sister stuck with the lessons, while she herself, poor timid Zaharah, became an emotional wreck and went to my mother to cry. She fondly calls my father Pak Tuo (elderly father), an endearing salutation in Minangkabau and my mother Mak Tuo (elderly mother). She has done very well nevertheless. She went on to become a very dedicated and model teacher, but not in music. She herself admitted that she did not have the gift for music and realized that Papa’s strictness was in the name of love, concern and the desire to help her achieve. To this day, Zaharah has only respect and kind words for Papa. She was grateful that Papa had encouraged her to be focused and to do the best in whatever she chose. Papa tried so very hard to nurture excellence in all his students. He would expect greater effort and perseverance from the students whom he felt had the gift to excel and succeed. He was stricter with these students. He wanted so much for his students to have what he himself could not achieve. I can only imagine what a great musician and musicologist Papa would have been had he been born in a different age, as Iskandar was, in the right environment, with many windows of opportunity for study and experimentation. But reminiscing on his life and how difficult and successful it had been for him, I think he did himself and us proud. 190A Joo Chiat Place was the place to be according to Noryani — a hub of activity. In the 1950s, Papa’s home was always abuzz with excitement, with friends

and acquaintances coming in and out, engaging in long and friendly conversations about anything and everything, ranging from music and the performing arts to nationalism and patriotism. A much-loved topic was undoubtedly music and nobody ever seemed to be weary of musical talk. Sometimes their voices dwindled to a whisper but when their mood was one of gaiety, there would be loud laughter. Usually they had some light refreshments, but certainly they drank a lot of black coffee, prepared dutifully and happily by my mother, who most of the time would prefer to remain in Papa’s shadow. I have not written much about Mama and this is because there is just too much to say since her life was colourful too. She was herself a well-known personality in her time, one deserving a separate account. Suffice it to say that she was Papa’s inspiration and soulmate and a great mother to us all. I have often been asked the secret of my clear skin at this age and time. I think I owe it to my dear Mama. When I was very young, Mama forced me to drink air temu lawak.31 Mama would grind the temu lawak to a pulp, add a tablespoon of honey and an egg yolk — eggs at the time came only from the best chicken farms — and, with a little lukewarm water, mix and blend the concoction. I had to gulp it down in its raw form. Then she also made sure that I ate bitter gourd, which she prepared as a dish to be eaten with rice. I hated both of these, but dared not disobey Mama. I would close my eyes when drinking the air temu lawak and I would wrap pieces of the bitter gourd in rice, form these into small balls and swallow them whole quickly. Whenever I had the opportunity, that is, when she wasn’t looking I would

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furtively discard them. But there was very little chance of my doing this. She watched me with a hawk’s eyes. She knew what was best for me because she herself would, all her life, religiously eat all the different ulam ulam, 32 even fresh turmeric. Perhaps this was the secret of her health and longevity. Except for a very minor stroke, she did not suffer any serious illness. I cannot recall her having the normal coughs and colds. She drank only iced water and she would put at least three teaspoonfuls of sugar in her small cup of coffee, and she hated it when I served her soft rice. As I have mentioned, Papa was her soulmate. She respected and loved Papa very much. When Papa became very busy, she went about her own work,

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Zaharah Salleh admired her Pak Tuo Zubir. Although she did not become a musician, she became a language teacher and helped Zubir Said to promote his SOLMISASI system to schools.

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supporting, helping and taking care of his daily needs. Papa had once said that “my wife has often inspired my music”. And yet in the same breath he said that he was not a very sentimental person.33 But Mama did not mind this. It’s true that behind every successful man there is his dutiful and loving and, I would add patient wife — I prefer to say wife rather than woman. Mama was devastated when Papa passed away. It was a long time before she could “let him go”. She treasured and carried Papa’s favourite shirt and the sarong that he last wore everywhere she went. Till the day she died, at eighty-seven years of age, she remembered Papa’s endearing and caring words of concern for her before he died. With tears in her sad eyes, she would proudly, full of appreciation and devotion, repeatedly recall what Papa said to her — and she would relate this to everyone she met: “Tar, siapa yang akan jaga Tar bila saya tak ada!” (Tar, his tender name for Mama: “Tar, who will look after you when I’m gone?”). Mama, hiding her pain and tears, bravely assured him that there was Salmah and there was Nana — everyone in the family calls me Nana. Mama was just being stoic; but deep down, at that moment of reality at Papa’s bedside where he lay sick, Mama’s suffering must have been enormous. Papa’s demise was another difficult and challenging moment in her life that she had to face with courage without him. The memory of Papa’s unrelentless spirit and his sterling personality in the face of all odds continued to light up her own life. Once, when I asked Mama what she remembered most of Papa and of those times when Papa was really inundated with work, she, with a glint in her eyes, recalled Papa’s little gestures of attention to her;

Behind every successful husband there is a dutiful, loving and patient wife.

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how he would spend time with her in the kitchen smoking his pipe, sometimes unlit, and chatting with her over a cup of black coffee that Mama always made for him the way he liked it, in a big mug. She remembered how every year without fail Papa remembered her “birthday”; how he would take her out for a meal at the Nasi Padang Rendezvous in Dhoby Ghaut. I can picture clearly even now that restaurant; the food then was excellent, authentic Sumatran, and in those days it was very popular with the locals in Singapore, not only with Indonesians. On such outings, Papa loved to stroll for miles, with a hat on his head to protect himself from the hot sun. Sometimes, he would carry a tongkat (walking stick). I do not know why he did this because he had no need for it. Invariably, he would end up in a bookshop — I think it was the MPH — he thoroughly enjoyed browsing in bookshops. Poor Mama, after a hearty meal and with aching feet, would go along uncomplainingly with Papa, although secretly she wished Papa would just take her home. Suddenly, her reminiscing seemed to peter off as if she was far away. When she came to and remembered that I had asked her what she did when Papa got too busy, she became quite animated when she recalled the frequent visits from actors and actresses, singers and other music composers who made her home their meeting place. She said that she looked forward to their visits although it meant a lot more entertaining for her to do. She knew them all and was very close to some of them, such as Siti Tanjung Perak, Salmah Hitam, Umi Kalthum and Roomai Noor, Saloma and her sister Mariani, Nona Asiah and Ismail, and dear

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Uncle Harry Martinez, the guitarist and composer, who was Papa and Mama’s dearest and loyal friend from their bangsawan days. There are too many to mention here. Mama, in fact, sewed many of Saloma’s baju kebaya in lovely lace, and Mama even sewed sequins on them. So Mama, the “stay-at-home wife” at the time, had plenty to do to amuse herself and occupy her time. She could never be bored with so much gaiety and animated talk around her and with the many rehearsals that took place in our home. Saloma and Kasma Booty used to rehearse together when Papa had to dub Saloma’s beautiful voice on to the high-pitched voice of Kasma Booty. And Nona Asiah was also a frequent visitor because of the many rehearsals that she had to do. There were many such practices, such happy faces and moments of joy. In the late 1960s, Papa’s home was still abuzz, but this time with young people and happy sounds of children who had come to learn music from Papa. Besides his preoccupation with his new venture, Papa spent a great deal of his time writing to many of his fans. If, previously, people wrote to him mainly to ask for the scores of his national songs, now total strangers were writing to him seeking advice on a wide variety of subjects: on the arts, culture, music and singing. He even once received an invitation to judge a fashion show which he declined, saying that it was not his forte. He had invitations to judge debates and singing or to sit as adviser in the formation of associations. His life was very hectic. I remember Papa would still be reading and writing late into the night.

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“Knowledge is not meant to be taken to the grave” Papa was always searching for knowledge and experience throughout his life and he wished to share this with others. He strongly held to the principle that knowledge should be shared with others. It never entered his mind to withhold knowledge. This strong belief was reflected in a letter written to one Kalthom binte Hisham. It was obvious that she had a high opinion of Papa. Kalthom had corresponded with Papa, presumably requesting information on the origin of music, judging from what Papa wrote to her. Later she had also sent him her makalah or academic paper for Papa to assess and advise. Terribly embarrassed, she apologized for her imposition on Papa. Papa replied to her letter in a matter of fact way. Bagi menjawab surat itu saya menyatakan bahawa saya merasa sudi sekali hendak menchurahkan pengetahuan dan pengalaman saya kepada sesiapa saja jika sumbangan saya itu boleh memberi faedah terutama kepada pemuda-pemudi dan penuntutpenuntut.34

On the matter of music in islam, Papa found Kalthom’s thesis inadequate in substance. It would entail discussing the development of music in Islam in other countries like India, Sinkiang, Indonesia, the Philippines, Andalusia, Poland, etc. This was not discussed and in any case it would be too extensive a scope for her thesis. Hence the focus of his advice was on the development of music and in a limited measure he tied this up with music in Qur’anic reading. Papa wrote a long letter to Kalthom explaining the “origin of music”. Papa indicated that the origin of music was the human voice. And then in more detail he described music as the art through which people express their refined and beautiful feelings and that the two basic elements of music are rhythm and melody. Rhythm characterizes the daily physical movements of humans acquired ages ago from their surroundings and from nature itself, which is rich in rhythm, for example, sleeping and waking, walking and running, up and down hills, mountains and valleys, sea and land, night and day, fire and water, and so on.

(To answer your letter, may I state here that I am very willing to “pour” (literal meaning) my knowledge and experiences on anyone at all if my contribution can benefit young men and women and students.)

Melody represents the tone in verbalizations that goes up and down and is high or low when expressing feelings, e.g. sadness, happiness and fear.

The subject of Kalthom’s makalah was the “origin of music” and “Perkembangan Seni Musik dalam Islam” (The Development of Music in Islam). His analysis of her work was cogent, positively critical and encouraging. It reflected Papa’s depth of thinking, despite his limited education. Unfortunately, Kalthom’s thesis was not among his possessions left with me, but certain assumptions can be drawn from his comments.

Papa stressed that the use of the human voice as the origin of world music is further categorized into vocal and instrumental music and their functions. He elaborated on vocal music denoting Eastern (Arabia, India, China, the Malay Archipelago) influences, and the use of language in the literature of the different cultures and religions. He highlighted the exemplary Qur’anic verses, which can either be read or intoned within its rules and disciplines.

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In his letters to Kalthom Hisham, Zubir Said provided a critique of her thesis and advised on the topic of the origin of music and the development of music in Islam. Kalthom’s thesis is not available.

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Thus the strong influence of vocal music in conveying the basic elements of rhythm and melody. He once advised Noryani that “knowledge is not meant to be taken to the grave”. That was the philosophy he lived by. He wanted to share all that he knew with anyone who could benefit from it, especially the young. It pleased him that he could do this whenever he was invited to formal lectures and seminars. He found sharing his thoughts and ideas with others very stimulating and personally challenging and rewarding. His thoughts and ideas pertaining to the arts, culture and music can be found in his academic papers. They represent the ideologies that govern the core and conduct of his works. These are discussed in more detail in the Epilogue. As it was his express wish to share his thoughts and ideas, I think they deserve special mention in a special space in the book. For this purpose, the Epilogue, is mainly dedicated to specific fields of his work for the benefit of all, especially the younger generation. In another undated letter from Sungei Besar, Sabak Bernam, Selangor, Md Nas of Sekolah Umum requested tips on how to be a good singer. Papa detailed seven tips that are educational. For every tip Papa listed, he also explained the rationale for providing that tip. I find the advice very illuminating and helpful, even for a non-singer like myself. With Md Nas, Papa shared these tips, which I know he would be more than happy to share with others who need them.

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1. Practise to breathe deeply and slowly until the lungs are filled, then slowly exhale. (Purpose: So as to be able to control breathing during singing, i.e. for strong voice, soft voice, and long voice.) 2. P  ractise to expire voice in the morning (no need to sing. It’s enough with only la.la.la.la.) (Purpose: To train and warm up the vocal chords (memaherkan selaput suara.) 3. T  rain to listen to other singers on the radio, i.e. listen to their voice technique, listen to their articulation (lenggang patah lagunya), listen and recognize their pronunciation, paying attention to their correctness and mistakes. (Purpose: So as to be able to recognize your own mistakes later.) 4. D  o not always copy the sound of the voice of other singers and their singing style (gaya patah lagu). Establish your own originality in your voice and articulation (patah lagu). (Purpose: If you have your own originality in your voice and articulation (patah lagu) you will become a singer who is different from other ordinary singers. Anything that is out of the ordinary will get special commendation.)  o not sing low quality songs or songs that have 5. D no meaning, or songs that do not attract attention. Choose songs that have a value to society because singing means “relating a story” to listeners. The content is most important and after that, only the presentation. (Purpose: Even if the voice is not so good, if the content is good and the presentation is good, that is sure to attract people’s attention.) 6. W  hen beginning to sing, memorize the lyrics and study carefully the intended meaning of the lyrics. (Purpose: So as to be able to evoke the relevant feelings quickly.) 7. Ideally, study the notation system, Do-re-mi (that is called SOLMISASI, the number notations) as tools for singing, just as the musician with his violin. It is no use merely to mimic. If you just mimic, you will not be extraordinary. You will only be one of the many singers. (Purpose: So you can learn songs by yourself and not depend on the musician.)35

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The SOLMISASI System As Papa indicated to Md Nas, being able to read the number notations was a great advantage for singers “as tools for singing”. Papa persisted in encouraging everyone to learn music and singing using the number notations because he had a vision of the entire country being musically literate so as to be able to hum and sing any song, anytime, anywhere. As mentioned earlier, he had benefited from his ability to read music by number notations throughout his life and he unselfishly wanted to pass on this knowledge and skill to others. He was keenly aware, from his observations and from the different letters that he received, that there were shortcomings in the existing education system. Children and adults could not read music notes, an ability which, he felt, was crucial for a nation that was fast developing. He was convinced that one could self-learn music and singing by being able to read music notations in numbers.

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Delegates at the Congress Persuratan Melayu III, Johor Bahru, 1956. Zubir Said presented a paper proposing the learning of music in number notations in schools, which was adopted as one of the main resolutions. Zubir Said is in the 8th row from the back and 4th from left. My mother and I are circled near the front.

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Papa was of the opinion that music and songs play a very important part in the emotional, social and physical development of children in and out of school, at home and in society. Besides, according to him, in learning songs and music through number notations, one learns elements such as articulation, modulation or voice pitch, and counting in whole and fractions. It also develops verbal training and training in discipline (latehan tata tertib). For a good number of years, Papa researched and developed the SOLMISASI system. He was very passionate about this project. From his research, Papa explained that the SOLMISASI system was created by Jean Jacques Rousseau (1712–78), an educationist, philosopher and music educator. This system has been used in countries such as Japan, Germany, Holland, China, Yugoslavia and Indonesia to mention just a few. He was convinced that the school would be the ideal place to disseminate the knowledge. At the language congress Persuratan Melayu III in 1956, in which he presented a paper, his proposal that the system be taught in and out of school was taken up as one of the recommendations made. It was proposed that: Sistem pelajaran menyanyi dengan angka2 hendaklah diadakan di sekolah2 dan di luar sekolah supaya anak2 kita dapat mengenal lagu dan nyanyian bukan hanya dengan mendengar-dengar sahaja tetapi dapat belajar sendiri.36 (A system of learning singing, using number notations, should be introduced in and outside school so that our children can learn songs and singing, not only through hearing, but through self-learning.)

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An invitation by Zubir Said offering free lessons on the SOLMISASI system.

As a proactive response to the resolution, Papa spent sleepless nights researching and developing teaching and learning materials to promote the knowledge. To this end, he published his first book, Pelajaran Menyanyi, Sistem SOLMISASI (Singing lessons through SOLMISASI System), in April 1959. The publisher was Pustaka Melayu in Singapore. The system was also recorded in four parts on two gramophone records by Columbia Records for children. The narrator

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was Papa himself and Nona Asiah provided the singing voice. In his effort to disseminate knowledge of this system Papa conducted courses for the KGMS (Kesatuan Guru-Guru Melayu Singapura) over a period of time. Many teachers completed this course and some even took the initiative to conduct their own classes. But the number was too small. As mentioned at the beginning of this biography, Papa was a man in a hurry. He was conscious that he might not achieve what he set out to do in his lifetime. Feeling as he did, he channelled his resources into finding ways to disseminate the knowledge of the SOLMISASI system quickly. To launch his book, he had, on his own initiative, visited schools to introduce the book to teachers, and conducted courses on how to use it. He also wrote to several individuals, especially teachers, inviting them to a free crash course at his home in Joo Chiat Place on 21 May 1959 at 8 pm on learning to sing using number notations, limiting the number to ten people only. Such an endeavour is a clear reflection of my father’s dedication to his music book. Nona Asiah was one of the few fortunate people whom Papa taught to sing using number notations. She had joined the classes organized by the KGMS. She had fond memories of my father as her mentor. Writing about Papa and her training in the SOLMISASI system, Nona Asiah, the lady with the nightingale voice, said: Saya sebagai seorang penyanyi veteran, saya banyak menerima tunjuk ajar darinya, salah satu kursus yang diberikannya ialah mempelajari membaca Nota music dengan cara Sol-Mi-Sa-Si iaitu menggunakan angka 1,

Zubir Said conducted many classes on the SOLMISASI system. Nona Asiah was one of the participants in the class organized by KGMS (Kesatuan Guru-Guru Melayu Singapura). She is pictured here with her husband Ismail Kassim.

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Do, angka 2, Re, angka 3, Mi seperti lagu Do-Re-Mi. Saya dan ramai rakan-2 turut serta dalam kursus ini. Boleh dikatakan Allahyarham Pak Zubir Said lah yang membimbing saya ke mercu kejayaan.37 (As a veteran singer, I received much coaching from him; one of the courses which he provided is the course on reading music notes with the Sol-Mi-Sa-Si system which uses the number 1 for Do, number 2 for Re, number 3 for Mi, like the song Do-Re-Mi. My many friends and I followed this course. It can be said that it was the late Pak Zubir Said who nurtured me to the pinnacle of success.)

From the contents of a brief interview38 with Asiah Aman by Noryani, I was able to capture a little anecdotal history of how Papa created this persona, “Nona Asiah”. In her own words, she explained: My late mother, kenalkan saya dengan Pak Zubir. Waktu tu saya tinggal depan padang bola Jalan Besar Stadium. Saya masih sekolah Perempuan Rochore, baru Darjah 6. Arwah Pak Zubir dengan my late mother, mereka colleagues. My late mother was primadona bangsawan. Pak Zubir musiknya. Jadi my mother selalu bekerjasama dengan Arwah Pak Zubir Pak Zubir minat dengan bola, habis nonton bola singgah ke rumah saya. Saya punya rumah dekat padang bola, depan saja. Habis nonton bola mesti singgah rumah saya. Semua, bukan saja Pak Zubir, Awang Bakar, Haris, yang mana popular pada tahun 60’an. Nanti semua duduk ngobrol kat rumah minum kopi, cerita, sampai dah malam baru semua balik Jadi dari situ my late mother bilang sama Pak Zubir, dia panggail Pak Zubir ‘abang’, “Bang Zubir anak saya ni minat sangat dengan menyanyi, bang Zubir tolonglah tengok tengokkan macam mana boleh tak dia menyanyi.” Dari situlah mulanya Pak Zubir didik saya. Waktu itu ada tanggal 17 Agustus, selalu kemerdekaan Indonesia di Goodman Road. Dia selalu bikin perjumpaan: ada musik ada nyanyian. Jadi saya selalu juga ambil bahagian di situ. Jadi dari situlah dia sudah train saya. Bila dia dapat contract film ‘Chinta’ dia kata “Why not take Asiah”. Dialah juga orangnya yang beri saya title “Nona Asiah’. Dia kata “You artist mesti ada nama pentas, stage name mesti ada. Nama Asiah Aman saja orang tak kenal. Taroh ‘Nona Asiah’. Dari situlah sudah melekat itu ‘Nona Asiah’ sampai sekarang. Sekarang sudah jadi nenek Nona. Pak Zubir yang banyak beri saya didikan. Selain dari buat pertunjukan, buat rakaman, habis itu buat lagu2 filem.

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(My late mother introduced me to Pak Zubir. At that time I lived in front of the Jalan Besar Football Stadium. I was in Primary 6, at Rochore Girls’ School. The late Pak Zubir and my mother were colleagues. My late mother was a bangsawan prima donna and Pak Zubir was the musician. So they often worked together. Pak Zubir was a football fan. After football, he would come to my house. It was not only he, there was Awang Bakar, Haris, those who were popular in the 60s. They sat at our house, drinking coffee and chatted; only late at night would they go home. It was on one of these occasions that my late mother said to Pak Zubir whom she called abang Zubir “Bang Zubir, my daughter is very keen on singing. Can you keep an eye on her and see if she could sing?” From then on Pak Zubir started to nurture me. At that time there were the 17th August Indonesian Independence Day celebrations at Goodman Road. He often organized shows for this: there was music and singing and I always took part. From such beginnings, he trained me. When he got the contract to compose for the film Chinta he said, “Why not take Asiah?” He was the person who gave me the title “Nona Asiah”. He said, “You artist must have a stage name.” People will not remember the name Asiah Aman. Use “Nona Asiah”. From then on, the name “Nona Asiah” stuck with me until today. Today it has become Nenek (grandmother) Asiah. Pak Zubir nurtured me a lot. Besides performing in shows, I did recording and after that, film songs.)

It is really heartening to learn that Papa, the magnanimous person that he was, had “adopted”, nurtured and transformed a young schoolgirl of exceptional ability in singing to become a persona well known in Singapore and Malaya. The story told by Kak Nona is another revelation for me, which I did not know about — and it confirmed once again to me how wonderful a man Papa was. I can feel the pride welling all over again inside me. It is very gracious of Nona Asiah to think of Papa in such glowing terms. She had specially written me a personal letter in her handwriting, singing more praises of her

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mentor, to whom she felt she owed a great gratitude. She wrote this obituary. Allahyarham Pak Zubir Said adalah seorang tokoh music paling terkemuka, jasanya begitu besar dalam bidang seni musik, di kenali sebagai seorang penggubah music ternama. Bukan sahaja telah menghasilkan lagu2 yang baik tetapi juga telah menjadi seorang tokoh musik paling terkenal di sini kerana lagu ciptaannya Majulah Singapura yang di jadikan lagu kebangssan Republic Singapura. Selain dari itu dalam masa latihan untuk membuat rakaman piring hitam, mahu pun lagu2 untuk perfileman beliau bukan sahaja sebagai pemimpin orkestra bahkan beliau juga adalah seorang pendidik buat saya. Allahyarham bersifat mulia, penyabar, suka berseluruh, tetapi tegas orang nya. Banyak lagu2 ciptaannya yang menjadi lagu2 malar segar. Ada sebuah lagu diciptakan khas untuk peminat saya di tahun 50’an lagu berjodol “Cempaka Biru”. Boleh dikatakan semua lagu ciptaan Zubir Said mempunyai originality, ciptaannya tersendiri. “Syabas Zubir Said, jasa dan baktimu tetap dikenang”. Semoga dicucuri Rahmat di atas Rohnya. Ameen, Ya Rabbal ‘Alameen.39 (The late Pak Zubir Said was a most prominent music personality; his contribution in the field of music was enormous, he was well known as a prolific composer. He had not only produced great songs, but had become the most distinguished music figure here, most known for his Majulah Singapura that has become the national anthem of the Republic of Singapore. Besides conducting and orchestrating during training sessions for recording on gramophone, or for film music, he was my mentor. Allayarham was sincere, patient, liked to joke, but was firm. Many of his compositions remain evergreens (malar segar). There is a song especially composed in the 1950s for my fans, entitiled Cempaka Biru. It can be said that all Zubir Said’s compositions have an originality that was entirely his own. Syabas (Felicitations), Zubir Said. Your good deed and dedication will forever be remembered. Bless your soul. Amen)

I have mentioned earlier that Nona Asiah provided the singing voice when Papa produced his SOLMISASI lessons on gramophone records. She was truly an

inspiration for Papa. I especially love Papa’s song Cempaka Biru (Blue Cempaka),40 which Nona Asiah sang so beautifully. It is one of my favourite Zubir Said’s songs. Papa especially composed Cempaka Biru — both the lyrics and the melody — for Nona Asiah. The song was dedicated to a royal princess from one of the states in Malaya. In the 1950s, as a veteran singer, Nona Asiah was exceedingly popular, so popular that she attracted the attention of this Malayan princess. Their friendship blossomed. They became close friends. It was not surprising that Nona Asiah was a frequent guest at her palace. She was even invited for sleepovers. Doubtless, Nona must have sung many of her songs for the princess, some of which were composed by Papa. As a result, the princess so admired Papa for his songs that she especially requested, through Nona, that Papa compose a song for her which was to be sung by her favourite singer, none other than Nona Asiah. Cempaka Biru grew out of this great friendship between Nona Asiah and the princess, and Papa was partly instrumental in sealing that friendship with his inspirational song. How did Papa come to name his song for the princess Cempka Biru? There is no cempaka of that colour. There are only two varieties of the cempaka tree. Each bears either white chempaka flowers or yellow ones, which are almost gold. Both flowers produce the sweetest aroma. Unfortunately they do not last long. I asked Kak Nona41 — my polite address for someone older that I am — why Papa chose to name his song Cempaka Biru. According to Kak Nona, she had at the time moved into a new home that had cempaka trees. Knowing this, Papa, the humorous man always, simply asked her, “You have yellow and white cempaka, why not

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blue?” He could have had an instant inspiration to give his song a unique title to signify a special friendship between two friends: just as the cempaka biru is unique, so was the friendship between Kak Nona and the princess.

yet open and ready to adopt his idea of teaching singing with number notations. Papa might have had difficulty convincing these individuals. As someone said, “Zubir Said is too advanced for his time.” Obviously, the method required acceptance and hard work initially.

