SEJARAH MUSIK MALASYA
Pioneered
by royal musicians in the 1930s, the truest form of Malaysian popular
music is made up of a fusion of various elements from various musical
cultures in the country. P Ramlee in the 1940s, created a
uniquely Malaysian style, based on Malay folk music but infused with
elements from various local music cultures. His over 250 songs reflected
the influence of Malay music forms syncretism, especially the inang, zapin, masri, asli, boria, and joget
forms, as well as Western dance rhythms (rumba, slow fox, waltz,
cha-cha, mambo and twist), and Hindustani and Arabic melodies and
rhythms. The emergence of recording companies in Malaysia accompanied
Malaysian pop music industry development.
At the end of 1950s, rock music development in Western countries
greatly influenced popular music development in Malaysia. Western song’s
lyrics were translated into Malay, while its rhythm and musical
instruments were still used. The era is known as the yeh yeh pop era.
Beside
Western music genre, the ethnic groups also affected pop music scene in
Malaysia. Chinese people, especially those who were in high schools,
tended to favor Singapore, Taiwan, and Hong Kong song records.
Additionally, Indian pop culture was mostly imported from India,
especially Tamil and Hindi’s films and song records. Meanwhile the
Malays, especially the educated ones, favored songs from Indonesia,
Middle East, and Malaysia itself.
During
the 1960s, there had been changes in Malaysian popular music scene,
some of which were related to Singapore separation from the country. In
this matter, the changes reflected the increasing Western influence in
Malay people’s social life, especially the urbans. At the end of the
decade, blue jeans and mini skirts began to be popular among teenagers,
not only in Kuala Lumpur, but also in several other small cities. Malay
entertainment magazines and public magazines were freer to discuss about
such matters and to print such pictures as tight pants, sometimes
skirts with cuts and other controversial outfits. Teenage culture began
to emerge with the escalation of twist dance popularity, while joget also became more fashionable.
In the 1970s, many Malays, Chinese, and Tamils copied The Beatles. The era is called the yeh yeh pop referring to one of the Beatles’ songs, She Loves You yeh-yeh yeh. This genre quickly marginalized combos and big band dominating dance music in the earlier years.
At
the end of 1970s, popular music developing in Malaysia was influenced
by music like ABBA, Boney M., Michael Jackson, Madonna, etc. Those kinds
of music were popularized by big recording companies such as CBS (USA),
EMI (UK), Sony (Japan), PolyGram-Philips (Germany and the Netherlands)
and WEA (USA). Furthermore, the appearance of these recording companies
had supported the development of Malay pop music, that which was similar
to Western music. Some Malaysian bands and singers popular at that time
were those promoted by the big recording companies.
Big
recording companies did not turn Malaysian pop music completely into
Western characteristic. Popular music at that time still had local
musical characteristics. The rhythm, texts in traditional poetry form,
funny and deep lyrics, still reflected the old characteristic. This
happens because small local recording companies kept recording songs not
recorded by Western recording companies.
Soft
rock group, the Alleycats, which had the most consistent record sales,
dominated the 1980s. Their music blended elements of Western folk and
pop music with local asli rhythms. Increasingly, non-Malays
recorded, wrote, produced and performed in Malay language. Songwriters
began consciously blending elements from various music cultures in an
effort to encourage a true integration of local music cultures.
Significant songwriters from this period were M. Nasir, Manan Ngah,
Zubir Ali and S. Amin Shahib.
Zainal
Abidin dan Sheila Madjid also released their songs through local
recording company named Roslan Aziz Productions (RAP). Rock music also
developed in Malaysia. Rock groups such as Search, Lefthanded,
Bumiputera Rockers, Bloodshed, and Wings became popular in 1990s.
1. Religion as National Identity
The
foundation of Malay culture is religion. It appears in Rukunegara
principle. The National Culture Congress in Malaya University in 1971
resulted in National Culture Policy, which one of its points stated that
Islam is an important element of the national culture, yet other
religions are still acknowledged as the elements of the national
culture.
