P. RAMLEE'S MUSIC: A REFLECTION OF CULTURE CONTACTIN AMULTI-ETHNIC SOCIETY

CLARE CHAN SUET CHINGFAKULTI SENI DAN MUZIK

KOD PENYELIDIKAN UPSI: 02-05-65-02

2003

Acknowlegdements

I would like to extend my warmest gratitude to Tan Sri Dato' Seri (Dr) Ahmad

Sarji who was kind enough to find time out of his busy schedule to share his knowledge

on P. Ramlee to me. I am also grateful to him for presenting me with three books which

consists ofP. Ramlee's songs notated into music scores. I would also like to thank Dato'

Johari Salleh for spending time talking to me about P.Ramlee's music and urban

entertainment during the early 50s until today. Special thanks are also extended to Tan

Sri Dato' Dr. Lin See-Yan, current president of Harvard Club, Malaysia, who presented

the Music Department and Library ofUniversiti Pendidikan Sultan Idris with three books

on the music scores ofP. Ramlee's song.

I am also indebted to my fellow colleagues, Encik Mohd Azam Sulong and Encik

Mahayuddin bin Abdul Rahim who spend much time advising and helping me with this

research in terms of using the music software and transcribing rhythmic patterns. Much

thanks is extended to my student, Choy Yen Yi for helping me with the notation of music

scores in the computer. Thank you also to Encik Ahmad Nizam bin Nasrifan and Haidir

bin Mohd Tahir for their music transcriptions of selected P. Ramlee's songs.

Through this research, I come to appreciate the support given by my mom and

dad and my colleagues; Maimun, Colleen, Christine and Faris. I also extend my grateful

to Professor Dr. Abdul Hamid Abdullah for his advice and encouragement on this

research. Last but not least, I wish to thank Universiti Pendidikan Sultan Idris for

sponsoring and encouraging new research and findings.

11

CONTENTS

Page

AcknowlegdementsContents

AppendicesList ofTablesList ofMusicalExamplesAbstract

11

111

V

V

V

Vll

1.0 Introduction

1.1 Background ofResearch 2

1.2 Statement ofProblem 4

1.3 Research Focus/ Objectives 5

1.4 Method ofResearch 6

1.5 Literature Review 7

1.6 Theoretical Approach 9

2.0 Factors that influenced P. Ramlee's Musical Style 12

2.1 His Childhood and Teenage Environment 12

2.2 Urban Entertainment in the early 20th Century 15

2.3 Films and songs under Indian directors (1948-1955) 17

2.54 Films and songs with P. Ramlee as director (1955-1973) 19

3.0 The Variety ofRhythms in P. Ramlee's Music 24

3.1 Malay Traditional Rhythms 27

3.1.1 Asli 28

III

Page

3.1.2 Inang 29

3.1.3 Joget 30

3.1.4 Zapin 32

3.1.5 Keroncong 34

3.2 Western Rhythms 34

3.2.1 Beguine 35

3.2.2 Mambo 37

3.2.3 March 37

3.2.4 Rumba 38

3.2.5 Samba 41

3.2.6 Swing 42

3.2.7 Twist 43

3.2.8 Waltz 45

4.0 Local and foreign scales, modes and tunes 47

4.1 Chinese Pentatonic Scales 47

4.1.1 SamPekEngTai 49

4.1.2 Apek danMarjina 50

4.1.3 DoReMi 51

4.2 Arabian Modes 51

4.2.1 BungaMelur 51

4.2.2 Ya HabibiAli Baba 52

IV

Page

4.3 Western Popular Tunes 53

4.3.1 Swannee River in Do ReMi

4.3.2 Banana Boat Song inMencece BujangLapuk

53

54

4.4 Conclusion 55

Bibliography

Appendices-Musical Transcriptions

Appendices

Musical Transcriptions

3.1 .logetMalaysia3.2 Semerah Padi3.3 Getaran Jiwa3.4 DoReMi3.5 BUa LarutMalam3.6 PokPokBujang Lapuk3.7 Gelora3.8 TolongKami4.1 Apek danMarjina4.2 Sam PekEng Tai4.3 DoReMi4.4 BungaMelur4.5 YaHabibiAli4.6Mencece Bujang Lapuk

