Ungku A.Aziz: Pantun and the Wisdom of the Malay Mind
by Dato’ Johan Jaaffar @www.nst.com.my
ROYAL
Professor Ungku Abdul Aziz Ungku Abdul Hamid is one of the greatest
minds the country has ever known. He is also a man of many achievements,
to name one, he is the first recipient of the Merdeka Award in the
education and community category in 2008. His interest in all things
literary is legendary.
He was obsessed with the Japanese haiku
at one point and his latest love is the Malay pantun. Pantun undeniably
is the most popular vehicle for the expression of poetic feeling among
the Malays. Pak Ungku painstakingly assembled, documented and studied
some 16,000 of them over the years.
He selected 78 to be included in an
interesting lecture organised by the Dewan Bahasa dan Pustaka (DBP) and
the Malaysian Linguistic Association in 2007 as part of the Raja Ali
Haji Lecture series.
I am honoured to have been given the opportunity to write the preface for the book Pantun dan Kebijaksanaan Akal Budi Melayu
(Pantun and the Wisdom of the Malay Mind) based on the lecture
published by DBP. It was a labour of love for me knowing the man behind
the book. It is not often we find someone of his stature to give such
serious attention to a Malay poetical form.
It is normally the domain of
literary scholars and researchers. Ungku Aziz certainly brings a new
dimension to literary studies — looking at pantun from various
disciplines — from economics to psychological references — areas very
few would dare tread.
So his “reading” of the Malay pantun would certainly be
So his “reading” of the Malay pantun would certainly be
different from others. But Ungku Aziz is
a contrarian among economic thinkers who believe that there is a
relationship between the economic capabilities of the Malays and their
value system, worldview and psyche.
When he started studying poverty
among the Malays, he realised how culture, ways of life, dietary habits
and government policies were an insurmountable hindrance to their
progress.
It was not a pleasant thing to say at the
time but Ungku Aziz shared the same view as another monumental thinker
among the Malays, Zainal Abidin Ahmad or Za’ba, who was
uncharacteristically audacious in criticising some of the “Malay ways”.
It was, therefore, unsurprising that Ungku Aziz wrote a glowing tribute
to Zainal Abidin’s views in the book Jejak-jejak di Pantai Zaman published in 1975.
Not surprisingly, too, it was Ungku Aziz
who made the word minda (mind) part of the Malay lexicon. No other Malay
literary creation explains the Malay mind better than the pantun.
For
more than 700 years of its existence as part of the Malay oral
tradition, the pantun has always been the manifestation of the genius of
Malay creativity and a storehouse of the Malay mind.
Pantun is simple in its form but complex
in its texture and nuances. It is easily adaptable and allows for
improvisation. The pantun contains beautiful imagery and the delicacy of
thoughts.
That is part of the reason why it survives the test of time.
Even today, you hear pantun being read at wedding ceremonies and
official functions, not to mention on the airwaves at the slightest
provocation.
The pantun was created anonymously just
like many of the works that constitute the Malay oral tradition. It is
interesting to note that the pantun was born out of the largely
uneducated Malay populace of old. Life was hard and survival was the
rule.
Far from the blooming of other literary brilliance and theatrical
sophistication nurtured by the istana (court), lesser mortals had to
contend with folk literature of their own, from cerita rakyat (folk
tales) to verses like pantun, gurindam (a two-line verse) and peribahasa
(proverbs).
Literary works became part of the
socialisation process. Before radio and TV, people lived with tukang
cerita (story-tellers) and penglipur lara (literally, soother of woes)
of all kinds.
Even nenek (grandmothers) were involved in telling
exemplary moral stories to be emulated as well as fables, myths, legends
and ghost stories. Literary works entertain and are used as tools to
educate. They reaffirm social norms and community compliance. But
creativity is their mainstay
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