Spearing your destiny

One of the longest post I've written here was a spleen venting on the sad state of the National Museum. However, I am pleased to see that things are a-changing, as evidenced by the new look to the Jabatan Muzium Malaysia's website and the multitude of exhibitions planned.

The list of museums under the Jabatan Muzium Malaysia is also quite impressive, something I am sure that many are unaware. However, this does not include the museums by the respective state governments and other institutions such as the Islamic Arts Museum under the AlBukhary Foundation. All in all, there are roughly 150 museums in total in Malaysia; from the government sponsored (federal and state), institutional or departmental (e.g the Muzium Seni Asia in Universiti Malaya) as well as private museums.

What cinched it for me was the Sg Lembing Museum of Mining in Pahang. A lovely bijou nestled in the highlands of Pahang, it documented the hey days of tin mining in Malaysia, but particularly of the state.

I had an opportunity to see it during a Kuantan family trip; a massive one comprising of 9 families to a total of 45 people.

The grand melee.

Sg Lembing was once the hub of tin mining in Pahang, boasting the deepest tin mine in the world. It is also the home of my uncle's in-laws, who kindly hosted us for a lovely morning tea. We took a moment to splash around in the deliciously cool waters of Sungai Kenau; its rich mineralised landscape evident in the colourful striations of the rocks and pebbles of the river.

Don't ask why is the Jeep resting in the river. I have no idea.

The museum is housed in what used to be the mining company manager's residence up on a steep slope of an already hilly country. Climbing up towards it was quite a challenge to some of the gang members hampered by less than ideal health condition.

The harmonious blend of colonial and local architecture, no?

The environment surrounding the museum was wonderfully landscaped to make the most of the undulating surface and the cool temperature of the highlands lent a vigor to the flowers.

Antique water tap?

Not as cool as Cameron Highlands, but delicious nonetheless.

It was documented by historians both local and foreign that tin mining has been a crucial element in the economy of the Malay states even way back during the Malacca sultanate. This means that tin mining was actively engaged in the Malay states even before the British colonialist wangled it into becoming the backbone of the British empire.

Some of the ledgers and cashbooks of the mining company.

The exhibit displayed implements used in the open mining and deep mining methods. The mining done in Sungai Lembing was the latter process, as the grounds made it impossible to have the open type mining more popular in the flatlands of Selangor and Perak. Those open mines brought about thousands of mining pools that have been converted to either aquaculture ponds or covered for commercial development.

Some scary looking instruments, yeah?

The old fashioned fire engine.

The dulang for the mendulang is actually made of wood.

The miners wore minimal clothing as the temperatures in the mines reached hellish proportions.

Tin that was extracted from the ground was processed nearby the mines for export purposes. Plating using tin made processed food production for long term storage possible in the 19th century, indirectly contributing to the economic domination of the Western powers. Today, tin is mostly used as solder, in the plastic industries and as anti-fouling agents. However, it was found that organotin compounds may have undesirable effects on the environment; hence its use is becoming more and more limited.

The granite containing tin ore.

Processed ore.

Jongkong timah. :D

Tin mining was done on mega scale by the British colonialists who brought in the Chinese coolies to work in the mines. I won't go into detail about the impact of this exercise upon the socioeconomy of the indigenous population here, but suffice to say that this changed the ethnic landscape of the Malay states dramatically. To this day, the Chinese community is very prominent in Sungai Lembing.

Lanterns to mark the lunar new year.

The managers of the mining company were usually from Great Britain. They lived in style here and some even brought their family over.

Old school trike.

Grand bedroom.

It was a pity that I didn't have much time to really go through the exhibits as I would have liked. I dawdled enough that my Mum rang me on my mobile to remind me to get down as everyone had left for lunch. There were so many more things to see; the diorama at the outside as well as other items placed outside the museum. Oh well, them's the breaks when you travel in a large group.

However, I must say that the museum was as finely appointed as the mining museum that I visited in the Blue Mountains while I was in Sydney last year. It gave me an appreciation of the impact tin mining had not only to the socioeconomy of the country but also how it contributed towards our subjugation by foreign powers. The museum brought to life a slice of history that was unbearably dry and unexciting when it was taught in school. I hope that more people make full use of the museums in the country to learn of where we came from so that we can chart where we are going next.

