AUTHOR'S DECLARATION

I declared that the work in this academic writing was carried out in accordance with

the regulations of Universiti Teknologi MARA. It is original and is the result of my own

work, unless otherwise indicated or acknowledged as referenced work. This writing

has not been submitted to any other academic institution or non-academic institution

for any other purposes.

In the event that my writing to be found to violate the conditions mentioned above, I

voluntarily waive the right of conferment of my degree and agree to the disciplinary

rules and regulations of Universiti Teknology MARA.

Name Nur Athirah Bt Zulkaflee

Student ID 2012189471

Department Contemporary Metal Design

Faculty Art and Design

Title The Aesthetic Of Malay Parang Design

Signature ………………………………Date ………………………………

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TABLE OF CONTENTS

Page

Authors Declaration 1Table of Content 2Abstract 3Acknowledgement 4List of Figure(s) 5List of Abbreviation 5

CHAPTER

1. Introduction 62. Background Research 83. Research Methodology 224. Analysis and Findings 215. Conclusion and Recommendation 22

References 23Appendices 27

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ABSTRACT

This study was carried to find out about Malay Traditional Parang that originated from

Malaysia and to find their characteristic that are diminishing and acknowledging and may

be forgotten if leave unpreserved. This research conducted by several observation made

to gain primary data from the respondent about Parang making process and some info.

It is found that Parang craft are popular through social networking site. In conclusion,

some suggestion have been made in preserving the aesthetic of Malay Parang.

Recommendation for future research also included in the final part of the report.

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ACKNOWLEDGEMENT

Alhamdulillah grateful to the name of Allah (SWT) for His greatness, richness and love for us.

I am glad to submit this academic writing which includes the practical aspect of the metalwork study. I am honorable to express my deepest gratitude to my dedicative lecturer so as my supervisor, Prof. Madya Alias Yussof for his guidance and constant supervision as well as for providing necessary information regarding the research, this gratitude also goes to other assisting lecturers, for guiding me towards a successful preparation of this research as well as this report.

I obliged University Of Technology Mara for providing us with the opportunity to undertake surveys of small scale industry and for introducing us to a new horizon in the technical and industrial skills.

Lastly my appreciation went to my respectful parents who always been in my supportive side and not to be forgotten to my colleagues whose generously lending hands in developing the project and people who also have willingly helped out with their abilities.

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LIST OF FIGURES

List Page

Figure 1 : Parang ilang hilt motif 11Figure 2 : Parang ilang or Parang Mandau with small knife 12

Figure 3 : Parang ilang Kenyah with chiseling notches 12

Figure 4 : Parang Pandat Bidayuh 13

Figure 5 : Parang Latok 13

Figure 6 : Parang Niabor 13

Figure 7 : Parang Langgai Tinggang 14

Figure 8 : Parang Jimpul 14

Figure 9 : Parang Pakayun 14

Figure 10 : Parang Lading Measurements 16

Figure 11 : Parang Lading 16

Figure 12 : Silat Cekak position with Lading 17

Figure 13 : Parang Jengkok (1) & Parang Bongkok (2) 17Figure 14 : Parang Jengok 18

Figure 15 : Parang Jangok 18

Figure 16 : Round Turned Parang Hilt 19

Figure 17 : Stupa from Pattani, Thailand 19

Figure 18 : Parang Jengkok & Parang Bongkok (National Museum) 25

Figure 19 : Kelewang (National Museum) 25

Figure 20 : Parang Lading and Golok (National Museum) 25

Figure 21 : Parang ilang & other sword 25

Figure 22 : Manufacturing Process 27

LIST OF ABBREVIATION

PSSCM : Perkumpulan Seni Sari Budaya Sri Kedah

EG : Example

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THE AESTHETIC OF MALAY PARANG DESIGN

CHAPTER 1

1.0 Introduction

This chapter discussed on research background and the overview of the research intended

to give direction and information.

