The Development of the Popular Malay Cult Novel- Prof Sohaimi Abd Aziz

7/24/2019 The Development of the Popular Malay Cult Novel- Prof Sohaimi Abd Aziz

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Kunapipi

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Te development of the popular malay cult novelSohaimi Abdul Aziz

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Te development of the popular malay cult novel

Abstract

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61

SoHAIMI AbDuL AZIZ

The Develment f the plar MalayCult Novel

INTRODUCTION

Sine the late 1990s the larity f the lar Malay lt nvels in Malaysia

has grown enormously. Writers of the popular cult novels such as Ramlee Awang

Murshid, who were sidelined at one time, began to attract the attention of literary

ritis. They frm the new wave f yng writers wh are eming lar veryqikly, taking advantage f a new segment f readers rn in a siety dminated

by commercialism, urbanisation and technology. Popular Malay authors who

write cult novels have also taken advantage of developments in information and

communication technology that enhance the popularity of their works.

THEPOPULARCULTNOVELANDPOPULARCULTURE

Writers f lar lt fitin ase their writings n their readers taste and

their readers not only become avid fans but also extremely loyal to them even to the

extent of creating home pages and blogs to communicate directly with the authorsand with other fans. In Malaysia the success of the popular cult novel is due to the

tremends enmi develment f the ntry sine the 1990s. cnsmerism

has grown in tandem with the physical, social and economic development of

Malaysia. cnseqently, adlesene has eme the target f the aitalists

ease f their lifestyle and fashin nsisness. This develment an als

be seen in the materials they read, such as the popular magazines and novels.

These yng adlts have etter edatin and assiated literay skills, and als

greater nsming wer mared t the lder generatin. cnseqently, the

readership of the popular Malay cult novel has also grown proportionately andthis development has a great impact on the commercialisation of the cult novel.

The mmerial element f the lar lt nvel is related t lar ltre

which is the dominant force in the appearance of this fiction. According to

Jowett,

T seed lar ltre annt stray far frm the regnizale frmla, rcategories, because the audience will experience difficulty in relating to it: but it mustalso constantly provide an interesting variation on the theme. It is within the context ofthese recognizable categories, or genre, that all of popular culture is created.

(Jowett ii)

Popular culture has its roots in capitalism. In other words the popular cult novel

is a business product of a capitalist economy with profit as the overriding aim;

and, unlike the literature of high culture, the target of the capitalists is the mass


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62 Shaimi Adl Aziz

of readers who will read popular materials. Generally, the cult novel readers,

wh are mstly adlesents, read these nvels fr leasre. Their knwledge f

literature is minimal. In the Malaysian education system today, literature as a

subject in high schools and universities has been marginalised. In schools, thebrighter students are not encouraged to take literature classes. Parents have also

contributed to this pattern of study because they believe that literature as a subject

will nt enefit their hildrens rsit f a areer. This system has rded nly

a small number of adolescents of high literary competency. Canonical literature

is the domain of a higher culture representing a high aesthetic, intellectual and

reative vale. The self exressin f the athr is f rime imrtane; the mass

reader is never the target. On the other hand the popular cult novel exists in a

world of supply and demand. A high demand comes from the mass of readers who

want stories that will fulfil their taste and cater to their preference and this in turnis exploited by the capitalists to earn good profits.

POPULARMALAYCULTNOVELSANDWRITERS

clt nvels sell like ht akes. The liatin f the lar Malay lt nvel

is a art f a fast exanding indstry knwn as the reative indstry. Malay

writers of such fiction include Ramlee Awang Murshid, Norzailina Nordin, Liza

Zahira, Aisya Sfea, Anis Ayni, Sri Diah, Sharifah A Salem, Damia Hanna,

Ni Slaiman, Mariam A bakar, Siti Rsmiza and Kresya Resya.