Kak Nona appreciated Papa’s efforts at teaching her and others the SOLMISASI system. His huge energy and enormous sacrifice in terms of time to produce and disseminate his SOLMISASI system met with a very lukewarm reception. From his letters to his fans, I get the impression that Papa’s book had not taken off as well as he expected. In September 1959, his book was still being considered for schools by the government, and courses to launch the book over the radio were also still being considered — and delayed.

Papa waited for something big to happen and he waited for thirty long years! Yes, there are limits to a man’s patience! As I mentioned earlier, the system was his exciting project, his very own pedagogic plan on how to teach number notations so that everyone, even a young child, could sing and read music. Papa could not fully comprehend why something which was widely endorsed at the time — to the extent that its implementation was strongly recommended by the Language Congress of 1956 — had been put on hold. Perhaps, except for him, no one else was ready to use the system. Understandably, he was in very low spirits just thinking about it. With a stab of anguish he must have begun to wonder what would become of it. If the materials had been published and widely used, he would have been in a state of jubilation. Instead, it had become one of the biggest disappointments in his life. I must add that it took Papa a very long time to resign himself to the fact that the recommendation of the Congress would remain just that — a recommendation. If only someone had the courtesy to pen him a few lines, just to explain matters! For me personally, Papa’s SOLMISASI system remains a legacy to be unravelled, to be preserved — one bequest of many he has left for future generations.

For several years, Papa endeavoured to pass on the knowledge and skill of learning music and singing using number notations. Out of frustration and impatience, in February 1965 Papa himself designed, printed and published Book 1 on Membaca Musik (Reading Music) for primary schoolchildren in Singapore, based on the government’s music curriculum for schools. It is a comprehensive book, easy to use, with illustrations of about twenty short and catchy songs for children. I have not been able to locate Book 2 and the subsequent issues, but there are, among his possessions, manuscripts complete with picture illustrations which were perhaps ready for publication. Book 1 was perhaps meant to test the waters. The reception by the government, schools and teachers, and the public in general, was not clear. From his correspondence, it appears that he had problems getting sponsors to print the books. Schools and teachers were possibly not as

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What exactly is this SOLMISASI system? How does it work? The SOLMISASI system is further elaborated in the epilogue.

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Celebrations of people and lives in the Zubir Said tradition

Zubir Said, the congenial host.

Despite all the setbacks, Papa never tired of life. Indeed, a wonderful trait about him was that he considered rejection and dejection part and parcel of life. He continued giving piano lessons till the end of his days. During the occasional times when he felt lonely and helpless, Papa would always use his time to read widely. As already mentioned, it was through books that he acquired a great deal of knowledge and understanding about history, religion, literature and music. He was a voracious reader. And I might add with honesty that Papa had more wit and wisdom than many people who had more years of schooling than he did. Not once did he lament the fact that he did not have the benefit of a higher level of education. I am sure he would have agreed with Albert Einstein who once said, “Education is what remains after one has forgotten everything he learned in school.”

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It was also during his lows that he felt appeased and rose above the problem whenever he remembered that behind every misfortune there would be relief. He was reminded of this from the Qur’an, in Surah (Chapter) 94 (Surah Al Inshirah).42 This is a very short surah of eight phrases, that give a message of hope and encouragement in times of darkness and difficulty. After all the worldly cares and distress, for comfort Papa would return to the ibadah (devotion to Allah). This had been his constant guiding light. He reminded himself of the holy message. He would contemplate and in his heart pray his silent prayer, repeating the beautiful, peaceful and hopeful phrase from the Qur’an. Tarminah ensuring that every guest helped themselves.

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Al Insyirah (The expansion of the Breast) 1 2 3 4 5 6 7

Have We not expanded thee thy breast And removed from thee thy burden The which will gall thy back And raised high the esteem (in which) thou (art held) So verily with every difficulty there is relief. Verily with every difficulty there is relief. Therefore when thou art free (from thine immediate task) Still labour hard, 8 And to thy Lord turn (all) thy attention

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Believing in the great bounties of Allah, and with a lot of patience, Papa lived each day to the fullest. Perhaps the voice of his boss, the Dutch district officer in Sumatra, “do not surrender easily”, kept echoing in his ears. In the meantime, the Zubir Said family continued to celebrate life. Despite the obstacles and disappointments that seemed to besiege Papa at this time of his life, the lives of all those around him remained unchanged. The air of despondency did not descend upon us. We savoured each moment that we were together as one big family and we celebrated every festival, every event: birthdays, anniversaries, welcoming and farewell parties, graduation ceremonies, musical performances, etc. We celebrated every occasion in the happy and joyous Zubir Said tradition, especially Hari Raya.43 Hari Raya, which falls on the first day of Syawal, is an annual religious celebration. Before Hari Raya, Ramadan is the holy month when Muslims fast daily for a month, from sunrise to sunset. It is a stringent test of faith and of spiritual and physical strength. What is expected in Ramadan is not only the act of fasting from food and drinks, but also of abstinence from all other human weaknesses and vices, such as overeating, greediness, lying, gossiping, cheating, corruption and vices of the flesh. It is a holy month when Muslims are reminded, according to the Qur’an and the sunnah (teachings) of Prophet Muhammad (pbuh),44 to return to the fitrah i.e. “the original state”. If, for instance, a person feels that he has done “wrong”, then the holy Ramadan and Syawal present the opportunity for him or her to return to the fitrah and “right the wrong”. Of course, the act of repenting and seeking forgiveness is enjoined on us at anytime throughout

our lives. However, people do procrastinate, forget or are prone to denial, so the months of Ramadan and Syawal remind us of the celebrations of life, and the beauty of repentance and forgiveness. It is also a time to remember what it would mean spiritually — to oneself and to others — to be able to feed the orphans and the poor, to be charitable and give alms, to be kind to our parents, the infirmed, the aged and the helpless, even animals, to not speak of evil, to not slander … the list goes on. When all weaknesses have been overcome and acts of charity completed and fortified with sincere prayers, then only should Muslims feel victorious. Aidil Fitri45 is the celebration of this victory. This situation is, of course, only the ideal and it is not easily achievable because of human frailties and pride. Still, Ramadan and Syawal are times that enable us to remember and be conscious of these frailties. And because we have dutifully fasted for one whole month, it is enjoined on Muslims to celebrate Syawal with merriment, to thank God for His countless blessings, and to greet and congratulate fellow Muslims on such victory. For Papa and his family, Ramadan and Syawal were also two months of fulfiling special religious obligations — fasting, praying and contributing to the zakat fitrah46 or obligatory tithes. In addition to the five-times-a-day prayers, we also performed the Solat Tarawih,47 special prayers which are performed only in the month of Ramadan, but which are not compulsory. Having fasted a month in Ramadan, it was time to celebrate. breaking fast and celebrating the first day of Syawal is obligatory. It is haram or “forbidden” to fast on that day. However, we can begin to resume

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fasting from the second day of the Hari Raya if we so wish. We can continue to fast six more days — the Muslims call this puasa enam,48 preferably from the second of Syawal for the next six days. However, if this is not possible, then one can fast any day during the Syawal. This is strongly encouraged by the religion. It makes good sense actually because after all the merrymaking — visiting, and eating and drinking — it is a much needed healthy rest for our gastro system. At 190A Joo Chiat Place, the anticipation of the Syawal was clearly felt nearer the end of Ramadan. The atmosphere a few days before Hari Raya was one of much enthusiasm and excitement. My mother and I would be busy making preparations to welcome the Hari Raya. The kitchen seemed so bright and cheerful when Salmah and her children came in to help Mama and I bake the Hari Raya cakes and cookies. Imagine the noise, for like birds and monkeys we chattered, with our conversations flitting from one topic to another. Before long, the aroma of freshly baked cookies wafted out of the kitchen. Even as I write this, I find it hard to believe that there were nights when we stayed awake just to bake. I must not forget to mention that we were happy baking despite the fact that we had only one small oven placed over one kerosene stove. Indeed, it took a long time to bake each tray of cookies but we never complained about anything. We didn’t see a reason in the world to be unhappy. In fact, Mama loved her kitchen. Whenever, Papa came into the kitchen, she would make him hot black coffee in his special mug. Obviously, when you are in good company time passes very quickly. A day before Hari Raya, Mama would be busy preparing the traditional hot and spicy rendang,

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ketupat (rice cooked in skilfully woven coconut leaves), and lontong, together with its various condiments. Her rendang was really authentic and tasty — typically Sumatran — the way Papa liked it. There were times when we had Minang satay — uniquely Sumatran. Papa would savour every morsel of the satay and slurp the delicious sauce. I may not be far wrong to say that only Minangkabau people enjoy this satay. It is unlike the satay with the usual peanut sauce. The gravy for Minang satay is made from rice flour to which has been added herbs such as serai (lemon grass), lengkuas (galangal), halia (ginger), kunyit (fresh turmeric), bawang putih (garlic), bawang merah (shallots) and a little fresh chilli and white pepper. Everything is blended to a fine pulp — at that time in a stone mortar. Then water is added to this and the sauce is then simmered over a slow fire until it thickens to form a diluted sauce, lighter than yogurt and more like light yellow custard. The satay of bite size pieces of beef, beef liver, intestine and tongue, which are marinated for a few hours in coriander and salt and gula melaka (brown coconut sugar) skewered on bamboo skewers, are then barbecued over charcoal fire. Eventually, the very hot sauce, poured over the ketupat and the sticks of satay, makes the Minang satay really special, but one needs an acquired taste to enjoy it. I like it very much and so did my parents. Minang satay is only sold at night when it is cool because it has to be eaten very hot. As I recall my childhood, the cool mountain air in Bukittinggi was ideal for eating satay Minang. And last, but not least, to complete Papa’s gastronomical pleasure, Mama never forgot his favourite kerupuk jangek.

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On my part, I liked to clean the house. It was a colossal task, not because the flat was large, but because I tended to be fastidious and overly meticulous. I was determined to clean every nook and corner. I remember working for hours, moving the furniture, kneeling down on the floor, grimly scrubbing, using detergent and plenty of water. Later, when the floor was dry, I would begin polishing until it was literally shining. Since what we had was the common green cement floor, getting it to shine was sheer hard work. Nevertheless, I persisted and was very happy and pleased with the end result. At the end of it all, I was too exhausted to speak. Inevitably, Mama would view the place from every angle and would give a reassuring smile and say “I think it looks just fine.” For me that was reward enough. I saw what I did as one huge labour of love. In those days, pleasing one’s parents seemed to be everything. The last things to go up were the new curtains. Even the bed sheets were new and our tables and chairs were also spruced up with new linen. In preparation for Hari Raya, I would conscientiously embroider various types of material, especially linen, and then make something beautiful out of this. Embroidering the linen sometimes, gave it the appearance of “expensiveness”. We did this every year — it seemed like we had spent a lot of money. Actually, we could afford to do this every year because we would buy only cheap fabrics and most of the time I would sew them myself. I pride myself on the fact that from young I learned the virtues of thrift and diligence. Flowers were always an essential item. There is nothing like flowers to bring a little cheer and romance into our lives. On the morning of Hari Raya, everything looked spotlessly clean, attractive and pleasing to the eye —

I could not help but stand in a corner of the living room that had a vantage view of the entire place and examine the result of my hard work — feeling totally happy and pleased with myself. No sweeping was to be done on Hari Raya morning because it was “taboo” for Mama. I think it was just her ploy to get us to complete all the preparations the evening before. Finally, it was the dawn of the first day of Syawal. As I write this, I try to recapture the joyousness of Hari Raya Aidil Fitri at 190A Joo Chiat Place. Papa had always been a man of culture and tradition and so we celebrated the festival in a big way. As we breathed in the fresh morning air, we thought of our subuh or fajr prayer and hearing the repeated “Takbir Hari Raya”49 after the subuh prayer, broadcast from the mosque over the radio, was deeply arousing emotionally and brought us to tears of gladness mixed with sadness. The prayers over, it was time to celebrate Hari Raya with the festivities. I shall always treasure the beautiful memories of all of us dressed in our best clothes, taking turns to seek forgiveness from both Papa and Mama. Those were very solemn moments. I remember Papa and Mama sitting beside each other and I also remember that with a lot of trepidation I would walk towards them, kneel first before Papa and then Mama, take their hands, clasp them in mine, and kiss those dear hands. First Papa, followed by Mama, also reached for my hands and the expression on their faces told more than words ever could. My voice quivered with emotion as I uttered the words “Maafkan Nana Pa” (Please forgive me Pa). After that, it was the turn of the others to seek forgiveness from Papa and Mama. And, naturally, we also asked for forgiveness from one another, with the younger ones approaching the older

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Lyrics of Selamat Hari Raya song.

ones first. For a moment Papa too could not speak. Then, in a low voice he reciprocated by also asking us for our indulgence and forgiveness of them as parents. I am not sure, but my general impression is that not many fathers would do what Papa did. Perhaps, Papa was a trendsetter. I am reminded how Papa once advised his brother that: the old also must seek forgiveness from those younger. Because the elderly are not altogether free from wrong towards the young or towards their children. They have also wronged them: have uttered the wrong words, have gotten angry without rhyme or reason, have done wrong by their children: for not providing the right education or for being negligent in their nurturing and so on. Only then is there mutual courtesy.50

As head of the family, Papa was the spokesman while Mama quietly listened, with an approving smile and misty eyes, appreciating every “pearl of wisdom” that Papa uttered. He reminded us of the “dos” and

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“don’ts”, and gave us good advice to carry with us into the new year. It was like going for the dreaded interviews. So, quite often, we siblings would nudge and push each other to go and be the first to pay our respects. For me and my siblings, nonetheless, it was meaningfully solemn, and usually reduced us to tears. To my mind, asking forgiveness from one’s parents on the morning of Hari Raya is a singularly beautiful tradition, which must be preserved at all cost. It should neither be considered old-fashioned nor be replaced by something else, such as only a peck on the cheek. It may be just my way of thinking, but I think it is rather sad that some young parents today tend to make light of this time-honoured custom, this demonstration of filial piety. “Please forgive me” is not just any time-worn phrase, but words uttered with tenderness, with deep feelings and emotions and sincerity.

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The original song and lyrics of Selamat Hari Raya by Zubir Said, composed in the 1950s. Source: Courtesy of Zubir Said’s family.

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So the morning would pass. Guests would then begin to arrive and there was much entertaining to do. As we took their hands in a firm clasp, we would sincerely and from deep in the heart say “Maaf, Zahir dan Batin”. Throughout the day it was really hectic, but towards evening, it became pleasantly restful. Truly, I find so much beauty in this old-style way of celebrating Hari Raya. For Papa and Mama and the family, the Ramadan and Syawal were also poignant because it gave us the opportunity to renew family ties, remembering and making a special effort to visit those who mattered in our lives, to seek forgiveness, and to forgive. These sentiments are clearly portrayed in Papa’s Hari Raya song Aidil Fitri, composed in the 1950s. The melody, somewhat solemn, was appropriate. It evokes feelings of closeness to one’s family and friends, calling for an occasion to remember them all. The fasting month in the month of Ramadan, and Hari Raya in the month of Shawal51 were also time to remember the dearly departed, although this is not a religious obligation — and to pay our respects by visiting their graves, with the family, to clean them, place flowers there and invoke our silent prayers. We perform this at other times too, but it is extra special when done during the two auspicious months. Family members living in the city, whose loved ones are buried in their kampung, would find an opportune time to return to the kampung for Hari Raya, to visit their relatives and friends and to visit the graves of their departed relatives. Every year, we witness an exodus of people from one state to another during this time — the traumatic downside of travelling anywhere during the peak Hari Raya season.

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Then, there were the ever frequent birthday celebrations. I remember how very caring Papa was for Mama. For some reason, Mama never knew her exact birthday, only the year — 1927. It gave Papa a thrill to be able to pick a birthday date for his wife. He chose 22 December of every year for us to celebrate Mama’s birthday. This was perhaps because his own birthday fell on 22 July; this way, there would be a space of five months between the two birthdays. The celebrations were mostly modest. It might be a simple lunch — Mama still volunteered to cook the lunch. She was an excellent cook and yet when she first married my father, she did not know how to cook at all. By simply tasting a new dish, she could recognize the ingredients right away. Her birthday seemed a non-event, but Mama, not expecting anyone to fuss over her, was always very touched and happy. There was, of course, always the usual cake cutting ceremony — at times Mama prepared the pulut kuning (yellow saffron glutinous rice with rendang) — and Papa would insist on snapping as many photographs as possible to commemorate the occasion. Mama, dressed in a nice baju kebaya, looking sheepish, would naturally be the focus of our little party. There was no elaborate décor, no party decorations; the party might just be in our small humble kitchen. Nevertheless, our gesture and remembrance made her one happy soul; actually it was always Papa who remembered; we children sometimes tended to forget. Papa also never forgot his grandchildren’s birthdays, his own and Aunty Hawa’s, and often prepared little gifts for them. He never forgot my birthday and always had something nice for me. He even posted birthday gifts to England when I was there. For his favourite granddaughter, Suhanna, among other gifts, he saved

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$900. This was a lot of money in the 1960s. This stack of money of $50 notes looked like they had been stashed away and pressed for a long time under a pile of heavy books. In Kuala Lumpur (he and Mama had travelled on the night train for Suhanna’s 5th birthday) he persuaded me to visit a piano shop and he then used the $900 as down payment for a John Brinsmead upright piano. The piano is still standing in my home as a nostalgic remembrance of my father and his kindness and generosity, an unforgettable touching gesture that gave Suhanna her initial introduction to the piano. I can still picture myself at the piano trying to coach Suhanna, using Papa’s distance learning piano lessons a couple of times, but I failed miserably. Later,

Zubir Said helping his wife Tarminah to cut her birthday cake, surrounded by Soeyono and grandchildren.

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Advice from Papa to me (Nana) on how to teach Suhanna the piano, 21 July 1972.

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Hand-prepared cardboard piano keyboard.

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as an adult, with four children — with the intention of playing for my grandchildren — I took lessons again; but yet again I failed to keep this up. But Suhanna did well. She did not disappoint her grandfather as I did. With a lot of hard work and a good music teacher, she completed Grade 7 and Papa was quite pleased with her. Besides the piano, Papa also compiled a song book for Suhanna — that consisted of many folk songs and he composed a very special song for his granddaughter entitled Suhanna or Suhanna, Cucu Kakek (“Suhanna, my granddaughter”). He played the song for her on her birthday. Then Papa made us all sing the song Selamat to wish Suhanna joyous and blessed years ahead. Suhanna was brimming with joy and deliriously happy to receive yet another gift. So far, in her five years, she had had a typewriter, a tape recorder and many other interesting and useful presents from Kakek Zubir and Nenek Tarminah. But the piano was the best present, Suhanna thought. Papa and Mama doted on my children. I could see that my return from England to Singapore in April 1967, with a seventeen-month-old son and another baby on the way thrilled Mama and Papa. When Suhanna was born two months later, their cup of joy was full. Papa felt especially close to Suhanna because he kept abreast of every step of the development of the last two months of my pregnancy. For a while, when my obstetrician told them that I was to be induced a week before the expected due date, they were visibly worried. To make matters worse, Papa fell ill himself — of a heart attack — and had to be hospitalized on the same day that I was warded at the Kandang Kerbau Hospital, on 17 June 1967. After hours of anxious moments, which seemed forever for them both, the news of the birth of

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Suhanna with her new piano, a gift from Kakek Zubir.

their little granddaughter capped their happiness. Papa miraculously felt better. They were extremely delighted at the surprising news that it was a “baby girl”. At the time there wasn’t any scanning device to determine the gender of the unborn child. Papa and Mama’s exhilaration was boundless. Mama later told me how Papa, although unable to be present at my side, on his hospital bed quickly raised his hands in prayer to thank

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Allah swt for his bounty and mercy and the safe delivery of the baby — he was thankful to Allah for the inexplicable miracle that Suhanna was born induced, but was a perfect 5 lb 10 oz baby; she was indeed the cutest five-pounder ever. But which mother would not say the nicest thing about her own child? When my son was born in the United Kingdom, Hamid was there to welcome the baby and to perform the usual religious rites. This rite is always performed as soon as a baby is born. After performing his ablutions,52 Hamid whispered the qamat53 into the ears of his newborn son and then kissed the baby on his forehead in silent prayer. Hamid must have felt sad that he could not perform the same rites for his baby girl. But he was pacified by the thought that my father or his father could do the honour. My dear father-in-law and a few members of Hamid’s family drove down from Muar the day after Suhanna was born and he read the qamat in Suhanna’s tiny ears. My father could not perform it for Suhanna. In the absence of Hamid and my father, I was grateful that dear reliable Abah performed the rites on his new granddaughter. Abah himself already had thirty grandchildren by then. Suhanna was his thirty-first. She was indeed a blessed little bundle of joy for all the family. Hamid was emotional on receiving the news. He was unable to contain his breathless apologies over the telephone for not being there for me and his daughter. As for Papa and Mama, it was little wonder that they were so happy. Perhaps the thought of cradling his granddaughter, buah hati kakek (the apple of grandpa’s eye) helped Papa recover quite quickly. Suhanna’s elder brother Khairil had been born on 12  November 1965 in Middlesex Hospital, London. The snow was one foot deep that day. As I watched from the glazed window of my ward, it was already dark outside in the London streets. Yet it was only 3 pm. It was severely cold and gloomy as well and I could not help but crave nostalgically for the warm sunshine back home. I especially needed the comforting voices of the people I loved in Singapore and Malaysia at a time like this. I truly missed them all then, especially my doting parents, who would surely have fussed over me. But there was a pleasant surprise when my husband and I received a lovely gift from home. Papa was so creatively thoughtful. Shortly after the birth, we received a beautiful gift and a photograph from Papa welcoming the new baby. As usual, Papa was full of surprises and ideas. This time, Papa, the photographer,

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had all the family members assembled in the flat before the baby was born and did a photo shoot of all holding a placard on which was written “WELCOME ROZLAN” for my first-born baby son. Initially, Rozlan had been our intended name for the baby if it was a boy, but we changed it to Khairil. I wonder what Papa must have felt. There is a photograph to show that KHAIRIL was quickly written over ROZLAN. It was typical of my father to go out of his way to show such love, care and attention. Hamid and I were deeply touched.

With two little children romping boisterously around the small flat — one toddling and running, and the other crawling — our home at Joo Chiat Place was never the same again. But my parents loved the children and were very gentle with them. I wondered how I was going to cope with them later if they became thoroughly overindulged and I had to face the reality of motherhood without parental help, especially from Mama. My fear that they would spoil the children was simply groundless. Their nurturing did the children a world

Zubir Said’s special gift to Suhanna on her 5th birthday – a song entitled Suhanna.

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of good. Unlike some, Papa was the sort of grandfather who would engage in long and friendly conversations with children, regardless of whether they were still in their tender years. I truly appreciated my parents’ help and wondered whether I could have coped had I been on my own.

were able to enjoy the children because Hamid had to repeat his postgraduate examination in anaesthesia and therefore had to delay his return to Singapore by nine months. It was an unfortunate sacrifice that Hamid himself had to make — but it turned out to be a blessing for us after all.

