This is the sixth of seven articles on Hari Raya and Malay Culture appearing in the July/August 2014 issue of PASSAGE, the magazine of the Friends of the Museum (FOM).
In the 1950s and 1960s, wedding receptions and Hari Raya celebrations were occasions when Malay women would be at their finest, wearing colourful baju (items of clothing) and bedecked with barang kemas (jewellery). It was the norm for Malay women to wear some jewellery when attending these keramaian (gatherings) so as not to appear telanjang (naked), as my late grandmother used to say. This remains true today. Malay women love their gold jewellery and accessories and I am reminded of this when I look at old photographs of my late mother and grandmothers in their younger days. To me, the 1950s and 1960s represent the height of Malay fashion. During that period the kebaya, namely the body-hugging kebaya pendek in lace, voile or chiffon, was the rage. There were many regional and stylistic variations of the kebaya and other Malay baju. However, the baju kurung Teluk Belanga [Telok Blangah] was, and still is the firm favourite. The 1950s and 1960s were when the Malay film and music industry was at its height in Singapore and the fashions worn then by famous Malay actresses and singers had an impact on the popular culture.
Some popular types of vintage gold jewellery worn by the Malays in Singapore in the 1950s and 1960s include intan (rose-cut diamonds) jewellery, gold coin jewellery and batu Ceylon jewellery. Silver jewellery and accessories were also worn as affordable alternatives to gold. These jewellery items and accessories would make any busana Melayu (Malay couture) complete. Generally, Malays preferred gold ornaments, coloured stones and intan. The orang berada (the wealthy) would go for berlian (European-standard diamonds) and batu permata (precious stones). For folks with lesser means, gold-coloured ornaments such as gilded silver or tembaga (brass) jewellery were affordable alternatives. Mutiara (Pearls) and jade did not feature in the jewellery of the Malays.
Intan Jewellery
Gold and intan necklace with a crescent moon design
Intan jewellery was in vogue in the 1950s and 1960s. It was the jewellery of choice for Malay weddings. Weddings were very elaborate affairs and it was not uncommon for one to last for several days. The bride would have several changes of costumes/baju complete with the accompanying jewellery for the various ceremonies such as the berinai (henna application) and akad nikah (solemnisation). Bride and groom would be transformed into raja (king) and permaisuri (queen) for the day. The wedding couple looked regal seated on the pelamin (dais) in their resplendent wedding outfits, usually made of songket, and jewellery. Often the groom’s songkok or tengkolok (headgear) would be decorated with an intan necklace, kerongsang (brooch) or both. This was a practice that was uniquely Malay.
Kerongsang, a set of fasteners for the kebaya, made in the shape of dragonflies
(sibur-sibur)
The intan jewellery could be described as ‘Asian art nouveau’. The nature-inspired designs were similar to the art nouveau style popular in the west in the early 20th century, but the aesthetics were Asian. The design of intan jewellery included a variety of motifs: flora, fauna and the cosmos. The jewellery was the handiwork of Ceylonese, Chinese and Malay craftsmen who drew inspiration from various cultures, regions and the fashions of the day. One could also see Ottoman and Victorian-era influenced features in it. The final piece of jewellery was an amalgamation of the tastes, influences and aesthetics of the various ethnic groups, particularly the indigenous Malays, the Straits Chinese and Indians. Clearly, intan jewellery is a shared heritage in Singapore. It was not uncommon to see Malays wearing pieces with motifs of birds, insects and other animals, beyond the floral and the crescent moon/stars designs usually associated with their community.
Typically, the gold content of intan jewellery of this period was not higher than 20-karat gold or 85 percent gold content. The gold would be too soft to be shaped into the desired design if the gold content was higher than 20K.
Gold Coin Jewellery
Jewellery created around from gold coins
Gold coin jewellery was also popular with the Malays, especially the Baweanese community. Typically, the US gold dollar coin was the favoured choice for this jewellery. The gold coins were minted at the turn of the 20th century in denominations of US$5, US$10 and US$20 and corresponded roughly to the size of old Singapore 10c, 20c and 50c coins respectively. This gold coin jewellery came in the form of bracelets, peniti or kerongsang and pendants. Most of them predate the 1960s. Occasionally Dutch coins were used. The gold content of these coins was higher than the usual mas paun or pound gold, that is, somewhere between 85 percent (20K) to 91.6 percent (22K).
Batu Ceylon Gold Jewellery
Gold rings embellished with intan and batu Ceylon, in buah kana style
Batu Ceylon jewellery was particularly favoured by the Malays. The Ceylon stones used in these pieces imitated rubies and sapphires and came in lovely shades of blue and pink. The stones were set in gold surrounded with intan and sold as rings, ear studs, pendants, bracelets, kerongsangs and baju kurung buttons. The cincin buah kana , a marquise-shaped ring, was the signature design of this period. The cincin buah kana varied in length from 1.5cm to 4cm and incorporated intan or was an intan/batu Ceylon combination.
Gold Jewellery
A pair of drop earrings inspired by the kumbang (beetle)
Gold jewellery was the perennial favourite of Malay ladies. To them, jewellery played a dual role – as fashion accessories and savings. In times of need, the gold jewellery could easily be converted to cash at pawnshops. It was also a form of investment which could be converted to purchase tracts of land or fund pilgrimages to Mecca. The gold jewellery was usually in 20K or mas sepuloh (24K) gold. The 916 or 22K was a recent gold mark established in the 1980s. Hence, 22K jewellery was of recent provenance, even though the designs could be from the 1960s or earlier. For a more affordable option, the 9K suasa, a gold and copper alloy, was available.
Goldsmith Areas
Two gold gelang papan (plank) bracelets
There were two main enclaves where jewellery shops were located in the 1950s to 1960s: around North Bridge Road /Arab Street and along South Bridge Road. Generally, the latter dealt with jewellery for the Chinese whilst the former was patronised by the Malays and Straits Chinese. The jewellery sold in Kampong Gelam/Arab Street was more to Malay and Straits Chinese tastes. The craftsmen were predominantly Ceylonese and Chinese and to a lesser extent, Malays. Nearby Baghdad Street (Kampong Intan) was where the intan merchants were located. I was told that intans could be purchased from Banjarese intan merchants, who hailed from Banjarmasin in South Kalimantan [a Malay-speaking group from southeastern Borneo Island, Indonesia] from where these stones were mainly sourced. The intans were then crafted into made-to-order jewellery based on popular designs. There were also goldsmiths located along this street where the intans could be set into jewellery. The intan’s various grades such as kulit bawang (onion skin) and intan minyak (oily greyish appearance) determined the final look of the jewellery. Batu yacob, an intan look-alike but a cheaper alternative, are also a popular substitute for the intan.
Gold jewellery was sold in terms of tahil, mayam and saga which were the Malay weights of measurement. They corresponded roughly to 37.4g, 3.4g and 0.28g respectively. One tahil is equivalent to 11 mayam, whilst 1 mayam is 12 saga – saga being the small red seeds of the leguminous Adensanthera pavonina tree.
Rossman Ithnain is a director at the Ministry of Trade and Industry, with a deep passion for his heritage and Singapore’s history. He collects antiques and vintage items from the Malay World. All photos courtesy of the author.
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