Many lal lishing manies sh as Kaki Nvel Enterrise Sdn.bhd., Alaf 21 Sdn, bhd, (a ssidiary f KarangKraf Sdn. bhd.), bk prima

and creative Enterrise Sdn. bhd. (t name a few) have made reative writing

an economic activity that generates handsome profits. Cult novels are sold in

thsands f ies. T enrage writers f the lt nvel t e mre rdtive

the lishing many Krangkraf Sdn. bhd. via Alaf 21 Sdn. bhd. gives an

award alled the Gld cl Award t writers f lt fitin. Thse wh have

reeived the award inlde Aisya Sfea, Kresya Resya, Anis Ayni, Sri Diah,

Sharifah A Salem, Liza Zahira and Ramlee Awang Mrshid. Eah f these

writers nvels has sld mre than three hndred thsand ringgits. The marketbeing small in Malaysia, three hundred thousand ringgit sales is considered a

great ahievement. This award als rves that they have the tential t garner a

strong pool of cult readers. Local newspapers likeBerita Harianalso give awards

to these writers based on their popularity.

Popularity is the main factor for giving such an award, and popularity is seen

as having n regard fr literary qality y seris readers wh are intelletally

mature and very particular about the aesthetic aspect of the literary text. When

the main fs is n the taste f the readers r fllwers, the qestin f literary

qality is f n imrtane. What is imrtant is what the readers want. Thelt nvel is evalated y the mass readers. Sh a standard f jdgment is als

applied to the popular cult novel in Western countries such as America. If a work

of fiction receives an extraordinarily high rating from the readers it is regarded as


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The Development of the Popular Malay Cult Novel 63

a successful literary product and the rating can be seen in popular charts such as

Writers Digest Book (America). In Malaysia, the popularity of a novel is gauged

by the number of reprinted editions and this type of rating is used by the publishers

t rmte their lar nvels. These literary awards enrage writers f thelar lt nvel t e mre rdtive, whih in trn maintains and grws

readershi, whih inreases rfits. The sstainaility f the reative indstry,

particularly the creative writing industry, is directly related to the number of

cult readers. Malay cult novels are being sold in big and established book shops

sh as brders in penang and Kala Lmr and MpH bkstres Sdn. This

phenomenon was once rare, but lately, even local restaurants are interested in

selling Malay lt nvels. These new envirnments have reated new rtnities

for the development of the popular Malay cult novel.

Why are there s many readers f the lt nvel? The mst asi and imrtantanswer is, cult novel writers write to please and fulfil the taste of their followers

r readers. The lt nvelist ays artilar attentin t readers wh are familiar

and at ease with such products. Among the sub-genres of the cult novel attracting

the interest of mass readers are fantasy, mystery, horror, romance, travel, science

fiction and the thriller. Generally, romance is the most popular sub-genre of the

cult novel. But sub-genres that feature characters that conform to the super hero

type, are also enormously popular. Ramlee Awang Murshid is famous for his

popular cult novels which blend a number of sub-genres such as thriller, mystery,

revenge and mystical, but also follow the super-hero model of popular film andcomics. Malay popular cult novels by Ramlee are very local in content and this

can be seen from the characters used. Ramlee uses familiar historical events (like

the occupation of Malacca by the Portuguese), local places (like Kuala Lumpur,

Seang, Hl Melaka and Istana Melaka [Malaa palae]), haraters like the

Sltan f Malaa, and thse drawn frm the legends f Hang Tah, Hang Leki

and Puteri Gunung Ledang.

Ramlee has reated a harater y the name f Laksamana Snan wh aears

in the tetralogy novel series that includes, Bagaikan Puteri (2005),Cinta Sang

Ratu (2007), Hijab Sang Pencipta (2008) and Cinta Sufi (2010). Laksamana

Snan has the harateristis f a ser her, eing skilfl in self-defense

(bersilat); having the ability to foresee the future; and being an all round good

gy. Anther ser-her tye harater is Tmir, wh aears in the trilgy

Tombiruo (1998). He is as an gly-lking gy, with a gd heart wh fights

illegal lgging. Ramlees lt readers lve these haraters ease they erate

within the convention of the super hero, and in order to meet the high demand

f avid readers, Ramlee maintains a steady stream f serial/seqel nvels whih

generates substantial profit.