Since
1970s, Islam, as the major religion in Malaysia, played a bigger
progressive role in the formation of Malaysian’s Malay identity. Islamic
culture competed or had ambiguous relation with Malaysian nationalism
and multi-ethnic relation. Da’wah movement as part of Islamic
revival in 1970s gained support from most Malay youths feeling alienated
(being alienated) by westernization, materialism, and socialism. This
caused a gap between devoted Malays and the secular group.
Universities
became clash battlefield between the militants and the moderate Muslim
students. Islamic revival did not only worry non-Malay groups but also
the tolerant Malays. Religious organizations such as da’wah
group and religious groups based on religion took Islam to confront with
other groups in the form of public discussions, such as discussions
about the role of Islamic values for the Malays, Islam in plural
society, Islamic activity demand, and dress code for women.
At
the end of 1980’s, Islamic oppositional organization (PAS) declared a
statement forbidding pop music, especially those originated from the
West. They claimed that the music was amoral and proscribed. They then
declared that women performing on stage had disobeyed Islamic
principles. Several areas strongly controlled and influenced by PAS, had
forbidden the circulation of magazines and newspapers that published
writings about pop music. Stage performances showing pop singers,
especially Malay women pop singers, were sometimes stopped or were
protested as moral degradation. This case also occurred in universities
in which the militants were influential.
In
2001, Negeri Sembilan area, not controlled by PAS but had a strong
Islamic culture, had also forbidden rock stage performances and claimed
them as proscribed. The reason of the prohibition was connected with the
bad influence of rock music to the youth. This prohibition was
specially executed to black metal music.
Therefore,
several Malaysian rock groups “had to” clarify that their group was not
black metal to be still exist in music industry. Such thing was done,
for instance, by Amuk and Samurai rock groups. Amuk declared their group
was still devoted to the religion. They did not expect people to claim
them black metal just because they wore masks and had long hair.
Meanwhile, Samurai denied the accusation from people that metal group
brought negative effect to teenagers. They said that the accusation was
baseless because none of Malay metal groups asked their listener to do
forbidden things. Furthermore, Samurai group claimed that unjustified
accusation to metal music would only disadvantage Malaysian music
industry.
OAG
group was getting more attention from their fans. When OAG was
interviewed about their responsibility to their fans, they replied ‘we
want to be a good example for teenagers; I am free from drugs’.
Appropriate
polite manner is stated not only in the first point of Rukun Negara,
but also specifically in its fifth point, “Politeness and Morality”. The
point states that each citizen should have politeness and decency and
should act politely and decently. A person should have noble character,
high morality, and should respect others.
Preserving Malaysian people’s religious values and life norms is stated also in Vision 2020, launched February 1991.
It coincided with period of intense development, industrialization and
urbanization beginning in the late scope. Vision 2020 is Malaysia’s
expectation to achieve the status of an “industrialized” country by
2020. Launched by Prime Minister Mahatir in a speech entitled “Malaysia:
Striding Forward”, this modernist vision is prescribed as follows:
Malaysia
should not be developed only in economic sense. It must be a nation
that is fully developed along all dimensions: economically, politically,
socially, spiritually, psychologically and culturally. We must be fully
developed in terms of national unity and social cohesion, in terms of
social justice, political stability, system of government, quality of
life, social and spiritual values, national pride and confidence.
Two
significant new directions in Vision 2020 must be noted, the vision is
intended to provide for an all-encompassing view of modernization. It is
not confined to the economic sector only but also extended to cover
political, cultural, and spiritual dimensions. If Malaysia is to
continue to enjoy prosperity, political stability, economic growth and
social harmony, then it must be able to overcome the nine basic
challenges, one of them is to create a society with high moral and
ethical values and one that is deeply religious.
