Rethinking Ritual In The Malay House

Abstract

Ritual as prescribed by tradition has long been instrumental in defining the essence of ethnicity. It is governed by accepted rules, values and behavioral norms embedded in daily routine through repetition. Contemporary Malays have inherited rituals, dating since the 7th century, known as ‘adat’. The advent of Malacca Sultanate in the 15th century revolutionized the rituals to their highest mature state, defining the essence of ‘Malayness’ through its civilization; by strengthening the Islamic belief, Malay language and traditions. Nevertheless, modernization and cross-cultural influences have created multiple readings of rituals. Hence, contemporary Malays are paradoxical, both traditionalist and modern when it comes to the practice of rituals. This is due to the fact that Malay rituals are practiced in everyday life, rather than symbolically performed. This is also implies a strong correlation between traditional principles and contemporary lifestyles. Perhaps it means that their root remains essential to Malays, despite their inevitable evolution along different living conditions. The traditional Malay house is a living artifact of how rituals are framed in space. Through its layout the notion of rituals is projected in everyday routine, preserving Malay values and manners. In the past, the house allowed Malay to be ‘decent’, in terms of social life, domestic culture, ethics, and religion. Gender segregation and sitting rituals have been since then the most important rituals projected in its interior layout. This has remained almost the same for 400 years, while its exterior façade absorbing various influences. Therefore, rituals embedded into the daily life result in persistent spatial qualities, regardless of a house’s location or stylistic influences. The evolution from the traditional house to a modern high-rise apartment has triggered multiple critiques regarding the performance of rituals. One may think that a generic modern layout allows the practice of ‘zero’ rituals. Yet, it allows rituals to be transposed into ordinary domestic objects framing the life of its inhabitants. This phenomenon is explicit in analytical studies of modern Malay apartments, where furniture and everyday objects are re-appropriated to suit rituals. Hence, this project is a manifesto that intends to canonize ordinary objects as ritualistic artifacts, fully acknowledging Malaysia’s contemporary modern context. The modern Malay house -now in an urban setting- becomes a background platform that allows the individual to perform rituals through singular objects. Three scenarios based on the daily life of a modern Malay family are created as representations of specific rituals. The first scenario -‘Who Is Your Best Friends?’- is a depiction of ‘serambi’ or reception deck which emphasise rituals of gender segregations in a community. The second scenario -‘Secret Recipe’- portrays an island kitchen cabinet that highlights the essence of sitting rituals in Malay dining etiquette. Finally the third scenario -‘Hide & Seek’- intends to emphasise rituals related to different gender needs within a family. As such, the manifesto is a critical tool in order to rethink the position of rituals in the modern Malay house. The scenarios may be exaggerations of reality, however this allows Malays to realize that rituals are part of their daily routine, no matter where and when they are performed to sustain the agenda of ’decent’ Malay.