1.1 Background of the study

The Southeast Asia includes most of Indonesia Islands, Malay Peninsular and Southern

Philippines. Thus they share common ground and origin of a weapon name 'Parang'. The

name Parang was derived from a Malay word 'Perang' means war. Parang was widely used

in battle and in Malay world some weapon such Parang are multifunctional, they can either

be a cruel weapon or simply utilized working tool. Other purposes are usually for agriculture,

hunting activity, daily chores. Malaysia is known for the tropical forest this tool is beneficial

while walking in the jungle. In some region, this tool is doubled as weapon and ritualized

versions of common tools developed into symbolic status. Some with stylized version tend

to be better preserved while workaday tools are used heavily and discarded once broken.

Parang is actually the big term of variety types of Parangs. Malay Peninsula is a division of

six main regions : Central Region, Southern Region, East Coast, Sabah and Sarawak thus it

comprises different country with diverse culture. Which means Parang also differs according

to their origin. Each country in Malaysia possessed its own cultural lifestyle, belief and

biography that influenced a state of a Parang. The shapes, designs, influence, motifs,

function and materials used make them unique and distinctive one another.

1.2 Statement of the problem

Public support in Malaysian Parang craftmaking is at its immerging state. Only recently the

Malaysian art has expanded but still practicioners of Malaysia's traditional Parang craft

making are lack of apprentice and interest in society to carry on. The mass production has

been challenging by supplying goods at a lower cost restraining any added value than a

handmade tool and in a meantime handmade craft had been less needed due to costing and

time length.

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1.3 Purpose of the study

There are not many people who are excellent at making Parang. Some reason is because

usually Parang making is a skill to be descended from Parang makers to their inheritance or

to someone who are eager to learn the art. The purpose of the study is to improve Public's

current knowledge about Parang aesthetic designs and to preserve the value in Parang

making activity.

1.4 Objectives of the study

This research is to study the design of various types of Parang. These days, Parang always

gets its name for its beneficial purpose but little for the shape, design, influence, motif and

material. The objectives of this study are :

1.4.1 To identify the types of parang in Malaysia

1.4.2 To understand the Parang purposes and function

1.4.3 To find out more about Parang beneficial value

1.5 Significance of study

To improve the knowledge and skills associated to traditional artisanry that are passed on to

future generation so that Parang production can be continue within the communities,

providing livelihoods to the makers and reflecting Malaysian creativity. Furthermore it is

meant to expose more to society especially youngsters so the intricate designs could inspire

young artists.

1.6 Scope of study

This study of the different types of Parang indicates the use of observation methods on

Traditional Parang correspond site. Other observation made on base the manufacturing in

Parang making during visit. Observation were made from APRIL 5 to MAY 25 this year.

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CHAPTER 2

2.0 Literature review

2.1 Definition of parang

Parang is a tool that is longer than a knife and shorter than a sword, the length is usually in

10-24 inches (25-61 cm). Parang combines the blade, hilt, sheath and the tang. The blade

covers most functioning part, instead of chopping, cutting and skinning, the blade also used

for :

I. Slicing point- slicing, shaping and carving

II. Chopping point- trimming, cutting, chopping, marking

III. Skinning point- skinning, cleaning

IV. End point- poking, stabbing, prying, touching hot material

V. Flat side- pressing, flatten

VI. Back side- knocking

Parang commonly used by Malay people since hundred years ago. Synonym to the tropical

geography, Parang is suitable with their activity walking into the jungle, exploring and picking

forest product for their daily needs. Parang is also specific for daily use which imposing the

Malay culture (eg.getting the coconut milk, slaughtering meat) and it is Malay's favourite tool

for agricultural activity.

2.2 History

The name parang came from a Malay word, 'perang' means war. There are also history of

batik Parang name which taken from ''pereng'' or 'lereng' which means clift. Parang is

actually a weapon used during battle that is why the name Parang can be related to the war.

Parang is originated from southeast of Asia mainly in Malay archipelago which includes most

of Indonesia island, Malay peninsula and southern Philippines. There is no finding of who

invented Parang but analogically there have been similar shape tools to Parang were found

existed since the prehistoric time, thus Parang might be a part of tools or weapon which had

been revolutionized over time.

Blade similar to Parang had also existed in western called machete. According to history,

during the early colonisation started at Malay land, the Spaniard found a native tribe called

Moro tribe which have been living on the land in Philippine. They found out that the tribe had 8

already been using same kind of blade like their machete only with the different term in their

language which called Parang. The different is only the shape and practicality of their blade.

