Glowing Tributes

An article written by Malek Munip of Universiti Malaya, in the July 1983 issue of Dewan Budaya, about P. Ramlee ten years after his passing, is a great tribute to the artist. The full article is as follows:

Ten years ago, when the Great Artist P. Ramlee left us forever, various praises were bestowed upon him to commemorate his contribution to the arts. Amidst the overwhelming praise, several local scholars attempted to make a more balanced assessment of P. Ramlee’s works and contributions. They raised some questions to guide the evaluation of the role and impact played by P. Ramlee. A professor, a renowned cultural expert, reminded us to be cautious and not let our emotions overly influence our views, to be rational and try to free the factors surrounding P. Ramlee’s character from being clouded by emotions. Another historian, on the other hand, said that P. Ramlee should be evaluated within the context of his time, the era of the arts and entertainment industry in which there were still no other artistic personalities for comparison. Therefore, in such a barren era, anyone who appeared and filled the void would undoubtedly shine and make even modest talents seem extraordinary.

In this regard, some also believe there were too many external influences and elements in P. Ramlee’s creations. Some claimed he was inspired by Japanese films, Western popular music, or box-office stories from Hong Kong and India. In many ways, P. Ramlee was said to have merely adapted and assimilated acting techniques, direction, portrayal, and other elements into a performance to entertain the Malay community’s conscience. So, although for over a decade, the Malay community was mesmerised by his creations, the authenticity of P. Ramlee’s creations was extremely limited. Moreover, some argue that the artistic creations of a Great Artist should be able to break through the barriers of racial art preferences because art, in its core form, is the right of all human beings. At a higher level, time is a test of quality artistic creations that can be enjoyed over time, creations that do not deteriorate from rain and heat. Can popular creations at one stage become classic at another?

Therefore, when all critical views like these are applied to assess P. Ramlee’s contribution, will his nature and dignity as a Great Artist be affected? Should we be able to or even need to completely set aside our emotions when evaluating his songs and melodies, acting and direction? Was he just imitating external elements, or was he trying to enrich his community’s artistic treasure trove by Malayising external elements and not removing Malay elements? Is art something stagnant or dynamic that evolves with the times, but does not break away from its roots?

Indeed, seeking answers to questions like these requires a detailed examination that requires expertise from various branches of knowledge. Nevertheless, some aspects of the above critical views can be briefly examined to respond to P. Ramlee, who is generally known as someone who has devoted almost his entire life to the arts, a field of activity based on human feelings and emotions. The success of an artist in contributing to filling the void and fine emotional needs of a society can only be evaluated meaningfully if such contributions can truly be enjoyed and affect the emotions of that society. In this context, the grief and sadness that envelop the emotions of a society due to the loss of an artist only prove the artist’s success. Even evaluating the artist’s contribution without attempting to delve into and understand the emotions that he has evoked in that society would be a shallow assessment. Moreover, artists like P. Ramlee, with the greatness and reliability of their individual creations, have monopolised almost all major fields of art and entertainment, dazzling the dreams of an entire generation of their society.

In addition, the question of whether P. Ramlee’s success is more of a result of his background is nothing more than a truism. It is a natural fact that every individual is influenced by their surroundings. What sets them apart is how each person can use or break free from the shackles of their surroundings to succeed in a particular field of interest, especially in areas of activity that have not yet been recognised by the general public. P. Ramlee, for example, emerged at a time when the Malay film and popular music industry was in its infancy. As Dr. Wan Kadir, who has thoroughly researched Malay popular culture, pointed out, that era was more of a barren period in this field of art. There were no Malay artistic figures with widespread appeal that could become idols and trendsetters that could be enjoyed by almost all segments of society. Even the tradition of the image of wayang, as a group of small people engaged in entertainment art, had not yet received social recognition. However, ten years after P. Ramlee’s involvement in this field of art, he seemed to have completely transformed those values and images. P. Ramlee had given dignity to a field of livelihood that was deserving of it. He did not just explore a new field of art, but also built and founded a form of high artistic expression.