Mama and Papa made up for the absent father who was still studying overseas. By the grace of God, my parents

My parents were once more a source of inspiration and help for me when I was in the United Kingdom reading

When Zubir Said observed that Singaporeans and Malaysians did not have their own birthday song, he composed the song Selamat which could be used for any occasion by changing the lyrics. They are small prayers in music for birthdays, successes and farewells.

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for a PhD, between 1979 and 1980 and from 1982 to 1983. I was back home in 1981 collecting data. With a lot of courage and determination, but not without insurmountable anguish, I had left all my four children (I had two more by then) in the care of their father, Hamid, and kind relatives in Kuala Lumpur. Besides Khairil and Suhanna, there was Muhammad Akhlil, my second son, who was about nine years old at the time, and Yohanna, my youngest child, who was about four years old. It was the hardest choice I ever had to make in my life — whether to further my career or stay home. The University of Malaya had approved my study leave to pursue a PhD, and the University of Surrey in Guildford in England had accepted my application. As a lecturer and member of a faculty, I had an obligation to improve myself academically, and as a mother I had an obligation to be with my husband and children. It was a tussle within me and a very tough decision to make. For a few months before my departure, I was terribly tearful. No one could mention my impending departure without my breaking into tears. But Hamid was so supportive and encouraged me all the while to take the brave, inevitable step. He assured me that he and the children would be fine with so much help from both sides of the family. Indeed, I was so blessed that Abah from Muar and my parents from Singapore were there for my family. They visited the children and Hamid often. My father also wrote to me regularly and related news of the family and anything that he felt could cheer me up. Bless his soul. Initially, it was extremely lonely to be in a foreign country so far away from my beloved family. I missed my husband and the children very much. I arrived in England in late November to the extreme cold — after

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just leaving a hot country. It was close to Christmas. The faculty at the university was practically deserted. People had gone away on their long annual leave before Christmas. Classes had ended only to resume after the new year. I was completely overcome with grief. I felt alone and lost. I had no friends or anyone else I could turn to. But the thought of my family’s enormous sacrifices, their expectations of me, and their pride and hope for me, gave me strength. And I remembered Papa’s constant reminder that he and Mama were there for me, Hamid and the children. I was also reminded of how Papa had struggled to provide me with the best education and encouraged me — I simply could not let him and Mama down. The pain would not go away especially when I thought of Mayang, my “baby”. I did not think she, at the age of four, would understand why I had left her, but Khairil, Suhanna and Akhlil would. But I had to be a role model to them all. Hamid and my parents, especially Papa, expected no less from me. And, of course, there was the University of Malaya, which sponsored my studies, to consider as well. I survived only because my family supported me throughout. I received telephone calls almost daily from Hamid and the children and from my parents and Abah occasionally. I received letters almost daily from Hamid, and Akhlil wrote often. Papa never failed to write and encourage me. Their letters — anticipated almost daily — filled me with great comfort and hope; they truly helped to heal my aching heart. Akhlil would write on air letters in his small handwriting close together, filling me with news about home, his brother and sisters and their father. His letters to me

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Zubir Said and Tarminah, the doting grandparents, with Suhanna and Khairil. Zubir Said welcomed his first grandson from 9,000 miles away in a touching gesture when he posted this family photograph to London, November 1965. Unknown to him, Rohana and Hamid had changed their son’s name from Rozlan to Khairil.

Akhlil with Kamal, Salmah’s son. Khairil is in the background.

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were inspirational, filled with caricatures — Akhlil is the artist in the family— and riddles for me to solve; these he highlighted in boxes of different shapes and sizes and they sprung up in several parts of the air letter like balloons. Without fail, his letters would cheer me up and bring a smile to my face. My father told me how Akhlil would sometimes telephone him in Singapore just for a chat and how he would thoughtfully invite my parents to visit them in Kuala Lumpur. At nine years old, Akhlil already had a wonderful trait and the maturity to understand that my parents missed me too and he had, on his own accord, telephoned my father a few times. My parents had been so moved by his consideration and I was proud I had such an understanding and caring son. Time is a strong healer. I soon buried myself in work and, over time, with constant news from home and the occasional visits that Hamid made to England, life became relatively bearable. The months between 1982 and 1983 were good months for me. I returned to Kuala Lumpur for about a year to collect data, and when I returned to England, Akhlil and Yohanna came with me. I placed them in school — Yohanna in pre-school and Akhlil in elementary school. They flourished and did extremely well in their respective schools. As a graduate student with children, I was given a two-bedroom flat on campus, which was really very nice. Besides caring for the children and ferrying them to school in an old car that I bought, I was busy writing my thesis. The pinnacle of my happiness was, of course, when immediately after the viva, I was told that I had passed. The sensation, however, was an anticlimax. I felt I had just delivered a baby and all I felt was absolute fatigue. Only the surprise arrival of my husband and the children gave me reason to celebrate. Besides being blessed with parents who helped out with the children, I also felt blessed and grateful for the attentions of Salmah up to today. There is a unique bond between Salmah and me that cannot be easily described in words. I have never met anyone so obliging, so ready always to do someone a favour. She has rendered so many services to me out of affection for me. When Hamid, my late husband, was hospitalized, Salmah came up to Kuala Lumpur to be with me and my children. She even stayed a few nights in the hospital, sleeping uncomfortably on the floor, within sight and earshot of Hamid. She had insisted on doing this so I could have a proper rest at home. I certainly owe Salmah and her children a big debt of gratitude.

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Hamid and I with our two eldest children, 1968, Suhanna (b. 1967) and Khairil (b. 1965). Our two other children are Akhlil (b. 1970) and Yohanna (b. 1975).

Akhlil

Yohanna

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When I returned from England to Singapore and delivered Suhanna, it was helpful that I stayed with Mama and Papa for a while. The atmosphere in Joo Chiat Place was always merry. Mama and Papa were a source of strength for me in the absence of Hamid. Soon I would have to return to my teaching. I relished all the help I could get for as long as necessary and left my parents and Salmah to pamper and coddle the children. The children, of course, flourished with so much love and attention. I was very glad that my parents had such happy moments with their grandchildren. I felt somewhat absolved from my guilt about my insensitivity towards them — another regrettable story that I need to tell. In September 1964, my husband of two months left for postgraduate studies in the United Kingdom. I was to join him in November of the same year. This did not please my parents. It was obvious that Papa did not want me to go. He said so. For the very first time — I had never talked back to them before for any reason — I inexplicably blurted out “but he needs me”. Silence. Papa did not utter a word. He did not stop me. But he probably took a while to recover from his shock. Suddenly he must have realized that I was now a grown woman and a wife and no longer just his obedient daughter. I do feel regret though that I had not been more diplomatic and kind in expressing my thoughts, and that I did not break the news more gently. Thankfully, I left for the United Kingdom in November 1964 with his blessings and I was away from teaching for about two years on no-pay leave. In my absence, Papa and I kept up the correspondence. He would tell me about home, Mama and the family: who had died, who had got married, and sometimes about his work. The letters were more from him to me than from me to him.

A Model Patient Earlier I mentioned that Papa was taken ill and was admitted to hospital on the same day I went into hospital to have baby Suhanna. It needs to be mentioned here how Papa also caused ripples of laughter in the hospital as a “model patient, astute and jovial”, as Professor Dr Seah Cheng Siang put it. Dr Seah, whom Papa said he knew well, was his personal physician, and he knew Papa as the man who composed the national anthem of Singapore. I think Papa made an impression on the doctors and nurses with his keen observation and his wit. He

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was charismatic, even in poor health, and his behaviour was tinged with humour. Dr Seah found Papa endearing and the feelings were doubtless mutual. Papa always said nice things about him, “Dr Seah this and Dr Seah that”. He was popular with the nurses and he seemed to have many lady visitors too — housewives, friends of my mother. It seemed like his hospitalization was a picnic and a rest period for him from the many matters outside that demanded his attention.

Zubir Said lacked no attention from the nurses and from Tarminah and her friends. Here, someone kind is massaging his arms. Zuraidah was there too.

While in hospital, he kept a log book and noted down all that happened to him. The log book became very useful for him. Later he wrote a long letter to Aunty Irene Song, who had emigrated to Perth, describing his stay in the hospital. Aunty Irene had been our close friend for many years. She and my father shared a common bond. Her daughter, Maureen Lim, was a well-known creative dancer and teacher in Singapore. Being an ardent artiste, she and Papa shared similar thoughts, ideas and visions on the arts, music and culture and they discussed their interests at great length. And good “old timer” Aunty Irene, as Papa called her, was always there for them both. She was Maureen and Papa’s faithful champion. It was not surprising that Papa felt comfortable and at ease sharing with Aunty Irene his innermost thoughts and feelings. In neat handwriting, Papa related his experiences in the hospital to Aunty Irene, who found the letter very amusing, and even somewhat hilarious. Years later, after Papa passed away, she very kindly mailed it back to me. I have chosen to document this letter in this book

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Dear Rohana, Another year is ending soon and a possible Gulf War clouds the beginning of the New Year. What a chaotic world we live in now. Only God can in His great wisdom and mercy help. Let’s all pray and hope He will answer our prayers. Older friends have written to me all very concerned about children and grandchildren. Well where there’s life there’s always hope! While tidying my writing table drawers I found your father’s letter to me. Usually, the past few years I destroyed letters after I reply them but I believe I kept this one because I felt he enjoyed describing his experience in hospital and shared it with me besides his family and also he planned to pass his “log book” to his grandchildren. Since he mentioned about his log “book” I’m sure he doesn’t mind this letter I treasured and now would like to give to you. O.T means ‘Old Timer’, his fond expression for old friends and I am very fortunate to be one of them….

Maureen, the graceful dancer.

Hope 1991 will be a good year for all of us. 1990 has not been well with frequent earth quakes, floods, aids increase, land, air and sea pollution etc. Well we all can pray and hope for a better New Year. Convey my regards to your mum. Thanks. Much love, Aty. Irene54

The beautiful Maureen Lim in Singapore. She was Queen for the day when Queen Elizabeth II was crowned, and was paraded on a float.

Postcard from Irene Song in Perth to me returning an amusing letter written by Zubir Said to her.

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because I want to record his extraordinarily neat and legible handwriting. I experienced mixed feelings reading that letter. I found in it a part of the man who was characteristically my beloved father — genuine, sensitive, sincere and witty — and I even enjoyed the fact that he wrote it in less than perfect English. He was writing from the heart. Even the drafts of most of his correspondence were neatly and legibly written, unlike my untidy scribbles. Aunty Irene, bless her soul, sent me this postcard in an envelope enclosing Papa’s letter to her that described his days in the hospital. The postcard, which was undated (possibly in 1990), is reproduced opposite. Papa shared more private thoughts with Aunty Irene. In another typed letter to her, he wrote expressing his observations and feelings about the world and the people in it. … Speaking of the world nowadays, I think nations are becoming more and more materialistic, more greedy for power and possession and economic protectionism. Even the Arabs who are supposed to be strict followers of Islam, they are killing each other for political power. God gives them oil from which they make huge profits, but they are still not satisfied. And it seems that oil is now the main cause of all the greediness. Indeed the world is progressing in science and technology, but human beings are morally going back to uncivilisation in different style. In each country they form gangs, organized gangs: all kinds of unions. Shopkeepers Union, rice importers union, taxi drivers union, meat and vegetable sellers union, house owners union, medical doctors union. They are all gangs who make the public as their victims. To survive, everybody has to struggle hard. And those who cannot tolerate the consequences or cannot find ways to cope with the situation are seeking refuge in robberies, cheatings, prostitution, selling or taking drugs and suicides. We have the churches, the mosques, the Red Cross and the United Nations.… But it’s the human race themselves that spoilt it. I think the human race has still 80% animal instinct.

Zubir Said kept in close contact with Irene Song in Perth. Their personal endearing address for each other was O.T. (Old timer).

He finished off with Dear Irene, My wife is sending you by parcel post: Rojak Sauce in a plastic container and a packet of sambal kacang for gado-gado. The rojak sauce is not so hot. If you want it hotter, you can add some chilli powder. You can eat it with apples. You take some sambal kacang, add a little water and spread it thinly on your sandwich. For gado-gado sauce, you take one cup or 1/2 cup as you wish, mix with coconut milk (1/2 coconut and cook it) My wife said you know how to prepare it. So I wish you Selamat Makan And always be young at heart, old timer! Hati muda, panjang umur,55 ha, ha!

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In neat, legible handwriting, Papa wrote to Aunty Irene describing his experiences in the hospital.

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Papa and Aunty Irene shared a close bond although they were oceans apart. For almost twenty years the “old timers” constantly exchanged their personal thoughts and feelings. In her reply to Papa’s previous letter dated 15 January 1982, aunty Irene completely agreed. … I agree with you 100% the world is created beautiful and wonderful to live in but the human race with its greed, selfishness and stupidity has turned such beauty to ugliness!. Wonder when they will learn about their ugly selves or must it be destroyed first and start all over again? I would have thought education would have made them cleverer and better human beings instead they have use it in the wrong way and some even think they are cleverer than their Creator. Well when people grow old and physically not strong the young of today never give them credit for their wisdom because in today’s world “might is right’. In a way it makes me glad, I won’t live to see this world grow to its “ugliest”. It is ugly enough now for me to notice and quite a sad thing too. I am glad still for having Old Timer friends where we can talk and understand one another’s feelings and sentiments and can still enjoy our good old yarns: Ha! Even the TV and Cinema shows sex pictures, seem to be quite predominant. No wonder you think the human race is 80% animal instinct. Well this is the present day world we find ourselves in and we will survive in our own quiet way strange as it may seem to the young who might think it is their world today and Old Timer with their old fashioned ideas are out. How one sided and blind they are to the real values of life. I read once “man is made of 3 dimensions — Physical. Mental and Spiritual. At our age we admit Physically we are going downhill gradually, and Mentally we are getting slower but Spiritually we are tops. No matter what religion we believe in there is always great and deep reverence to our Creator (Allah? God?) and we turn out better human beings for this inner feeling. Do you agree? …

Dear, lovable Aunty Irene’s letters got fewer and fewer. The last one was dated 1984. Perhaps Papa was again taken ill during this time and his last letter to her was written around this time. Aunty Irene herself passed away on 6 July 1993. Papa recovered from his 1967 illness quite quickly. Perhaps having the grandchildren around helped him recuperate. But he was still not free from the occasional — yet still too frequent — unhappy incidents. This time, his pride and “prestige” were compromised. N otes

  1. Setiabudi, “Melayu Raya Gembira”, Berita Harian, 11 January 1962.   2. Ibid.   3. Zubir Said’s reply to A. R. Ismail’s letter. Source: Private Collections.   4. Setiabudi, “Melayu Raya Gembira”.   5. Found in several of Zubir Said’s letters pertaining to national songs. He repeatedly said that national songs are the cloaks of the youth who have nationalistic feelings.

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 6. Akad nikah: Nuptial ceremony.

The groom would then bring this with him to the bride’s house

 7. Imam: Religious head in any mosque.

and present it to the bride at the bersanding dais. Today, there

  8. Mas kahwin: In Muslim marriages, it is religiously enforced that the groom pay a compulsory dowry called mas kahwin. The value is very small, but varies from state to state. The mas kahwin is strictly for the bride, whatever the amount.

is the cellular phone for the same purpose. Still, some modern families prefer to keep the tradition alive and use both the cellular phone and the sireh lat-lat. 15. Sunting: Hair accessory comprising a variety of ornamental

  9. Wang hantaran: Wang means money and hantaran means something sent or bestowed. Hence, the bride’s family is bestowed with a certain amount of wang hantaran, the amount of which varies according to the means of the groom. It could run from practically nothing to thousands of ringgit or dollars.

hairpins for the hair bun. Some people call them kembang

10. Bersanding dais: In Malay weddings, the bride and the groom “sit in state” on a decorated dais for the blessing ceremony.

of Chinese princesses. The Sumatran sunting could have been

Bunga rampai: A specially prepared concoction of a variety 11.  of flowers, preferably sweet scented, and pandan leaves which have been finely sliced, mixed with aromatic lotions and particular spices. The bunga rampai is used to “shower” the bride and groom — like confetti — at the bersanding ceremony, symbolically, for sweet life ahead. It may also just be left in strategic spots around the house, especially the bridal chamber, to generate lovely scented rooms.

16. Baju means “attire” and the kebaya is a long-sleeved blouse

12. Kompang: A small drum usually made from the skin of an animal. Any number of drummers, between eight and twelve, may form the group accompanying the groom. The kompang may be played on many occasions requiring pomp and ceremony, not only at weddings.

welcome the new bride and their son to their hometown, in

13. Mak andam: A lady whose profession is to dress brides and grooms in traditional or modern wedding clothes. She would have many different costumes to suit different needs. Normally, she would silently say some prayers before dressing the bride and groom. 14. Sireh lat-lat: In times gone by, there was no phone. A “messenger” from the bride’s side would take the sireh lat-lat to the family of the groom to indicate that the groom could proceed to the bride’s house for the bersanding. Usually, in the olden days. the groom would also bring with him his suitcase of clothes because he was going into the wife’s family home, at least for a while. The sireh lat-lat might look like an icecream cone made from anything. It could be simple or exotic, such as a gilded cone lined with betel leaves and filled with golden trinkets in the form of flowers that would sway prettily.

goyang, “flowers that jiggle”. The traditional sunting pieces are made with silver coated in gold and they are made so that they jiggle when placed in the hair. The Sumatran bride’s sunting (see page 35) is full and heavy, reminding me of the sunting a cultural artifact resulting from the Chinese influence. with an opening in front and waisted tightly, worn with a sarong. Traditionally, the kebaya is in lace, worn long or short Modern kebaya is often sedondon, that is, the blouse, whether short or long, is of the same material as the sarong. The kebaya, often worn with a pleated batik sarong, is the traditional attire of Indonesian women. 17. Bertandang: A reciprocal reception by the groom’s parents to this case, to Muar, Hamid’s father’s house. 18. The Indonesian Confrontation (Konfrantasi) with Malaya occurred between 1962 and 1966, and the height of this seemed to have been in July 1964. Possibly the conflict was over the disputed island of Borneo between British-backed Malaysia and Indonesia. See J. A. C. Mackie, Konfrontasi: The Indonesia– Malaysia Dispute, 1963–1966 (Kuala Lumpur and New York: Oxford Press, 1988). 19. Tak kenal maka tak cinta can mean “familiarity breeds love”. 20. Zubir Said, Oral History Interview, 21 September 1984, Reel 17 (Singapore: National Archives). 21. Kacak means “debonair”. 22. Soeyono’s reminiscences of Zubir Said, in an interview with Rohana Zubir, Kuala Lumpur, October 2009. 23. Zubir Said’s initial method of teaching the piano. Source: Noryani Sulaiman, 15 April 2010. 24. Ibid.

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25. Zubir Said, Oral History Interview, 21 September 1984, Reel 17 (Singapore: National Archives).

41. Telephone interview with Kak (short for kakak i.e. sister) Nona Asiah, 21 April 2010.

26. Margaret Joseph, “While Riding A Bus, Dear”, Fanfare, Incorporating Radio and TV Weekly, 20 August 1971.

42. Surah Al Inshirah (The Expansion of the Breast): The breast is symbolically the seat of knowledge and the highest feelings of love and affection. This surah was revealed to the Prophet Muhammad (pbuh) by the Guardian Angel in the dark period of the Prophet’s life. All his efforts — to help the helpless, to attend with patience to the call of those in need, and to rehearse and proclaim and share the boundless bounties of Allah — seemed futile and met with a lot of resistance. Nevertheless, he faithfully continued to follow the Light Divine. It was in this circumstance that the message was revealed to him. A man of less resolve might have been discouraged. But the Prophet is told to hold the present of less account than the glorious Hereafter, which awaited him like the glorious morning after a night of stillness and gloom. Hereafter was not only in the Future Life, but his later life on this earth, full of victory and satisfaction. Source: Abdullah Yusuf Ali, The Holy Quran: Text, Translation and Commentary (Amana Corporation, 1989), pp. 1661 and 1666.

27. Noryani Sulaiman’s reminisces of Zubir Said. She is the daughter of Salmah and M. Sidin, the violinist, and Zubir Said’s ward, 2009. 28. Brian Miller, “I’m Not Letting Grandpa Down: Amin the Rocker”, New Paper, 6 April 1990. 29. Ibid. 30. Zubir Said, Letter to Vasant Borker, 19 March 1957. Source: Private Collections. 31. Temu lawak is a herbal root belonging to the family of kunyit or turmeric. It is used in traditional medicine for the cure of fever, jaundice and liver problems. There is as yet hardly any research done on this. 32. Ulam ulam: A variety of herbs and greens supposedly good for health which are eaten raw. 33. Margaret Joseph, “While Riding A Bus, Dear”. 34. Letter (undated) from Zubir Said to Kalthom binte Hisham, in reply to her request for help to assess her thesis. Kalthom’s letter was dated 4 March 1964. Source: Private Collections. 35. “Seven tips to become a good singer”, a translated version of Zubir Said’s reply to Md Nas of Sungei Besar, Sabak Bernam, Selangor. Source: Private Collections. 36. The Malay Language and Literary Congress in University of Malaya (Language Congress, Persuratan Melayu III), 20 September 1956. One of many resolutions. 37. Reflections on Zubir Said by Nona Asiah, Letter written on 8 June 2009. Source: Private Collections. 38. “Zubir Said, by Nona Asiah”, Oral interview by Noryani Sulaiman, 1 May 2010, Singapore. 39. Ibid. 40. Cempaka Biru: Cempaka is an aromatic flower that is white or yellow, almost gold, in colour. I have not been able to find the English equivalent to the name. The flower is described as biru (blue) to suggest its rarity, with reference to the beauty of the maiden in the storyline, or to the friendship between Nona Asiah and a Malayan princess.

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43. Hari Raya or Aidil Fitri is celebrated after fasting for a month in the month of Ramadan. With the greeting “Selamat Hari Raya Aidil Fitri” in the month of Syawal, one wishes another for a return to the fitri i.e. the holiness of human relationships that God has ordained. 44. Pbuh means “peace be upon him”. 45. “Aidil Fitri” is used interchangeably with Hari Raya. However, hari means “day” and raya means “celebration”. The term Aidil Fitri has a more meaningful religious connotation, as it refers to reverting to the “original state”. 46. Zakat fitrah or obligatory “tithes”: A small fixed sum that is collected towards the end of Ramadan from every individual, whatever the age. The money goes to charity. Parents are responsible for meeting this compulsory obligation for their minors and their aged and sick relatives. 47. Solat means “prayer” and tarawih (Arabic) means “leisurely”. Solat tarawih is a special prayer Muslims perform only in the month of Ramadan. It is not compulsory. It was the practice of the Prophet Muhammad to pray the tarawih in Ramadan. The prayer is done leisurely, after the Isya prayer and can be performed at home alone, or in groups or in a congregation at the mosque. Praying the tarawih at the mosque adds significance

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to Ramadan because of its social element, especially when the reading of the entire Qur’an is completed at the end of the Ramadan month. 48. Puasa enam means “six day fasting”. 49. Besides the normal five daily prayers, there is a special Hari Raya prayer on the first day of Aidil Fitri and on Hari Raya Aidil Adha (at the completion of the Haj in Mecca, about two months after Hari Raya). After the normal subuh prayer, usually around 8 am, people dressed in their new Hari Raya clothes congregate at the mosque for the special prayer. At the end of the short prayer, the congregation in rousing voices thanks Allah swt for his bounties and glorifies His greatness by repeating three or four phrases i.e. the “Takbir Hari Raya”. The takbır or takbeer is the Arabic name for the phrase Alla-hu Akbar. Usually translated as “God is [the] greatest,” or “God is Great”, it is a common Islamic Arabic expression, used both as an informal expression of faith, and as a formal declaration. For some reason, the takbir without fail always produces a deep emotional reaction of sadness mixed with happiness. 50. Letter from Zubir Said in Minangkabau dialect to his brother. 51. Ramadan is the holy month in the Muslim calendar. And Syawal is the most auspicious. The first Muslim month begins with the hijrah of the Prophet Muhammad from Mecca to Medina.