Since the founding, Spaniard used the influence of Parang into their machete. During the

18th century the western machete revolutionized for the use in martial art mainly for the army,

this revolution actually adopted some features design of traditional Southeast Asian made

blade ware and specifically resembles the characteristic of the Parang.

The name Parang have also been used in a province of Philippine located in Maguindanao

and also a mountain named as Parang mountain located in West Java, Indonesia. This

indicate that the word Parang already been used as a Malay word in Malay archipelago and

Parang is an original tool originated from the Malay region.

2.2.1 Malaysian Traditional Parang

In Malay world, self-defence is not only manifested through fighting the enemy with to

protect oneself and his possessions, it is more than that. A weapon itself is treasured with

perpetual aesthetic value. Basically the Malays used iron and wood to make weapons and

the iron is the prior parts of the weapon while the wood is make for hilt and sheath for the

blade. As for the sheath there were many selected types of wood used to make them this

selection is important to achieve a good handle and not easily broken. All of these features

somehow depend on its region. Because of Malay Peninsula is divided into six main regions.

All regions differ in lifestyle, custom and culture, all of these influenced the form of how a

Parang was made. Thus identification can be made slightly according to each regional

character on it, even if it was stylized over time, the aesthetical can always be found in

certain part of the blade ware.

Malaysia possessed its own Parangs in certain part of the Peninsula, some of the Parang

are based on influences from the neighbouring such Thailand, Borneo, and Indonesia. Some

have specific role for an occasion instead of being a weapon, it is always fashioned with

beautiful decorations. Decoration also has its own meaning and story behind. Each making

process is important, because each step consideration will create a precise and valueable

Parang.

2.2.2 Types Of Parang

I. Parang DayakIn history, Sarawak is actually a diverse ethnic populated in the Borneo inhabited the area of

Sabah, Brunei and Indonesian Borneo. There were drawn boundaries between the 9

countries. However, to the inhabitants of Borneo, those line on maps meant nothing until a

recent times ; thus it is hard to differentiate indigenous Borneo culture within their confines.

Based on the book by Heidi ,M. (1989). Introduction. Sarawak Crafts.New York : Oxford

University Press.

'' The student of Borneo meets the term 'Dayak' or 'Dyak' at an early stage. It is a Malay

word describing the non-muslim natives of Borneo and Celebes, adopted as a useful term by

the colonial administrator who wanted to make it clear that he was not speaking about the

Malay or Chinese inhabitants of his District. English writers generally distinguish between

Land Dayaks and Sea Dayaks while giving the central Borneo people their proper names-

Kayan, Kenyah, Kelabit and Penan, among others.

Referring to everybody by their names can however be difficult. Under 'Kenyah' the 1960

Census of Sarawak included eight separate groups, under 'Melanau' a splendid sixteen! The

modern term for 'Land Dayak', Bidayuh, is only grudgingly accepted by people who fall under

its definition but who are not Bidayuh ; the name 'Orang Ulu' (upriver people) for Kayan,

Kenyah, Kelabit, Penan, Murut and other highlanders is being severely questioned by its

bearers. The Sarawak Murut are not in fact called Murut, but Lun Bawang.''

This big group of Borneo share common strongly stratified social systems and artistic ability.

In Parang case indeed, there are also various type of Parang existed in Sarawak due to its

diverse culture and tribes and there are specification of which Dayak is good in artistic ability

and which is good in farming and others.

Basically for a Parang sheath will consist of two wood stick together with a commonly brass

wire. The woods are first hollowed to accommodate space for the blade. Common and farm

Parang are only simple decorated while for war and ceremonial Parang it takes skilled work

devoted to their adornment. To make a good quality Parang, strong, resilient wood that

make a good polish will count in. The motifs for Parang must carefully be selected especially

for a war Parang. Usual motifs are human masks or leopard faces with prominent fangs and

bulging eyes are common for a war Parang. Also the lashing that hold two board together is

plaited with finest fibre for a good Parang, these are the bands that hold decorative tufts of

hair on the hilt ( picture 1).