List of Tables

3.1 Types of rhythms in P. Ramlee's Music 25

v

List of Musical Examples

3.1 AsH 28

3.2 Inang 29

3.3 Joget 30

3.4 Joget Malaysia 31

3.5 Zapin 32

3.6 Semerah Padi 33

3.7 Beguine 35

3.8 Getaran Jiwa 36

3.9 March 37

3.10 DoReMi 38

3.11 Rumba 39

3.12 Bila Larut Malam 40

3.13 Samba 41

3.14 Swing 42

3.15 Pok Pok Bujang Lapuk 43

3.16 Twist 44

3.17 Gelora 44

3.18 Waltz 45

3.19 Tolong Kami 46

4.1 Chinese Pentatonic scale 48

4.2 Sam PekEng Tai 49

4.3 Apek dan Marj ina 50

VI

Page

4.4 Do ReMi I 51

4.5 The Mode ofHijaz 52

4.6 BungaMelur 52

4.7 Ya Habibi Ali Baba 53

4.8 Old Folks At Home/ Swannee River 54

4.9 Do ReMi II 54

4.10 Mencece Bujang Lapuk 55

Notation Key for Percussion

Ride Cymbal

Bass Drum

High Pitched Tom TomSnare Drum

Low Pitched Tom Tom

Hi Hat

Source: Feldstein, Sandy (1978). An Alfred HandyGuide: Drum Set Club Date Dictionary.Alfred Publishing Co, Inc.

vii

ABSTRACT

P .Ramlee is a legend in the history of the film and music industry in Malaysia. He

was an influential figure who rose to success through his brilliant acting skills and

beautiful velvety soothing voice. His music captured the hearts of the multi ethnic

communities in Malaya during the 50s and 60s. The height of P. Ramlee's career

coincided with the rise to nationalism and independence from the colonial rule in Malaya.

P. Ramlee's music was influenced by the life style developed by the British, in terms of

urban entertainment consisting ofbig bands, dance and night clubs. The colonial rule also

brought in the Chinese, Indians and other ethnic minorities. The variety of cultures that

developed and came in contact with each other after the influx of workers from China

and India indirectly influenced P. Ramlee's musical style in some way or other.

This research aims to prove that culture contact is reflected in the music of a multi

ethnic society through the transfer of discrete musical traits from other cultures into

another and pluralistic coexistence, that is the creation of a new synthesis through a

combination of two or more cultures. In P. Ramlee's music, these two phenomenons are

evident in the rhythm, melodies and musical style. This research will prove the existence

of various influences of local, foreign and western cultures in the P. Ramlee's music

through the comparison of rhythm, scales and modes in his songs to its roots and origins.

Vlll

Before examining these influences, a brief discussion will be made on factors that

influenced P. Ramlee's musical style with reference to his childhood and teenage years,

urban entertainment in the early 20th century, his film and music under Indian directors

culminating with P. Ramlee as director himself, and the public's changing taste. This

knowlegde is crucial to understanding the musical style he created.

IX

CHAPTERl

INTRODUCTION

Music in Malaysia is generally divided into five main categories; Classic Music,

Folk Music, Syncretic Music, Popular Music and Contemporary Music (Tan Sooi Beng

& Patricia Matusky, 1997: 2-3). Classic Music refers to music performed in the royal

courts of the Malay Sultanate namely Joget Gamelan, Nobat and Asyik Dance. Folk

Music includes music performed in the villages or rural society, such as Wayang Kulit,

Makyong, Main Puteri, Mekmulung and Randai. Syncretic music comprises ofmusic that

exhibits cross cultural influences, for example Dondang Sayang, Bangsawan, Kuda

Kepang, Ghazal and Zapin.

Contemporary music in Malaysia refers to music composed by new Malaysian

composers who have been trained in the knowledge ofWestern music theory. They fuse

their artistic knowledge and skills to create new forms of composition in the Malaysian

context. According to Lockard (1991), popular music is distinguished by two essential

factors: it is disseminated by the mass media and it is the by-product of the mass basis for

marketing commodities. Not surprisingly, popular music receives the widest audiences

and is the most lucrative music industry in Malaysia. There are other categories of music

in Malaysia which includes Chinese, Indian and Western Classical Music; music of the

indigenous people (Orang Asli); and music of Sabah and Sarawak.

1

Popular mUSIC In Malaysia saw its very beginnings in Bangsawan, the first

popular urban commercial theatre which began in the late nineteenth century into the

early twentieth century. According to Tan Sooi Beng (1997), Bangsawan was the first

indigenous theatre to be modelled along the Western lines, it engendered the

development of the first Malay orchestra and the first popular music in the country.

