MALAYSIA'S ancient manuscripts have a history that spans at least 1,080 years. The hikayat and mythologies contained within these manuscripts offer present generations a wealth of highly conceptualised ideas and insights into the creativity of ancient societies.
In an effort to nurture an appreciation for these stories, a brand-new cultural showcase hosted by bzBee Consult, supported by Yayasan Hasanah, was recently unveiled to highlight the work of award-winning author, Ninot Aziz, who has been a champion of the Malay hikayat.
The event brought together prominent cultural practitioners including national laureate, Professor Dr Muhammad bin Haji Salleh, dance maestro Hj Tharawat Ismail Bakti, with special performances by Primadona Makyong Fatimah Abdullah, Pakyong Negara Rosnan Rahman, Kumpulan Akar Seni Malaysia led by Mohd Hazlami Harun and the Arjuna Sukma Wayang Kulit Group.
Over the years, Ninot has worked with four major illustrators A Malek Rahim, Walid Muhammad, Dani Warguide and Ariyana Ahmad to produce artworks that re-visualise Malaysia’s ancient world and immerse viewers in the wonders of these mythologies. An exhibition of this body of work is open to the public at MaTIC (Malaysia Tourism Centre) from the September 16th to October 31st.
On the heels of her latest publication – a series of four graphic novels (as part of a ten-book series) – the writer spoke at length about her process, the importance of our mythologies and the need to adapt these stories for a modern audience.
The Vibes (TV): Congratulations on the launch of the series. When did the inception of this project first take root? And how long did it take you to finish it?
Ninot Aziz (NA): My editor, Raman and I first met in 2014. By then I had published several books with MPH and Utusan Publishers. He was one of the judges at the MyCreative Ventures Writers Unleashed competition. My manuscript Onangkiu was the grand prize winner of the competition and the idea of working together was born.
But it was only in 2017 that we decided to start on the series of illustrated Malaysian legends. Raman’s vision was to produce 12 books in the fashion of Neil Gaiman’s illustrated books. I began writing, and rewriting – Raman put me through a tough editing grill. I felt I was learning to write all over again. But he was very adamant about me doing the editing and rewriting myself. It was a good editor-writer relationship.
Key to the series is the illustrations that accompany the story. I was lucky to be able to commission a genius of an illustrator, Dani Warguide from Kelantan who drew an out of this world Bidasari (cover) and the back cover Djinn. His work was very meticulous and required time, and he introduced me to digital artist, Walid Muhammad from Melaka. Walid too had this deep understanding of the world that I wanted to recreate, and we finished Bidasari and Bentala Naga (inspired by Makyong).
In 2019, Tan Sri Johan Jaafar introduced me to Ariyana Ahmad based in Dublin, Ireland and we completed Puteri Saadong and Seri Gumum this year. The three illustrators have produced inspiring work for the series and other books.
This strong collaboration with artists is key to our work – you should see my early sketches which I shared with the artists. They were rough sketches, rather primitive and comical, but the team managed to recreate astounding interpretations in this Hikayat Fandom series.
TV: The series is made up of four titles in English, and Malay translations are also available. Did you work on the translations yourself? In which language did you write in first?
NA: I started writing the Hikayat themed books since 2000, writing in English as I really wanted a wide audience of Malaysians to appreciate the Hikayat lores. And I have written poetry in English since young so taking to the language felt natural to me. However, in 2018, I began writing anthologies in Bahasa Melayu and the reception to my work in Bahasa have encouraged me to do more of this.
For this series, and my ‘A Hikayat a Day’ postings on social media, I wrote in English first. But I did not really translate, I actually rewrote the stories. New prose and poetry unique to each version are kept as it just adds to the flavour of the stories.
I was lucky to have my daughters Naquessia Irani, Nadessia Ilena and Raman’s intern Tharani Kandeepan do the preliminary translation especially for Puteri Saadong and Seri Gumum. Here I became the meticulous editor and, in many areas rewrote the story, as inspiration took over.
TV: Your oeuvre and authorship have always spotlighted our hikayat and traditional stories. What first inspired you to focus your attention on this subject matter?
NA: I grew up with these stories told by my grandmother and mother – we loved storytelling in our family. I would participate in school plays when I was in primary school. I took part in the Cik Siti Wan Kembang and Puteri Saadong theatres for the school’s year end concerts, an elaborate affair.
But it was in 1996, when I had organised a Makyung performance for the King led by the legendary Makyung Diva Khadijah Awang at the Royal Lake Club. I had to transcribe what Khadijah Awang and in doing so, I found these stories fascinating. The audience at the Sovereign Banquet loved the show and it was then I decided to write these stories in English for Malaysia and for the world. It was that single idea that pushed me all these years.
TV: What discoveries have you made/learnt about Malaysia throughout your career so far?
NA: We are truly creative as a people. We have beautiful legends that could inspire great theatre, movies, animations, and tourism. I see beauty in the Bakawali flower, and Delima fruit mentioned in so many hikayat. I see landscaping and architecture that should be based on local collective memories and local flora and fauna. Serai wangi and Ciku. Birds Nest ferns and Kemboja.
I have a beautiful Kaloi in my garden. And when I was young, my aunt had a huge pond with a Kaloi too. These were mentioned in the story of Bawang Putih, Bawang Merah. We should be proud of the Melayu Nusantera of Alam Melayu garden – not the Bali Garden. Traditional Malay Spa... not Bali Spa.
Gamelan, Rebana, Rebab. Textiles like batik, cindai, jongsarat. Tools like teropong and many different ships. Congkak. All these are mentioned in our hikayat. All these can generate an appreciative audience and high income for cultural practitioners and yet – we fall short here. This is a wasted opportunity.
TV: Why are these stories important?
NA: I have always said this – Legends and folklores are the memories of our ancient civilisation. Art and beauty are so integral to the existence of a civilisation, and I find this through reading and appreciating the hikayat.
I have also found that hikayat, legends and folklores contain a wealth of knowledge on topics ranging from governance, protocol, diplomacy, architecture, shipbuilding, weaponry and textiles to medicinal practices, literature, entertainment, music, dance, wisdom, and creative thinking – proof that our ancient societies had highly conceptualised ideas and creativity.
For instance, we were the creators of the first ‘lighter’ through our ‘gobek api’. There are many other wondrous things we can find in the hikayat. Ishtinggar and rentaka, submarine vehicles ‘pesawat’ – the imagination of our forebears was so brilliant – I can see them having conversations with HG Wells and Jules Verne and perfectly understanding these ‘imagined’ worlds!
This wealth of historical literature can offer our younger generation with an insight not just into beautifully written works, but also history, creative thinking and, even science. In an attempt to nurture a capable generation armed with crucial skills, it is important to reflect and bring together the past and the present.
They can start with the idea that is borne from hikayat.
TV: What stories would you like to write about or explore next?
NA: There are so many stories from hikayat and performing arts. I have ‘hundreds’ as Mr Raman tells me.
Next on the list is Onangkiu of Gellangui, Puteri Santubong of Sarawak and Huminodun of Sabah. The underworld of Dika mentioned in Sulalatus Salatin (The Malay Annals) fascinates me. As well as our concept of Kayangan, and the relationship between Kayangan and Bumi beings.
What is important to me now are the opportunities to work with theatre performers, animators, and movie producers. And e-sport designers. Taking the Hikayat stories to new platforms is exciting. Imagine a hikayat inspired world in Genshin Impact.
Our Hikayat is just waiting to be explored. – The Vibes, September 25, 2022