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That was enemy hair in the past, now just goat hair, sometimes lightly dyed. Sometimes

beads are attached to the lashing or the cover for a sheath is entirely made of beadwork.

There are also metal studs and inlays embellished some sheath.

The hilts are carved on a good hardwood. Rarely the

handles are made of brass, usually it is originated from Brunei and maybe copied from old

keris. Kayan and Kenyah people are usually skilled at making Parang. Their high quality hilts

for Parang are made of a section of deer antler. Common motif for a hilt is human figure or

face, stylized and adapted almost unrecognizable. Deer horn, deer bone and other precious

material like hornbill ivory are worked with the small knife that usually attached to a Parang.

It is been a tradition to Dayak people to beautifully decorate their household utensils not only

their weapon. It is like a symbol of appreciation for example creativity and hard work are

dedicated with courtship. In instance, Dayak people especially the the warlike Kayan sees

iron in awe and respect. To them iron had the properties of healing, strengthening and

puryfing. They had distinguish between a war weapon, a utility blade, and worn out blade,

but still suitable to present as an iron offering or a ritual fee. Iron blade forms parts of many

offerings and fines presented to the spirit and injured party in medical uses. Even in funerary

iron are believed to have connection with the soul and world after death. There are demands

of inclusion the iron in a coffin otherwise the deceased would have difficulty reaching the

underworld.

The blade-made by Kenyahs are valued above all others followed by the Kayan. Most of

their swordsmiths are the member of upper classes. This status placed them closer to spirit

of the world The skilful people in making Parang are admired as they even produce practical

Parang for right and left handed user to accommodate user's natural bent. A real headhunter

sword, Parang ilang ( picture 2), is very sharp it is a cutlass with straight or curved back and

one cutting edge.

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Figure 1 : Parang hilt

The characteristic of decoration on a Kenyah blade (picture 3) are made by chiselling

notches into the back of the hot blade resulting longer tongues and bending them with

pincers or pliers. Ceremonial blades are decorated with brass inlay, geometrically arranged

patterns of dots.

The Bidayuh of west Sarawak, land Dayak, have their own traditional blade of their own, the Pendat. It is a type of Parang, and the size is slightly shorter than a Parang ilang. The shape is different because it is bent at an obtuse angle about a half of length from the hilt, widening towards the end. A lighter version of Pendat is made for women. Mentioning the women, this gender distinction has been common to Sarawak people, it is just the women prefer using lighter Parang. In this case, like other Parang, Pendat is also used for domestic chores like splitting coconut, slaughtering, clearing jungle and lopping small trees.

While in the village, their traditional religion is still honoured where there is a ritual using a Pendat in harvest festival. In their belief, this weapon must specially wrought for the purpose. During Pendat manufacture, it needs to be accompanied with the offerings to the forge, anvil

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Figure 2 : Parang ilang or Parang Mandau usually came with a small knife.

Figure 3: Parang ilang Kenyah with chiselling notches

and the god of blacksmiths. It also has certain symbolic markings the most noticeable one is the v-shaped distal incision (picture 4).

The other similar version of Pandat is Parang Latok which is an angled blade just like the Pandat. It is elongated angled blade but without finger guard and curved end blade. Parang Latok also used by the land Dayak but in different tribe. The hilt is made from wood, seems to have trim with metal and decorated with calligraphic motif, has no hair tufts.

Sea Dayak Parang are different from land Dayak Parang, distinct from the shape of the blade sea Dayak Parang have a curved blade and hook or Krowit on the blade near the hilt act as finger guard.

One of the Parang is called Niabor, it is long and the edge is curves towards the end. On the hilt there is another Krowit, larger, called Kundieng. The blade has no decoration only carving on the hilt, and may have a groove. The hilt also has long angled protrusion without hair tuft. The blade is tied with metal wire.

Another one is Langgai Tinggang, which means ''the longest feather of the hornbill.'' Alike Niabor, the blade is curved towards the back to the tip. But the hilt is similar to Parang Ilang only with the present of Krowit. There is a groove along the the blade from the Krowit to the tip. The Krowit does not protrude like Niabor's and it is further from the hilt. It does not have decoration but only few carvings on the hilt just like Parang Ilang.