Malaysian
government, like a stern parent, reviewed every movie, television show,
book and performance, deleted violence and sex, and guarded against
perceived violations of Islamic values, like bare female shoulders or
long hair on men. It also protected Malaysian producers — requiring, for
example, that television commercials be made locally.
The
national government in Malaysia also censored certain performances,
though to a far lesser extent. In 2002, a video by the Australian
singer, Kylie Minogue, was banned, apparently because the censor
committee decided the video focused too much on the star’s bottom.
Foreign groups were required to submit recordings before applying for
performance licenses and television programs were regularly censored for
their language.
The
influence of the singers and the music industry became stronger in
deciding their fans’ future direction. Some singers tried to create
different image from other singers. Usually the image was shown in the
form of wardrobes, stage performances, song form, music, etc. The
singer’s fans then would follow the singer’s image and identity. The
fans would not follow their idol’s image and identity completely, yet
there were certain characteristics that they prominently followed. One
individual labeled his/her friend’s dress style as following certain
singer or artist (Abdullah, 1997: 135-136).
Realizing
such impression and influence, the royal authority through the Ministry
of Information had stipulated dress code ethics suitable for singers
and artists in order not to disgrace the values and cultures of East
people (Abdullah, 1997:136-137).
Malaysian
people also critically observed matters, unsuitable with religious
value and morality norm inside the entertainment world in Malaysia. For
instance, at the awarding moment of “Anugrah ERA” 2003, there was a
protest from the audience concerning the tight costumes worn by
background dancers. The same thing happened to Moluccas who performed
wearing costumes showing their bellies. “Anugrah ERA” 2003 committee in
responding to the matter said that the committee had already warned
Moluccas about which costume was appropriate or inappropriate, such as
hiding tattoos and covering bellies. The committee had already
distributed guidelines made by the Ministry of Communication and
Multimedia. Since Moluccas had ignored the guidelines, the committee
probably would not invite them again.
Another instance was a reader’s letter in a newspaper saying that:
It
is a pity for me to see second-rate magazines and newspapers which
deliberately display pictures of film stars and teenage singers wearing
sexy clothes.
I
am certain that the artists quite understand that wearing sexy clothes
will create negative image in the society. (Metro Bintang, 1 November
2003).
2. The Flourishing of the Malaysian Language’s Using
Long before the independence from British, Bahasa Melayu
was the official language of the country. Due to political instability
among multi-ethnic Malaysians in 1969, the name was later changed to Bahasa Malaysia
in 1970 as one of the ways to strengthen the unity and to represent all
Malaysians as one nation, one people. It had since been used as the
official language for government administration. Institutional
(transferred) Document (No. 2), 1971 stated that the position of Malay
language as national and official language is not to be questioned.
Although
Malaysia is the primary language, other ethnic languages (Chinese and
Indian) still exist. The using of national language as the official
language for all levels has been developed at a convincing state. In
universities, Malay language has already become the tongue language at
80 % of the education level since several years ago. However, at the
1990s, the government and the people showed frankness to the using of
other languages, especially English language. The vice prime minister,
at the end of 1998, stated that the using of Malay language was to be
continuously spread, yet English as the international language was also
advised to be learnt in order to face globalization.
During
the 1970s, the government began to order Chinese, Indian and English
intermediate schools to teach Malay language. At the early 1980s, more
Chinese and Indians students mastered or at least conversed using Malay
language. Meanwhile their parents could not speak Malay.
The
impact was, the Malay-Indians and Malay-Chinese became more familiar
with Malaysian pop songs because they understood the language. The
possible reason why Malaysian pop music selling rate increased was the
number of the audience from non-Malay in Malaysia had increased. This
tendency became more commonly perceived in small towns and villages, and
the area where Malay culture was significant. The non-Malays also began
to hold significant influence in Malaysian music industry as song
composers, music arranger, and artists. Some non-Malays
gained popularity as Malay pop singers at the early 1970s, such as Andre
Goh, Jenifer Yen, Elaine Kang, D.J. Dave and Helen Velu, also the
leading group, Jayhawkers. At the end of 1970s, more non-Malay artists
recorded their songs and performed in Malaysia.
