Zubir Said, the Composer of Majulah Singapura 9789814311823

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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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------~--=----=---=--=----=---------

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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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-

-

-----

-

------------- ------

------~--=----=---=--=----=---------

------

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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.

xx rb111313_iseas_zubir_layout_prelims_v5a.indd 20

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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.

EOU,STEO THAT THE 11\G HUKIER BE OUOTEO _, TO THIS L £TT~R

THE SECRETARY CITY COUNCIL CITY HALL SINGAPORE 6.

.~7933,0 __i!FS/ECC

lOth July 1958 • . Dear Sir, Memo Pial Hall Ope nine Pe rforJOOnc e

Victor~ a

The relevant Committee of the Council responsible for the arrangements in connection with the opening performance of the Victoria Memorial Hall on Saturday, 6th September 1958, has instructed me to invite you to compose the music and lyrics for the Grand Finale of the performance, based on the theme 11 Maju~-eh Singapura 11 • It 1s sincerely noped that you will undertake this assignment, runn , if so , perhaps you would be good enough to let Mr. Yap Yan Hong, Superintendent, Victoria Theatre 8: l.lemorial Hall, 11ave copies of the music scor e .in ol•der that he may make suitable arrangements with the a rtistes taking part in the Finale. Yours faithfully,

Air . Zubi r Said, 190-A Joo Chiat Place, STI!GAPCRE 15 .

Jl~~

( H. F . S:HEPP.ARD) f. Secretary , City Council .

c.c . Supt., V. T .&M . H.

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.

The Birth of an Anthem and Challenges to Overcome

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3 13/9/12 9:45 AM

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Mari kita ra'yat Singapura, Bangun dengan bersatu sama-sama. Rukon damai dan bantu membantu, Supaya kita sama-sama maju. Kita hidop aman dan sentosa, Kerja sam~ menuju bahagia !

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Chita-chita kita yang mulia: BERJAYA SINGAPURA! Mari-lah kita bersatu, Dengan semangat yang bahru. Samua kita berseru : MAJU-LAH SINGAPURA! MAJU-LAH SINGAPURA!

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.

4

Zubir Said, the Composer of Majulah Singapura

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TO THE GOVERNl'ENT

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. 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.

OF SINGAPIIRA.

I All IIIDEED GR.EA'IL! HONOURED TJIAT IIY HWBLE COI!POSITION, ENTITLED •I!AJULAH SINGAPIIRA"

BEEN

liAS

GRACIOUSLY CHOS!N AND ACCEPTED AS THE STATE .l!ITHEII

OF

SINGAPIJRA lllTH THE KIIID AND UIIANDIOUS APPROVAL OF THE SINGAPORE LEGISLATIVE ASSEIIBL! ON 11th NOVEIIBI!:a 1959.

IT IS 11Y ARDENT 1ISH THAT THE STATE OF SINGAPIIRA AND ITS PELBS IIA! FARE WELL AND EVER UNITED IN THE 11E1'1' SPIRIT OF ONE SOLID

PROSPEa CCJI!IIUNITI

AS Eli!ODIED Ill THE STATE ANTHEVt "IIAJIJLAH SINGAPIIRA".

SINOAPIIRA,

NOVEI.IBER 1959.

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

To l'r. Ra jaratnam, t'1nist17 of Culture, Singapore .-

ZUBIR SAID, 190..A, Joo Chiat Place, Singapura - 15 • 14th October 1959 .

Dear IT. Rajaratnam,

'!'oro d8i13 81;0 I 'Ye got OM of the Copies of 'IIAJU-LAH

SINGAPURA' (the short version) which

were distributed to

the schools .

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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

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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

8

Zubir Said, the Composer of Majulah Singapura

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ZUBIR SAID 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.

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rb111313_iseas_zubir_layout_c6_v5.indd 103

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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!

1-1-1~57

LAOII2

unsur2 oersatuan ra•:rat.

Untuk hnlan Jannary lliS7 oebamoi 1l&riiUlaan oayo telall oediakan oebuah lai-RA KA N QLI :I-I

Jawatankuasa Pertunjokan Laguz

National

Mengandongi 10 Lagu2 National l Hak PeniiJUh-b • nY• )

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.

112

Zubir Said, the Composer of Majulah Singapura

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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,

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

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113 13/9/12 11:03 AM

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

114

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

Zubir Said, the Composer of Majulah Singapura

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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.

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

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115

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SEBARAN RADIO KA-SEKOLAH2 KEBANGSAAN DI-PERSEKUTUAN TANAH MELAYU DAN SEKOLAH2 MELAYU DI-SINGAPURA

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PENGGAL 111-1960

DARJAH IV dan V

OLEH ZUBIR SAID

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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.

Zubir Said, the Composer of Majulah Singapura

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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”,

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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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