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Figure 4 : Parang Pandat The Bidayuh

Figure 5 : Parang Latok

Figure 6 : Parang Niabor

Another sea Dayak Parang, the Jimpul similar to the Langgai Tinggang, long curved blade to the tip and with the Parang ilang's like hilt, with hair. Only the Krowit is developed on one side and the blade is in a slanting angle tip. Only the hilt is decorated with carving.

The Murut tribe have their own Parang name Parang Pakayun, it is a curved blade of even width. It is single edged with truncated point, long and narrow. The hilt shaped like a fork and sometime has carvings between the fork shape, the hilt is guarded with copper cylinder.

2. Parang Lading

Parang Lading is believed came from Kedah and it is the official weapon for the famous Malaysian martial art Silat Cekak. Parang Lading usually are hard to be found on other state except Kedah.

This Parang has been used broadly by the villagers especially the farmers to do daily chores. The relation of Parang Lading with Kedah folk is very strong that the utility of this Parang nailed the prove of this Parang to be originated from Kedah.

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Figure 7 : Parang Langgai Tinggang

Figure 8 : Jimpul

Figure 9 : Parang Pakayun

History

Parang Lading is strongly connected with Silat cekak or firstly known as Silat Kalimah. During the reign of Phra Ong Mahawangsa of Kalaha (Kedah) there was a messenger from Yaman, as well as a merchant. He was Syeikh Abdullah Al-Qumairi or known as Syeikh Tajred. He came and spread Islam to Kalaha. Phra Ong Mahawangsa was then embraced Islam and changed his name to Sultan Muzaffar Shah. Just after that Syeikh Tajred was inducted as the royal advisor. Syeih Tajred took the chance to teach the martial art to Sultan Muzaffar Shah. During the time the Silat Kalimah was only taught to the royal inheritance and was kept secret from the known of others. Until came the reign of Sultan Ahmad Tajuddin II.

In the 19th century, there was a betrayer named Tuah (not Hang Tuah) who making fuss inside the country. There are no accomplishments to stop the desertion, making the sultan decided to descend the Silat Kalimah to his main warrior, Admiral Tok Ismail. It took 44 days for him to masters the moves. After that, Admiral Tok Ismail managed to seize the traitor and assassinated Tuah at Kuala Krian.

Time over time, Silat Kalimah was no longer a secret and was descended by Admiral Tok Ismail to Admiral Tok Rashid, then it was willed by Tok Rashid to Yahya Said from Batu Kurau, Perak in his will he upon that if one day come a descendant from Kedah to learn the silat he must teach Silat Kalimah to that whoever come.

With Allah will, after 40 years came Ustaz Hanafi bin Haji Ahmad from Kedah met Yahya Said to learn silat. Under Ustaz Hanafi Silat Kalimah was reknown as Silat Cekak. After that Silat Kalimah was once again spread widely through the establishment of Perkumpulan Seni Sari Budaya Sri Kedah (PSSCM) and maintain until now as Silat Cekak.

As been said, Parang Lading is an official and only weapon used in Silat Cekak. It is not use to set attack but to endure and defend from any form of attack except for guns.

As a weapon, a Silat Cekak's form of Parang Lading is extremely different from the usual Parang use for work. Parang Lading in Silat Cekak have their own measurements that suits the hand of the user.

(A). The length of the Parang is equal to the length from the user's right eye to the left eye.

(B). The width of its hilt is equal to the length of user's thumb nail.15

Figure 10 : Parang Lading Measurement

(C). The width of of the Parang end is equal to the length of the user's thumb.

(D). The length of Parang Blade is equal to the length between the user's two eye.

(E). The Parang hilt took the shape of an antler foot and made from a female buffalo horn.

The curveness of Parang Lading is also unique, it derived from the curve shape of coconut frond for Silat Cekak Parang while usual Parang is from banana frond.

The Silat Cekak user only use Parang Lading defend various attack. During a fight, it is placed in the condition of its tip is hidden behind the hand of the user. The technique is more to prevent enemy's counter attack rather than to kill them.