The months are as follows: Muharram, Safar, Rabiulawal, Rabiulakhir, Jamadilawal, Jamadilakhir, Rejab, Syaaban, Ramadan, Syawal, Zulkaedah, Zulhijjah. 52. “Ablutions” in Islam is wudu, which is the act of washing oneself for hygiene and for ritual purification before performing prayers and religious observations, for instance, before reciting the qamat or iqamah close to both the ears of a newborn child — a plea to Allah for the protection and well-being in every aspect of the child’s growth, physically, spiritually and mentally, and emotionally. The act is done by a male member of the family, usually the father or grandfather or any other member of the family if the two former persons are not present. The qamat exalts Allah swt: “God is Greatest, God is Greatest; I assert that there is no God but Allah; I assert that Muhammad is the Messenger of God; come to the prayer; come to salvation; stand for prayer; God is Greatest, God is Greatest; there is no God but Allah.” 53. Qamat, as explained in the translation above. 54. Postcard from Aunty Irene, enclosing Zubir Said’s letter to Aunty Irene. The card was not dated, but it might have been written at the end of 1990. She had signed off as “Aty” for aunty. 55. Hati muda, panjang umur means “young at heart, enjoy long life”. A letter Papa wrote to Aunty Irene on 3 January 1982.

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Chapter 8 The Storm Afterwards

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Fighting tooth and nail to defend his honour As a composer who treasured and respected his own work, Papa did not approve any changes to his original work — be it the melody or the lyrics — without his permission. He lived by a certain set of principles in his relationship with people (including his family) and observed these with decorum, sincerity and honesty throughout his life. He expected no less from himself than from other people. Whenever there were requests for his songs, he would emphatically state his conditions. This happened mostly in relation to his precious compositions, such as Ikatan Budaya, Angkatan Pemuda Satria, Tanah Bangsa dan Daulat and Melayu Raya. A case in point was when he sent, on request, the scores of these songs to Kesatuan Persuratan Pelajar-pelajar Melayu, Selangor (KPPMS). With his songs he sent the following reminder. Ada satu permintaan saya kepada pelajar2 yang akan menyanyikan lagu2 itu: Janganlah tukar, robah atau pinda kata2 dari lagu2 tersebut. Misalnya perkataan ‘MELAYU’ jangan dijadikan MALAYA’ d.l.l. Juga nyanyikanlah menurut melodi lagu yang tertulis, janganlah dibunga-bungakan sehingga melemahkan wujud penggubahnya. Seringkali hal ini saya dengar dari siaran Radio K.L. dalam ‘Tanah, Bangsa dan Daulat’, istimewa dalam menyanyikan perkataan MERDEKA di-hujung lagu itu.1 (I have a request to make to the students who will sing these songs: Do not change, alter or adapt the words in the songs. For example, do not alter the word “MELAYU” to become “MALAYA” and so on. Also sing the melody as written, do not make it flowery as it will weaken the essence of the composer’s intention. I often hear this in the broadcast from Radio K.L. in ‘Tanah, Bangsa dan Daulat’, especially when singing the word “MERDEKA” at the end of the song.)

As mentioned above, Papa disliked anyone messing with his songs. He was known to have said to Nona Asiah,2 “seperti orang yang masuk rumah orang lain, pindahkan perabot-perabot sesuka hati”. (It is as if you enter into somebody’s house, and move his furniture around as you please.) His worst fear that some unscrupulous individuals might tamper with his music without his permission became a reality. Papa lamented that Semoga Bahagia, which had been formally adopted as the anthem for Singapore schools, had been “tarnished”, and, with it, his “image”. Some of the lyrics and melody of Semoga Bahagia had apparently been altered and the name of a new arranger had been written “on top of the song sheet”.

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Papa publicly and strongly expressed his utter disappointment. It became public news. On 25 August 1974, Papa wrote a strong letter to the New Nation, condemning the act. With it was an interesting cover letter to the editor. Dear Sir, Would you be so kind to publish my attached letter in the NEW NATION. It is about the damaging of my prestige as the original composer of a song called “SEMOGA BAHAGIA.” I realize that there is no copyright law for music and song in Singapore, that is why I choose to publish my arguments in NEW NATION since it is a Singapore newspaper and my case is an affair in Singapore. Please, pardon me for my poor English expressions in the letter. To prove my arguments I attach herewith the original composition printed in 1957 and also the recently circularised version where you can observe the comparison between the original and the adulterated words and music.3 Yours faithfully,

And for general readers he wrote, on the same day: Dear Sir, Nobody has the right to alter or change the perspective and colours of a painting done by somebody else and put his name also on the canvas. He is damaging the prestige of the original painter. If he knows better he should paint another by himself. I think it is also the case with music & song composition. Just recently I came to know that one of my patriotic songs has been circulated to the schools in Singapore to be taught to students. Several alterations in the words and music were made. I was not informed at all concerning the alterations.

Zubir Said’s strong letter to the Editor of the New Nation, together with his letter for publication, when his song Semoga Bahagia was tampered with.

A melodic phrase has been changed, another one omitted and the refrain entirely cut out. A few bars squeezed in perhaps to balance the proportion of the lost climax of the melody resulted from the changing. The contents of the original lyrics are to urge our young to be progressive, to be in good health, to

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strive for knowledge, to be patriotic and dedicated etc. etc. and also to respect each other. This ”to respect each other” and “to be patriotic” and some other phrases were changed. But the most part are still my words. And yet, somebody else’s name is written on top of the song sheet as the writer of the words. (I have no intention to mention names here, so I won’t spoil the prestige of others.) So, the entire song composition has been mutilated without my consent, even after it has been done. I know that we have no Copyright Law for music & songs in Singapore, but shouldn’t we preserve some professional ethic as to respect each other? It is a bad example to our young music lovers if we want them to develop their creative ability. We should encourage them to create their own ideas and not to alter the works of others. You see, this song called “SEMOGA BAHAGIA” which I composed in 1957, published and performed on 7th July the same year at the Victoria Theatre and broadcasted several times on the radio in Singapore and Kuala Lumpur, was chosen as the Students Song for schools in Singapore in 1960 (if I am not mistaken). I feel so ashamed and grieved because others are messing my humble little music & song, while many students and teachers knew the original one for a long time already. Not only the music & song that is damaged but also my heart and feelings. If the original composition of the words and music is no more suitable for the what-so-ever purpose, I do not mind that it is cancelled altogether, words & music, but not partly changed. Yours musically sad (Zubir Said)4 Composer of the Singapore National Anthem

The news of Semoga Bahagia hit the front page of Berita Harian on 2 September 1974. Papa was quoted as having said that “hati dan perasaan saya telah dicacati” (my heart and my feelings are severely bruised) (the word dicacati actually has a stronger connotation than “bruise”, it’s more like “damaged”). He called for the emplacement of a law to prevent the recurrence of such an irresponsible and insensitive

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The news of the “adulterated” version of Semoga Bahagia (as described by Zubir Said) hit the newspapers. Source: SPH — Berita Minggu, 1 September 1974.

act. Looking back, I think a simple apology from the person might have been adequate for Papa to forgive but not forget the unpleasant episode. What he could not accept was the justification provided later, which he perceived to be unreasonable and unrealistic: that Papa was ill and not contactable (this happened a year before); that the schoolchildren had difficulty singing the song. How could this be, when the song had been sung for many years by thousands of children before that? However, all’s well that ends well. Through a mediator, the confrontation came to an amicable end. Papa regained his “prestige”. As from October 1974, students were taught the original version of Semoga Bahagia, and Papa compromised by deleting a repetitive verse in the song.5 With candour, he appraised the episode as a good learning experience; that it was important to protect the ethics of the composer. This was Papa, the proactive gentleman as always. Earlier, in 1957, his reputation and integrity had also been at stake. Once again, to defend his honour, he “fought tooth and nail”. He could never condone a slanderous accusation by one Ahmad C. B., who was a well-known singer, actor and composer. Ahmad C. B. claimed that the national song Melayu Raya was his composition and not Zubir Said’s. Papa regarded the accusation as implying “you stole my composition”. Papa rebutted this vehemently in the papers throughout Malaya and Singapore, addressing all political bodies, cultural groups, associations, teachers, poets, journalists, musicians, stage artists, singers, the radio and individuals. He wrote a two-page report

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which he sent to Utusan Melayu.6 He categorically and emphatically declared that the national song, Melayu Raya, that was showcased during the 7 July 1957 concert was Zubir Said’s song, both the music and the lyrics. He regarded Ahmad C. B.’s criticism as being extremely dangerous. It was imperative for him to defend his honour because, as he said: penting sekali bagi diri saya mengeluarkan satu statement terhadap tuduhan atas diri saya: seolaholah saya seorang pelagiat (plagiat) yang bertopeng nasional dan tidak mampu menciptakan lagu-lagu sendiri. (It is extremely important for me to issue a statement to repudiate the accusation against me: it’s as if I am a plagiarist in national mask and that I am incapable of composing my own songs.)

He further added: (It’s as if Ahmad C. B. is trying to undermine all my effort to propagate national songs and to discredit me and undermine my reputation.)7 Source: SPH — Berita Harian, 3 September 1974.

Source: SPH — Berita Harian, 12 September 1974.

This ugly incident was soon resolved amicably. It was a case of mistaken identity, like two persons who could have exactly the same name. Without first studying carefully Papa’s composition and his own, Ahmad C. B.’s impulsive accusation had created much unhappiness and bad feelings between friends — Ahmad C. B. had been Papa’s friend and contemporary. Ahmad C. B. publicly apologized for his error of judgment and signed a document of declaration to that effect, witnessed by two other persons. The matter was thus resolved.

Letter to the press enclosing a protest letter for publication in Utusan Melayu, 2 July 1957.

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Ahmad C. B’s public apology, for the wrongful accusation, witnessed by two persons, 3 August 1957.

Zubir Said fought “tooth and nail” when accused by Ahmad C. B. that he had stolen his song, Melayu Raya. To clear his name, he wrote to all the papers, organizations and individuals. It was a case of mistaken identity.

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Majulah Singapura — “It’s a slap in my face” Papa was filled with gloom, of course. But his deep anguish and feelings of being badly slighted were just setbacks and paled in comparison to what hit him in 1986. I received a phone call from Papa. I was then a lecturer at the Faculty of Education at the University of Malaya, Kuala Lumpur. He sounded agitated and his voice appeared broken and somewhat choked. Briefly he told me the shocking news as he exclaimed, “It’s a slap in my face!” He wanted me to urgently help him draft a letter in English. His shock was ignited by news in the newspaper of a gentleman, Tan Hung Liang, who proposed a change of the national anthem to a new anthem in English. In the “Forum”8 section on Tuesday, 12 August 1986, Tan proposed changing the anthem to a pop song, Count on Me, Singapore. Papa could not believe that after twenty-seven years of singing the anthem, Singaporeans could not understand the words, as was suggested by Tan, and that people “sang without pride and dignity”. This was the “slap in his face” that he was referring to. He was under the impression that all this time the song had been sung with dignity and loyalty. The small, but potent news left a blaze of publicity and a trail of mixed public reactions, which imperceptibly and slowly eroded feelings in some quarters of the population. A few years later, the smouldering smoke, the residue from the fire, was to become an open flame. In the meantime, public sentiments were for keeping the national anthem intact. A “True Singaporean” — as a writer called himself in the newspaper — wrote:

Storms were brewing on the horizon, Zubir Said faced more challenges. Source: SPH — Straits Times, 12 August 1986.

I do not see any reason for a review of our national anthem. Majulah Singapura is short, simple, and understandable. Moreover, its messages are clear. As a true and patriotic Singaporean, one must see that younger Singaporeans know our national anthem well not only its tune and lyrics but also its meanings.… Let us not meddle with our national anthem but instead work towards its goal. Any meddling with our national anthem will not only reflect our uncertainty of the future but will also reflect the inability of Singaporeans to keep together. I strongly maintain that Majulah Singapura should remain our national anthem.9

As for Papa himself, he felt compelled to safeguard the honour of the anthem and of himself. In 1986, Papa, at seventy-nine, was in his twilight years, but was still hale and hearty. He must have felt excruciating emotional pain and disillusionment just as I too can feel for him now. He felt compelled to defend what he created — and who can blame him? In defence, he wrote a lengthy, sincere, yet critical rebuff putting in proper perspective what his thoughts were on the whole concept of “anthem”. He examined the meaning of “anthem” from the World Music Encyclopedia. In it “anthem” was described as “a prayer of a nation” in terms of its implications, significance and very unique identity. And so he wrote:

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National Anthem is a prayer of the Nation. National music is music and songs with peculiarities of the style that arise from the cultural heritage and express the spirit of its own country differentiating it from that of other countries. The anthem of an Eastern country should not smell Western. We can ape the West in science knowledge, in technical etc. etc. but why should we copy their culture, their way of life and their habits. We have our own culture, richer and original. People of other countries will laugh at us when we have a National Anthem with Western mood and a commercial style. Can we take a pop melody, put in some patriotic words with the word “Singapore” and call it a Singapore National Song. Sometime ago we used to sing “Singapura Oh Singapura” composed by a Dutch musician in Holland and we call it our National Song. At another time we have taken an Indonesian folksong called “Rayuan Pulau Kelapa” change the words to “Singapura” and call it our folksong. It seems we Singaporeans do not know the difference between National Song and Folksong and the National Anthem. Did we teach our children about that? Music appreciation is a valuable aspect in education. No wonder that after 27 years there are still Singaporeans who do not know the meaning of the simple lyrics of our National Anthem. Are Singaporeans so backward? In 27 years we can learn a new language or two languages.10

Having explained in great detail the concept of anthem, he proceeded to write a treatise on Majulah Singapura.

In 1959 Yap told Zubir that the Government of Singapore (PAP) intended to use Majulah Singapura as the national anthem of Singapore. The then Legislative Assembly agreed unanimously. And in September 1959 it was performed at the Padang for the first time as the national anthem of Singapore. For Zubir Said it was a dream that came true and a prayer for the progress of Singapore and its people. Up to now Majulah Singapura has served Singapore for twenty-seven years. And now after twenty-seven years the complaints come in: “The lyrics are too difficult to pronounce.” “The words are too difficult to understand the meaning.” “Change the words to another language.” And yet the song is in very simple language, with words that are easy to pronounce and easy to understand their meanings. Why not campaign for it in the schools. Singapore has had many successful campaigns. The lyrics of Majulah Singapura consist of twenty-five words in eight sentences

The story of Majulah Singapura: A Treatise

The music itself is to be sung with gusto befitting the sentiments expressed in the eight sentences. Mari kita rakyat Singapura

4 words

I think Papa would have liked me to reproduce his treatise, “The Story of Majulah Singapura”, in this book. Here it is.

Sama-sama menuju bahagia

3 words

Cita-cita kita yang mulia

4 words

Berjaya Singapura

2 words

Marilah kita bersatu

3 words

Dengan semangat yang baru

4 words

Semua kita berseru

3 words

Majulah Singapura

2 words

Zubir Said was requested by the Committee of the City Council Opening concert in 1958 to compose a song for the concert with the motto “Majulah Singapura” in the national language, which was the Malay language. Zubir Said completed the composition in two weeks.

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Before he submitted the song to the chairman of the concert committee, Yap Yan Hong (manager of Victoria Theatre), he consulted Paul Abisheganaden regarding the music and Cikgu Mohd Ariff (an expert in the Malay language) regarding the lyrics. Both of them gave invaluable advice. Majulah Singapura was accepted.

25 words (8 sentences)

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The ethics of an artist Several people suggested changing the words of Majulah Singapura to another language. But it is the ethics of a song writer to keep his composition unchanged and original when the song was officially accepted. It is the ethics of a song writer. The painter will refuse to patch other colours to his finished painting. It is the ethics of the artist. When a nation chooses a national anthem, it sticks. It is the ethics of the nation. Otherwise we keep on changing from solemn hymn to a commercial piece of music then to a romantic song and so on. In fact Count on Me, Singapore is a pop song and commercial. It is good for community singing. It is not specially composed for a National Anthem. It is sponsored by a commercial firm, and it smells Western. It is gayful [he coined the word for gay]. The sponsor spent thousands of dollars to advertise the song for commercial purpose. Can we use it as a National Anthem while it is already commercial in music. Or maybe the complaints are just in antipathy to the language that is being used in the National Anthem.11

The gentle smouldering smoke of dissent, the result of the flame of 1986, sparked off a bigger fire in 1991. This would have been Papa’s tidal wave, his tsunami, had he lived to witness the debacle. It was without doubt that the “complaints [as Papa had envisaged] were just in antipathy to the language that is being used in the national anthem”. In 1991, in a “walkabout”,12 a lawyer, Lee Bon Leong, asked for a change in the national anthem because the language situation had changed — meaning that people were now speaking English and Mandarin. He was aware and remarked that the issue he had raised was “trivial”, but “sensitive”. The question of changing the language of the national anthem Majulah Singapura sparked an intense and frank discussion between community leaders and Goh Chok Tong. Lee Bon Leong suggested that:

“adjustments” had to be made to the national anthem, as many Singaporeans now did not understand Malay and thus did not have “strong feelings or strong sense of emotion when they sang the Anthem”.13

Majulah Singapura came under public scrutiny again. Majulah Singapura had been politicized. For a few days, it was hotly debated. It was serious enough — and could have become explosive — had not the two prime ministers, Lee Kuan Yew and Goh Chok Tong, stepped into the foray during their respective tenures of office. They had to listen to the grouses of the people and make reasoned judgments and decisions. They, of course, realized the political implications of pandering to the few disgruntled people who knew little of the history as to why Malay was the language of the anthem of Singapore, and how significant it was to respect Singapore’s history. Perhaps to be fair to the dissenters, they might have known the history but preferred to plead ignorance. Both prime ministers handled the “sensitive issue” ably and put the matter to rest. Lee Kuan Yew, who was quite aware that the issue might have stemmed from the fact that Singapore at this time was mainly using English and Mandarin, diplomatically pointed out the historical significance of the use of the Malay language in the national anthem. I recall that in 1971 Lee had reminded Singapore that it must rid itself “of the disruptive and divisive factors within us, and neutralize the manipulation of the attitudes and opinions of Singaporeans by outside forces”.14 Yet, in 1991, twenty years after his discerning words, it appeared that these same “disruptive” and “divisive” factors continued to emerge, causing concern. However, Lee, with astuteness, managed to assuage the fear of the dissenters when he decided that Malay would continue to be used in the national anthem because:

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The call for a change in the language of Majulah Singapura caused political debates. Source: SPH — Straits Times, 22 July 1991.

The issue of the Malay language had been discussed as early as 1986. In 1988, Lee Kuan Yew made a stand on the issue of Majulah Singapura, i.e. that it should remain for historical reasons. Source: SPH — Straits Times, 22 January 1988.

Ia adalah simbolik. Ia mewakili sejarah kita…. Biar kita kekalkannya. Ia telah berjasa kepada kita. (This use of Malay in the national anthem) is symbolic. It represents our history. Let us sustain it. It has served us well.15)

Goh Chok Tong preferred to take a “practical approach” by keeping the national anthem as it was, while ensuring that its translation in other mother tongues was more easily available. He concluded that: It was easier to change names and logos of a place than it was to change something as emotive and stirring as a national anthem. To change it would be to divide the country. What was more important was for Singaporeans to ensure that all would develop an emotional attachment to the anthem over time.16

In my view, the question of changing the national anthem to another language and the suggestion that it was trivial was, in fact far from trivial. Anything that is “sensitive” could by no means be “trivial”. The fact that many Singaporeans do not understand the eight sentences in the national anthem was and is rather worrying. It goes to show that despite the advancement of Singaporeans in all fields of development, especially in education, there seems to be a lack of knowledge

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of the history of Singapore, and of the fact that being multilingual in the three mother tongues, Chinese, Indian and Malay, as well as English, is a great asset for nation building and unity, and an aspiration to be pursued. That words such as Singapura are widely pronounced as Singgapura or Singgapula, bersatu as belsatu seems to stem from a dialectical problem; similarly, semayat for semangat is a dialectical problem of being unable to pronounce the “ng” in Malay words. Berjaya as bersaya is related to a hearing problem and understanding of the two words. There is no Malay word bersaya. One may describe these dialectical issues as “trivial” in the great scheme of things but “sensitive” issues are not trivial. I would further add how very beneficial it would be if our children could speak and write in all three mother tongues fluently. Speaking and understanding English is essential. Imagine what this could mean for a country that is multilingual and multicultural. Being able to converse in all three languages can definitely forge a better understanding among citizens of Singapore and help them fight against the element of divisiveness that Lee Kuan Yew spoke about. If some Singaporean children can learn multiple languages such as French, Spanish and Japanese, perhaps there ought now to be a paradigm shift so that they learn the three main languages of the country and English. Just imagine how animated our children’s conversations would be in classrooms and elsewhere if they were able to interact in any of the four languages. I personally feel this would be a powerful tool for cohesive nation building. My view aside, and coming back to the controversial issue of the language of Majulah Singapura, I think a judgment that is fair, objective and transparent, and one that is also laced with humour, came from the voice of S. Rajaratnam. Once the senior minister in the Prime Minister’s Office in Singapore, in an open letter to the Straits Times that was headlined “Majulah Singapura Has Been Sung Patriotically for 32 Years”,17 he wrote that changing the national anthem means rewriting Singapore’s history. WAK from “Dari Times House” in Berita Minggu, had this to say. Kalau umpamanya anak-anak kita boleh nyanyikan lagu Beatle, A Hard Day’s Night, atau pun lagu Hindustan, Junglee, yang panjang-panjang seni katanya dan sukar pula lirik nya, maka Wak tak nampak mengapa mereka tak boleh nyanyikan lagu Majulah Singapura dengan penuh semangat — dengan ‘sebelah mata saja’. (If for instance our children can sing the Beatle song, A Hard Day’s Night or a Hindustani song, Junglee that have long and difficult lyrics, I cannot see why they cannot sing Majulah Singapura with gusto — with “only one eye”.)18

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While Papa might have suffered great trauma that could have been fatal for him at his age of eighty-four — had he lived, he would certainly have felt relieved and gratified to know that many still championed the national anthem and indirectly honoured him. As a matter of fact, there were assurances from reports and events in his lifetime — from Lee Kuan Yew for one — that the “baby” he fathered was going to continue to flourish and continue to be relevant. His song Majulah Singapura continued to be held in respect. The national anthem of Singapore was widely acclaimed and from as far away as Plymouth, England, and Germany.

An open letter by Mr S. Rajaratnam. Source: SPH — Straits Times, 26 July 1991.

It is no less relevant and significant today as it was in 1959. The various reactions in the media speak for themselves.

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Relearning the National Anthem The transmission of any new knowledge, any new skill, in this particular case the knowledge and skill of speaking and understanding a new language that has to be learned and mastered, requires a process of teaching and learning that may be ongoing. And speaking and understanding twenty-five words in eight bars of a national anthem is no exception, but when people learn this outside the cultural, historical, social and political contexts, it is just like parroting something without understanding it, leaving them with no trace and sense of belonging. I would define “sense of belonging” as when the people of Singapore, in singing the national anthem, can feel the spirit of togetherness for having achieved

Public opinion and reactions to the view that the anthem should be changed or that the language be changed. Source: SPH — Straits Times, 25 August 1986 and 5 August 1991.

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their bloodless democracy, and for staying together in harmony, irrespective of race and religion, and in the process, becoming very prosperous and still moving forward. Many acclaim Singapore to be a great nation. And whether Singaporeans realize it or not, this is the result of their united effort and solidarity to remain forever united with one heart and one mind, all of which are elements Papa embodied in his “gift of Majulah Singapura to the Singapore people”.

A special effort was organized by the Ministry of Education to overcome the problem. In “Learning to Sing National Anthem Again” it was reported:

In the meantime, reports have shown that effort was being made to improve the understanding and pronunciation of the words in the anthem. Different approaches were suggested to help people understand the words of the anthem and to sing it with feeling. The best way to learn is from “the cradle to the grave”, so the ideal starting point for learning the Singapore anthem is definitely when children are in nursery school.

The Missing eight bars

In “Talking Point”, I found this little snippet that was rather pragmatic and humorous. AH FOOK: Most people forget the words and meaning of the national anthem once they leave school but composer Zubir Said isn’t discouraged. He says Singaporeans will express its spirit when they sing it at the Malaysia Cup final. MEI LIN: But that’s only if we make it to the final. If we play it at all in the home games, you can be sure at least 50,000 or so will remember.19

were mispronounced. It came as no surprise then that the public and children mispronounce the words in the anthem because they were listening to poor examples.21

that “children are to be taught to sing the National Anthem correctly … music department of the Ministry of Education’s extra curricular activities (ECA) branch has produced a tape to help improve the poor singing of the National Anthem.… On the other side of the 20-minute tape, is a band accompaniment of the anthem performed by the Teacher’s Military Band.22

The language issue of Majulah Singapura has abated for now. But there appears to be a new mystery surrounding the Singapore national anthem — the case of the “missing eight bars”. Professor Bernard Tan, composer and adviser to the Ministry of Information and the Arts then, and now a well-known music conductor in Singapore, recalls that the national anthem had an extra eight bars inserted after the third line, “Cita-cita kita yang mulia”. It would appear that the missing eight bars will continue to be a mystery shrouding the anthem. Till today, the original manuscript has not been found.