Many people may question the external influences incorporated into P. Ramlee’s works. However, art as part of the culture of a society is not a static aspect of life. As a form of social expression, art develops in accordance with the development occurring in the society. In Malay society, which has an open tradition and is exposed to external influences, the dynamism of its people has made it possible to incorporate foreign elements into Malay culture. However, the acceptance of these foreign elements is not in their absolute foreign form, but through a process of adaptation and modification into the existing Malay culture. Thus, the process of “Malayisation” of foreign elements takes place until their foreign nature is lost, not the removal of Malay elements. This is a traditional process of enriching Malay art and culture that has been happening for centuries, without severing its Malay roots.

It is within this tradition of the dynamism of art and culture that P. Ramlee seems to have achieved exceptional success. His creative nature has sharpened his sensitivity to art and enabled him to sift through many useful external elements to create quality works, regardless of whether the influence came from Hollywood, India, Japan or Hong Kong. His major films, from Penarek Becha or Semerah Padi to Antara Dua Darjat or Ibu Mertuaku, brought comedy stories like Nujum Pa’ Blalang or Pendekar Bujang Lapok, all of which could be enjoyed spontaneously by Malay audiences without feeling the usual awkwardness or strangeness that is common in adaptations. The same goes for his compositions of hundreds of songs and music pieces. Although there are new elements in terms of sound instruments, rhythm and melody approach, beats, and intonation, all are arranged and mixed into a single art performance that remains Malay in nature, even with a modern approach. The root of his Malay art never broke in his efforts to tap into the development of his society’s music. He is, as noted by the country’s historian, Professor Khoo Kay Kim, the true creator of modern Malay songs.

The popularity of P. Ramlee’s works is well-known, enjoyed by all age groups from children, teenagers, and adults. However, what is most interesting is that his works were not just created for immediate pop appeal but reached higher levels. There is a kind of lasting appreciation from the masses, repeated enjoyment of the art. People still enjoy listening to Getaran Jiwa over and over again, still can’t get enough of Penarek Becha and are still amused by Bujang Lapok. In fact, there is evidence that the generation born after P. Ramlee’s decline in the arts scene is starting to appreciate and admire his works. There is a kind of resurgence in interest and attraction to his works. The further away from his time, the more brilliant his creations shine. Time has indeed shown how many of his creations were popular in the past and have now become classics in almost all major fields of entertainment, including heavy drama, historical dramas, comedy, as well as music and song compositions. It is a testament to his greatness that P. Ramlee was consistently chosen as the best artist, director, or composer in Asia year after year, even when the film industry in Malaysia was just starting out and was dominated by foreigners. Nevertheless, P. Ramlee succeeded in becoming an institution in Malaysia’s entertainment industry.

Looking back from a historical and societal perspective, P. Ramlee’s works represent a social success that is perhaps unparalleled. Starting in the late 60s, the development of modern technology has impressed the spread and invasion of Western popular culture influences that were rampant in nature. In the name of freedom, the development of art that was reflected through films and songs portrayed a trend of moral decay and cultural values that almost completely rejected the artistic elements that gave root and spirit to our popular culture. The seeds of accepting foreign artistic elements in their foreign form have begun to emerge, which completely took over the existing Malay elements. Indeed, efforts to enrich the Malay cultural art treasury through the process of adaptation have turned into a process of removing its Malay elements, threatening the dignity of national identity. At that time, political, intellectual, and cultural leadership were still too subject to Western permissiveness orientation. There was no political and cultural leadership that had the strength of local pride and dignity that could rival them.

In such circumstances, P. Ramlee’s works, without realising it, played a role in blocking the invasion of Western popular culture influences. His works have now become one of the main references in the process of enriching and building, which will ultimately shape the identity of our country in the future. On one hand, P. Ramlee has revived the conscience of Malaysian folk art at a time when such awareness was much needed.

Indeed, this is the legacy of the Great Artist that will last forever.