travel brunei darussalam poem analysis pdf

Travel Brunei Darussalam

by John Tiong Chunghoo

Bandar Seri Begawan weds the old and new -

roads, heritage buildings, museums, mosques, parks,

 a market by the river selling jungle produce

and of course the Jerudong Amusement Park

where late Michael Jackson performed for

the Sultan's 50th birthday - - almost 20 years

before the release of his last album, That's It

it is not the town though that revs one's spirit up

but the humble Brunei river that flows by it

the river opens one to the heart of the Sultanate

 here you could see the gleaming Sultan's Palace

the oil kingdom's diverse flora and fauna

as well as the way the Sultan's subjects live,

oil fuels the movements here and everywhere

sampans, motored boats go up and down

the waterway

there is even a little oil station on stilts

right in the middle of the river

for the boatman to fill up their boat tanks

the most poignant here are the

smart young generation during sunset hours- -

tudong clad malay schoolgirls

in long white blouse and ocean blue skirt

bleary eyed boys in white shirts, dark green long pants

with rucksacks on their backs get down from their boats

and rush to their wooden houses - home sweet home

a newly wedded couple

in resplendent traditional baju melayu

hold each other, smile and speed

away in their boat to their new nest

cococnut palms sway and

a Sharifah Aini song goes on air

while warm breeze blows

reminding me of a paradise on earth,

the egrets both the orange and black beak species

add grace to the to the picturesque river

the Malays call them banggau

I also have the Brunein luck to spot the

proboscis monkeys- monyet belanda

with their long flabby nose, humanlike faces

the males moving with their harem

at one end of the river the Sultan's Palace

where cutleries are made of gold

and waiters get thousands in tips

glistens over the waters

there also I could visualise the smile of the

man with the songkok on the blue dollar notes

the man who led one of the oldest Malay sultanates

which gave away Sarawak - my beloved state to the

White Rajah

                                                                              The End.. .

Travel Brunei Darussalam by John Tiong Chunghoo

Story Analysis by Christopher John Sasel

This opening part of the poem sets the stage for a journey through Bandar Seri Begawan, offering a glimpse of its rich cultural tapestry. It encapsulates the idea that a city can be a living testament to the past while embracing the present and future. The mention of Michael Jackson's performance serves as a reminder that even in a city steeped in tradition, there are moments of modernity and global connection. 

In 'Bandar Seri Begawan,' the poem portrays a theme of cultural fusion, depicting a city blending its past with the dynamism of the present. The juxtaposition of traditional architecture, museums, mosques, and parks alongside contemporary references like Michael Jackson's performance symbolizes the blend of old and new in the urban landscape. This fusion serves as a metaphor for the evolving nature of Bruneian culture, where tradition seamlessly integrates into modernity. It also highlights the resilience of culture against globalization, retaining its roots while embracing change.  

CULTURAL CONTEXT

The cultural context of 'Bandar Seri Begawan' showcases a city embodying the fusion of eras and influences, mirroring broader cultural dynamics in Brunei. The poem illustrates Bruneian society's ability to blend its historic past with contemporary influences. Architectural marvels and landmarks symbolize Brunei's deep-rooted heritage and traditions, preserved in the capital. References to modern pop culture, like Michael Jackson's performance, signify Bruneian society's openness to external influences, enriching their cultural experience. This portrayal encapsulates Brunei's cultural ethos, where tradition and modernity converge to create a vibrant and evolving society.

T he reference to Michael Jackson's performance for the Sultan's 50th birthday highlights the city's connection to global pop culture and its significance in the international scene. It shows that a Brunei are open for entertainment and embraces a diversified culture so that it transform to more interactive and peaceful country. 

LITERARY TECHNIQUES

Contrast: The poem effectively contrasts the historical aspects of the city with contemporary events like Michael Jackson's performance, emphasizing the dynamic nature of Bandar Seri Begawan.

Imagery: The description of the market by the river selling jungle produce and the Jerudong Amusement Park creates vivid images that draw the reader into the city's atmosphere.

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• The Oilfield Labourers

Borneo's Green Heart

• Travel Brunei Darussalam Poem - Bandar Seri Begawan

Let's Explore

Brunei literature.

Welcome to a world of captivating stories and shared traditions!