How very true! And there were more pertinent comments.

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N otes

  1. Zubir Said, Letter to KPPMS’58, 1 November 1958.

Don’t just teach them how to sing it. SBC could run subtitles in English when the National Anthem is played on TV … teach the meaning of the words in one of their children’s programmes.20

  2. Ibid.

… version of the National Anthem telecast by SBC each night was badly sung because many words

  4. Open letter by Zubir Said to the New Nation, 25 August 1974.

 3. Z ubir Said’s letter to the New Nation. Source: Private Collections. Source: Private Collections.

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Majulah Singapura continues to baffle. Source: SPH — Straits Times.

 5. “Salah faham mengenai lagu ‘Semoga Bahagia’ selesai”, Berita Harian, 12 September 1974.   6. Letter to the Editor, Berita Harian, 1 July 1957. Source: Private Collections.

14. “Future”, Straits Times, 20 July 1971. 15. “Semangat Bahasa Kebangsaan: Bahasa Melayu di Singapura”, New Straits Times, 22 January 1988.

 8. Straits Times, 12 August 1986.

16. Prime Minister Goh Chok Tong’s reaction to the issue of the Malay language in Majulah Singapura, Straits Times, 22 July 1991.

  9. “Anthem Is Appropriate and Understandable”. Letter to the Editor, Straits Times, 25 August 1986.

17. “Majulah Singapura Has Been Sung Patriotically for 32 Years” (An Open Letter), Straits Times, 26 July 1991.

10. Zubir Said’s reaction to Tan Hung Liang’s proposal, and the meaning of “anthem” from the World Music Encyclopedia.

18. Berita Minggu, 28 July 1991.

 7. Utusan Melayu, 3 August 1957.

11. Majulah Singapura: A Treatise. Source: Private Collections. 12. ‘Walkabout’: Occasions when the ministers and other important figures — community leaders — meet the people/grass roots. 13. “ ‘Trivial’... Issue of National Anthem Sparks Intense and Frank Debate”, Straits Times, 22 July 1991.

19. New Nation, 15 January 1979. 20. Straits Times, 2 June 1981. 21. Ibid. 22. Singapore Monitor, 6 April 1983.

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Chapter 9 The Birthday Bash and Final Curtain

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Reproduced from Zubir Said, the Composer of Majulah Singapura by Rohana Zubir (Singapore: Institute of Southeast Asian Studies, 2012). This version was obtained electronically direct from the publisher on condition that copyright is not infringed. No part of this publication may be reproduced without the prior permission of the Institute of Southeast Asian Studies. Individual articles area available at < http://bookshop.iseas.edu.sg >

The Birthday Bash Fortunately, Papa did not have to concern himself with the missing eight bars in his lifetime — the question did not arise again until 2006. Papa had health problems, but the prospect of reaching eighty years of age seemed to invigorate him. He had read in some Islamic teachings that a long life spent in doing good would help to exonerate a person of his sins in the life hereafter, particularly when the person reaches the age of eighty and above. Aware of this and his failing health, he probably fervently prayed for a longer life because he wanted so much to spread more goodness and be exonerated in the life thereafter.

He celebrated his birthday with great aplomb over three days. One day was for all his students; another day for his friends and the media, and a third day for his family. He had carefully planned his birthday parties himself; designed and printed his invitation letter — which was not exclusive, actually rather simple but original — on rough cyclostyled paper, light yellow in colour, and sweetly personal. Forty-two guests comprising friends and the media were invited on 26 July. For the 22 July party, he invited his students. The party for family

For his eightieth birthday party, Papa invited all the students who had received piano lessons from him. They were eager to point out that Papa was one music teacher who could remove the dreariness of piano practice. Indeed, as I see it, Papa had that rare gift of being able to instil in a student a love for learning, any kind of learning, but especially music. In the last listing of his music students who were invited to his eightieth birthday bash on 22 July 1987, Papa recorded forty-four invitees, out of whom I can only be certain thirty-seven were students. The rest might have been photographers and other invited guests. In 1983 and 1984, his records showed a total of forty-one to forty-three students. At eighty years old, he was mentally alert. He looked relatively healthy, although a little emaciated. His last photograph, taken 117 days before his demise, showed him with a happy grin on his face, a picture of contentment. Marvellously, he was still teaching the piano — one to one. For this he could surely be lauded for his stamina and dedication.

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members on 25 July included all his grandchildren and other people’s grandchildren as well — there were eighteen in all and he named each individually. He painstakingly noted the gift that was appropriate for each one of them. He took great pains to decide what menu he was going to serve on the three days. For 22 July, his menu was planned to cater to the younger group. It consisted of light food such as fried mee hoon, gado-gado, fried chicken, a kind of Malay curry puff (epok-epok), crackers (kerupuk), small cake, oranges, ice cream (“my special” he noted), and drinks. For 26 July, the menu was more exotic, consisting of Briyani rice, dalca and salad, pacri nenas (pineapple chutney), pulut kuning (saffron glutinous rice), rendang, talam betawi and agar-agar (both of which were desserts), and fifty oranges. For all three days he jotted a memo reminding himself to buy “paper hanky” and polythene bags — I’m not sure what the bags were for.

He had no wish to return to his birthplace. When asked whether he would return to Sumatra and spend the rest of his life there, he said: Dunia di mana-mana sama saja, bukan dari segi politiknya tentunya. Dari segi politiknya Singapura, Malaysia dan Indonesia terpisah. Tapi di luar politik bagi saya sama saja. Di mana saja saya mati tak jadi soal.2 (The world anywhere is the same, not from the perspective of its politics of course. Politically, Singapore, Malaysia and Indonesia are separate. But outside the politics, for me they’re all the same.)

Always careful about his spending, he remembered to plan and note his budget. The budget included little gifts for his very young guests. Then there were the sketches showing the arrangement of tables for serving the food, tables for the plates and glasses, etc. There was also a layout of the lounge in diagrammatic form. He even planned some games, such as carom. dominos, lotto and chongkak.1 The entire plan of his birthday celebrations can be found in his little 10×16 cm blue note book in his very own handwriting that was still steady and clear, but with early signs of tremor, visible from his irregular handwriting. He lived out his last days at 190A Joo Chiat Place, which had been home to him for more than thirty years.

A last birthday to remember. Zubir Said planned his eightieth birthday bash over three days. The typical organizer, everything was in its place, including people, chairs, tables, cups and saucers.

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The flat at Joo Chiat Place was rented all these many years. The rental amount would have paid for an HDB (Housing Development Board) flat. I once filled in an application form on his behalf for a unit, but he simply hid it away. I can understand how Papa used to think. He did not want to burden me with the repayment of the loan — if that was necessary — and he himself was worried that he would not be able to pay the instalments, given that the nature of his work was not permanent. He left some $20,000 cash in his

bank account to Mama when he passed away — a paltry sum, no fancy house, no car, no jewellery, nothing, not even any royalty from his works, but he left an enormously valuable legacy that money cannot buy. He was the true artist — most artists die poor. As he had said, “Harimau mati meninggalkan belang, manusia mati meninggalkan nama” (The tiger dies leaving its stripes, man dies leaving his name). Papa knew that he had done his best and all he could leave behind of value was his legacy and his

Not only did Papa compile a list of names of children to receive gifts, he also drew up a different menu for his three groups of guests.

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unblemished name. He was content to leave smiling — that was his last smile that was captured by the camera. His simple three-day birthday bash were joyous days for him. Little did anyone realize that it would be his final farewell to all of us who loved him dearly and respected him. He probably had a few regrets. He had unfinished work. He had not achieved all he had wanted to. There was still much he wanted to accomplish, one of which was to disseminate his SOLMISASI system. There was always more to achieve. At one time, when interviewed by a journalist from ARENA (a weekly paper on current affairs), he expressed his wish to produce a lot more music books that would benefit the young. He said: I see the young people are so enthusiastic about learning music but there is no one really competent to guide them. If Allah gives me long life I wish to continue to dedicate myself to my first love — that is music.3

But Papa could only do so much. His health was failing. He had been hospitalized on several occasions. Each time, whenever he recovered from a near death experience, he would come out of it saying, with hands outstretched and pointing above to thank Allah swt, “My visa has been extended”— with his usual candid humour that coloured his life to the end. He did live to an auspicious eighty. However, after he celebrated his eightieth birthday, he seemed to have lost his will to fight — which was quite unlike him. He did not wish to be hospitalized again and neither was my mother able to persuade him to take his medication. In fact, he became angry if urged too much. He seemed aware that the end was near. He was happy to have reached his eightieth birthday, his earnest prayer having been A happy grin on his face, a picture of contentment, 117 days before Zubir Said’s demise.

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answered. He was then prepared mentally and emotionally to answer to the will of God. He faced his end with as much endurance and intrepidity as he had lived his long life. He struggled no more. His frail eighty-year-old body finally succumbed to cirrhosis of the liver. On 16 November 1987, at the cool fresh dawn, Papa was called Home to his Creator. It was a sad day, but dear Papa had left an indelible mark on us all. His own

An obituary to the father of Majulah Singapura. Source: SPH — Straits Times, 20 November 1987.

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indefatigable strength gave us the courage to let him go. He was given a rousing send off by a large group of friends, relatives and even strangers. Although there was a hearse to ferry the coffin to the newly completed Darul Aman Mosque at Jalan Eunos, a good kilometre away from Joo Chiat Place, the large crowd of mourners preferred to honour him by carrying his coffin on their shoulders and walking to the mosque. We call this selfless act mengusung jenazah which is regarded by Muslims as a filial act earning pahala (grace) in Allah’s eyes. So many men took turns to usung the jenazah all the way to the mosque where the last rites and prayers were held. Then Zubir Said was ready to be driven in the hearse to his resting place at the Muslim cemetery in Jurong. At the cemetery, Papa was also honoured with a fourteen-gun salute performed by the Singapore Armed Force First Commando Battalion. Truly blessed, Papa departed with dignity and honour, loved by all who knew him.

Mourners taking turns to carry the coffin and walk to Darul Aman Mosque at Jalan Eunos from Joo Chiat Place. On the right is Dr Ahmad Mattar, the Minister-In-Charge of Muslim Affairs at that time. The women bade farewell from the balcony.

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A truly touching gesture by President Wee Kim Wee and Mrs Wee when they visited Tarminah and family on the demise of Zubir Said.

For me and my family, Zubir Said would be remembered for many achievements, but most of all for his magnanimity, simplicity, humility, loyalty and integrity, and for being the grand old Papa who loved us all and lived modestly at No. 190A Joo Chiat Place.

Zubir Said wrote, “A true Singaporean is a man or woman who is loyal and gives everything to the country.” Source: SPH — Straits Times, 31 July 1979.

Where the Legacy Lives On 190A Joo Chiat Place.4 In this humble dwelling there lived a man of humble origins who hailed from Sumatra in 1928, but who with pride and loyalty embraced Singapore as his motherland. He composed the national anthem of Singapore in 1958 when he was not yet a Singapore citizen. That was his special gift to Singapore. With deep sincerity, love and loyalty for the city, he finally became a Singapore citizen in 1967, after he had given of himself to the country for nearly forty years as a culturally productive non-citizen. He had garnered the necessary qualities

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The final farewell to the father of Majulah Singapura by the Government of Singapore, friends and relatives.

At the Muslim cemetery. The Government of Singapore’s tribute to a music hero was a fourteen-gun salute by the Singapore Armed Forces First Commando Battalion. Source: SPH — Straits Times, 17 November 1987.

Source: SPH— Berita Harian, 17 November 1987.

that made him a real Singaporean, and for the next twenty years, as a citizen, he chartered a charismatic life that added enrichment to Singapore in the arts, music and culture. Here was a man who did it all, but played down his innate gifts. In an acceptance speech upon receiving the unique Jasawan Seni award, he had said: Sesunggohnya saya bukan seorang pakar kebudayaan atau pakar kesenian atau seorang ahli musik yang ilmiah. Saya tak pernah mendapat pendidikan musik yang tertentu, sama ada dari suatu sekolah musik ataupun dari seorang guru musik. Guru musik saya masa dulu “Bangsawan Kolej Musik”. Sebenarnya saya hanya seorang penggemar seni yang ingin menikmati pertumbuhan dan perkembangan di bidang kebudayaan dan khususnya di bidang seni. Ingin hendak membantu di mana perlu dengan kesanggupan yang ada pada saya. Pendidikan dan pelajaran saya tidaklah tinggi. Tidakpun tamat sekolah menengah Belanda di kampong saya. Tekanan politik Belanda masa itu. Pengetahuan yang saya dapat bukanlah di sekolah tetapi di dunia pengalaman dan kebanyakannya dengan belajar sendiri dan berusaha sendiri.5 (In truth I am not an expert on culture or the arts nor am I a musician with any academic qualifications. I never had any special music education whether from a music

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The way Zubir Said wished to be remembered. This was declared in a speech to schoolchildren at Kong Yiong High School, 8 August 1985.

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school or from a music teacher. My music teacher in those days was the “Bangsawan Music College” [still spoken with humour]. In reality I am only a lover of the arts who wishes to truly appreciate the growth and development of culture, in particular, the arts. I wish to contribute wherever I’m needed to the best of my ability. I did not have high education and learning. I did not even complete the Dutch secondary school in my village. Dutch political pressure at the time. Whatever knowledge I have is not due to my schooling but from the world of experience and mostly from self-learning and my own effort.)

The speech was made with humility and modesty, not out of irreverence for himself but as an inspiration to others like himself, and especially to the young. He wished them to know that even under dire circumstances, anyone could reach their dreams if they dared to dream, and to pursue and accomplish those dreams.

Zubir Said became a Singapore citizen in 1967 and his wife, Tarminah, in 1984.

Papa asked for very little in return, but I think that “little” is a very significant “little”. He wished for his prayer to continue to ignite the progress of Singapore and the unity of its multiracial people and (that the anthem) should be sung with pride, dignity and national spirit. That PRAYER is MAJULAH SINGAPURA. It is wrong to call it MARI KITA instead of MAJULAH SINGAPURA and it is also wrong to call me MR. MARI KITA as some people do.6

He wished to be remembered only as ZUBIR SAID. N otes

1. Chongkak is a traditional game for two, involving a boat-like chunky piece of wood out of which seven receptacles on each side have been carved. At each end is a bigger receptacle or “Home” belonging to each player. Each of the seven holes is filled with seven marbles or shells or stones. The objective of the game is to win all the opponent’s marbles by accumulating them in the respective “Homes”. 2. Asma Naim, interview with Zubir Said, Haluan, 20 September 1972. 3. Interview with Zubir Said, “Badan Budaya Mesti Bersatu”, ARENA, 18 July 1971.

4. 190A Joo Chiat Place was bought by Encik A. Rahim Jalil, a prominent district judge in Singapore, whose hobby was to acquire interesting properties of historical value. He purchased the flat and converted it to a historical sanctuary dedicated to Zubir Said. 5. Part of the acceptance speech by Zubir Said on receiving the unique award by eight cultural groups in Singapore, 1971. Source: Private Collections. 6. Zubir Said’s Speech at Kong Yiong High School, 8  August 1985.

The Birthday Bash and Final Curtain

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Epilogue

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The Composer Dies: His Legacy The icon has departed, leaving “footsteps in the wind” for others to follow. For his unfinished work and dreams unrealized, it is for others to take up from where he left and to continue his quests. For Zubir Said has done his best. A Eulogy 16th November 1987 — Time stood still. In all those yonder years, saddling Time, Galloping fast with ne’er a rest, O’er clouds, thunder and storms Some turbulence causing stress. No time to lose, no time to waste All in haste to chase dreams, to do your best. The Best you’ve done A blessed name you’ve carved and left. In the annals of time you’ll be remembered As the shooting star from afar Descends to touch the hearts and minds Of a people you’ve called your own.

MAJULAH SINGAPURA An epitome of your vest Bequeathed to cloak posterity at its best. In Allah’s sweet embrace may you find eternal rest. Rohana Zubir 19 January 2010

Zubir Said thanking the eight cultural bodies for awarding him the Jasawan Seni.

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His Message Zubir Said had lived his life fully, and even in death his music lives on. To the young he left words of wisdom that inspire. His message was: Honour and value highly our culture and the arts. Protect and use them in life in our relationships in society. Use them as bases for change and development so that they are not merely used by people as museum artefacts or documented only in history books, as if it is a culture that is dead. Create new elements which are appropriate, I repeat “new elements which are appropriate”, whether it is in the field of literature, in the field of dancing, in singing and music, in drama, in gymnastics and eurhythmics — the art of free movement to the rhythm of music. What I mean by culture is the holistic view of life by the society. Discard useless irrelevant elements but do not replace them with other elements that are damaging.

1

It is necessary to invent the new to replace the old, as it should be, according to the saying “Patah tumbuh, hilang berganti,”1 but do not forget to maintain one’s basic individual personality.2

Zubir Said’s acceptance speech when he received the prestigious and unique Jasawan Seni from eight cultural bodies.

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4 3

6 5 Epilogue

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Platforms for the Future Papa worked hard to be a useful member of society. He wanted to help build a community rich in local, homegrown and not imported culture. He had contributed much to the development of culture, the arts and music in Singapore. Now papa had handed down many rich legacies and platforms for future generations to work from: exploring, continuing to research and further developing and disseminating new findings. As he once said to Noryani, who carried on his legacy, “Knowledge is not meant to be taken to the grave.” He was hopeful that his work would not be in vain. In particular, he wanted the young to continue to grow and flourish and discover avenues to help develop themselves into a cohesive society in which the various generations could find commonality in their arts, culture and music, hence forging a national culture. In the process, papa stressed how important it was for indigenous people not to lose sight of their own cultural inheritance. He was especially concerned that they aim for originality in whatever they pursued, although this should not preclude the appropriate assimilation of the values and traits of the different ethnic cultures which are the indigenous cultural elements of the country. In this way new original national forms of the arts can evolve. Below are the four useful areas that consumed his thoughts and energy throughout his life. 1. There are the political and cultural ideologies that constitute the core of his life’s endeavours, resulting in a spectrum of activities directed at the achievement of unity in diversity through his music. Perhaps more in-depth studies are needed to establish the efficacy

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of this. His patriotic songs are still relevant although, the lyrics may not be. 2. He left much knowledge on music and culture. He wanted to share this with the people he loved, especially those with a kindred spirit. He hoped that there would be continuous research and development to further enrich Malay music in the context of a multiracial society. From among his writings, a few important papers are either discussed or reproduced here. These were his thoughts presented at the Language and Cultural Congress on Persuratan Melayu III in 1956, and a seminar on folk music and songs. (a) Malay culture and music. (b) The development of Malay music in Singapore, which focused on the question of identity in Malay songs.3 (c) Malay language in singing. (d) Exploring and evaluating the method of Malay songs. (e) The issue of a common dialect (form of language) in singing for strengthening national language and national identity. (f) What constitutes asli (originality) in Malay music. (g) Malay folk songs.4 3. He left an unrealized dream of creating a society proficient in the simple language of music. He had developed a system of learning music and singing through number notations that had helped him all his life. He wished for everyone to be able to read and write music and sing using the SOLMISASI system. 4. He devised and left for posterity a unique system to aid the learning of the piano, the learning charts or Theory Formulae charts.

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Ideologies: political, social and Cultural Fifty years ago, it was observed that there were competing ideologies to win the hearts and minds of youth among the different communities in Singapore, which Papa felt was unhealthy. Sentiments expressed in the press then were out of concern for the future social and cultural development of the communities in Singapore. These sentiments were: So long as the English-educated youth follow a certain course of thought, the Chinese-educated steer in a different direction and the Malay-educated a third route, so long will there be disunity and misunderstanding among the various communities. In this melting pot of cultures there is yet no defined course of thought or conduct. Western influences have seeped into the life and thought of all communities and it will be a long time before it can be eradicated. Several ideologies are now competing to win the hearts and minds of our youths, and whichever wins will indicate the type of future that will flourish....5

Those were Zubir Said’s exact same sentiments! These observations were made very long ago. Have the political and cultural ideologies of the young today changed, if not improved? Throughout his life, papa constantly made a plea to the young to become aware of the danger of such separatist thoughts among the three main communities of Singapore and Malaysia. He expressed this plea thus: Dalam peringkat kemajuan negara kita sekarang, kita tidak mampu berpecah-belah. Kita mesti mencari titik pertemuan dalam semua kegiatan kita bagi memajukan perkembangan seni bangsa … kita tidak mahu anak-anak muda melupakan warisan kebudayaan mereka. Dalam zaman manusia mengejar kemajuan di bidang sains dan teknologi, maka mereka semakin terpisah

On the danger of separatist thinking. Zubir Said calls for a united front among people and cultural groups to create balance in their lives. Source: ARENA, 18 July 1971.

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jauh dari unsur-unsur kesenian yang halus. Kita perlu mengingatkan mereka dari masa ke semasa bahawa unsur-unsur seni perlu bagi mengimbangi hidup mereka.6

sehingga ia tumbuh terus dari zaman ke zaman. Kalau kita pandai mempersunting kebudayaan kita dengan unsur-unsur baru yang sesuai, maka unsur-unsur itu akan menjadi harta benda kebudayaan kita pula.7

(In the present development of our country, we cannot afford to be divided. We have to find a common focal point in every activity to promote the development of national art and culture.… We do not want our young people to forget their cultural inheritance.

(It’s true that you ought not to lag behind in your pursuit of technical and scientific knowledge as far as possible. But you also still have your personal human attributes that are entrenched in a living culture to the extent that you will not need to be cloaked in a borrowed culture, or become the victims of plastic culture, the shadows of which are becoming more visible in our society today.

In an age of the pursuit of development in the fields of science and technology, people are becoming farther removed from the finer cultural elements. We have to remind them from time to time that the cultural elements are necessary to create a balance in their lives.)

His tireless efforts to infuse the young with an awareness of the importance of developing, nurturing and spreading the cultural norms of indigenous peoples, whether in their original or assimilated forms, and to sustain their richness so as to emplace the local culture in the eyes of the world, reflect his political ideology in the fields of music, the arts and culture. Singapore (and Malaysia) have become industrialized nations with advances in technology, and so, inadvertently, they open themselves to tourism. To a certain extent, exposure to outside influences cannot be avoided, but, if left unchecked, this can be damaging. With reference to this, papa said: Anda memang harus jangan ketinggalan mengejar dan menuntut pengetahuan teknik dan sains sampai sejauh mungkin. Tetapi anda juga tetap mempunyai nilai-nilai pribadi manusia yang berkebudayaan hidup sahingga anda tidak akan memakai kebudayaan pinjaman atau menjadi korban dari kebudayaan plastic yang pada masa ini telah mulai kelihatan bayang-bayangnya dalam masyarakat kita. Kemudian tinjaulah dan selidikilah perkembangan dan pertumbuhan kebudayaan dan kesenian lain yang ada wujud dalam negara ini. Dengan mengadakan peninjauan, penyelidikan dan pemikiran mungkin kita beroleh ilham-ilham baru yang sesuai bagi memperkaya lagi aspek-aspek kebudayaan kita

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Go ahead then and explore and research the development and growth of other cultures and the arts that exist in this country. With this exploration, research, and thought processes, perhaps we can acquire new inspirations that are suitable for enriching aspects of our own culture so they continue to grow from era to era. If we can adopt and adapt our culture with suitable new elements, those elements can now become our own cultural property.)