Record
albums in English made by Malaysian had consequently decreased.
Apparently, Malaysian people thought that local albums in English were
below international standard, and they preferred imported English songs.
Meanwhile, the recording companies were afraid that Malaysian accent
would hamper the selling of the albums.
At
1980s, the number of non-Malay artists in Malaysian pop music proved to
be significant. The Alleycats, for instance, a rock group consisting
Indians and Chinese, had created many hit singles in Malay language.
Their music, the blending of Western folk and pop music essence with
local beats, had gone beyond the limit of ethnics and regions. Other
non-Malay groups which also gained success were Sweet September, Kenny,
Remy and Martin, the Flybaits, Gingerbread, the Explorers, and
Streetlights. Streetlights became known with their Punjabi Rock, the
blending of rock music, Indian characteristic vocal, and Malay lyrics.
The
most popular group at the early 1990s was Search, consisting Malays and
Chinese. Non-Malay singers such as Fran Peter, Roy Santa Maria, Chris
Vadham, Edmon Prior, Linda Elizabeth, Flora Santos, and India
Cendrawasih duo became the leading artists in Malay Pop during 1980s.
To
maintain the preservation of Malaysian language, the government,
through Language Board, closely observed every word and sentence in a
music album. If they found any impolite word, or any twisting of Malay
language, or any using of non-standard word according to the Language
Board, they would suggest the artist to change it. If not, then the
music album would be banned.
Such thing happened to OAG group. When journalists asked the group about their song, Nowhy2,
which twisted Malay language, the group stated the using as modern
Malaysian language. What is wrong with us if we want to make Malaysian
language ‘cool’? The result
was Suruhanjaya Komunikasi and Multimedia Malaysia forbade them to
present in ERA music award. They claimed that the group’s song, Nowwhy2, had ruined Malaysian language.
3. Malaysia as Music Market
Hollywood,
Bollywood, and West Asia domination controlled record album market in
Malaysia. Many western musicians gained significant record sales,
enjoying their popularity in Malaysia and becoming ‘heroes’ of local
popular culture. Among them were Elvis Presley and Michael Jackson
having active fans in Kuala Lumpur until 1980s. Madonna Look-alike
contest in 1990s replaced Elvis Presley and Michael Jackson Look-alike
contests. Kuala Lumpur showed itself as Western music center.
Malaysia
also became the market for Indonesian artists. The history of
Indonesian artists’ existence in Malaysia had begun since 1970s. Artists
like Broery Marantika, Hetty Koes Endang, Ernie Djohan, Emelia
Contessa, Bob Tutopoli, Harvey Malaiholo, Ebiet G Ade, etc. had
attracted the attention of Malaysian entertainment world.
In
1974, Indonesian artists’ albums had been widely sold, just like Malay
albums. The selling of Western and Mandarin songs then followed their
sales. At the early and the end of 1970s, dangdut music market had also
developed with its superstars such as Rhoma Irama,
Muchsin Alatas, and Elvy Sukaesih. In Malaysia, at that time, dangdut
was very popular in the countryside areas. At the end of 1970s, some
Malaysian singers adopted dangdut style. Malaysian local dangdut became
popular until 1980s, with successful singers such as Zaleha Hamid, Malek
Ridzuan, Nas Atea, and Herman Tino.
In
1990s, there were more Indonesian artists becoming popular in Malaysia,
such as Dewi Yull, Nicky Astria, Nike Ardilla, Anggun etc. Furthermore,
in 2000, Indonesian artists such as Gigi, Sheilla on 7 and Dewa had
been welcomed by Malaysian people. In fact, Sheila on 7’s record selling
in Malaysia had surpassed Siti Nurhaliza’s, a very popular Malaysian
artist.
