New - Peninsula Malay Anak Alang

[BigG]

Based on anecdotal evidence from oral sources, the Anak Alang, in the past is deemed to be an extreme close in stabbing weapon for hand-to-hand combat. Due to its size, it is far easily hidden in the folds of ones clothing and deployed immediately and suddenly when needed. It was deemed suitable for used by women and the young even though its used is not restricted to them alone.

The ricikan of the anak alang, in particular, elongated and tapering forms such as this was more then for just ornamental reasons. It serves the added function of a means of parrying the blade or hands of the opponent. & in extreme conditions could itself be used to inflict wounds or pain compliance to the opponent during combat.

Like the curvature that is found in a Bugis sepokal blade, the curvature of the balde that is seen in this form of anak alang is also deemed via oral traditions and practicaal experimenting on my own, to be able to enhance tissue trauma, during theinitial entry stab and when the blade exits the wound. The curvature also allows for the blade to be employed not just for stabbing but also for slashing action as that curvature conforms to the natural contours of the human body. Specifically the neck, wrist, crook of elbow or rear of the knee.

In that sense, this new Anak Alang conforms well to the traditional emphasis of balance between the need for utility and the aesthetics that is in my personal opinion the basis of the forma of Malay Kerises in the Peninsula, Sumatra and of the Bugis forms too.

Comments would be appreciated. Rgds

[Marcokeris]

Very nice and full of harmony.

[BigG]

Originally Posted by Marcokeris

Very nice and full of harmony.

Thnx, Marco...

[BigG]

The term Sari Bulan, describing the distinctive look of the cross piece of the sheath, Sampir, is known by a few other terms. The term Sari Bulan is thought to be a shortened version of the Malay phrase Sehari Bulan - (A day old moon). I have been told by a M'sian academic from M'sia of several other versions of this but could only recall 1, known as the Limau Se-ulas (An Orange slice). There appears to be a variation of this design in Perlis known as Pauh Di Layang - (A Mango, Finely Sliced). A Pantun for this..

"Anak bugis pergi berjalan
Mendaki bukit bersama kawan
Sampir keris sehari bulan
Senget sedikit indah menawan"

A gallivanting the Bugis man went
Up a hill with a friend sworn
A day old moon - slightly bent
A thing of beauty - my heart it won

[Rick]

I think I'll throw this photo up for comments from members who may have not seen it before .

[BigG]

Originally Posted by Rick

I think I'll throw this photo up for comments from members who may have not seen it before .

Is that A Ganjar Se-iras?

Anyway, from the stand point of the asthetics alone, some peopl may have a bit of a quarrel with the form of this blade... but from the utility point of view, this keris is wonderful. It serves a combination of 2 purposes... The slimness & length makes it an excellent stabbing weapon while the bent rather then a true curvature, will give it zero angle of attack in combat, a feature that I believe is highly prized in a fighting blade amongst the Malays & the Bugis.

The fullers too makes this blade terribly firm and strong. This would be a non pamor blade... Besi Hitam Sebatang, literally Single Black Metal.

Though it might offend the sensibilities of some to describe and analyse the utilitarian aspect of the keris... it is essential that we do so for Malay and Bugis kerises as in these 2 cultures, the evaluation of the keris from a utilitarian aspect just as much as the asthetics was consdered of great importance. Although a Keris in Malay and Buginese culture has many other socio-cultural functions, it has never transcended away from is deemed as its basic aspect as a weapon.

Even now, to view and then called out a Malay or Bugis Keris with prominent utilitarian features with such terms as Ganas - Brutal is acceptable and seen as a praise and not deemed an insult at all. To use the phrase ganas tapi menawan/cantik (brutal but atrractive/beautiful) or ganas tapi gemalai (brutal but elegant) is considered a worthy praise.

So my friend your blade is in my humble opinion praise worthy for being able to straddle both the asthetics and the utilitarian.. ganas tapi gemalai brutal but elegant..

[Rick]

Thanks for your comments BigG .

No, it is not an iras .
I was drawn to this keris for the very aspects you describe .
It is a terrible Tooth, yet lovely .
In the Kruwingan(?) the metal is formed into parallel wrinkles running their length .

I was curious to know the origin of the blade .
I know it has so-so Palembang style dress .

But; was it forged in Sumatera ?

[BluErf]

Originally Posted by BigG

The term Sari Bulan, describing the distinctive look of the cross piece of the sheath, Sampir, is known by a few other terms. The term Sari Bulan is thought to be a shortened version of the Malay phrase Sehari Bulan - (A day old moon). I have been told by a M'sian academic from M'sia of several other versions of this but could only recall 1, known as the Limau Se-ulas (An Orange slice). There appears to be a variation of this design in Perlis known as Pauh Di Layang - (A Mango, Finely Sliced). A Pantun for this..

"Anak bugis pergi berjalan
Mendaki bukit bersama kawan
Sampir keris sehari bulan
Senget sedikit indah menawan"

A gallivanting the Bugis man went
Up a hill with a friend sworn
A day old moon - slightly bent
A thing of beauty - my heart it won

I like the pantun! Thanks for sharing!

[BigG]

Originally Posted by BluErf

I like the pantun! Thanks for sharing!

Different aspect... same culture.. The Keris is a mark status in the past... we all know this... just like samurais who compose poetry to show of their intelligenc... so do Keris owners who compose pantuns...

[A. G. Maisey]

Originally Posted by BigG

Different aspect... same culture.. The Keris is a mark status in the past... we all know this... just like samurais who compose poetry to show of their intelligenc... so do Keris owners who compose pantuns...

Big G, please accept my thanks both for your pantun, and for your illuminating comments.

I am aware of the place of the pantun in Malay culture, I am also aware of your fondness for it, and have read the ones you have published on your site. However, some other readers of this Forum may not understand the pantun, nor its place in Malay culture.

Since the pantun is a poetic form that is unique to Malay culture, perhaps you may care to further demonstrate your intelligence by explaining the form and place within Malay culture of the pantun.

It is always difficult to translate verse in one language into verse in a different language, if I may, I would most respectfully suggest that you accurately translate the Malay language of the original pantun into English, rather than attempt to retain the poetic essence in English. By attempted retention of a poetic form you lose the essence of the original Malay.

When we translate poetry from one language to another, it is in general accepted that the meaning of the poem should be prioritised over poetic form. Sometimes it is possible to retain both meaning and form, especially where similar languages and cultures are involved, but in translation from Malay to English the cultural and language difference is simply too great to permit this.

For example, consider what happens when Yevgeny Yevtushenko is translated to English, or consider the difficulties that can be encountered when we try to translate ,say, Lord Byron into Malay.

It is a sad fact of literature that ideas and forms that work well in one language or culture often do not work very well at all in a different language or culture.