However, Parang Lading is only given as honour to person who deserve. Someone who achieve a certain level and proven his loyalty to the group. Usually the measurements of a Parang were taken by the master/teacher himself to make sure all the specification and fabrication is as according to the procedure. The making process of Parang is a complicated process and took times.

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Figure 11 : Parang lading

3. Parang Jengok, Parang Jengkok & Parang Bongkok

One of the region that keep the Malay Parang heritage is the east coast of Peninsula. There are 2 types of Parang formerly known from Kelantan, Parang Jengkok and Parang Jengok another one is from Terengganu, Parang Bongkok. These three look identical base on their shape, material and influence.

Parang Jengkok (1)

This Parang has a usual shape and design. The hilt is made from hard wood with decorative grooves at the top. The blade is curved and pointed at the end.

Parang Bongkok (2)

Slightly shorter than Parang Jengkok. The hilt is also made from hard turned wood with decoratives grooves on top.This Parang had several use, it could be uses as weapon or agriculture, cutting grass, weeds and unwanted self-sown seedlings.

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Figure 12 : Silat Cekak position

Parang Jengok

Also known as Parang Jangok, Parang Ginah, Parang Jambul. Jengok in Malay means 'peeping' or to crane one's head forward.,The hilt is made from Celagi wood.

Parang Jangok

Parang Jangok is also Parang Jangok, but this Parang design makes it look more convenient to classify it as Parang Jangok because Jangok in Kelantan mean, 'beautiful'. In term of this Parang look nicer than other Parang Jengok because of the topknot is made longer resembling an elephant trunk. The hilt is also from Celagi wood and has stupa tip with brass bands.

All of these Parang show similarities on their hilt. This is because they share the same influence taken from the Stupa at Pattani, Thailand. Figure that Kelantan and Terengganu are neighbouring no wonder they acquired such influence. The hilts commonly are made from Celagi wood a strong black wood also known as ''pohon asam jawa'' same material to make ''tasbih''. They shapes like sickle but never called as one because of the function is more to Parang as chopper. Regarding to the size, the largest pieces are almost 3 feet long, indicate big scale, heavy and unwieldly. They existed almost without sheath as these weapons are not intended to be sheathed.

G.C Stone said, one would swing the blade over their shoulder to spike their passing by enemy in the brain.

While in Nick. E 's The Encyclopedia of the Sword, claimed that Parang Jengok was used by thieves among Kelantan Malay.it employed a robber passing by a man , strikes back over his shoulder with his Parang, catching his victim unaware, in the back of the head with the peak. And according to Hugh C. Court and Kampung.1896, the victim can be robbed with ease whether he recovers from the blow or dies from it.

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Parang Jengok or Jangok are not really much for the usage. Despite of the name 'Jangok' this Parang seems to be suited with outfit. The folk people tend to bring them everywhere as a protection eventhough this Parang does not intend for a serious fight.

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Figure 13 : Round Turned Parang hilt Figure 14 : Stupa, Pattani

CHAPTER 3

3.0 Methodology

3.1 introduction

This part discusses the methodology of the research. The main point of the research is to investigate the design of traditional Malay Parang in Malaysia. Data for the research were collected by observation.

3.2 Research instrument

This research utilised by qualitative research methodology. The instrument used to collect data is by observation. In this study observations were made by visiting the places related to Parang. First, the observations were made from information acquired from National Muzeum Negara and National Craft Complex.

3.3 Respondents of the study

The respondent of the study were the Parang makers, and there are observations take place during the National Craft Day 2015 held at National Muzeum. Observation made while The Parang makers are in action in fabricating process. Others were taken in notes.

3.4 Research Procedure

Before observations were made, research was conducted to assess the relevant instrument. Names and location of Parang makers and related buildings were collected to figure out rough numbers of Parang makers and places that keep traditional Parang in Malaysia.

3.5 Data Analysis

To analyse some data variables were taken into consideration, they are types, functionality, year, design, influence and material. The field-note of observation was transcribed and data from observation sheet were analysed.

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CHAPTER 4

4.0 Finding and Discussion

This section discusses the result of the research on to improve the knowledge and skillAssociated to traditional Parang making art among Malaysian. The findings will be divided Into important topic found from observation made earlier.