Bangsawan's popularity faded after World War II (1939 to1945) with the introduction of

the film making and entertainment industry in Malaya. The rising star responsible for

conquering this industry in the early 1950s was none other than Teuku Zakaria bin Teuku

Nyak Puteh, better known as P. Ramlee.

1.1 Background of research

P. Ramlee marked the early success and popularity of the film and music industry

in Malaysia. He elevated the entertainment in Malaysia to the heights of success during

the fifties and sixties. P. Ramlee infused the Malay music and film industry with an

identity that has never been duplicated (Lockard, 1991: 21). He was a genius of versatile

character; an actor, singer, director, songwriter, scriptwriter, film producer composer and

arranger simultaneously. P. Ramlee is looked upon as the father ofMalay films and also

the man who gave new life to Malay music (Chopyak, 1985: 70).

P. Ramlee wrote and sung over 250 songs in his lifetime. He wrote many varieties

of songs; from love songs to songs of humour, criticism, satyre, patriotism and culture.

These songs explored the usage of rhythm and melodies ranging from local to foreign and

2

western cultures. However, one major factor which united his songs together was the

dominant Malay feel in the style of his songs. This factor could be due to the constant

usage of minorish scales, flattening and sharpening of certain notes which are

characteristics ofMalay melodic patterns.

P. Ramlee wanted to create mUSIC that was new, umque and different. The

influence of syncretic music forms such as Joget, Inang, Asli, Zapin, Keroncong is

portrayed in his music. P. Ramlee also incorporated Western and Latin American dance

rhythms like samba, rumba, cha cha cha, beguine, mambo, twist, waltz, bolero, quickstep,

conga, paso doble and slow fox into his music (Ahmad Sarji, 2002a: 6). Besides the

infusion of foreign and local rhythms, P. Ramlee also wrote melodic lines that made use

of Middle East (Arabic) and Hindustani modes. He incorporated Chinese pentatonic

scales and fragments of familiar western tunes in a few of his compositions. However the

bulk of his songs are based upon Malay melodic patterns, feel and style.

Much ofP. Ramlee's songs were composed to accompany scenes in the films he

acted in and many became popular hits of its time. Unconsciously, he would have

become the pioneer toward the development of popular music in Malaysia as his music

began to appeal to the public largely due to the promotion of the mass media. P.Ramlee is

instrumental in the development of popular music in Malaysia. He set a musical style that

would be explored and innovated in different ways to come in the future.

3

1.2 Statement of Problem

In a plural society like Malaysia, many diverse cultures are in constant contact

with each other. The history of Malaysia under the colonial rule also brought in new

changes in life style, ideas and innovations. Malaysia, after independence in 1957, was a

nation free to create its own ideologies to develop its nation. The multi cultural contact

and political rule unconsciously influenced its people in many ways. One of the

influences portrayed is the development of popular music in Malaysia which reflects a

fusion of ideas generated through social contact and political changes.

Popular Music began with Bangsawan in the late 19th and early zo" century

which portrayed influences from Indian, Middle East, Chinese, Indonesian and Western

cultures. This style of music was adapted and innovated in the 40s and 50s by popular

singers, namely, P. Ramlee, Nona Asiah, Normadiah, Saloma, Aziz Jaafar and Kassim

Masdor. Their music utilized Latin American flavoured dance music, Hawaiian music,

Indian film music and Western popular music (Lockard, 1991: 19). A new trend of music

appeared in the sixties with the adaptation of the rock and roll music of the Beatles,

which caused a stir in the Western world, to what is known as the "Pop Yeh Yeh" style in

Malaysia.

4

Popular Music in Malaysia reflects all sorts of fusion and mixture of styles today

(2003). This research goes back to the roots of the development of popular music in

Malaysia through the music of P. Ramlee. It goes to explore the very beginnings of

foreign and local influences in the popular music ofMalaysia.

1.3 Research Focus/ Objectives

P. Ramlee took the Western popular music idiom, gave it Malay lyrics and a

Malay feel (Chopyak: 1985: 80). He absorbed elements of music from the various

cultures existent in Malaya during the fifties and incorporated it into his own music. The

aim of this research is to identify the various local and foreign influences inherent in his

songs, thus revealing the cultural interactions inherent in his music.

This research starts by exammmg the factors that may have influenced P.