Papa’s political ideology as the core of his work may not seem so evident, but it pervades all his work. I was only able to gain insight into this after having looked at his work for a long time from an all-embracing perspective, digesting and ingesting it to understand the man beneath. Throughout his life, his work had been to pursue these political and cultural ideologies, which even today seem very elusive. It may not be wrong to agree with the view that, even today, “students overseas, whether from Singapore or Malaysia, cannot sing their traditional songs or dance their traditional dances”.8 He regarded this as a sad state of affairs, because the young intellectuals abroad were the ambassadors of their countries, representing the culture and ethics of the countries from which they came. His anthem, his national and patriotic songs, the community songs he composed, are all imbued with political and social elements of unity in diversity, loyalty

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“What is lacking in Singapore is active participation.” An address made to Perkumpulan Seni to promote cultural enrichment.

and love for the country and the people, and dedication and honesty in work. He himself was guided by these very tenets and he hoped that they would constantly guide, and be adopted by, the young today, tomorrow and always. Papa’s wish was to see the use of music as a way of life, so it could create a socially interactive happy community. He found that there was a proliferation of songs which were merely for entertainment. There wasn’t even a homegrown birthday song. It is no wonder that he himself composed a song to celebrate birthdays, celebrations and farewells. There were community songs, but they were hardly sung. He found that in Sulawesi, for example, the lengso is used for community singing and dance. And so also in Thailand, it is the song and ramvong dance. In Minangkabau it is the randai; In Tapanuli, Sumatra, it is the manotor.

Even the Iban people have their “dance together” song. He observed that there was a kind of inhibition among Singaporeans — I would add Malaysians too. He was of the opinion that: What is lacking in Singapore is active participation. The normal trend in our society is to observe only. So there is a more passive than there is active involvement. In “active participation” everyone present will sing and dance together until the enjoyment can be felt together. Have you watched on TV how the Argentineans celebrate their victory in the World Cup? The entire population sang and dance in the streets. In that way the entire nation together savoured their victory in the World Cup. That is what we mean by “active participation”. If only we here can also sing and dance together at family gatherings or social functions e.g. at birthdays or at any other social event, until in the long run, this can become our way of life. What if we propose the slogan “SINGING AND DANCING TOGETHER IS OUR WAY OF LIFE”. Then there will be more smiling faces in Singapore. The result: we will live a happy life, a healthy life, a longer life and stay young.9

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Malay Culture and Music Papa realized that he had the authority to speak only of Malay culture, but felt that the underlying philosophical and ideological bases for the growth of the cultures of the other races were the same, that they too needed to look at what could be adopted and adapted from the relevant elements of other rich local cultures. Actually — and I may have said this before — his work transcends cultural boundaries. His knowledge of Indian and Chinese music and their cultural characteristics helped him to create some Malay music with elements of Chinese, Indian and also Arabic influence, which in music take on their own unique features and identity over time. The music goes through a process of adaptation, assimilation, internalization, formation and reformation to become Malay songs, e.g. the song Mas Merah, which is a typical example of a Malay song consisting of Chinese elements. There is no pure Malay music except perhaps the inang,10 according to papa. Malay music evolves in four forms. Firstly, there are the original creations from original elements in form, style and habits from the culture, without borrowed elements. Then there is the secondary composition whereby the original creation goes through a process of change, adopting new elements which are suitable in form, style, habit and arrangement of the music. Next is the new creation, the composition of which is made up of borrowed elements in all respects, like in “mixed blood”. Finally, there is the composition not previously known; it’s a creation taking another’s music and is not the product of one’s own original thoughts, but borrowed from foreign elements. The result is inferior and it is the lowest quality of music compared with the first three.

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Original creations and adapted creations have their own characteristics that are strong and acceptable. Songs for amusement or for entertainment, on the other hand, do not emerge from the soul of the people. They are merely a “reflection” of life in the city which may be a hotchpotch of various external influences which may or may not be suitable. The songs may attract the masses, but they are not songs which are original. They do, however, have great commercial value and are easy to understand and use. Papa observed that Singapore seemed poor in its repertoire of music forms. In an advanced country, where music has become an important aspect of its development, there are other forms of music necessary besides music for entertainment, such as music for education, military music, children’s music, music for youth, music for scouts, music for musical shows, such as the opera and symphony concerts, chamber music, music for ballet, and many more. The music varies in structure, style and habit so that it constitutes a rich collection of national music in the culture, an aim Papa considered very desirable. Papa would have been happy to note that today there seems to be plenty of these types of music forms contributing to the musical richness of the country. However, whether there is enough of such a development in the Malay culture is a question that still has to be addressed. Papa was once interviewed on the development of Malay music in Singapore. He was of the opinion that the development of Malay music that was once vibrant had become stagnant because there were no new ideas being introduced. Efforts were not made to bring about innovations. Initiatives were lacking to improve on old and existing songs, and new creations were very rare indeed.

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On the subject of traditional songs, papa added: Untuk menghidupkan dan mengekalkan lagu2 tradisi Melayu masyarakat Melayu harus dikenangkan kembali kepada keindahan lagu2 Melayu tradisi dengan pertunjukan disertakan penerangan dan analisa. Hendaklah ada yang membuat kajian, collection dan penyelidikan, Mengadakan peraduan khusus untuk lagu tradisi Melayu saja, Mengumpulkan sebanyak mungkin rakaman lagu2 tersebut dan mengadakan kutubkhanahnya termasuk pantun2nya. Menggalakan pelajar2 untuk menikmati musik seperti itu.

Two-part series on “The development of Malay music in Singapore” written in Malay by Zubir Said and translated into English. The stress is on the need for R&D. Source: SPH — Straits Times (Part 1 and Part 2), 15 & 16 February 1982).

Saya fikir PBM UKS (Persatuan Bahasa Melayu Universiti Kebangsaan Singapore) layak mengorak langkah kejurusan tersebut tadi., mungkin dengan kerjasama suatu Foundation dan juga orang2 yang ahli, misalnya orang2 lama yang masih ada, pemain2 musik, penyanyi2 dan ahli2 sejarah.11 (In order to sustain and maintain Malay traditional songs, it is imperative that we remind the Malay community of the beauty of Malay traditions by organizing shows which are accompanied with analysis and documentation. There ought to be people who will carry out research, exploration, and collection, and competitions specifically for traditional songs only. [There should be] the collection of the recordings of such songs as much as possible and a

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library for these and related poems could be set up to encourage students to appreciate such music. I think the PBM UKS would be the most appropriate organization to take the step towards this, perhaps with the cooperation of a particular foundation and also of people who are experts e.g. the veterans, musicians, singers, and historians.)

In 1982, papa called for the setting up of a music institute that could undertake serious research into the world of Malay music. Through it, music workshops that were able to carry out relevant experiments could be established, so that such experiments could result in innovations. Almost thirty years have elapsed. His suggestion for setting up a research institute for the development of Malay music has not materialized. Perhaps a national institute could be set up for the purpose of researching all forms of music from the various ethnic groups if one does not already exist. Zubir Said harboured a vision of a development greater than just an institute for the study of Malay music. He envisioned the study and research of all aspects of the cultures of all three races, housed under one roof, where the members could interact and share ideas and activities and also cultural inheritances i.e. khazanah, such as instruments, artefacts, etc. He foresaw that this sharing and working together could forge a unique relationship for national unity and integration in every aspect of communal and national culture. Personally, the School of the Arts (SOTA) seems like the ideal centre for forming this umbrella institute and could become the catalyst for such a pursuit.papa believed and was convinced that sports and music and the arts are the means that can narrow the gap among races, and help them close ranks and come close together.

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The Development of Malay Music in Singapore; Focus on the Question of Identity in Malay Songs In the 1980s, the subject of the development of Malay music was a much discussed topic. Zubir Said was very much at the centre of these discussions. He had found that very little or no research had been done to address issues of lethargy and stagnancy in the development of Malay music. Hence his call for the formation of a proper institute of research, which I have referred to. Reproduced here are his views and ideas of Malay music. They might, I hope, be useful in providing jump-off points for further discussion and research.

Folk Music and Songs Between 24 November and 22 December 1959, a series of lectures, discussions, training sessions and demonstrations, and performances was conducted by Anthony Saletan, a visiting American specialist on folk songs. The training was sponsored by the United States Information Services and specially arranged by the Ministry of Labour and Law through the Community Recreation Division, Social Welfare Department in Singapore. This training session was an “organized effort to inspire youth and recreational leaders to make use of local resources and material”. At the specific request of Saletan,12 Papa was invited to speak on the topic, “Malay Folk Music and Songs”. He was commended for “an excellent lecture”. The feedback Papa received was heartening. Saletan was quoted as having praised Zubir Said, saying:

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We were particularly impressed by the rich content of your lecture and learnt a great deal from your experience and expert knowledge.13

We can share his thoughts on the subject of “Malay Folk Music and Songs” in this book. Although he was more competent to speak on Malay music, Papa however, also had vast exposure to the music and culture of other ethnic groups, which he found very enriching. And he had himself blended some elements of, for example, Chinese music with Malay melody until the music actually became recognizably a Malay tune. This was what he described as a fusion of indigenous elements of music to create new original music in the development of music that a country could be proud to call its own. He did not favour the total adoption of elements of foreign music and culture that are alien to Eastern values.

Generally, the Malay folk songs that are favoured are those sung in a soft, swaying melody (lemah gemalai), in a lilting voice as if “sculptured” (dengan suara yang berukir-ukir), whatever their character, be it romantic, sad, affectionate, satirical, witty, narrative, or even patriotic. It might not be far from the truth to say that the Malays are defined by their agrarian culture (istiadat kampongnya). They relish the fineness in their sculpture, embroidery, paintings, dances and in their literature and arts. The proof of the essence of their cultural finesse lies in their ability to express intent in cultured speech which is non-direct and laced with proverbs and fine figures of speech and idiomatic expressions (perkataan dan bidalan2 yang halus). This is most evident in traditional Malay songs which are known as asli or traditional songs.

On the subject of Malay folk music, papa explained that Malay folk music is unlike the folk music of other countries where the folk songs are sung by the community at weddings, rice harvesting, fishing at sea, and so on. Most of the Malay folk songs are strophic14 songs, which are sung in a series of verses that may be satirical or in the form of a story. Many singers may take turns to sing these to the accompaniment of a traditional tune. Whereas the tune remains the same, the verses in the song may change at the discretion of the singers who may improvise on the spot.

Of the many Malay folk songs, the Dondang Sayang perhaps tops the choice of community folk songs. The Dondang Sayang is especially popular with the Baba and the Nyonya community. It is widely performed at functions such as weddings, in palace occasions, and even as lullabies. The most important element in the Dondang Sayang is not the tune, but the lyrics, which are usually in poetic form. Often the singers invent new lyrics in poetry or improvise old ones on the spot.

In north Malaya, there are a few lively folk songs sung in unison and in chorus. A main lead singer may sing a phrase or two and this is repeated in a chorus by the entire group. This is the boria which has a long history of its own. In Malaysia the boria is synonymous with Penang.

Children’s folk songs are normally witty and funny and are not sung in a flowery style. Most of these songs consist of repetitive words and repetitive melody. They also constitute strophic songs. Typical examples of these songs are the lively songs such as Bang Selebu and Kenek Kenek Udang.

Syair or “poetry recited melodically” is quite popular in storytelling. The tune is very short, but is sung repeatedly throughout the story.

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In the case of lullabies, there isn’t a typical lullaby for the entire Malay Peninsula. Every state may have its own lullaby. In fact, the lullabies may be different in different households. The Dondang Sayang is popular as a lullaby in many states. Folk music has been described as those music pieces that have a unique tune and melody and rhythm (rentak dan irama). These often accompany dances such as the joget, inang, and serampang. There is also music that has been borrowed from the Arabs, such as the masri and the zapin. In the north of Malaya, in Penang and Perak, the zikir barat is a folk song that is sung by a large group of singers who hardly sing any melody, but focus on the lively rhythm. The rhythm is made upbeat by the clapping of hands performed in various styles and formations.

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Zubir Said’s speech on “Malay Folk Music and Songs”, 15 December 1959.

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There are folk songs which are very popular and are often sung at functions. These are the Rasa Sayang and Mari Pulang. Both songs are commonly sung in Singapore, Malaysia and Indonesia. In fact, these are the two most common folk songs that our ambassadors overseas — students and diplomats alike — would prepare as their repertoire of folk songs. Like papa always said, Singaporeans and Malaysians are not singing people, they are listening and observing people. “The normal trend in our society is to observe only. So there is more passive than there is active involvement.” Perhaps it’s time for us to change our mind set and to answer his call to create a society that will “make music our way of life”.

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Zubir Said’s SOLMISASI System Papa’s SOLMISASI system remains a legacy to be unravelled — one of many bequests that he left for future generations. So what is this SOLMISASI system? It is a system of learning music and singing using the number notations from 1 to 7. Papa felt very strongly that schoolchildren and the community at large should learn to read music. Being able to apply music to these seven numbers is an extremely desirable musical literacy before learning the staff notations. The skill helps to develop a community that is able to vocalize any song, any music piece with ease and confidence, something very useful in a developing and developed country. When people become musically literate in the simplest form of music language using number notations, music becomes “a way of life’, a cultural phenomenon that the nation can be proud of. Of course, those who are born to excel in music should pursue their music career to the highest level possible, as Iskandar Mirza Ismail and Bernard Tan, the music icons of Singapore, did. But for everyone else, a basic ability to read music, hum and sing is as essential as being able to read, write and count. For several years, papa continued in his efforts to pass on the knowledge and skill of learning music and singing using number notations. In February 1965, he designed, printed and published Book 1 on Membaca Musik (Reading Music) for primary schoolchildren in Singapore, which was closely guided by the syllabus for music for primary schools. He even went to schools to train teachers on how to use the book. He also recorded the system on gramophone records in four stages. However, as someone remarked, he might have been too advanced for his time. His target population was not ready for the challenge. They were not endowed with Papa’s passion and perseverance then. And now? It is his hope that music will continue to flourish in his beloved Singapore and Malaysia as a way of life. He would be happier still if Singaporeans and Malaysians continued to retain or develop, and maintain and nurture their own culture — if I may describe it as ethnic culture — which would reflect their local identity; in the songs they sing, in the dances they dance, and in their arts which will be characteristically their own. He was particularly interested in promoting local folk songs which may be a fusion of the ethnic characteristics of the different races in the country, but not of imported influences — I am repeating this here for emphasis. As an illustration of Zubir Said’s SOLMISASI system, the preliminary chapter in membaca nada, that is reading tone, from his book15 on teaching music to primary schoolchildren, is translated and reproduced here.

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Reading Tone Let us learn how to read the “writing in songs” (tulisan lagu). Before we can read the song and sing, first of all we have to learn its abc. We will learn to vocalize some melodious sounds. Melodious sounds are called “tone” (musical sound) (nada). For example, the note from the violin, piano, flute, guitar, and so on. We can write these tones by using numbers 1 to 7, and we can read them with the names:

do re 1 2

mi 3

fa 4

sol 5

la 6

ti 7

Learn and familiarize reading the numbers with the names of the tones. Let’s be familiar with the first three tones that are 3 3 mi mi 2 2 re re 1 1 do do The sound do is the lowest sound The sound re is one step higher The sound mi is higher than the sound re

Samples of lessons for learning music by number notations taken from Zubir Said’s book, Membaca Music, for primary schoolchildren. Source: Private Collections.

Which sound is higher: The sound of the bird or the cow? The sound of a child or an old person? Which sound is lower: The sound of a bell or the sound of a gong? We can now make the sound do re mi Do not forget that do is written with the number 1, re with the number 2, and mi with the number 3.

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Now let’s write the three tones in parts, which are called matra (bar) We will read and sing with regular beat or regular rhythm, four beats in one matra. mi mi re re re do do 1 1 2 2 | 3 3 2 |

mi re re re do do do 1 1 2 2 | 3 2 1 |

re 2

|

do 1

|

When a song consists of four beats in every matra, we will write



RB 4

before the beginning of the song. This means “4-beat rhythm”. Let’s learn this little song below. The number (0) is the jeda (rest) symbol, i.e. the beats which have no tone (silent beat), but it is still counted.

RB 4

| 1 1 2 2 | 3 3 2 0 | Ma - ri ki - ta ber - la - gu,

| | 1 2 1 2 | 3 2 1 0 La - gu “do re mi re do”

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Papa and Mama Song When you begin to learn the tones in a song, it is helpful to tap your hand up and down according to the tones of that song. a) Read the names of the tones according to the beats. b) Sing the tones and at the same time tap your hand according to the beats of the tones, up or down. | RB | 1 1 1 2 | 3 3 3 2 4 2 - 0 0 | | 1 1 1 3 | | | 1 1 1 2 | 3 3 3 2 || | 1 1 2 2 | 1 1 1 0 c) Now sing the words without tapping your hand. RB | 1 1 1 2 | 3 3 2 2 | Ba - pa be - li se - pa - tu, I 4

| | 1 1 1 3 | 2 – 0 0 bu be - li ba - ju. | | 1 1 1 2 | 3 3 3 2 Ba - pa mem - ba - ca bu - ku, I | 1 1 2 2 | bu ba - wa ko -

1 pi

1 su

1 - su.

0

||

(The symbol (–) means to continue to hold the sound for another beat)

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Adding Two More Tones We now know three tones: 1, 2, 3. Let us add two more tones such as: fa (4) and sol (5) 5 sol 4 fa 3 mi 2 re

1 do

A selection of gramophone recordings of Zubir Said’s compositions.

The fa (4) sounds higher than mi (3) and the tone sol (5) is higher than fa (4). Let us sing the tones below from left to right: 1 1 2 1 2 3 1 2 3 4 1 2 3 4 5 1

3

5

5 4 3 2 1 5

3

1

Zubir Said’s notebooks and publications.

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Practice Read the names of the tones according to the number of beats Sing the tones. a) RB 4 | |

1

2

3

4

| 5 0 4 – |

3

3

2

2

| 1 1 1 0 ||

And so the lesson progresses step by step in the book. The learners are taken through a series of relevant steps in learning music. Basically, the book focuses on five aspects of training based on the government’s music curriculum for schools. 1. Voice training 2. Training in rhythm 3. Singing using the number of notation in the SOLMISASI system and progressing towards staff notation 4. Training in listening skill 5. Movement with music The small book is interspersed with many diagrams, examples and exercises, quizzes, and at least twenty short, catchy songs which appeal to children. There is also a “guide” section for teachers. With the ability to read music, anyone can then easily learn to sing any kind of songs from any region, and in whatever language because number notations in music are international, just like staff notations are. But for the man in the street, I think knowing the SOLMISASI system is the way to start. Then singing folk songs would be easy once we know how to read and sing the songs in number notations.

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Theory Formulae Charts Noryani has found Papa’s theory formulae charts helpful when teaching her students of music. This is a legacy that may be useful. If it has not already been widely used, I am sure Papa would have liked others to benefit from it. From this chart, a student can tell the key signature of all the keys (from 1 sharp to 6 sharps and 1 flat to 6 flats) e.g. the key signature of B major is F#, C#, G#, D# & A# and the relative minor key (the minor key with the same key signature) is G# minor. Zubir Said’s Theory Formulae Charts.

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For G# harmonic minor scale, apart from the 5 sharps in the key signature, it is necessary to raise the 7th note of the scale which is F (F double sharp). In the case of G# melodic minor scale, it is necessary to raise the 6th and 7th notes of the scale which are E# and F respectively. A student is also able to find out tonic triads (chords) of various keys from the chart e.g. tonic triad of: G major is G B D (follow the arrow on the chart) D major is D F# A E minor is E G B B minor is B D F# Bb major is Bb D F# and G minor is G Bb D The chart itself is easy to formulate.They are five steps apart for the keys with sharps and four steps apart for the flat keys e.g. We begin with F# and move five steps to C# and move another five steps to G# and move on. Likewise, the major key with 1 sharp is G major, move five steps and the next key will be D major etc. For the flat keys, the first flat is Bb. Then move four steps to Eb and continue moving four steps to the 6th flat. His adaptation of the major and minor scale pattern is another useful tool 1. 2. 34. 5. 6. 71 The above is a major scale pattern which is used to find out any major scale after which it is transcribed to notes, e.g. 1. 2. 34. 5. 6. 71 From the major scale pattern, the minor scale is derived by beginning and ending with the 6th note. 6. 71. 2. 34. 5. 6

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Tributes and Awards For his dedication and enormous contribution to the people and Government of Singapore and for his gift of Majulah Singapura to the country, many accolades were showered upon Papa during his lifetime as well as posthumously. The most recent honour bestowed on my father is “Zubir Said Drive”, a truly admirable gesture by the Government of Singapore. It certainly is a befitting tribute. It is especially meaningful for three main reasons.

“The tiger dies leaving its stripes, the elephant dies leaving its tusks, man dies leaving his name.” Awards and tributes bestowed on Zubir Said.

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Source: SPH — Berita Harian, 25 Jamadil Awal 1391H.

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The new address of SOTA — No. 1 Zubir Said Drive — A befitting tribute to a man who was self-driven all his life.

Firstly, the word “Drive” is very appropriate. The word describes the man himself, who, throughout his life, had immense drive and was self-driven to achieve almost everything he had set out to do, without the slightest fear and with full dedication, sincerity and commitment. Secondly, the address of SOTA, the brand-new School of the Arts, “No. 1, Zubir Said Drive”, is exceedingly apt. Linking papa with the unique and well-known school of the arts that nurtures children — he dearly loved all children — in various aspects of the arts, culture, and music, is brilliant. He would be extremely happy to belong — even as only a “name” on a short lane.

Thirdly, the tribute is the pinnacle of recognition for papa’s enormous contributions in the fields of music, the arts and culture for more than fifty years; particularly of his gift of a prayer for the nation — Majulah Singapura. It is a recognition of, and a dedication to, not only papa himself, but the entire people of Singapore in which Papa, in the words of Lee Kuan Yew, “is a constituent member”.16 Papa was blessed with many kind and generous thoughts from people from all walks of life. However, only a very few can be recorded in this book. It is a well-known fact that it is often the singer who receives the adulations rather than the composer behind the

Epilogue

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song. It is my observation that this is not any different for Papa or other composers. The innumerable songs of Zubir Said can be heard over the radio, at live shows, on television, and in films, sung by known and unknown singers. The singers are often credited but hardly the composer. A case in point can be given presented here as an illustration. In a press report of the popularity of a paper presented at a congress, the focus of the report was on how the singer Saloma and other singers attracted so many interested people to the proceedings. This was alright, but the press lost sight of the importance of the lecture and the speaker, especially as the news was on a paper presentation by Zubir Said on “Malay Language in Songs”. He needed to demonstrate and illustrate the essence of his paper with the help of singers and musicians. There was no doubt that his approach created a big impression on the audience. It is the same with any anthem. Over time, the anthem lives on, but the composer gets forgotten. I have no doubt that one may ask at random who the composer of the national anthem of Singapore is. Perhaps 98 per cent of the population would not know or could not remember, especially the young. However, as I have mentioned, this is not unusual. Even in the accolades showered upon Majulah Singapura, words of appreciation quite often focused on the song itself and the composer took a back seat. But to me, any appreciation of papa’s music and songs, whether he is personally acknowledged or not, is an indirect appreciation of him personally as the man behind the music. After all, he was responsible for its creation in the first place. It is gratifying enough!

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Congratulatory letter from Mr Wee Kim Wee to Tarminah on the Lifetime Achievement Award conferred posthumously on Zubir Said, 20 April 1995.

Likewise, the accolades that Majulah Singapura has received are indirect reflection of people’s appreciation of Papa as the composer of the anthem. The Social Affairs Minister at that time, Othman Wok, described the anthem as: perhaps the best example of a successful blend of the different cultures. The stirring tone of our lively anthem is so musically eclectic that it sounds neither predominantly Malay, Chinese, Indian nor Western. It is in fact an organic medley of all these into one composition.17

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In 1959, the journalist Chow Seck Chiew poignantly described the end to Singapore’s Loyalty Week as having left “just happy memories, but one feature will not be forgotten”. But one feature will not be forgotten, but will in fact, continue to live evergreen in the hearts of all who are proud to be citizens of Singapore. This is the new State Anthem Majulah Singapura, the simple stirring words of which were sung with deep feeling by thousands of old and young alike during the celebrations.18

A wonderful congratulatory greeting20 from former President Wee Kim Wee arrived for mama when papa was posthumously awarded the Lifetime Achievement Award. It was indeed very heartening to know that in a personal way he remembered papa. Needless to say, we felt very honoured. My mother would be happy to note that his kind wishes are properly recorded for posterity, as they should be. At the launch of the book Mengenang Zubir Said, Papa was described as a national treasure cherished by all Singaporeans. Yatiman Yusuf, MP for Kembangan and parliamentary secretary for Foreign Affairs at the time, said, that Zubir Said, was also regarded in some circles as “an institution”, and that his music should be treasured as a source of inspiration for the younger generation.

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An exhibition of Zubir Said’s work and music, 10–26 March 1990. A 120-page book on Zubir Said’s life and music sponsored by Berita Harian, was launched at the exhibition.