4.1 Reason Parang survived through current time and needed to maintain itsTradition.

The observation made has shown that Malay Parang had existed so many years ago and it differ in many designs, shape, function, purpose and material. This also showed that Malaysia is once again rich of heritage waiting to be explored. Instead of being a cutlass chopping tools, Parang also holds other usage that people did not acknowledge. Only certain group have the acknowledgement to the specialty and appreciation. Although it sound relieving but this does not confirm of the heredity of Parang tradition and custom could be continued over time if the tradition itself has not been acknowledged by the larger community,

Based on the observation, through the history, there are many types of Parang come out with different design but among all the design, there will be one design that have been referred to as the ''mother'' just like the Dayak Parang, Out of all the Parang existed, they likely to resembles Parang ilang, moreover Parang ilang's name is distinctive to each tribe in Borneo such Parang Pailang by the Bajau in Sabah. Because of the various tribes and ethnics existed in Sabah and Sarawak and their notorious history, Parang Dayak has been known for centuries all over the world up till now.

As for the Dayak Parang they have the Borneo who are some of the group still hanging on for their tradition as well as the Parang making is part of their tradition that need to be preserve even the designs and intricate art in the parang is something they must obey preserving on because each of the process are meaningful. Parang has been the need for them to carry on for their daily activity. Thus eventhough the headhunting tradition had been long leave by most of the Borneos but they never forgotten the other part of Parang that precious and useful to them.

While in the 'nusantara' the Lading received as an honour for a silat practicioner also the reason why it is strongly and maintained until now, This is also the tradition believers who make it through. But the tradition only goes to the people practicing Silat Cekak. To the others a Parang is just a Parang. Used for gardening and certain occasions.

Other Malay Parang such the Parang from Kelantan, has not been practiced as the old day taken everywhere for protection, todays regulation prohibited carrying weapon into public, what left is the other utility use in gardening and light chores.

Further analysis of the data showed that by relating the characteristic of Traditional Malay Parangs, they strongly showed that Parang was mainly used as a weapon, for protection in

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old days, but not for today's priority to take Parang everywhere. That is why casuality of Parang in Malay life has slowly diminishing.

According to figure 3.7 and 3.8, the process of making a Parang seems to need a lot of courage and sweat. Furthermore the usage of some highly operated machine may seem dangerous to eye witnessing. The delicate process of hilt and sheath making are considered hard enough and troublesome for a regular person to do it. Even the process called traditional craft making are thought to be irrelevant and old school for some people.

CHAPTER 5

5.0 Conclusion

.The research investigated the types of Malay Parang in Malaysia. The purpose of the study

is to improve the current public knowledge in tradional Malay Parang.The data were

collected from observation made and were discussed

The conclusion drawn is, Malay Parang somehow lost its identity in Malaysia. Eventhough

there are certain community such the collectors are preserving it, but there are much to be

done. Knowledge of Parang must be nourished and interest must be flowered into the

young generation mind. It is challenging that Malay Parang is known by foreigner people

through network but little by Malay people. We should not forget the past as the past

designed the future,

5.1 Recommendation

Through the observation process, it has been realized that lack of Traditinal Parang data

were compiled less info were found during research. There should be various other way of

commercialising Parang especially for the interest of the young. Further research might

explore the usage of graphic animation design with parang design. Looking to the young

generation is closer to animation and technology, Parang design could be visualize in story

animation mode, in other word creating animation character or hero character and Parang as

the identity. This could spark the interest of youngsters overwhelming to the character of

Parang. This has already done by the Japanese and western, they attract mostly our

youngsters.

