Strategies to Enhance the Quality and Enrich the ‘Asli’ and Traditional Music of Malaysia for National Interests

In the National Cultural Congress held at the University of Malaya campus in Kuala Lumpur from August 16–20, 1971, P. Ramlee wrote a paper entitled “Strategies to Enhance the Quality and Enrich the Asli (Indigenous) and Traditional Music of Malaysia for National Interests.”

On the morning P. Ramlee was scheduled to present his paper, the lecture hall at the University of Malaya was already crowded with congress participants from early on. Some stood in rows behind, and some sat on the floor in the corridors that separated the rows of seats in the lecture hall. Some of them came not because they wanted to participate in discussing or providing ideas about traditional music, but just to see and be near their beloved artist, P. Ramlee, who had no equal. They knew that attending a workshop or seminar where P. Ramlee would speak meant watching a performance because P. Ramlee was a showman.

The moment awaited by the audience had arrived, and P. Ramlee stood in front of us and began to speak. “My paper is very short!” he said, grinning. “Only two pages,” he said, waving two sheets of paper in his hand. The audience started to laugh.

“At the congress before, I wrote a longer paper; if I’m not mistaken, eight pages. But it had no effect!” P. Ramlee himself laughed, as if mocking the fate of his paper.

“After that, I wrote a shorter paper. Only four pages. But it had no effect either!”

“So now I’m writing a very short paper. Only two pages. Perhaps this is the shortest paper in this congress,” he joked. The audience burst into laughter.

“In the future, if I am asked to write a paper again, maybe I will only write half a page!” The audience laughed even harder. “What’s the point of writing long papers if no one cares?” he continued joking.

P. Ramlee continued to joke, and the audience continued to laugh. Some stamped their feet on the floor, some slapped their hands on the table, some laughed silently, so pleased were they with P. Ramlee’s humor.

The lecture hall became noisy with laughter because P. Ramlee had a “gift” for making people laugh, even if what he said was bitter and sharp. “How to enhance the quality and enrich the ‘asli’ and traditional music?”

P. Ramlee began to discuss his paper. The audience immediately fell silent, each one staring at P. Ramlee, who was now serious.

“If we look at the development of music in developed countries like America, India, China, Japan, and others, their music can play an important role in influencing their society for the sake of their country. Chinese music, for example, can indirectly spread communist ideas and ideologies, Japanese music can unite their society, especially in the rhythm of march music, which has been able to stimulate their officers to conquer countries throughout Asia in World War II. But, on the contrary, our original and traditional music in Malaysia has not been able to influence the souls of Malaysians. Why? Is it because our music is of low quality? Is our original music not rich? Does Malaysian traditional music not exist?” P. Ramlee asked repeatedly.

“For me, our music has high quality, our ‘asli’ (indigenous) music is rich, and traditional Malaysian music has existed. But unfortunately, foreign music can still influence us. For example, Indian music (Hindustani style) has been able to influence our society, so that young people everywhere are enjoying singing Hindustani music. Pop music from the West can easily influence the souls of our young people, so that young men with long hair like the Beatles, dressed in groovy clothing, smoking ganja, and so on. Girls also wear short mini skirts, influenced by pop musicians. Why are we so easily influenced by foreign elements whose quality is not guaranteed, to the point of neglecting our own cultural heritage?”

P. Ramlee then asked, “Is that the fault of the listeners or fans who have become deaf to the rhythms of foreign music that contradict their cultural traditions? Is the fault in the hands of music creators due to carelessness or weakness in creating high-quality music? Is it because Malaysian society does not appreciate or want to accept original and traditional Malaysian music creations made by Malaysian natives themselves? The faults lie with those who are responsible, who are not developing and exporting our ‘asli’ and traditional music to Malaysian society.”

P. Ramlee gave his answer. “For example, there is no teaching of ‘asli’ and traditional music in schools; radio and TV play too little of these types of music; nightclubs, hotels, and restaurants do not play or broadcast these types of music; and so on in other public places. From these symptoms, the Malaysian community’s response becomes cold and unaffected by its own traditional music.”

Eight suggestions

P. Ramlee then presented eight suggestions to improve and enrich ‘asli’ and traditional Malaysian music, as follows:

• The government must act to develop ‘asli’ and traditional Malaysian music to the fullest extent possible.
• Radio and TV must play an important role in broadcasting as much ‘asli’ and traditional Malaysian music as possible.
• Establish a program through two simultaneous channels to provide training related to ‘asli’ and traditional Malaysian music.
• In schools (of any kind), ‘asli’ and traditional Malaysian music should be taught as a subject.
• Nightclubs, hotels, restaurants, and any other public places should play and broadcast ‘asli’ and traditional Malaysian music.
• Music that contradicts Malaysian cultural traditions should be reduced.
• The government must provide appropriate incentives to ‘asli’ and traditional Malaysian music creators by providing commensurate compensation for their work and creations.
• The government must organise festivals of ‘asli’ and traditional Malaysian music to educate Malaysian society.

And thus ends the shortest paper at the National Cultural Congress, presented by the author, P. Ramlee, with jokes, humor, and laughter.

The above article, entitled “Who Will Continue His Work?”, was written by Azah Aziz and published in Berita Minggu on 17 June 1973, less than three weeks (19 days) after P. Ramlee’s death (29 May 1973). Source: Abdullah Hussain, Kisah Hidup Seniman Agung P. Ramlee (Dewan Bahasa dan Pustaka, 2016).