Ramlee's musical style; namely his hometown of diversified cultures, urban

entertainment in the early twentieth century, race and religion, the socio-political

situation in Malaya, his early films under Indian directors, and culminates with P .Ramlee

as director himself. These explanations will shed light to the origins of influence in the

musical style P. Ramlee created and is crucial to the understanding of the style he

created.

Many of P. Ramlee's songs were composed to suit the themes of his films. The

themes in his films ranged from stories about village (kampong) to urban life, Arabian or

5

Malay legends, comedies, family feuds to scenes in nightclub entertainments. The origins

of the composed music largely depended on the film itself for example Arabian legendary

stories like Ali Baba Bujang Lapok (1961) consists of the song Ya Habibi Ali Baba

which made used of Arabian modes to form its melodic line. Films, such as Hujan Panas

(1953), Labu-Labi (1962), Masam Masam Manis (1965) featured nightclub

entertainments and infused western popular dance rhythms like cha-cha-cha, rumba,

samba, beguine into the songs in its film.

This research will then proceed to the main aim of this research that is to analyze

the rhythms, scales, modes and familiar tunes used in P. Ramlee's songs. Music

transcriptions will be made on chosen songs to enable a comparison of specific rhythms,

scales or modes used in P .Ramlee' s music to the root and origin of that rhythm, scale or

mode.

1.4 Method of Research

This research is conducted using the qualitative method. Much information is

acquired through literature, journal and book reviews, internet search and interviews.

Literature review provided knowledge of P. Ramlee's life story and achievements; the

socio-political situation during P. Ramlee's time which influenced his films and

consequently the music he wrote for the films. Book reviews, references to articles and

journals provided knowledge of the types of urban entertainment inherent in Malaya

6

during the ending ofBritish rule in Malaya, the era ofP. Ramlee's childhood and teenage

years and popular music in Malaya during the early zo" Century.

Interviews were conducted with Tan Sri Dato' Seri (Dr) Ahmad Sarji and Dato'

Johari Salleh, two prominent figures in Malaysia. Tan Sri Dato' Seri (Dr) Ahmad Sarji is

the author of the P. Ramlee dictionary titled "Erti Yang Sakti" and the book titled

"P.Ramlee: The Bright Star". Dato' Johari Salleh is a famous composer and arranger in

Malaysia.

I have also spent much time watching P. Ramlee's films and listening to his songs

III order to understand the relationship between songs and film themes. Music

transcriptions were made on selected songs to examine the rhythms and melodies that

exemplified foreign and local influences in his music. These transcriptions enabled the

comparison of elements of music in terms of rhythm, scales and modes existent in P.

Ramlee's song to the roots of its origin.

1.5 Literature Review

P. Ramlee's biography is found in the book titled, "P. Ramlee: The Bright Star".

It provides a scenario of his hometown, his music experiences as a young boy, his

acting career in Singapore and Malaysia till his death in 1973. In this book, there are

short synopsis of his films, comments and feedbacks from the public compiled through

7

examination of newspapers. This book was written by Tan Sri Dato' Seri (Dr) Ahmad

Sarji and James Harding. "Erti Yang Sakti" is another important book written by Tan Sri

Dato' Seri ·Ahmad Sarji on P.Ramlee. It is a dictionary that consists of the storylines of

his films and songs; and short biographies of famous film stars during his times.

Tan Sri Dato' Seri Ahmad Sarji and Dato' Johari Salleh have notated and

compiled P. Ramlee's music into three books; "Irama Lagu P. Ramlee: Lagu-lagu filem

1948 -1960"; "Gelora: Lagu-lagu filem 1961-1972" and "Air Mata di Kuala Lumpur".

They are published by Harvard Club ofMalaysia. These books contain the melody line

and chords of songs in his films.

Two important researches have been conducted on Malaysian popular music. The

first research was done in 1985 by Chopyak, James Decker who examines the

development ofMalaysian popular musician in relation to cultural, social and economic

events of its time, focusing on the careers ofP. Ramlee and Johari Salleh. His research is

found in his thesis titled "The development ofMalaysian Popular Music: The Influential

Roles ofP. Ramlee and Johari Salleh". Craig A. Lockard, in his journal "Reflections of

Change: Sociopolitical Commentary and Criticism in Malaysian Popular Music Since

1950" published in 1991, explores the relationship between popular music and

sociopolitical change in Malaysia over the past four decades. In his journal, Lockard

examines the historical background and roots of Malaysian popular music. He draws

attention to P. Ramlee as the pop icon who played the pivotal role in the development of

Malaysian popular music culture.