Indonesian
artist’s success in Malaysian music market had caused Malaysian pop
music artists to try changing their image and following Indonesian music
concept. For instance, many Malaysian artists wanted to
sing Melly Goeslaw’s creation. Melly is a popular Indonesian songwriter
in Malaysia. Exist group then acknowledged that they really liked Dewa’s
music (Indonesia) and tried to create new songs with lyrics a la Dewa.
Other
foreign records gaining their market in Malaysia were Japanese records.
The selling of Japanese artists has increased for 400% during 1983 and
1986. This reflected a part of Malaysian government policy to “look
east”. The policy resulted in the increase of Malaysian people’s
interest to learn Japanese. Japanese singers and musicians gaining
popularity in Malaysia were Mayumi Itsuwa, Momoe Yamaguchi, and Kitaro,
as well as bands such as Loudness and Shojitai.
Malaysia
was a potential market for foreign pop music. The opening of
international cassettes and CDs chain, Tower Record in Kuala Lumpur in
2003 could be used as the standard of foreign music market in this
country. Tower Record is a shop building for any kind of music. Any
foreign music can be easily obtained in Malaysia. Then, the competition
in Malaysian pop music industry did not involve local competitors only
but also foreign competitors.
Meanwhile,
according to Jennifer Thompson, the condition of Malaysian pop music
industry lately experiences a decline. In fact, the condition is
terrifying. Many albums cannot be sold, international recording
companies are forced to be more careful and to reduce Malaysian pop
album production, and recording studios have complaint because there are
not many albums to record.
The
closing or reduce of Malaysian pop album production by some
international recording companies operating in Malaysia has greatly
influenced local music industry. There is a recent phenomenon in
Malaysian music industry that local recording companies have become more
successful than international recording companies have.
The
fact is mainly felt in the production of Malay albums. In fact, many
new singers are promoted by local recording companies. This happens
because the international recording companies are too careful and they
‘give a very small chance to local artists’. The courage of local
recording companies to take a risk has achieved a quite significant
result when several Malaysian singers and bands attain places in their
Malaysian fans’ heart. According to NAR Records Director, Mokhtaza
Ahmad, this also happens because local recording companies do not have
other choice besides trying to produce local artists’ albums.
Malaysian pop albums product involves more local (bumiputera)
music entrepreneurs than non-local entrepreneurs or international
companies. Malay pop music recording company involves 80% of local group
(Malay). The rest is filled with non-local groups (Chinese and Indian).
4. Towards International Market
“Malaysia
having made a way into international market for various industrial
sectors deserves to expand her ability in exporting her music industry
product. To breakthrough the international market, Malaysian artists
should not only improve their skills in marketing technique, their
vocal, and their skills in playing musical instrument, but also should
arrange good trade relationship with international music industry chain.
The more important thing is they have to perform a unique thing and a
musical reform. It is time for us to bring Malaysian music to
international market.
That
is what, Datuk Shake, having a career as a singer in France for a long
time, believed. He believed that Malaysian pop music has a bright chance
to compete with international music works. So far, only few Malaysian
singers succeed in selling their albums at international level, not
through export from Malaysia. Among the singers are Aishah who recorded
English songs when she studied in New Zealand, and Datuk Shake, popular
in France with his French songs.
Beside
Malaysian people and some their artists, several organizations, such as
MABRI and PAIMM (Malaysian Music Industry Academy Union), have also
stated the wish to make Malaysian music go international. PAIMM
established in 1994 has an aim to improve music industry in all fields
which includes giving guidelines to improve individual involved in
music.
