The boatmakers in a fishing village in Kelantan still practise a tradition that is passed down from generation to generation, writes Putri Zanina
THE boats glided effortlessly on the river, sending ripples across the water. If not for the noise of the boat’s engines, the scene at the mouth of Sungai Anak Gajah near Pantai Sabak would have been absolutely tranquil.
But no, I haven’t come to this fishing village for tranquillity but rather, to find works of art from a lost kingdom.
It is right there in the open, floating on water, with the parts above the waterline shining brilliantly in shades of red, blue, yellow, green and other colours. The outstanding feature of each boat is the bow, with intricately carved animal figures, commonly the crane and the dragon, protruding as if leading a ferocious sea voyage. Several poles on board hold equally colourful flags that flutter in the winds.
The boats are the canvas while the boatmakers and painters are the artists who work in the same fashion as their ancestors. Their roots can be traced to the ancient kingdom of Langkasuka. Hence, the birth of the Floating Art Of Langkasuka.
It’s a term coined by entrepreneur Alex Lee Yun Ping, who owns Ping Anchorage Travel & Tours and Terrapuri Heritage Village in Merang, Terengganu. His unique Floating Art Of Langkasuka Tour takes us to Kampung Anak Gajah in Pengkalan Chepa in the neighbouring state of Kelantan, about two hours’ drive from Merang.
To get to Kampung Anak Gajah, you will go past the historic Pantai Sabak, where the Japanese first landed in Malaya during the Second World War that broke out in December 1941. Only a crumbling bunker from the war days remains at the wind-swept coast of the languid beach.
What you won’t want to miss is the action at the mouth of Sungai Anak Gajah when fishermen start returning, from 2.30pm to about 4pm. It’s the best time to catch sight of the vibrantly painted perahu kolek, the traditional fishing boats of the Kelantanese, as they enter the narrow channel linking the river with the South China Sea.
The artwork on the perahu kolek uses the same colours and symbols used for generations since the existence of the kingdom of Langkasuka in the 2nd Century. Though the exact boundaries of this old Malay kingdom are not known, researchers believe that it spanned Pattani (now part of Thailand), stretching down to Kelantan, Terengganu and Kedah. Langkasuka was most likely among the peninsula’s earliest kingdoms, with Hindu-Buddhist origins and subsequently, Malay influences.
A Sanskrit word, Langkasuka means a “resplendent land”. It drew traders and sailors from faraway places, including China and India, eventually becoming a major trading port with a thriving boat-making activity.
From my tour guide, I learn that the crane is, traditionally, the preferred figure for the bow. The crane is adept at catching fish, and using it as a symbol, the fishermen hope to be as skilled as the bird itself.
Another revered figure is the garuda (a mythical bird-like creature), often mentioned in Hindu and Buddhist mythology. Both Hindu and Buddhist influences were prevalent before the coming of Islam.
Muslim Malays later transformed animal motifs into abstract designs. They also injected the batik patterns, mostly the awan larat (repetitive leafy and floral motifs).
The entire hull of the boats are painted in different colours, often running in stripes from the front to the back. The use of the different colours symbolise success and sovereignty of the people.
The boats are made of hardy cengal wood which can last for about 30 years. Since the days of Langkasuka, no one in our land makes these beauties anymore. Today, perahu kolek are made in Pattani, Thailand, and brought to the east coast of the peninsula. Here, the locals carry out repair work and spruce up boats with new coats of paint, especially during the monsoon season from October to February when the seas are too rough for fishing.
While the repairs and the paint works may be regarded as a mere necessity for the fishermen, let’s hope the rest of us will see it as a beautiful legacy of a kingdom long gone.
For Putri Zanina, the joy and depth of life come from encounters with experiences in both old and new places. Reach her at traveltimes@nst.com.my