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In addition, an exhibition in memory of Zubir Said was organized by the Ministry of Community Development, National Museum and National Archives, Oral History Department, for the public (free admission), 10–26 March 1990. The exhibition was aimed at portraying the many facets of the composer of Majulah Singapura. A 120-page book on the composer’s life and music, which Berita Harian sponsored — a real bakti yang murni (real sincere dedication) — was launched at the exhibition. It was actually begun a few months before papa passed away. It was unfortunate he didn’t live to see the book, but without doubt papa was aware of and deeply appreciated that such a unique recognition was being planned for him. This project by the Singapore Cultural Foundation (SCF), that headed the committee, I was told, was laborious, because very few of papa’s songs had been published. Sadly, Papa had neglected this aspect of his life. It goes to prove how unconcerned he was with publishing his work and therefore earning royalties. He just carried on composing, not caring about the commercial benefits that he could enjoy. He had over a thousand compositions to his name, but many cannot be traced. Despite many obstacles and difficulties, the project on the book was completed and this, I think, was due to the dedication and hard work of all concerned, especially the hard-working Joe Peters, assistant director of the National University of Singapore’s Centre for Music Activities and chairman of the panel which selected the songs for the book. Juliana Lim, deputy director for (cultural services)/honorary secretary of the SCF, described papa as a “national figure” and said at the time that it was important to complete the project. I had the great pleasure of meeting her and helping her in her

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noble effort, together with Joe Peters, to commemorate my father’s life and work. She appreciated that my father’s life and work deserved to be documented because she felt that: He had a very important role in nation-building. He was a national figure, and not just a Malay composer.20

In Kuala Lumpur too, between 13 and 18 August 1988, the National University of Malaysia (Universiti Kebangsaan Malaysia) and FINAS (Perbadanan Kemajuan Filem Nasional Malaysia) honoured papa with an exhibition, lectures and the launch of a book, Mengenang Pak Zubir,21 authored by Sulaiman Jeem and A. Ghani Hamid. At that time, the director of IBKKM (Institut Bahasa, Kesusasteraan dan Kebudayaan Melayu) of UKM, Professor Ismail Hussein,22 personally wrote letters to me on the plan for the project. He kept me informed of every stage of the development of the seminar on “The World of Malay Music in Memory of Zubir Said”. It was a truly wonderful gesture on his part and of IBKKM and FINAS, especially when this first book on Zubir Said was also launched. The occasion was made more meaningful by the presence of a Malayspeaking Filipino, Arsenio Nicolas, from the School of Music Research, University of the Philippines in Manila, who was invited to present four lectures on “The World of Malay Music”. I can only imagine how very elated papa would have been had he been able to exchange ideas and information in an animated manner with Nicolas. Needless to say, the highlight of the seminar after the forum was Siti Zainon’s declamation of her sajak, Doa Laut Teduh.23 It was a beautiful tribute yang menyusuk kalbu (touching the core of the heart).

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From Henry Cowell, a music composer of the Columbia International Folk Music Council in New York, who came to Singapore in 1956, papa was acknowledged for his “very good use of Malay spirit in (his) music”.24 He was so impressed with Zubir Said’s knowledge of folk dance and music that he wholeheartedly recommended and paid the subscription for papa to join as a member of the International Folk Music Council,25 an honour which gave papa a heightened sense of achievement. Maud Karpeles, the honorary secretary of the International Folk Music Council was responsible for breaking the good news to Papa.26 Joe Peters, assistant director of the Centre for Musical Activities at the National University of Singapore, paid papa this tribute: He was one of the pioneering catalysts in the onward march of Singapore music. He wrote music for the common people. There was no pretence about what he wrote, that’s the great part. It could not have been easy writing the national anthem, but listening to it, you could tell it came from a deep-seated sincerity.27

Other awards and tributes bestowed on Papa were: Certificate of Commendation and the Public Service Star for Composer of Singapore National Anthem, 1962. The Insignia of the Certificate of Honor (Sijil Kemuliaan) 16 March 1963, from His Excellency, Yang di Pertuan Negara Singapore. Jasawan Seni, a unique award conferred by eight Malay cultural organizations for his contribution to the Malay culture in Singapore — Persatuan Kebudayaan Melayu Singapura (PKMS) Perkumpulan Seni, Perkumpulan Sriwana, Persatuan Persuratan

Zubir Said heralded by kompang on his arrival to receive the unique award Jasawan Seni by eight cultural bodies in Singapore, 1971. Source: SPH — Berita Harian, 20 July 1971.

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Pemuda Pemudi Melayu (4PM), Persatuan Wanita dan Teruna (Perwanit), Angkatan Sastera 50 (Asas 50), Angkatan Pelukis Anika Jaya (APAJ), Kesatuan Guru-Guru Melayu Singapura (KGMS) and Taman Kajian Pemuda Pemudi Melayu – presented by Encik Othman Wok, 1971. Sangeetha Kalabooshan Award from the Singapore Indian Film, Arts and Dramatic Society, 30 March 1974. Sri Budiman Award from Sriwana 20 December 1980. Asean Cultural and Communication Award for his contribution to the performing arts. Each Asean country nominated four people and their nominations were endorsed by the Asean Committee on Culture and Information. The reward was a trophy and US$1,500, 24 August 1987 (84 days before his demise on 16 November 1987). Lifetime Achievement Award from Compass

They honour my father with their kind poetic tribute, which will forever be remembered by me and my family and I honour and thank them. I have arranged the puisi (poems) and sajak in chronological order. It is indeed gratifying to know that Papa had the privilege to enjoy A. Ghani’s praises of him in his lifetime. Papa would have been extremely moved to read these again and more from the people who remembered and honoured him. The poetic tributes and other innumerable gestures and expressions of kindness and appreciation from individuals, organizations, the people and the government are for Zubir Said the crowning glory of his life’s pursuit: an aim for the treasure trove that lives on in a father’s prayer — that his work, his songs and his music will forever continue to be relevant and have a place in the hearts and minds of a people he called his own.

(Composers and Authors Society of Singapore) $10,000 17 April 1995 (posthumous award). Award by Amalgamated Union of Public Employees, AUPE record album, Song of Solidarity, presented by G. Kandasamy, general secretary. Finally, something that would surely have pleased papa who loved poetry and everything fine, pure and beautiful. I am reminded how papa, even as at the tender age of ten, appreciated and enjoyed the poetry at a Sumatran wedding that he and his father attended, where rich poetic dialogues flowed throughout the ceremony. These are the poetic words from the hearts of three well-known poets in appreciation of Zubir Said, the “quiet man who makes lasting music”.

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Ukiran Bermadah

by A. Ghani Hamid28 (August 1975) (untuk Pak Zubir)

Kepada Pak Zubir, Singapura. Titisan embun di kelopak kembang mendorong kesegaran berdiri seiringan irama yang berkumandang menggagahi tekad murni. Demikian nada lagumu di dada berbunga sepanjang zaman bercinta madahnya bermentera dendangnya menjulang cita. Dan hari ini tambah dewasa ukiran dengan madah ‘majulah Singapura’.

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Bakti Semurni Budi

by A. Ghani Hamid (July 1987)

Pak Zubir

by Sapiee Ahmad Razaly29

(buat Pak Zubir)

Menjalini udara pagi sepi kelopak- kelopak kenanga mewangi dan terukirlah di angkasa tinggi “bersatu dengan semangat yang baru” dendangan cita-cita insan sebumi berlirik kerinduan yang sama. Di atas gelombang dan ombak kutemui nyanyian sejagat di celah bayu berlalu kutemui bisikan kembara kupetik awan di puncak gunung kulukiskan kemumian cintamu. Betapa indahnya bumi ini dibelai oleh bakti kekasih dan tak pernah ganjaran diminta-minta tak mampu berwajah dua, betapa tuahnya bumi ini kerana baktimu semurni budimu. Ketika lapanpuluh tahun dicatatkan kudoakan semurni harapanmu.

Pak Zubir sudah sampai waktumu pulang ke rahmatullah pagi itu beburung berhenti berkicau dedaun merendah diri bebunga menundukkan wajah alam mengutus takziah membuka laluan untuk keberangkatanmu semua makhluk memberi hormat mengiringi rohmu berhijrah menemani jasadmu berpindah dalam persemadian yang indah Pak Zubir sudah sampai waktumu menyahut panggilan Ilahi di kejauhan begini mataku mengenang wajahmu kembali kukirim selembar puisi mengucap salam takzim tanpa berjabat tangan sesungguhnya

kita sudah bertemu dalam semangat ‘Majulah Singapura’ dan dalam pertemuan itu kunikmati kesenimananmu mencipta roh negara dengan kekuatan suara hatimu dengan keunggulan ilham fikirmu kaulah pahlawan kesateria pewira bersenjatakan pena berjuang dengan sifat panglima mengangkat nilai diri manusia Pak Zubir sudah sampai waktumu singgah di alam barzakh semoga Allah menerima kehadiranmu Amin.

Doa Laut Teduh

by Siti Zainon Ismail30 (12 August 1988) (Setelah pergimu Pak Zubir)

Kala matahari melangkari hujung senja setelah pecah warna hayat segumpal degup, selepas menyayup ke Tama Jauh… Pusara bulan tak lagi bersinar namun, Bintang Yang Satu tetap begitu! dengan detak sukma memenuhi sejarah nurani. Biar halaman senyap sunyi daun-daun tak berembun pagi masih kami petik bunga Cipta Lagu kecintaan hingga irama menjadi doa ranting kasih tetap tumbuh

ombak bergulung lagu kenangan kerana dulu telah kauhulur melati warisan dan kami menghimpunkannya di Kebun Impian. Segalang hening menjadi Satu. Bagai gelepar burung menyayup tinggi kami tersentak dengan kehilangan bintang tapi tetap terkilau cerah hingga Laut berombak senafas bersisik perak menembusi semangat hayat hingga kita tak memanjang duka kerana ‘Serampang duabelas’

atau ‘Cempaka Biru’ menggema kalbu. Apakah itu sejarah atau kilat mengilang dipeta Nusantara warisan budaya bangsa? Hanya Dia memberi dan kini mengambilnya Kembali. Di sini denting semakin bangkit biar angin telah Tafakur Tabir Hayat diturun dan Laut semakin Teduh Namun Lagu telah bersatu dengan Doa Kau Restuilah Keberangkatan Abadi.

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Notes

1.  Patah tumbuh, hilang berganti: A Malay proverb — Patah tumbuh means “when something (like a branch) snaps, a new branch will grow in its place”; hilang berganti: when there is a loss (could be a death or material loss), there will be a replacement.

13. Letter, 16 December 1959, from Ong Kah Kok, ibid. Source: Private Collections.

2. Part of the message of his acceptance speech on receiving the prestigious Jasawan Seni Award in 1971 (It’s a long speech; the above is the “introduction”. Source: Private Collections.

15. Zubir Said, Membaca Musik, pp. 7–9.

3. “The development of Malay music….” A two-part article in Malay by Zubir Said in Straits Times (Parts 1 and 2), 15 and 16 Febuary 1982. 4. “Malay Folk Music and Songs”, paper presented at a training session sponsored by the United States Information Services and arranged by the Ministry of Labour and Law. An invitation by Mr Anthony Saletan, an American specialist on folk songs, 15 December 1959. See note 12 below. 5. “Westernized Youth: The English Educated Have Become ‘Asians with Western Minds’ — they rock and roll, they wear American-style clothing, and they copy the lifestyle and behaviour of the West”, Standard (Editorial), 26 April 1957. 6. “Badan-badan Budaya Mesti Bersatu”, ARENA, 18 July 1971. 7. “Pak Zubir menggesa belia hindaran pengaroh dari luar”, Berita Harian, 25 Jamadil Awal, 1391. 8. Ibid. 9. Address in Malay by Zubir Said to Perkumpulan Seni, undated. Source: Private Collections. 10. Inang: The word inang refers to a nursemaid. In ancient Malay royal households, children were looked after by many inang, whose walk was often described as lenggang inang: lenggang, meaning “sway”. They were known to walk with a swaying gait. In the Malay culture, there is a dance called tari (meaning dance) Mak Inang (the dance of the mak inang) “Mak inang” is a polite address for an elderly nursemaid. Over time, the musicians accorded music to depict the walk resembling the walk of the mak inang in ancient history. 11. “Zubir Said’s views on traditional Malay songs”. Source: Private Collections. 12. Letter, 29 October 1959, from Ong Kah Kok, assistant director, Community Recreation, inviting Zubir Said to participate in the training programme by Saletan. Source: Private Collections.

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14. A strophic song is a type of song that has the same melody (tune), but different lyrics (words) for each stanza (strophe), . 16. Quoted in Zubir Said’s speech to students on the anniversary of the nation state, 25 August 1975. 17. The Straits Times, 19 July 1971. 18. Singapore and Malaya Month to Month, December 1959. 19. Letter from the former president of Singapore, Wee Kim Wee, 20 April 1995. 20. “Exhibition in Memory of Zubir Said”, New Straits Times, 10 March 1990. 21. Ibid. 22. Professor, now Tan Sri Professor Emeritus Dato’ Pendita (Dr) Haji Ismail Hussein, in Sulaiman Jeem’s book, Mengenang Pak Zubir. Ismail Hussein an illustrious literary personality with expertise in Malay language and sastera, has been the chief head of GAPENA (Gabungan Penulis Nasional) since it was formed in 1970 for the enrichment, protection and development of writers, writings and literary works. He is well known internationally, and is responsible for international relations in understanding Malay language and culture in the broad sense of the word. Specifically he has organized numerous symposiums in various parts of the world to bring together nations having common interests and concerns with the development of Malay culture and language: Sri Lanka, Vietnam, Yunnan-China, Cape TownSouth Africa, Mindanau-philippines, Madagascar, BangkokThailand (Mecca-Medina). The highlight of his effort was the organization of the Malay World Symposium in Shah Alam, 1996, from which a Secretariat Foundation for International Malay resulted. He became the executive director of this Secretariat, and in 2001, held the Malay World Conference at PWTC (Putra World Trade Centre), Kuala Lumpur. . 23. Doa Laut Teduh: Sajak by Dr Siti Zainon Ismail; see p. 267. 24. L etter to Zubir Said, 7 February 1959. Source: Private Collections. 25. Chow Seck Hiew, “The Composer of Majulah Singapura Realizes His Ambition”.

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26. Zubir Said’s “Thank You” letter to Maud Karpeles, honorary secretary, International Folk Music Council, 3 August 1957. 27. Helen Chia, “Mr Marikita: Shy, Humble and Well-loved”, Straits Times, Section Two, 17 November 1987. 28. Abdul Ghani Hamid is an artist of outstanding international reputation. He has participated in numerous exhibitions since 1950: Contemporary Art in Asia (1965), the first Art Exhibition in Hong Kong, (1977) Salon des Artistes Francais Grand Palais, Paris (1988). He has held at least six solo exhibitions. He is also a prolific writer of at least eighteen books and has authored numerous anthologies of poems, specifically Jalinan Rasa; Delimah Merah (a novelette in Malay); A Journey with No End (anthology of poems), and has been conferred with the following awards: “Tun Seri Lanang 1977” from the Malay Language Council Singapore) in 1988; the SEA Write Award Bangkok in 1998; the “Jasamu Dikenang”, memento presented by the Literature and Culture Week Working Committee, Melaka 1998; and the Cultural Medallion, NAC Singapore 1999. . Source: Edited excerpt from the Singapore Cultural Arts and Heritage Journey. 29.Sapiee Ahmad Razaly: The exact date of the publication of his poem on Pak Zubir is not known, It could be immediately after the demise of Zubir Said, judging from the words of his poem. It is like an obituary. Sapiee is a poet and a journalist and wrote a great deal for the media.

30. Siti Zainon Ismail (PhD, University Malaya, 1992) is a Professor at the Universiti Kebangsaan, Malaysia (UKM). She has had an illustrious career as poet and artist extraordinaire. Her expertise is on Malay culture, encompassing various aspects, from traditional music, art, textiles, costumes (busana) and painting, all couched in fine Malay traditions. She is known for her prolific writing of many novels and short stories. She has represented Malaysia in poetry readings, exhibitions and seminars on the arts and culture at home and at the international level: in the Philippines (1976); Bhopal, India (1985); West Berlin (1985, 2000); Seoul, Korea (1986); Indonesia, Aceh, Bali, Jakarta, Lombok, Makassar, Padang, Riau, Palembang, Yogyakarta (1983–98); Thailand (1986, 1989, 1990); France 1986); London (1986, 1990, 1992); Australia (1993); Singapore (1990, 1995); and Hamburg (2000). Her poems have been translated into other languages: Bulgarian, Hindi, English, Korean, Urdu, Japanese, French, Thai and Russian. She is the winner of several awards — for Malay Puisi (1975, 1976, 1979, 1983, 1985, 1991); Maybank-DBP (Short stories 1996/97/98); SEA Write Award (1989); Cut Nyak Fakinah (Aceh) 1990; Tan Seri Fatimah-Avon (1993); Pingat Jasa Kebaktian, Selangor, !993). Professor extraordinaire University Jabal Ghafur (1996), and PSMS Selangor (2002) .

Epilogue

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Bibliography Abdul Majid Ismail. “Bahasa: Perlu Tegas. Masa Depan Bahasa Melayu Sama Penting Dengan Inggeris”. Berita Harian, 31 December 1959, p. 1. Ah Fook. “Talking Point”. New Nation, 15 January 1979, p. 20. Aisha Akbar. Thirty-six Best Loved Songs of Malaysia and Singapore. London: University of London Press, 1966. Arena Jilid. “Badan2 Budaya Mesti Bersatu”. 18 July 1971. Asma M. Naim. “Kisah Seorang Perantau. Wawancara dengan Zubir Said, Pengarang Lagu Kebangsaan Singapura”. Haluan, 19 September 1972. _______. “Datang ke Singapura Tahun 1928”. Haluan, 20 September 1972. _______. “Orang Tilatang Pertama Yang Sekolah MULO di Padang”. Haluan, 21 September 1972. _______. “Kisah Orang Minang di Malaya dan Singapura”. Haluan, 22 September 1972. _______. “Dulu Dikenal dengan Merantau ke Kolang”. Haluan, 23 September 1972. _______. “Dari 10 Orang Minang di Singapura, 6 Orang Kahwin dengan Orang Sana”. Haluan, 25 September 1972. _______. “Apakah Mereka Bangga Sebagai Orang Minang?”. Haluan, 26 September 1972. Aster, Gunasekera. “The News As It Strikes Me”. Singapore Standard, 15 August 1957, p. 6. Berita Harian. “Menchari Lagu”. 12 July 1957, p. 1. _______. “Beliau Menggubah Lagu Kebangsaan. Sajak Minta Taat Setia dan Bersatu”. 24 July 1957, p. 2. _______. “Singapura Akan Dewasa. Minggu Kesetiaan Dirayakan Besar-besaran oleh Raa’yat”. 9 November 1959, p. 1. _______. “Majulah Singapura Ditayangkan pada Minggu Kesenian Negara”. 20 November 1959, p. 7. _______. “Lagu2 Melayu Asli Harus Di-galakkan”. 17 December 1959, p. 8. _______. “Pak Zubir Menggesa Belia Hindarkan Pengaroh Dari Luar. Penggubah Lagu Kebangsaan Menerima Anugerah”. 19 July 1971, p. 1. _______. “Salah Faham Mengenai Lagu ‘Semoga Bahagia’ Selesai”. 12 September 1974, p. 1. _______. “3 Versi Semoga Bahagia untuk Hari Kanak2”. 27 September 1974, p. 1. _______. “Panduan Nyanyi Lagu Kebangsaan”. 7 April 1983, p. 1. Buku Cendera-mata. “Peraduan Bintang Sriwana 1958: Tahun Ka-empat”. 25 October 1958.

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Chermin, The Mirror. “Majulah Singapura: Singapura Bangsa2 Bersatu”. 7 August 1967. Chia, Helen. “Mr Marikita: Shy, Humble and Well-Loved”. Straits Times, 17 November 1987, p. 1. Chiew, Chow Seck. “Che Zubir Does It Again”. Singapore and Malay Month to Month, vol. IV, no. 12 (December 1959). _______. “The Composer of Majulah Singapura Realises His Ambition. Che Zubir Fulfils a Promise to His 101 Year-old Father”. Singapore and Malay Month to Month, vol. IV, no. 12 (December 1959). Citizen. “National Anthem for Merdeka”. Singapore Standard, 16 July 1957, p. 6. Daniélou, Alain. A Catalogue of Recorded Classical and Traditional Indian Music. Paris: UNESCO, 1952. Dewani Abbas. “Anda Ingin Tahu Senikata Asal Lagu Kebangsaan”. Berita Harian, 10 August 1984, p. 3. _______. “Doa Pak Zubir Menerusi ‘Majulah Singapura’ Makbul”. Berita Harian, 10 August 1984, p. 3. Foreign News Division, Government Public Relations Department, Thailand. “ASEAN Awards: Cultural Communications and Literary Works”. 26 August 1987. Ghani Nasir, A. “Semoga Bahagia Terpaksa Diubah untuk Mudahkan Murid Bukan Melayu”. Berita Harian, 2 September 1974, p. 1. Gouzali Sadam. Kamus Lengkap Bahasa Minang: Minang-Indonesia, Indonesia-Minang. Centre for Studies of Islam and Minangkabau, 2004. Hamidah Hassan. “Pak Zubir Said Pencipta ‘Majulah Singapura’”. CITRA, 16 December 1984. Haron A. Rahman and Nuryati Duriat. “The Quiet Man who Makes Lasting Music”. Straits Times, 18 October 1983, p. 4. Idros Hakim V. Dato Rajo, H. Adat Alam Minangkabau. Bandung: PT Remaja Rosdakarya, n.d. Jabatan Kesenian Kesatuan Guru-guru Melayu Singapura. “Lagu-Lagu Kita”. 21 June 1981. Jamari Mohtar. “Bina Muzium untuk Seniman Negara. Generasi akan Datang Dapat Kenali dengan Lebih Dekat”. Berita Harian, 31 March 1990, p. 9. Joseph, Margaret. “While Riding a Bus, Dear”. Fanfare, 20 August 1971. Lim Kwan Kwan. “Anthem Should be Sung with Gusto - Schools”. Straits Times, 15 July 1985, p. 7. Lim, Serene. “Audience Turns Misty-Eyed at Tribute to Zubir”. Straits Times, 10 March 1990, p. 24.

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Mafoot Simon. “Night of Nostalgia for Malay Culture”. Straits Times, 8 September 1997, p. 13. Magiar Simen. “Pak Zubir Mengadu: Lagu Ciptaan Saya Dirobah Tanpa Izin”. Berita Minggu, 1 September 1974, p. 1. Maizaton, S. “Sumbangan Pak Zubir Berkembang Zaman Berzaman”. Sriwana, December 1980. Malay Records Catalogue. Singapore: His Master’s Voice, n.d. Martin, Judith. “Arising, Blessing and Smiting Meant to Stir the Soul”. New Nation, 3 April 1972, p. 9. Miller, Brian. “I’m Not Letting Grandpa Down: Amin the Rocker”. New Paper, 6 April 1990, p. 30. Mingguan Malaysia. “Pak Zubir Pencipta Lagu Kebangsaan Singapura Sambut Usia 80 Tahun”. 9 August 1987. Ministry of Culture. “Bangsawan Jula Juli Bintang Tiga: A Traditional Malay Opera”. 11 November 1978. Mohd Kamsah Sirat. “Pak Zubir Mengenang Pahit Manis Masa Silam”. Berita Minggu, 12 July 1987, p. 12. Mohd Zain Haji Hamzah, ed. “Muzik Melayu”. In Kumpulan Cheramah2 Radio oleh Saudara S. Sudarmadji, Tengku Abu Bakar Husny (dan Yang Lain). Singapura: Radio Singapura, Bahagian Melayu, 1961. Nuraina A. Samad, “Majulah Musik”. TELL 2, no. 1 (January 2008). Nureza Ahmad. “Muhammad Ariff Ahmad”. Singapore Infopedia, National Library, 15 July 2004. Nuryati Duriat. “Pak Zubir Gembira dengan Usaha Abadikan Karya2nya”. Berita Minggu, 6 February 1983, p. 3. Perkamus. 7 Magnificent Composers. Singapore: National Arts Council Singapore & Compass, 2002. Perwira. “Lagu Kebangsaan Persekutuan”. 18 July 1957. Radio Weekly. “What National Loyalty Week Means to You: A Special Message by Mr. S. Rajaratnam, Minister of Culture, Singapore”. No. 48, November 1959. _______. “Meet Zubir Said, Composer of the Republic’s National Anthem”. 22 August 1966. Rujok Pandi. “Tidak Ada Rancangan Tukar Majulah Singapura”. Berita Harian, 5 August 1991, p. 10.