The
Malaysian government’s attitude towards this goal is actually
supportive. It becomes possible by the atmosphere of the government and
the wish of Malaysian people to build Malaysia as the greatest and the
best nation in all fields with the slogan ‘Malaysia Boleh’. It can be
seen, for instance, in their efforts to make record for all fields, such
as the third tallest building in the world, the longest commuter
railways in the world, until the longest satay in the world. The
achievement of Malaysian artists in foreign countries surely becomes a
proud for Malaysian people. Therefore, the government states its
willingness to help Malaysian artists, not only in music, to go
international. That attitude is stated through Malaysian development
policy in The Third Outline Perspective Plan 2001-2010 of Economic
Planning Unit. The Malaysian government states that:
The
government will also promote the development of the creative and
performing arts and nurture talents in these areas. This is in line with
efforts to preserve and promote the rich Malaysian cultural heritage as
well as cultivate a society that is appreciative of the arts. The
development of the arts will not only provide the avenue for talented
individuals to excel in their fields but also contribute to the vibrancy
of the Malaysian lifestyle. Outstanding Malaysian artist and performer
will also be given the opportunity to fully develop their talents and
achieve international recognition (Economic Planning Unit. The Third
Outline Perspective Plan 2001-2010; pages 26. Percetakan Nasional
Malaysia Berhad).
If
we discuss the attempt of Malaysian singers trying to breakthrough the
international market, then we will see debates among Malaysian people or
among its musicians in the matters of whether to go internationally
means to record English albums. The problem of how Malay album is
difficult to breakthrough international market has frequently used as
the reason why a singer should sing English songs to breakthrough world
market.
Many
Malaysian singers have produced English songs since 1970s, yet their
level of popularity did not reach international level. Their popularity
was only local. In fact, their Malay albums were sold more then their
English’s.
In
1970s, singers such as Sharifah Aini, D.J. Dave, Khatijah Ibrahim,
Anita Serawak, etc. had produced English album. Then, Allahyarham
Sudirman Haji Arshad, Shima, KRU, Ning Baizura, Deanna Yusof and Poetic
Ammo followed them to record their albums in English.
Yet,
only local fans liked their English albums. Not a single album managed
its way to the international market yet. Sharifah Aini had produced 11
English albums including three compilations since 1970s. Yet, those
albums were only distributed in Malaysia.
Nevertheless,
Malaysian singers were not frustated at that time to keep on writing
songs in English. They perceived the condition as challenging. For
instance, Innuendo group released Innuendo album in June 2002.
From 15 songs in the album, there were only two Malay songs. The rest
was in English. However, the popular songs played on the radio were that
two songs. Like other bands making English album, Innuendo also made it
for export purpose. They believed that Malay songs could not be
exported.
Most
Malaysian underground bands sang in English. Therefore, they
encountered difficulty to get listeners who were mostly the fans of
certain music. In Malaysia, the status of Malaysian language and English
language is actually standing side-by-side, considering half of 22
millions Malaysian people consist of various non-Malay groups. So
actually, Malaysian bands highly expect to attract music fans whose
mother tongue is not Malay, but they do not always succeed. It possibly
happens because many people think; “ instead of buying English albums
from Malaysian singers, it is better to buy international artists’
album, it is more satisfactory.” That is Malaysian people’s negative
opinion of their local artists’ attempt to improve their talents through
English albums.
Sharifah
Aini could not believe that the requirement for international market
was to produce English songs. According to Sharifah Aini, Malaysian
singers should not be the imitation of foreign singer to ascertain their
place in international market. The success of Hindustani songs in
Malaysia is determined by displaying its identity. Malaysian artists
must display their identity. Good quality Malay songs could attract the
world’s attention because they do not exist in the West. It is difficult
to compete using English songs because Western singers also have good
quality. Sheila Madjid proved that her songs could be accepted by
foreign fans although they did not understand Malay language. Sheila’s
album was sold in Japan.
Nevertheless,
Sharifah Aini and Sheila Madjid’s faith was different with Yusof
Amir’s, who made songs in English because he thought the using of
English would assist the way to international market. According to Yusof
Amir, even though he used English language, he still used Malaysian
music concept.His album, Altered Native, was distributed to Hong Kong, Thailand, Singapore, the Philippines, Taiwan, and South Korea besides to domestic market.