Mourning My National Museum

I had read in the Utusan Malaysia today on the plan to bring the Mona Lisa to be exhibited at the National Art Gallery. How exciting! Although I am pretty darn far from the artsy-fartsy lover, I am of the school of knowing-what-I-like-and-appreciating-it when it comes to art. I enjoyed immensely my few visits to the National Art Gallery to look at the Lat retrospective exhibition and the Tun Dr Mahathir photography commemoration. There were other stuff there which were pretty nice and I loved the Mobius strip-like central staircase of the gallery. However, I will admit to not enjoying the 3D sculptures: if I can't identify immediately what it is, I'm not interested.

I must say that the National Art Gallery is very well organised and planned to enhance the contribution of the arts to the collective national agenda. Granted they don't appear to publicise their doings loudly enough, but my visits showed that the exhibits are well-presented and current by changing the exhibit themes. This brought to mind the sad state of the National Museum.

The last international level exhibition to be found at the museum was I think in 1994: the Beauty Through Suffering exhibition. It was mostly a collection of photographs and artifacts showcasing the various methods and instruments used in the pursuit of beauty from the world over. Every continent was presented in colour and gore. The African scarification, the South American porcupine needle piercing to name a few (not to mention insane plastic surgeries of the West). It was a fantastic exhibition and you walk away with something new and thoughts to ponder.

When you speak of the heydays of the National Museum, you must recall the fantastical Khazanah dari Kubur or Treasures from the Grave exhibition in 1991. It was astounding. Funerary artifacts from the world over was gathered at the National Museum: from shrunken heads, to mummified remains from South America to the glorious golden sarcophagus of Tutankhamun. The entire exhibited smelled of earth, suspended decay and rot, but that did not deter visitors from gazing in awe at how inventive man has been in honouring and processing the dead. They even extended the showcase due to the tremendous response not just from Malaysian citizens but also from foreign visitors.

These glorious past can be laid down to the doors of Dato' Shahrum Yob, the then-curator of the National Museum. He braved lambasting from religious leaders and cynical detractors to bring history to life in the museum. His exhibitions were often innovative, well-designed and comprehensively researched with an artistic eye for presentation. He did not only look abroad for inspiration of his exhibits, but also at the local flavours; quite literally when he had the durian exhibition in the 1980s. I remember a cartoon by Lat of this momentous occasion of him eating durian with the ministers outside the museum, impeccably clad in a well-cut suit and an immaculately knotted bow tie.

I met him once at the University Malaya library and I bitterly regretted not having anything on me for him to autograph (I doubt the librarian would let me keep the book I had on me for momento sake). His tall and lean body was as immaculately dressed as his Lat caricature, and he spoke carefully and courteously in his well-modulated voice (I seem to use the word well a lot in relation to Dato' Shahrum). His Malay bore traces of his youth in Perak, the cadence and words so familiar to me as those from my father's lips. Ah, Dato' Shahrum, how I missed your curatorship.

My last visit to the National Museum was to the Misteri Alam Ghaib exhibition. It was touted to be an exploration of the mystical supernatural beliefs of South East Asia. I didn't have high expectations of it but my God what a horrific disappointment. The exhibit looked as though it was researched and constructed by a team of school children (which is an insult to all school-going children, mea culpa). The highlight of the exhibition was this tiny bottle said to contain a jenglot and a hantu galah sculpture. You walk through the exhibit in less than 10 minutes: there was nothing of note to see. The research was one-dimensional and shoddy; something amazing considering the richness of mystical lore of the region. There was so much more that they could have done: include the books and films done in horror genre produced in the country for example (e.g. Sumpah Pontianak, Sumpah Orang Minyak, Pontianak Harum Sundal Malam, etc.), use a different approach to present the material, include more details and so on. But what can you expect when from the museum when the Ming vase exhibition artifact was labelled thus,"Mangkuk. Biru. China" (i.e Bowl, Blue, China).

YOU ARE THE FREAKIN' NATIONAL MUSEUM!!!!!

*tears out hair by clumps*

The very least you can do is include the dating of the specimen and the region it was found, for the love of God. If you are not colour blind, you can see that it IS A BOWL THAT IS BLUE IN COLOUR. When I saw that label I was nearly tearful with rage: how could you prepare an exhibition with such hideous labelling at THE FREAKIN' NATIONAL MUSEUM!!!!!

*expletives deleted*

Sigh. I should look up the curator and write him a letter, no?

*facepalm*