The Oilfield Labourers translated by Siti Badriyah biti Haji Md Yusuf

Kampong Umbi was on fire. Forty houses were burnt down. Finally everything came under control. The fire trucks and the rescue teamhad left. Only a number of distraught old mothers remained, weeping and wishing they were dead. An old man, who had been critically ill, had also been found burnt to death in his home. Two conflagrations of fire were seen about a hundred and forty-two yards fromthe burnt houses. At nightfall the area became still. The heat from the fire could still be felt and it made the stomach churned. Yazid saw puffs of tiny smoke dancing in the haze. He trembled. He visualised houses being destroyed; nothing was left untouched by the flames. He raised his face and stared far ahead and saw sparks of fire flickering as if they were suspended in the darkness of the night. Then he caught a glimpse of his ownshadow in the mist but it was slowly disintegrating. It was no longer his shadow. So whose was it? The shadow doubled, and at times appeared to be swaying left and right. “Are you searching for the stumps of your house Yazid?” Adam asked. “I am searching for the stumps of all houses,” he replied. Covered with coal dust his naked feet had turned black. He wanted to feel the heat from the fire that had razed his village to the ground. He wanted his skin to be burned by that same fire that had destroyed his village. He was cursing the fate of his village but he was full of praise for the happiness and peace that he had experienced living there. “Maybe you should just leave this place,” Adam suggested. “Find a new place to build your home.” Their shadows moved. Rings of fire far and near were blown by the wind. It was a moonless night, with thick clouds covering the sky. “How was the old man?” Yazid asked. “Dead.” “When will he be buried?” “Tomorrow.” “We should help dig his grave.” “Sure,” Adam replied. “At the very least I have the right to put out the fire that had destroyed my house.” “Where are you sleeping tonight?” Adam asked “I don’t know.” “You can stay at my place.” “Anywhere will do.” “Let’s go home. You need to take a shower and remove all those worries.” In the bedroom, he laid sprawled on his front, with his face pushed under the pillow. Outside, he could hear Adam telling a friend about the fire. Another story unfolded and they laughed hysterically. Their voices echoed through the silence of the night. Yazid covered one ear, then the other. In his imagination, he saw fire smoulderingwildly outside, burning every grass and twig on the beach and rising to the treetop. The large sparks of fire on the Casuarina tree danced in the rhythm of the wind blowingfrom the South China Sea. The old man would be buried on that beach the next day. He remembered the old man very well. He was a cock fighter with a peculiar style when facing a new contender. His movements were agile and his stamina seemed to increase the minute he entered the ring. His preoccupation with cock fighting took away all thoughts of death. He was only upset when his gamecock fluttered in defeat. The vision and memory of the fire were slowly disappearing from his mind. What he sawthen was the dead body of the old man, being washed. And in the distance he could see little flames floating on the South China Sea, the tall derrick and, from its top, a fallingobject. His heart stopped when the object hit the ground. The vibration caused by a passing truck lulled him to sleep. That night he dreamt of fighting the fire that had engulfed five villages. He was out early the following day in the mist of the morning dew. He headed straight for the graveyard. Walking on sand and pebbles, he walked across the wet grass and then turned right to avoid them. He crossed the bridge and looked down. The water was black due to the oil spill. In between puddles of oil, he saw his own reflection, his head white, covered with dew. Far across the sea, the sun was shining radiantly while the lights slowly dimmed. He passed through an alley. He observed the wreckage. There were traces of rain fromthe day before, which had snuffed out the fire and smoke. Bits of white dusts could be seenamong the black columns which still stood erect. Amidst the haze, black stumps could be seen still rooted to the earth. His steps were slow but he was no longer looking around. He saw some men arriving with their hoes and scoops. The sandy soil made it easy for them to dig. He continued walking slowly and directed his gaze straight ahead. At times his eyes glimpsed at the pebbles he was about to step on. And he was very careful with his steps. Climbing with a pair of wet shoes could be disastrous. He could see another derrick at the end of the road. A new oilfield had been discovered there. He felt tired. He could feel the cool sea breeze on his body. He had been troubled since morning. And that feeling got worse when all eyes fell on him. Their stares were taunting. Havingnothing to say, he proceeded to climb the derrick. When his friends, who were on top looked down, the glaring sunlight that was reflected from their metal helmets hurt his eyes. “You look very high-spirited today, Yazid!” exclaimed Jamal from the top. The glaring light that bounced of Yazid’s helmet hit his eyes. Jamal quickly shifted his glanceto the greenery nearby. Ignoring them, he climbed up further to where they were. Now his vision was dazzled by the light from the sea and by the whiteness of the foams on the sand. He could no longer hear the splashing waves hitting the beach. He looked up. Jamal, Ghani and Ibrahim were observing him. “Stop right there!” shouted Ghani, as he flung a coil of wire to Jamal. Yazid secured