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REFERENCES

Book

1. Heidi ,M. (1989). Sarawak Crafts.New York : Oxford University Press.

2. Ismail, I. (2007). Warisan Motif Dan Corak Etnik Sabah. Kota Kinabalu : Penerbit UMS

3. Ismail, I. (2011). Warisan Motif dan Corak Etnik MURUT.Kota Kinabalu : Penerbit UMS.

Newspaper Article

1. Fouziah, A. (2012, Disember 3). Hebatnya Parang Pak Akob. Sinar Harian,

2. (2012, July 13). Parang Mentaus Ke Luar Negara.Sinar Harian

Online Book

1. Nick. E. (1995). The Encyclopedia of the Sword. USA. Greenwood Press. Retrieved 15, April 2015, from https://books.google.com/books?isbn=031327896

2. Farish, N. Eddin, K. (2003) Spirit of Wood.Singapore. Periplus Edition (HK) Ltd. Retrieved 15, April 2015, from https://books.google.com/books?isbn

Websites

1. MySilat Silat Cekak Pusaka Hanafi (2008). Huraian Parang Lading. Retrieved May 25, 2015 from http://warisanhanafiusj.blogspot.com/2008/07/huraian-parang-lading.html

2. Mimbar Kata ( 2015). Si Pandai Besi. Retrieved May 27, 2015 from http://mimbarkata.blogspot.com/2015/02/si-pandai-besi.html

3. Ivan the Terrible, ( 2012). Some machete History Pics heavy, Retrieved June, 2 2015, from http://www.ramanon.com/topic/51853-some-machete-history-pics-heavy/

4. Lee Jones, (2001). Ethnographic Edged Weapon General Discussion Forum. Parang Pattani Gallery from Da Henkel, Retrieved July 3, 2015 from http://www.vikingsword.com/ubb/Forum1/HTML/000598.html

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Appendix A : Observation

Observation no.1 Location : National Museum,

Kuala Lumpur

Date : 24/5/2015 Time: 4.41 PM Duration : 2 hour

ARRIVAL DEPARTURE

4.41 PM : Arrival ticket counter 6.00 PM : Museum close

MN01 Counter 02

Received from Ainul Oshin

5.00PM : Arrived at first floor of Museum (Malay World Gallery)

Notes

I. The collection consist of textiles, weapons, technological & metallic devices, self enhancement, music instrument mainly from Malaysia, Indonesia, Thailand, Philippines, Cambodia, Vietnam, South Africa, Madagascar.

II. Parang artifacts were located at the first entrance of the gallery. Mostly are

Krises, few Parang.

III. First Parang artefact, from East Coast, Kelantan and Terengganu.

Parang JengkokAge more than 100 years old, the hilt made from wood from decorative grooves at the top. The blade is curved and pointed at the end.

Parang Bongkok Age more than 100 years old. Similar to Parang Jengkok, only the blade is shorter

These Parang seem does not influenced by modernization as the designs are just the same. There is also Kelewang actually a member of these Parang but differ from their hilt. Kelewang is similar to Parang Jangok.

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Parang Lading

The blade is broadens at the end, the hilt is beautifully decorated with traditional Sulur motif, the hilt is coloured black to prevent rusting. Even the blade is decorated with flora motif somehow blurred due to aging and rusting. These artefacts already possessed intricated design if to compare to current.

Parang Ilang

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Appendix A : Observation

Observation no.2 Location: National Craft Complex Jalan Conlay, Kuala Lumpur

Date : 5/4/2015 Time : 2.00 PM Duration : 3 hour

ARRIVAL DEPARTURE

2.00 PM : Started at Perkampungan 5.00 PM : LeaveKraf, Parang making site.

2.15 PM : Fabricating process already on going.

Notes

I. First site at Mohd Zaizul Abdullah, Parang maker from Kelantan.Showed the forging blade process.

Figure 3.7 Blade forging process

2. Second, is from site Mohd Zaki Bin Husain also from Kelantan. He explained that Gilding/quenching the blade into water is important to strengthen the blade.

Figure 3.8 Sharping the blade

3. Lastly, hilt and sheath are fashioned with carved wood and decorated. Selection of right wood also important to produce delicate and good Parang. According to a Parang maker (name unknown) it took a day or two completing a parang but the designed one may take longer.

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blade was cut with sharp tool

striking along the edge

Blade grinded (machine) into ideal shape

smoothed with sand paper

Fire lit in burner

Put selected iron into the fire

iron turned orange-red

Took out and put on anvil

Forged using

sledged hammer

repeatedly

The blade formed

into desired shape

Let iron cool before

forging again

Appendix B : Pictures (manufacturing process)

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