8

Besides, literature and book reviews, I also went through newspaper articles and

information on the internet. Newspapers cuttings from Mingguan Malaysia, Utusan

Malaysia, Berita Minggu, Harian Nasional and Mingguan Perdana ranging from the 70's

and 80' s, compiled by Perpustakaan Dewan Bahasa dan Pustaka were browsed through.

1.6 Thereotical Approach

P. Ramlee's music reflects the cultural interactions occurring in a multi ethnic

society in transition. In her journal "The processes and results of music culture contact:

A discussion of terminology and concepts", Margaret Kartomi (1981) discusses the

process and results occurring in musical cultures in contact. Kartomi states six possible

results due to this contact: virtual rejection of an impinging music, transfer of discrete

musical traits, pluralistic coexistence, nativistic revival, music abandonment and music

impoverishment.

In this research, I focus on two of the six results that transpires due to the

convergences of cultures; that is, the transfer of discrete musical traits and pluralistic

coexistence. Kartomi (1981) states that single or more discrete musical traits have been

adopted by cultures from foreign sources throughout history. Some examples of the

transfer of discrete musical traits are the diffusion of instruments and the adoption of

melodic idioms or rhythmic motives. This transfer does not create evolutionary or

revolutionary change and can be regarded as a preliminary prerequisite for eventual

musical transculturation.

9

Pluralistic coexistence can also be applied in this research. Kartomi (1981) states

that musical pluralism usually occurs in a bi- or multi-ethnic urban situation, but

normally lasts as long as the interplay between the adherents of each musical culture is

strictly limited. Sometimes itcan last for very long too. Kartomi goes on to explain that a

new synthesis can be created when some musicians combine and transform the elements

of two or more musical sources.

The transfer of discrete musical traits can be implied to P. Ramlee's mUSIC

whereby the diffusion ofmusic instruments is reflected in the combination of instruments

used in his music. The use of western, eastern and local instruments such as violin,

saxophone, trumpet, double bass, conga, bongo, rebana, kompang, accordion, tabla

reflects an interplay ofmulti cultural diversification in P. Ramlee's music. However, this

interplay has not resulted in a major change in his music as the instruments are used in

the context ofP. Ramlee's style ofmusic, where the Malay feel is still very dominant. It

is not used by nature of its own inherited musical concepts.

The transfer of discrete musical traits also refers to the adoption of melodic

idioms and rhythmic which is clearly obvious in P.Ramlees's music, thus clearly relevant

to this research. His use of Arabian modes and Chinese pentatonic scales, the

incorporation of rhythmic motives from foreign and local sources such as rumba, samba,

cha cha cha, zapin, inang and asli is proof of this occurrence.

10

Musical pluralism, likely to occur in a multi ethnic country like Malaysia, is

reflected in style ofmusic produced by P. Ramlee. His music combined western popular

music idiom with typical Malay melodic patterns and rhythmic idioms creating a new

synthesis in Malaysian music.

The transfer of discrete musical traits and musical pluralism identified in P.

Ramlee's music reflects that the convergence of cultures which has created a musical

change in the popular music culture in Malaysia.

11

CHAPTER 2

FACTORS THAT INFLUENCED P.RAMLEE'S MUSICAL STYLE

Nature and nurture played an important role in shaping P. Ramlee musical style.

P. Ramlee was musically gifted, possessed a beautiful baritone and velvety voice and had

an inborn flair for music. He was also a natural performer and actor on screen (Ahmad

Sarj i, 2002a: 21). However nature, if not nurtured would not have gone far. Many factors

in P. Ramlee's life played important roles in nurturing his talents till it achieved great

heights of success. Some of these factors included his childhood and teenage

environment, the influence of urban entertainment during his time, films under Indian

directors in Singapore and lastly films under his own directions in Singapore and

Malaysia. This chapter will focus on factors which may have shaped and influenced P.

Ramlee's style of singing, composing and arranging.

2.1 His Childhood and Teenage Environment

P. Ramlee was born on the 22 Mac 1929 in Penang, a cultural potpourri with its

multi ethnic community. This environment gave him experiences that played an

important role in the development of ideas and creativity that would soon be reflected in

his songs. During his childhood and teenage years, P. Ramlee was exposed to many

different types of music and entertainment from his growing up environment. These

exposures navigated and shaped his style of composing and arranging music.