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See, Serene. Someone Like You: Titans of Our Time. Singapore: National Heritage Board, Education & Outreach Division, 2008. Seminar Musik Dunia Melayu Kenangan Zubir Said. Kuala Lumpur: Institut Bahasa Kesusasteraan dan Kebudayaan Melayu, Universiti Kebangsaan Malaysia, 1988. Setiabudi. “Ka-manakah Gema Lagu2 Nasional Kita”. Berita Harian, 9 January 1962, p. 4. _______. “Lagu Melayu Raya Gembira: Satu Paduan yang Mesra untuk Kesedaran Politik dan Keinsafan Kebudayaan Kita”. Berita Harian, 11 January 1962, p. 4. Sing Singapore. Singapore: Psychological Defense Division, Ministry of Communications and Information, 1988 and 1990. Singapore Arts Group. “Singapore Cultural Night: In Aid of Welfare and Activities Fund”. 15 February 1975. Singapore Cultural Foundation. Zubir Said: His Songs. Singapore: Times Books International, 1990. Singapore Free Press. “Singapore Anthem by Dec. Malay Song is favoured”. 19 August 1959, p. 5. _______. “Special Trip from RI to Share Son’s Joy”. 4 December 1959, p. 7. _______. “Combined Choir at Concert”. 7 December 1959, p. 5. Singapore General Printing Workers’ Union. Golden Jubilee Commemoration and Printers’ Day Souvenir Magazine. 25 August 1962. Singapore Standard. “Westernised Youth”. 26 April 1957, p. 6. Straits Times. “Saloma Sings and Delegates Crowd the Congress Just to Hear Those Words”. 20 September 1956, p. 7. _______. “Katherine Sees Joget – She’s Impressed by Its Simplicity”. 21 June 1957, p. 9. _______. “Majulah Singapura Being Taught in Schools”. 26 October 1959, p. 4. _______. “Flag Will Go Up for First Time in Loyalty Week”. 10 November 1959, p. 14. _______. “300 Rehearse for the Big Day”. 27 November 1959, p. 2. _______. “Singapore Rejoices: Yang di-Pertuan Installed. History is Made in Nine Minutes at City Hall”. 4 December 1959, p. 1. _______. “Dial 2 or 3 for the National Anthem. Singapore Loyalty Week Celebrations, the First Night”. 4 December 1959, p. 4. _______. “When the Rains Came Yesterday: On Way Out – The Head of State and the People”. 5 December 1959, p. 1.

Bibliography

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_______. “China & US: Lee’s Note of Caution”. 20 July 1971, p. 1. _______. “Teachers Can Explain Words in Anthem”. 8 June 1981, p. 16. _______. “The Lost Chords. The Search is On for Zubir’s Early Music”. 6 November 1982, p. 1. _______. “Help Trace the Compositions of Zubir Said”. 6 November 1982, p. 11. _______. “Exhibition on Zubir Said Launched”. 10 March 1990, p. 1. Student World. “Che Zubir Composes New Song”. 8 February 1960. Sulaiman Jeem. “Pak Zubir Said, Jasawan Seni”. Berita Minggu, 23 January 1977, p. 3. _______. “The Development of Malay Music Here”. Straits Times, 15 February 1982, p. 4. _______. “Question of Identity of Malay Songs”. Straits Times, 16 February 1982, p. 4. _______ and Abdul Ghani Hamid. Mengenang Pak Zubir. Singapore: Pustaka Melayu, 1988. Sunday Standard. “Terang Bulan is Unfit as Anthem. Tune Lacks Dignity - Experts”. 11 August 1957, p. 3. Sunday Times. “Accord on National Anthem”. 18 August 1957. _______. “Lyrics Are Still Significant and Relevant to Our Times”. 9 August 1981, p. 13. _______. “What the National Anthem Means”. 3 August 1986, p. 12. Tan, Julie. “Zippy Tunes Help Woo the Young”. Sunday Times, 3 August 1986, p. 2. Tan Shzr Ee. “Missing: Eight Bars”. Straits Times, 22 January 2001, p. L6. Tan Suat Lian. “The Man and His Anthem”. Straits Times, 9 August 1980, p. 1. Textbook of Musical Knowledge. Theory of Music. Grade V Intermediate. London: Trinity College of Music, n.d. Turnbull, C. M. A History of Modern Singapore, 1819–2005. Singapore: NUS Press, 2009. Walkabout. “Trivial Issue of National Anthem Sparks Intense and Frank Debate”. 22 July 1991. Wong Yim Harn. “Who is the Real Singaporean?”. Straits Times, 31 July 1979, p. 4. Zubir Said. “Perkembangan Lagu2 Nasional Melayu”. Perkumpulan Seni, October 1957. _______. Membaca Musik. Pelajaran untok Murid2 Sekolah Rendah. Buku 1. Singapore, 1965. _______. Oral History Interview. 23 reels. Singapore: National Archives, 1984.

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Index A

B

Chow Seck Chiew, 263

A. Ghani Hamid, 264, 266–67, 269

B. N. Rao, 88

City Council Elections, 18

A. Hamid, 51

B. S. Rajhans, 88

City Opera, 45–46, 49

A. R. Ismail, 117–18, 133

Bakti Semurni Budi, poem, 267

A. R. Tompel, 75

“banana money”, 60, 63

Columbia International Folk Music Council, 265

A. Rahim Jalil, 237 A. Samad Ismail, 110, 129 Abdul Hamid Abdul Rahman, 126, 136, 139–49, 193, 195–96, 198 Abdul Rahman bin Mahmud, 147 Abdolah Lamat, 163 Abdullah Chik, 81 Abisheganaden, Paul, 3, 7, 15, 18, 218 Agfa film, 71 Ahmad C. B., 214–16 Ahmad Hambalee, 119

Bang Selebu, song, 249

Columbia Records, 176

bangsawan, 43–44, 53

communist insurrection, 102

Bartley Secondary School, 126

Congress Persuratan Melayu III, 175–76

Basker, K. M., 88

Count on Me, Singapore, song, 15, 217, 219

Bawang Putih Bawang Merah, film, 89 Beamish, H. H., 93 Benton, Is’real, 102

Cowell, Henry, 263

Berita Harian, 113, 131, 213, 264

D

Berita Minggu, 221

Dairy Farm Company, 143

Berklee College of Music, 163–64

Dang Anom, film, 84

boria, folk music, 249

“Declaration of Calendar of National Songs”, 108–109

Borker, Vasant, 161

Doa Laut Teduh, poem, 264, 267

Ahmad Mattar, 233

Britten, Benjamin, 102

Ahmad Nisfu, 51

Budi Pekerti, song, 115

Ahmad Taff, 143

Buluh Perindu, film, 89, 115

Dondang Sayang, folk song, 249–50

Aidil Fitri, song, 188

bunga rampai, 138–39, 142, 207

Dutch school, 21–23

akad nikah (nuptial ceremony), 34, 36, 40

C

E

Aman Belon, 51

“canned music”, 134

Einstein, Albert, 181

Amin Sulaiman, 160–63

Cathay Cinema, 66

Angkatan Pemuda Satria, song, 211

Cathay-Keris, 79, 81–82, 84, 86, 90, 93–95, 134, 164

anti-Dutch sentiments, 24–25, 31 Arena, weekly, 231 ASEAN Committee on Culture and Information, 266 Asiah Aman, see Nona Asiah

Dol Ramli, 93

F

“Calendar of National Songs”, 114, 118

Federation of Malaya, national anthem for, 102–107

Canning Rise Cultural Centre, 7

Federation of Malay States, 18

Cempaka Biru, song, 89, 179, 208

Filem Negara, Malaya, 86

Chinta, film, 79, 86

film list, featuring Zubir Said music and songs, 88

Asian Film Festival, 84

Chinta Gadis Rimba (The Virgin of Borneo), film, 90, 134

Asma M. Naim, 39, 99

chongkak, game, 229, 237

FINAS (Perbadanan Kemajuan Filem Nasional), 264

Index

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G

J

Lee Kuan Yew, 4, 9, 14, 18, 219–22, 261

GAPENA (Gabungan Penulis Nasional), 268

Jamaliah Isa (Mak Yah), 51, 61

Leica, camera, 71

Jangan Putus Asa, song, 115

Lifetime Achievement Award, 262–63

Gaya Film Advertising, 86

Japanese occupation, 53, 61–62

Lim, Juliana, 264

General Elections, 18

Japanese propaganda, 58

Lim, Maureen, 201–202

General Hospital, 73–74

Jasawan Seni, award, 235, 239–40, 265

Loke Wan Tho, 81–82

Geylang Market, 70

Jasmin Dua, film, 90

Loyalty Week, 7, 19, 113, 263

Go, magazine, 15

Jetley, Devatta, 76–77

M

joget, dance, 69, 90, 94

M. Amin, 88

John Brinsmead, piano, 189

M. Sidin, 149–50

Jula Juli Bintang Tiga, film, 84

Mahmud Ahmad, 111, 115

K

Majulah Singapura, national anthem, 114, 260–62

K. Salleh Ghani, 88

challenges, 15–16

Happy World, 50–51, 69–70

Kalthom binte Hisham, 171, 174

created for City Council, 3

Hari Raya, 183–86, 188

Kamarul Ariffin, 90, 134

dial to learn, 9, 155

Hawa Bi, 149–50, 188

Kampong Yang Ku Cinta, song, 115

explanation by Zubir Said, 11–14

Hawari Ramlee, 113

Kandasamy, G., 266

missing eight bars, 224–25

HMV (His Master’s Voice), 49, 68, 70

Karpeles, Maud, 265

music score, 8, 19

Kartina Dahari, 86, 97

national anthem, as, 5, 9

Kasma Booty, 170

original version, 4

kebaya, attire, 143, 170, 188, 207

politicized, 219–20

Kenek Kenek Udang, song, 249

rehearsals, 7

Keris Film Productions, 95

relearning, 223–24

keroncong music, 29–30, 40, 50

reviews, 7, 19

KGMS (Kesatuan Guru-Guru Melayu Singapura), 177

shortened version, 6

Goh Chok Tong, 219–20 Great World, 69 Gunsei Kanbu, 59, 63

H Hamzah Hussein, 86, 89–90

Ho Ah Loke, 95 Hussein Haniff, 88

I IBKKM (Institut Bahasa, Kesusasteraan dan Kebudayaan Melayu), 264 Ibu Fatmawati, 74 Ichiban Kurosu, 60, 62

Kojo No Tsuki, song, 57

Ikan Tembakul, song, 89, 95

Konfrantasi (Indonesian Confrontation), 147, 207

Ikatan Budaya, song, 131–32, 211 inang, music, 246, 268 Indonesian Club, 74 Indonesian Confrontation (Konfrantasi), 147, 207 Indonesian Consulate, 73–74

KPPMS (Kesatuan Persuratan Pelajar Pelajar Melayu, Selangor), 211

treatise on, 218–19 Malay culture and music, 246–48 Malay film industry, 81, 94 “Malay Folk Music and Songs”, speech on, 248–50

Krishnan, L., 86, 88

“Malay Language in Songs”, paper, 262

L

Malay World Symposium, 268

Malay World Conference, 268

L. Krishnan, 86, 88

Malayan Communist Party, 102

Language and Cultural Congress on Persuratan Melayu III, 242

Malayan Emergency, 86

Iskandar Mirza Ismail, 163–66, 252

Mari Pulang, song, 251

Ismail Hussein, 264, 268

Lata Mangeshkar, 79

Martin, Judith, 19

Ismail Kassim, 86, 163, 177

Lee Bon Leong, 16, 219

Martinez, Harry, 170

International Folk Music Council, 265

276

Javanese railway labourers, 59–60

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mas kahwin, dowry, 136, 141, 207

national symbols, of Singapore, 4–5, 18

Peters, Joe, 264–65

Mas Merah, song, 246

National University of Malaysia, 264

Melayu Raya, song, 131–32, 211, 214–15

PKMS (Persatuan Kebudayaan Melayu Singapura), 265

Membaca Musik, book, 180, 252–53

National University of Singapore, 264–65

Mengenang Zubir Said, book, 263–64, 268

New Nation, 7, 19, 212

Pusaka Bangsa, song, 119

New Paper, 160 New World, 69

Pustaka Melayu, 176

Menotti, Gian Carlo, 102 Merdeka Day, 108

Nicolas, Arsenio, 264

“Merdeka Historical Water Pageant”, music for, 90–92

Ning Baizura, 86

Public Works Department (PWD), 149

R Racun Dunia, film, 86

Miller, Brian, 160–62

Nona Asiah, 79, 81, 86, 89, 115, 163, 170, 177–78, 211

Minah Nani, 51

non-government organizations (NGOs), 114

Minang satay, 184

Noor Aishah, 145

Radio Malaya, 120, 133

Minangkabau

Noryani Sulaiman (Yani), 159–60, 174, 178, 242, 258

Radio Singapura, 133 Radio Tokyo, 58, 60

nuptial ceremony (akad nikah), 34, 36, 40

Raffles College, 126

adat perpatih, 39, 41 custom, 34 matrilineal society, 22, 38–39 Miyoto Kain No Sora Kete, song, 57–58 Mohamad Said bin Sanang, 21–22 Mohd Wan Yet, 113, 134 “mood” music, 85, 90–91 Moorthy and Co., 70 mother tongue, 221 moviola, 83, 95 MPH bookshop, 170 Muhammad Ariff Ahmad, 3, 18, 218 music in Islam, 171 Muslim marriage, aspects of, 136 Muslim Trust Fund Association, 110

N Nas Achnas, 86 national anthem, see Majulah Singapura National Film Development Corporation Malaysia, see FINAS

Nusantara Film, 86

O Ong Eng Guan, 3, 18 “optional dowry” (wang hantaran), 136–37, 141, 207 “origin of music”, 171 Osman Gumanti, 78–79 Othman Wok, 11, 262, 266

P

Radio Indonesia, 161 Radio K.L., 211

Rajaratnam, S., 5–6, 9, 113, 221–22 Rajhans, B. S., 88 Ramadan, 188, 209 Rao, B. N., 88 Rasa Sayang, song, 251 reading tone, 253–56 Republic of Singapore Independence Act, 18 Rimau Film Productions, 95 Rohana Zubir, 239 wedding celebration, 134–49

P. Ramlee, 79

Rolleiflex, camera, 71

Padang, 8, 19

Rosiah Chik, 81

Pak Zubir, poem, 267

Rousseau, Jean Jacques, 176

Papa and Mama Song, 255

Rubiah, 86

patriotic songs, 110–11, 133 see also national songs

S

PBM UKS (Persatuan Bahasa Melayu Universiti Kebangsaan Singapore), 247

S. Abdullah, 50 S. Roomai Noor, 79, 88, 143, 170 St. Anthony’s Convent, 67

National Pledge, 18

Pelajaran Menyanyi, Sistem SOLMISASI, book, 176

national songs, 131–33, 209 see also patriotic songs

Pelangi, film, 86

Saletan, Anthony, 248

Pengembaraan Yaakob, film, 86

Salmah Hitam, 170, 198

National Songs Concert, 112–14

People’s Action Party (PAP), 4, 18, 218

Saloma, 81, 170, 262

nationalism, 25, 101–102, 111, 114, 131

St. Patrick Secondary School, 126

Index

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Sambal Belado, song, 86 Sampan Laju, song, 115 Sapiee Ahmad Razaly, 267, 269 Satria, magazine, 118 Sayang di Sayang, song, 86, 97 Seah Cheng Siang, 200–201 Selamat, song, 195 Selamat Hari Raya, song, 186–87 Semoga Bahagia, song, 165, 211–13 verse deleted, 214 Serrurier, Iwan, 95 Setangkai Kembang Melati (A Stalk of Full Jasmine Bloom), song, 86, 89 Setiabudi, 131–32 Sharif Medan, 51 Shaw Brothers, 78–79, 82, 86 Sheppard, H. F., 3 Sheppard, M. C., 90–92, 95 Singapore Japanese occupation, 53, 61–62 music industry, lull in, 68–69 national symbols, 4–5, 18 separation from Malaya, 132–33 tram, 48 Zubir Said, arriving in, 43, 48, 65–67 Singapore Chamber Ensemble, 18 Singapore Cultural Foundation (SCF), 264 Singapore General Printing Workers’ Union, 110 Singapore Heartbeat in Harmony, 163 Singapore Malay Teachers’ Union, see KGMS Singapore Military Forces Headquarters, 7 Singapore Musician Union, 154 Singapore Youth Festival, 165 singing, tips for good, 174 Siput Sarawak, 79 Siti Tanjung Perak, 81, 170 Siti Zainon Ismail, 264, 267, 269 Soekarno, 74 Soeyono Zubir (Yono), 51, 122, 150 music education, and career, 153–56, 158

278

SOLMISASI system, 115, 174–80, 231, 242, 252–59 Song, Irene, 201–203, 206 “songs of patriotism”, 110–11 SOTA (School of the Arts), 248, 261 Speed Graphic, camera, 71 “Speedway”, group band, 160–62 “Starlite of Singapore”, 154 Straits Times, 15–16, 220–23 strophic song, 249, 268 Suhanna, song, 194 Sulaiman Jeem, 264, 268 Sulaiman Naim, 163 Sultan Mosque, 48 Surah Al Inshirah, 182, 208 syair, melodic poetry, 249

T “Talking Point”, 224 Tan, Bernard, 224, 252 Tan Hung Liang, 14, 217 Tanah Bangsa dan Daulat, song, 131–32, 211 Tanah Melayu, 114, 132–33 Tangisan Ibu, film, 75, 85–87 Tarminah, 50–51, 72, 86–87, 167–70, 192 Taylor, M. D., 114 Theory Formulae chart, 242, 258–59 Toh Chin Chye, 4–5 tram, 48 Tunku Abdul Rahman, 102

V Victoria Memorial Hall and Theatre, 3, 18, 111, 113, 119 Virgin of Borneo, The (Chinta Gadis Rimba), film, 90, 134 voice dubbing, 79 Von Banda, 7

W Wahid Satay, 75 Walton, William, 102 Wan Yet, see Mohd Wan Yet Wandy Yazid, 134 wang hantaran (“optional dowry”), 136–37, 141, 207 Washington Post, 19 Wee Kim Wee, 234, 262–63 “World of Malay Music, The”, 264 World Music Encyclopedia, 217 World War II, 53 “writing in songs”, 253

Y Yaacob bin Abdul Latif, 103 Yahya Abdul Rahman, 140 Yap Yan Hong, 5, 218 Yatiman Yusuf, 263 Youth Olympic Games, 165 Yusof Ishak, 9, 18, 73, 94

U

Z

Ukiran Bermadah, poem, 266 Ulang Tahun Negara Singapura, song, 115–16 Umi Kalthum, 140, 143, 170 United Malays National Organization (UMNO), 102 University of Malaya, 121, 126, 196, 217 University of Surrey, 196 University of the Philippines, 264 Usaha Sendiri, song, 115 Utusan Melayu, 11, 73, 215

Zaharah Agus, 51 Zaharah Salleh, 167–68 Zainal S. Abbas, 113, 115, 119 zakat fitrah, tithes, 183, 208 Zubaidah Zubir, 51, 150, 163 Zuraidah Zubir, 51, 53, 55, 61, 76, 122, 150, 163 zikir barat, folk song, 250 Zubir Said band leader, as, 44–45

Zubir Said, the Composer of Majulah Singapura

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bangsawan, in, 43–46, 48

ibadah, 182–83

obituary, 179, 232

birthday bash, 227–31

ideology, 243–45

patriotic soul, 110, 113

born, 21

illness, 32–33, 200, 206

pets, 100–101

Cathay-Keris, and, 79, 81–82, 84, 86, 90, 93–95, 134, 164

Indonesian Club, manager of, 74–76, 97–98, 128

photographer, 70–73

copy typist, 27, 29–30

inspiration, 98–99

died, 232–34

Japanese connection, 56–62

early years, 21–27

keroncong band, in, 29–30, 44

eulogy, 239

legacy, 230–31, 234, 252

exhibition, 264

letter to the press, 212–18

family and friends, 121–28, 197

lost chords, 92, 93

father, 9, 11, 21–22, 31, 48

 Majulah Singapura, explanation of, 11–14

Federation of Malaya, national anthem for, 102–07 film list, music and songs of, 88 HMV, and, 49–51, 53, 68–70

music for Malay films, 78–79, 81–86

piano teacher, 156–58 Shaw Brothers, and, 78–79, 82, 86 Singapore, leaving for, 43, 48, 65–67 speech, 236–37, 240, 248–50, 262 Sumatra, return to, 55–56 tributes and awards, 260–66 wedding celebration, daughter, 134–49 “Zubir Said Drive”, 260

music education, 26–27

Index

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About the Accompanying Music CD CD Producer’s Message The three years spent in researching, preparing and executing this project is nothing short of a Herculean feat, at least for a humble musician like yours truly. It did not dawn on me until I received photocopies of hand-written music housed in a 4-inch-thick ring folder, that I will be receiving an education I will not forget. Preparing for this project not only required me to listen to recordings of Zubir Said’s songs, which are limited in number to begin with, I had to fill the informational gap by reading boxes upon boxes of music notation and personal jottings, two out of four drafts of this book and listen to ten hours of oral history. The preparation also included discussions with fellow composers, classic Malay music fans, singers and even a cleric, in various places ranging from coffee shops to cyberspace. All this, just to get into the mindset of one Zubir Said. This did not make me an expert on the man and his music, but the experience taught me so much as a composer and musician. So much as to make me feel as if I am Zubir Said’s last student. I would like to thank everyone, directly and indirectly involved in the production of this compilation. Heartiest thanks to Puan Sri Dr Rohana Zubir for your tireless effort, patience and preserverence in helping me steer the course of this album. Highest appreciation to the former director of ISEAS, His Excellency Ambassador K. Kesavapany for his confidence, moral support and understanding. To Sandy Monteiro and Jack Teo of Universal Music for entrusting me with this wonderful and challenging project. To my wife and my brother, for your endless support and belief that I can actually pull this off. To my parents for the gift of life and to my parents-in-law, thank you so much for helping me juggle between the demands of the studio and home. Last but not least, to Zubir Said’s family all over the world, thank you for letting me be a part of your wonderful family and for sharing with me your beloved father and kakek. Trabye Kuala Lumpur

CD Tracklist (Total running time 24:01) 1. M  AJULAH SINGAPURA (1:33) The National Anthem of Singapore (Copyright: Ministry of Information, Communications and the Arts) 2. B  UNGA TELUR NASI MINYAK (3:13) This song features Zubir Said’s wife, Tarminah Kario Wikromo on vocals. 3. A  IDILFITRI (3:10) The original version with Zubir Said’s lyrics. PADUAN BUDI (2:18) 4.  The song included in the film Dang Anum where Zubir Said was awarded for Best Music in a film festival in Korea. 5.  SAYANG DI SAYANG (3:20) A classic song featuring the voice of Julie Sudiro 6. K  ESATUAN MALAYSIA (2:04) One of three possible entries submitted for the consideration for Malaya’s National Anthem 7.  CEMPAKA BIRU (2:51) An orchestral rendition of one of Zubir Said’s early hit songs 8.  SEMOGA BAHAGIA (2:27) A new rendition of the well-known and much-loved Children’s Day anthem 9.  SUHANNA (2:48) Zubir Said’s birthday song specially composed for his granddaughter. This rendition features Julie Sudiro on vocals, who once performed this very song for Suhanna’s wedding.

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Production Credit

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Executive Producer:

Institute of Southeast Asian Studies (ISEAS)

Arranger for tracks 4–9:

Trabye

Producer:

Trabye (Karya Enigma)

Recording engineer:

Asfa Karim

Production co-ordinator:

Lyn Ahmad (Karya Enigma) Jack Teo (Universal Music Publishing)

Mixing & Mastering engineer:

Trabye

Repertoire contributors:

Puan Sri Dr Rohana Zubir Datin Paduka Julie Sudiro Larry Yusoff (Warner Music Malaysia) Sahariza Baharudin

Pre-production & Mastering studio:

The Scoring Room, Kuala Lumpur

Recording & Mixing studio:

Karya Enigma, Damansara Damai

13/9/12 3:07 PM