As the 64th anniversary of National Day fast approaches, Malaysians from all walks of life fondly recall the deafening cheers and rapturous applause that reverberated throughout Kuala Lumpur's Selangor Club Padang (now Dataran Merdeka) during the first minutes of Aug 31, 1957, to signify the fulfilment of our nation's long-awaited quest for independence.
Amid chants of "Merdeka" and clock hands steadily moving past midnight to herald the dawn of a new and promising era for Malaya, many among those present were mindful that the momentous occasion was a fitting culmination to an almost impossible mission that our founding fathers, led by Tunku Abdul Rahman Putra Al-Haj, undertook before successfully getting the British to see things their way.
LARGEST MALAYAN FESTIVAL
Their triumphant return after securing assurance of self-rule from London in late February 1956 sparked a string of joyous festivities leading up to National Day. While reviewing celebration proposals, which included state-level carnivals and pageants, thought crossed Tunku's mind to organise the largest festival ever seen in Malaya, one so mesmerising and spectacular that it would prove beyond the shadow of a doubt to the British that they had done the right thing in awarding independence to a nation of racially diverse and united people.
Showcasing the varied culture and heritage of those who called Malaya home, the event, aptly named Pesta, which denoted joyous celebration in the Malay language, also served as a fitting gesture by the chief minister to thank the men and women who had selflessly emptied pockets and pawned heirlooms to raise much-needed funds that eventually led to success in the United Kingdom.
Although aware that the communist terrorist threat was still looming large, Tunku felt that the bandits would not be indiscreet enough to create trouble during Pesta for fear of losing favour in the eyes of the public. Furthermore, he felt that the government's ability to pull off this feat would put Malaya on a stronger footing as an independent nation.
With the scenic Kuala Lumpur Lake Gardens (now Tun Abdul Razak Heritage Park) receiving overwhelming votes as the venue of choice, wheels were set in motion with the Information Department taking the lead role. While officers scoured the peninsula with a fine-tooth comb for seldom seen but interesting cultural practices, more than 150,000 colourful handbills and 10,000 eye-catching graphic posters were despatched to all nine Malay states and two former Straits Settlement colonies that made up Malaya to boost attendance during the three-day event, beginning from July 13, 1956.
As the months leading up to Pesta shrank to weeks, the Post and Telegraph Department was roped in to rubber-stamp mail announcing the event, while Information Department mobile units and private cinemas belonging to the Shaw Brothers and Cathay Organisation embarked on a promotional blitz by screening a five-minute trailer that gave viewers a brief preview of all the interesting Pesta events.
ALL OF MALAYA IN KUALA LUMPUR
Together with specially declared school holidays throughout the event's duration and markedly reduced fares for bus and train services connecting all major Malayan towns to Kuala Lumpur, the crowd-pulling measures worked as people began converging on the city in droves.
Boosted by growing Merdeka-inspired nationalistic fervour, crowds came from as far as Perlis and Johor to celebrate the fact that, for the first time in centuries, their beloved nation would soon come into its own. For some bewildered city folk, the massive arrivals felt like all of Malaya was in Kuala Lumpur.
Although pleasantly surprised to learn that all hotels, inns and lodging houses in the capital were fully booked, Tunku voiced concern that some out-of-towners could ill-afford decent accommodation. Plans were put into action after distressing news spread about the obstruction of pedestrian and vehicular traffic by crowds who sought temporary shelter in nearby five-foot ways. All was well once again after sleeping mats were promptly despatched to nearby mosques and temples together with sufficient food supplies to last the duration of the festival.
Coffee shops and eating places cashed in on the festivities with handsome profits. Even the locals jumped in on the bandwagon, setting up stalls at street corners, open spaces and designated spots at the event venue itself. Anyone who was industrious enough to prepare drinks and snacks made money over that weekend.
Even Tunku's serve staff at the Residency grabbed the opportunity to put up stalls. When quizzed about their participation, it was revealed that the sole motivation was not financial gratification but the once-in-a-lifetime chance to be part of a truly historic moment.