Other
bands also did not stop to try making English albums because they
believed it had its market. For instance, KRU group stated that Malay
English songs are difficult to sell. To change that, KRU group requested
Western songwriter from America to create a song for them. With the
song made by native speaker, KRU believed that their album titled The Way We Jam
would be successful in the market. KRU group had a desire to sell this
album to a more global level. Therefore, the songs in this album were
focused on wider market as well as Malaysian market.
There
are cases where Malaysian singers using English and Western beat gained
success abroad, they are Too Phat Duo. Yet, Too Phat Duo known with
Anak Ayam song, still eternalize Malaysian identity. Malaysian identity
is not completely shown but slipped in the lyrics and rhythm in some of
their songs. For Too Phat, Malaysian identity is their key for success
due to the unique influence of local music to the hip hop they perform. Too
Phat managed to sell their album in Singapore, Indonesia, Thailand,
Brunei, Korea, and the Philippines. Too Phat had performed five times in
Indonesia, and each show was a sell-out success.
Meanwhile,
an Islamic musical revolution is sweeping Malaysia and is threatening
to spread to the rest of Asia. A clean-cut singing group of young men
called “Raihan” leads the revolution. The five members of Raihan are
singing their way into the hearts of their fans through traditional
Islamic religious hymns called “nasyids.” Raihan gives these traditional
tunes a modern touch.
The
group’s debut album, “Puji-Pujian,” released in 1997 already has broken
records in Malaysia, with 650,000 copies sold. The previous record
holder sold 350,000 copies. The group’s second album has been sold
150,000 copies and is still going strong. MTV Asia also regularly plays
their videos and the group’s recording company, Warner Music Malaysia,
bets it will soon become a byword in Asia as it is now in Malaysia.
Chandra Muzaffar, director of the Institute for Islamic Understanding
and the president of the International Movement for a Just World, said
Raihan’s success in this country is due, for no small measure, to a
desire of many middle-class Malaysians wanting to identify what they see
as another expression of Islam. “It is a manifestation of a search for
an Islamic identity,” argued Muzaffar. “One could argue that it is an
attempt to move away from what you see as Western identity — similar to
Muslim women giving up Western clothes for Islamic dress.”
But
social and cultural critics Amir Muhammad thought Raihan’s fresh taste
on traditional music should be credited for the group’s rapid rise to
fame. “People were in the mood for something soothing and new,” he
observed. “Rural Malays, too, were relieved to find music that is
slickly produced and local without (being) too tacky.” Raihan sings
mostly in Bahasa Malaysia. At least, language did not stop it from
gaining a fan from abroad.
Raihan
said, “Western pop music culture has a lot of negative things, such as
sex and drugs. We are introducing the positives to it such as love of
God, ideas of sharing, compassion, respecting elders and the family.”
In
Malaysia, Raihan’s success is followed by the emergence of many nasyid
groups, several of which also gain success. Among them is Hijjaz, a
nasyid group which frequently perform in foreign countries, such as
Indonesia, London, Jordan, Thailand, and Pakistan.
The truest and the most realistic international
market expected by Malaysian artists until this moment is countries
where Malay people reside, for instance, Indonesia, Singapore, and
Brunei. Among those countries, Indonesia is the most frequent main
target for Malaysian singers to breakthrough foreign market. This
happens because Indonesia is a country having the most Malays in the
world and having many similar cultures with Malaysia, especially the
language.
For a long time, Indonesia becomes a tempting market target for Malaysian singers. In 1980s, Search band succeeded in reaping huge benefits with their hit single, Isabela. Afterwards,
more and more Malaysian singers release their records in Indonesia,
such as Sheila Madjid and Siti Nurhaliza. Other Malaysian singers try to
get public attention and to compete with Indonesian local singers. Meanwhile, Singapore and Brunei, with their lesser Malay people, are still considered as potential market.