But although each sub-genre adheres to a specific formula in its creation, and

thus it is said that popular cult fiction is formulaic and is less open to experimentation

than literary fitin, sme f these genres verla. Ramlees nvels fr examle,

include several sub-genres, as seen in his most recent work, Cinta Sufi.This lt


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64 Shaimi Adl Aziz

novel is the fourth of theBagaikan Puteritetralogy. Each novel of the tetralogy

takes a different theme, and the serher, Laksamana Snan, is sitined

against a different background and with a different antagonist. In other words,

while not deviating from its basic conventions, there is room in the popular cultnvel fr inventin. The rle f nventin is exlained y Jwett:

The nventins ensre that the sjet matter falls int a regnizale and mfrtalecategory, while the inventions provide the surprise (which can either be in the narrative,or in the aesthetics of presentation) which differentiates this item from the many othersmeting fr the lis attentin and mney.(Jowett vii)

Jowett is not speaking specifically about Malay cult novels, but the stereotypical

harateristis are easily identified. The lt nvel fllws generi nventins t

allws sae fr the athrs reativity. That reativity an e fnd fr examle

in the variety f akgrnds against whih a ser her like Tmir mves

and the varis antagnists he ennters. These hanging senaris allw the

author to reflect upon and engage with the contemporary and shifting concerns of

his adiene. The rlems n whih his nvels fs, and the means sed y

his protagonist to solve them, then serve to differentiate him from other authors

writing within the same convention.

As mentioned earlier, the cult novel has many sub-genres such as romance and

crime mystery both of which neatly fulfil the conventions so the writing produced

des nt sring any srrises n readers wh have aqired a taste fr a frm that

must conform to their expectations. However there is still a need for invention so

as t reate a niqeness that estalishes the identity f the writer, and sets him r

her apart from other cult writers in the eyes of the readers.

THEIMPACTOFNEWMEDIA

In Malaysia, the Malay writers of the cult novel have taken advantage of

the new media such as the internet, facebook and blogging to encourage a more

dynamic interaction with their readers. Nowadays, almost all the popular Malay

lt writers have their faek r lg site. Ramlees fans reated a l alled

the Ramlee Awang Mrshid Fan cl (RAMFc) whih hlds varis ativitiessuch as meeting the author, thereby creating an effective communication channel

between Ramlee and his readers. But through use of the new media in this

case the creation of a home page (http://www.kelabram.com) the club also

rings readers tgether wh are gegrahially sattered thrght Singare,

brnei and Indnesia as well as Malaysia. The hmeage reated an e-sae in

which fans could discuss the author, his works and current activities organised

y RAMFc. The l hlds ativities like The Exlratin Rae, whih is

currently popular on television, in which participants search for the keris(a Malay

traditional weapon of self-defence) named Nagroe in the tetralogy, Bagaikan

Puteri. In this game, participants take on the names of the various characters

in the tetralgy sh as Laksamana Snan, Haryani, Maharani, ptri Ker


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The Development of the Popular Malay Cult Novel 65

Gandring and Maggala and enact similar scenarios to those played out in the

nvels. Fans eme ative artiiants in the life f the varis nvel series that

is nt limited t the adventres imagined y Ramlee himself. T sme extent fans

become acolyte authors, mimicking and guided by their author-hero.Ramlee himself communicates through email with his readers via the home

age f Alaf 21 Sdn. bhd. Email mmniatin like this allws readers t take

part in the creative process their deep personal investment in the lives of the

characters and associated constructive criticism can influence future novels in

the series or the genre. Here is an example of an email correspondence between

Ramlee (RAM) and one of his readers:

Normaiza: I would like to suggest to Mr. Ramlee that he write another novel, acontinuation of theBagaikan Puteri 3, where Snan and Haryani meet in a

new stry. This is ease I have jst read Cinta Sang Ratu, t I dnt feelthere is a continuation fromBagaikan Puteri.

RAM: Insyaallah the hija will e nveiled.[Here RAM rmises t satisfy a readers desire t hear mre f the stryf Snan and Haryani in the next nvel the mystery f their disaearanewill be uncovered.] (http://www.alaf21.com.my [my translation])

RAMFc and the hme age reated fr him y the lisher have inreased

Ramlees readershi and elerity stats. cntriting t this effet are the lt

readers wh set their wn ages and lgs s that they an mment n the

novels: see for example the home page created by a Ramlee fan at http://www.