LET THE SHOW BEGIN
Finally, when the big day arrived, some 200,000 attendees waited with bated breath as Tunku stepped up to a stage to throw on the switch that turned the dusk-shrouded Lake Gardens into a wonderland of coloured lights. The rest of Kuala Lumpur, decked to the nines with gaily coloured flags, banners and buntings complete with brightly illuminated arches along major streets, was also in a celebratory mood.
While leafing through my near-pristine copy of the 65-year-old "Pesta souvenir programme", salvaged at the nick of time years ago from a paper recycling company, it becomes obvious that those attending the festival were spoilt for choice thanks to the depth and diversity of performances lined up. Apart from captivating Indian dramas and Chinese opera stage shows, my interest is skewed towards traditional dance performances from the Malay states that have all but vanished from sight today.
Among the more interesting ones were two Thai-influenced theatrical plays from northern Malaya. While the Kelantanese mak yong and the Kedah menora were similar in terms of presentation and the use of opening incantations to drive away evil spirits, the former featured a team of dancing girls, who enacted stories closely reflecting those performed at wayang kulit plays.
Meanwhile, the all-male menora cast entertained audiences with captivating skits based on the legendary tale of Mesi Mala, which is about a young princess who formed an orchestra that struck coconut shells in a drum-like manner to create enchanting melodies. Frowned upon by their community, the ensemble was banished to a deserted island. There, a dewa (celestial being) helped them perfect what would later become menora songs.
CAPTIVATING PERFORMANCES
At the same time, Selangor dancers mesmerised audiences with Tari Piring and Tari Sabong. The former was a dance form that originated in Minangkabau, Sumatra, and reached Malayan shores in the 16th century after Majapahit forces forced defeated Srivijaya refugees to flee. The dance, performed by maidens selected for their virtue, poise and grace, symbolised food offerings to deities in small plates.
Tari Sabong embodied the art of cock-fighting, which was a popular pastime among Malayans in the olden days. This fast-moving dance repertoire, patterned after two male chickens in the thick of battle, was performed by young women who entertained guests during weddings and other rural festivities.
East coast visitors were at home with the rodat presentation which, in its original form, was a semi-religious performance restricted to males who danced and chanted verses praising Prophet Muhammad. After World War 2, the rodat took on a more modern look that closely mirrored the joget and was performed by 30 dancers, including five or six females called Mak Inang.
Pahang troupe members drew loud cheers for their stirring ulek mayang presentation. Believed to have been introduced to Berserah, a fishing village on the Kuantan coast, in 1924 fishermen who sought refuge during a storm, the rendition involved a dancer going into a trance while the other six team members formed a complete circle around her while invocating puja chants.
SHEPPARD'S MASTERPIECE
Although all Pesta performances were well received, the one that stood out most was the Water Pageant extravaganza, which was composed and produced by historian Mervyn Cecil Sheppard, who took on the name Abdul Mubin Sheppard after embracing Islam in 1957. The two-hour spectacle on Sydney Lake (now Tasik Perdana) mesmerised the crowd with its well-choreographed and absorbing scenes depicting a century of stirring Melaka history.
Beginning with Parameswara's flight from a Temasik that was laid waste by Majapahit forces, the story led on to his arrival at a place that would, for a time, become the greatest trading port in Southeast Asia. Darkness descended momentarily before spotlights revealed the arrival of Admiral Cheng Ho's flotilla bearing gifts from Ming Emperor Yung Lo and the promise of Chinese protection.
The pageant then showcased Laksamana Hang Tuah's audacious abduction of the Bendahara of Pahang's stunning daughter Tun Teja before culminating in the Melaka warrior's expedition to seek Puteri Gunung Ledang's hand in marriage for his liege, Sultan Mahmud Shah. Towards the closing moments, everyone watched in awe as fairies successfully lured Hang Tuah into an enchanted cave where he was never to return.
Just before fireworks began flying over Kuala Lumpur to bring Pesta to a fitting close, there was silence as the captivated audience watched Puteri Gunung Ledang transform into an old woman, before presenting the warrior's famous Taming Sari keris to his followers waiting at the foot of the mountain as a symbolic farewell gesture.
The historic festival had brought to the fore the enduring spirit of togetherness in all Malayans. It would go down in history as the main celebratory moment that sparked months of joyous fanfare throughout the land that was well on the way to claim its rightful place among the commonwealth of free nations of this world.