12

P. Ramlee was given the name Teuku Zakaria by his parents, Teuku Nyak Puteh

and Che Mah Hussin (Ahmad Sarji, 2002a: 3). His father was a descendent of the

aristocratic family of Oleebang in East Acheh and his mother, Che Mah binte Hussein

came from Kubang Buaya, Butterworth (Ahmad Sarji, 2002a: 1). P. Ramlee went to

school at Sekolah Melayu Kampung Jawa, St Francis Light School, Penang and Penang

Free School, Penang until Standard Seven (Ahmad Sarji, 2002a: 5).

P.Ramlee's love for music and actirig was overwhelming even at early age. At the

age of thirteen, he was strumming the base-line of his ukulele and singing to songs like

"Donkey Serenade", "It's in the Air" and "Nona-Nona Zaman Sekarang" (Ahmad Sarji,

1999: 263). P. Ramlee learnt to play the violin and guitar under the tutelage of

Kamaruddin bin Idris, a famous music teacher in Penang. Not long after that, he picked

up the piano, saxophone, trumpet, accordion and xylophone (Ahmad Sarji, 2002a: 12). It

is interesting to note that these are the instruments that will be used frequently in his

compositions to come.

P. Ramlee spent most of his school days travelling with the school band. He was

also busy following various bands of musicians, listening and learning their styles

(Ahmad Sarji, 2002a: 6). P. Ramlee joined a big band that played in a joget (dancing)

club and took the opportunity to polish his musical skills as a musician, His early songs

were laced with popular dance beats of the time such as joget, beguine, samba, rumba,

bolero and swing (Lockard, 1991: 21). He was a master at utilizing diverse musical

13

cultures in his music, including asli, zapin, inang, cha-cha-cha, and waltz to rock and roll,

twist and so on.

In Penang, P Ramlee was seldom exposed to newly composed Malay songs.

Living in the northern region made him more prone to listening to songs from the

Makyong theatre or lagu-lagu cembong (Ahmad Sarji dan Johari Salleh, 1993: 9). P.

Ramlee was drawn to composing Malay songs. He wrote a song titled "Azizah" which

was followed by a string of other Malay compositions including "Baidah", "Abang

Dollah", " Mee Jawa", "Joget Malay", "Malam Thaipusam" and "Padang Kota" (ibid.:

9). These songs were sung and performed by a band group called Teruna Sekampung

which he joined. Besides this, he also conducted a band named Mastika in Butterworth.

P. Ramlee's interest and enthusiasm for Malay tunes and folk songs would soon be

exemplified when he became the director ofhis own films.

In 1945, at the age of 16, P.Ramlee was placed third at a singing contest

organized by Radio Pulau Pinang. He made it to second place the following year and

finally was crowned champion in 1947 (http//: www.farahaqil.com). In early June 1948,

an event that would change P Ramlee's life took place while he was singing and playing

the violin to his original composition, "Azizah", at the "Pesta Pertanian Ria" festival.

B.S. Rajhan, one of the Shaw Brothers directors was captured by P. Ramlee's skill at the

violin and offered him a job as a playback singer in his films (http//:

www.farahaqil.com). On the 8th August, P. Ramlee left for Singapore to work for the

14

Malay Films Productions (Ahmad Sarji, 1999: 263) where his potentials would be

nurtured and polished till he became a legend in Malaysian history.

P. Ramlee's exposure and experience in music during his childhood and teenage

years built the foundation he needed towards the development of his own musical career

to come.

2.2 Urban Entertainment in the early twentieth Century

The late nineteenth and twentieth century was a period of economic, social and

political expansion in the Malay Peninsula. This rapid expansion resulted in an increased

in population due to the influx of foreign labour from the Chinese and Indians. The

strategic geographical position of the Straits Settlement, Penang and Melaka also

attracted people from all comers of the world to trade and seek their fortune in the Malay

Peninsula The Europeans, Arabs, Armenians, Jews, Burmese, Thais, Bugis, Arnbonese,

Javanese, Rawanese, Minangkabaus, Tamils, Malbaris, Gujeratis, Bengalis, Parsis,

Cantonese, Hokkien, Teo Chews. Hainanese, Ceylonese, Sikhs, Japanese and Filipinos

were among the ethnic minorities (Shukor Rahman, 1999: 17) adding to the richness of

Malaysia's mainstream Malay, Chinese and Indians cultures. The convergence of these

communities resulted in the creation of a plural society with diversified forms of culture,

art, religion and language.

15