kelabram.com or Lizz, at http://whiteharajuku.blogspot, who writes about how

she/he was attrated t Ramlees nvels. Arding t the lg writer,Bagaikan

Puteri attrated him/her t read Ramlees ther nvels, ne f the reasns fr the

attratin eing Ramlees writing style whih inrrates different s-genres

in a single text. In anther lg, Alias padzils fanatial admiratin f Ramlees

nvels demnstrates the athrs lt stats:

As an avid fan of Ramlee Awang Murshid the last month has been full of anticipation

as I wait fr his new nvel. The k 9 Nyawa inspired by his son will hit the marketsoon, but I may not be able to be the first reader this time as in the case of the novelHijab Sang Pencinta I love to read the type of books produced by brother Ramlee.They are s different and fll f ssense. The asinal religis sentiment desshake the sirit f the reading. This makes it mre interesting fr me, fr s readersthis aspect is the magnetic attraction to his works. At one time while reading HijabSang Pencinta the puzzling ending drove us crazy, including me. What is more, thisis a trilogy so the end will come after three books, but I feel that there ought to be acontinuation. And three months ago my sister (Ilya Kuantan) informed me about CintaSufi[the last of the tetralogy]. ([my trans] http://datomarsani.blogspot)

As a writer of the cult novel, Ramlee has many fanatical readers who love hisnovels, and, like Alias Padzil, they will wait with great anticipation for the arrival

f the next nvel. The new media has reated a new wave f lt readers that

ntrites t the develment f the lar Malay lt nvels. Fans f these


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66 Shaimi Adl Aziz

writers utilize the new media to get in touch with each other and thereby build a

hge and werfl netwrk that feeds int and sstains the reative indstry. The

writers themselves, in their active involvement in the new media, participate in

this circuit, for Ramlee of course is not the only popular Malay cult novel writerto promote his works and communicate with his fans through the new media.

CONCLUSION

The lar Malay lt nvel is reader, athr and lisher-driven. Cult

readers consume popular Malay cult novels but not all popular Malay novels are

lt nvels. The ntins aearane f lt nvels in trilgy and tetralgy

forms is a sign of the growth of popular Malay cult novels in Malaysia. Although

the story itself, and its popularity with readers, is the paramount aspect of the

rdts sess, the willingness f the athr t invlve him r herself withreaders als aears t e integral. Ramlee is a gd examle f this ress. The

cult writer writes to satisfy the literary taste of his/her readers and this becomes

a strng reative fre. The readers wait lyally fr the latest lt nvel. The

interactive capacity of the new media to build the relationship between reader

and author has accelerated the development and proliferation of the popular

Malay cult novel. Although readers have some influence on authors of cult novels

through this interactive media, the co-operation between publisher and author,

and the twin forces of capitalism and consumerism, nevertheless operate to lure

and ltivate a seemingly nqenhale rge in readers t nsme larfiction that ultimately discourages any aspiration to or desire for novels of higher

literary qality.

WoRKS cITEDJwett, Garth S. 1992, Series Editrs Intrdtin, Theories and Texts:

Foundation of Popular Culture Vol. 2, ed. Arthr Asa berger, SAGEPublications, Newbury Park, pp. viiviii.

Ramlee Awang Mrshid 1998, Tombiruo, Alaf 21 Sdn. bhd: Selangr.

Ramlee Awang Murshid 2001, Semangat Hutan (Spirit of The Jungle), Alaf 21Sdn bhd, Selangr.

Ramlee Awang Mrshid 2004, Tombiruo Terakhir(The Last Tombiruo), Alaf 21Sdn bhd, Selangr.

Ramlee Awang Mrshid 2005, Bagaikan Puteri(Like A Princess), Alaf 21 Sdnbhd, Selangr.

Ramlee Awang Mrshid 2007,Cinta Sang Ratu(Love of the Queen), Alaf 21 Sdnbhd, Selangr.

Ramlee Awang Murshid 2008,Hijab Sang Pencipta (Veil of the Creator), Alaf 21Sdn bhd, Selangr.

Ramlee Awang Murshid 2010, Cinta Sufi(Sufi Love), Alaf 21 Sdn bhd, Selangr.

What Is clt Fitin, nline. htt://www.wisegeek.m/what-is-lt-fitin.htm, accessed 11th July 2010.

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The Development of the Popular Malay Cult Novel- Prof Sohaimi Abd Aziz