his safety buckle and wiped off his sweat, the shadowof the derrick’s poles emblazoned across his chest. Yazid looked at his friends. Their faces were dark red. He could even see beads of perspiration on the wrinkles beneath their helmets. “Catch,” said Jamal. Yazid grabbed the wire. A black bag of tools was hung onto the baluster before him. He tied the bag with the wire. Jamal pulled the wire slowly. That morning, the workers were only preparing the equipment which would be assembled later in the evening. They climbed down at almost eleven. The sky was cloudy by then. The labourers rested, enveloped by thin shadows, their bodies wet, from the sea vapour. “Jamal,” asked Yazid, “did you see the condition of the old man when he was dying last night?” “Yes. Why? I even carried him.” “How was he?” “His clothes were completely burnt. His skin, crinkled and black. His flesh was red and moist. He was screaming hysterically.” “Do many people die that way?” “Not many.” Jamal was only forty-nine years old. “Because such terrible fires seldom occur.” “Easy, wasn’t it?” “What do you mean?” “Death without having to suffer long illness.” “Perhaps his pain was far greater than that suffered by those having a normal illness,” Jamal suggested. “Was he unconscious yesterday?” “He lost consciousness after screaming hysterically. After that he died.” “Did he recall what he was leaving behind?” asked Yazid. “What did he leave behind?” Jamal asked. “Whatever that he might have left behind.” “I doubt. All his belongings were destroyed, all his chickens died.” “Do you want to die that way?” “Me! Me? Oh please dear God, give me a more peaceful death.” “Peaceful? How?” “From a mild illness perhaps.” “But people rarely die from a mild illness.” “A more or less fatal illness,” Jamal replied. 42 He stared at the sea, then at the sparks of fire. In daily life he hesitates to commend bravery but he has always believed in diligence and hard work. He then looked up at the white clouds until his eyes hurt. “Dad was not ill when he died. He committed suicide by taking poison,” Yazid revealed. “Everyone dies differently.” “You are a weird person.” “Everyone has the right to choose on how he wants to die.” “Why do you want to talk about death?” “Because death is necessary,” Yazid replied, “to sever something.” He avoided looking at Jamal’s face. His friend looked older than him. There were tender moments during their friendship when Yazid was comfortable regarding himas a father. The veins on Jamal’s forehead would protrude when he spoke loudly or whenever he opened his mouth wide. Yazid shifted his eyes to look at the sky, then to the top of the derrick and to its base. The derrick’s shadow zigzagged on the patches of dried, yellowish grass and stretched out before them. They had finished their lunch. Yazid looked at the horizon that split the sea and the sky. In his heart, he still could not understand why Jamal was so scared to face death. “Do you know Yazid?” Yazid was startled and turned his body towards Jamal. “Know what?” “How much longer do you think we will be working here, as derrick climbers?” “As long as there is oil.” “Do you know that there are already signs of it depleting?” “I do,” Yazid answered. He had long known that. “Once this derrick is ready, we will have to erect another one,” said Jamal. “Who said so?” “William.” “Where?” “Offshore, at aluh tiga” Jamal replied. This particular labourer was always quick to know about the company’s plans and strategies. He had very acute senses. “It seems that we have more oil now.” “How do you know?” Yazid asked. “There, we are building a new derrick offshore.” “Done with onshore drilling, now they are exploring offshore,” Yazid commented. “It is amazing that oil can also be extracted from the sea.” “Oil originated from the sea millions of years ago.” “We are so blessed.” “The oil in Seria is almost depleted. Just be prepared.” The oilfield labourers began climbing the derrick. The higher they went the slower they got. Gradually the labourers appeared smaller and blacker. From above, all Yazid could see were black and grey roofs among the white tanks. His eyes hurt fromthe piercing glare of the sun. The black river flowed to the sea. Oil pipelines crawled overlapping each other everywhere. Noise could be heard from the derrick base. William stood with arms akimbo. Through a pair of dark glasses he watched the noisy labourers. Amidst the noise, something crashed into the balusters. A body lay sprawled across the metal rods. The labourers were frantic. They almost could not recognise their friend’s face. His brain was shattered into pieces. Minutes later his eyes shut and he turned stiff.

A gem of a nation An abode of peace A treasure of empire A haven of tranquility A kingdom of treasures An oasis of modern empire A space of warmth greeting A den of hospitable people A neoclassical form of politics A gateway to beyond comports An avenue of understanding An environment of treasures An ancient Sultanate kingdom An indeed pampering Brunei Darussalam

Travel Brunei Darussalam Poem - Bandar Seri Begawan by John Tiong Chunghoo

"The Oilfield Labourers" is a short story set in Kampong Umbi, a village in Brunei, and follows the lives of oilfield laborers who work in the oilfields of Seria. The story explores the lives of these laborers and the challenges they face in their work and personal lives.

Themes and Symbolism

The themes of the story include the challenges faced by oilfield laborers, the impact of modernization on traditional ways of life, and the importance of community and cooperation. The story emphasizes the importance of community and cooperation, as the laborers work together to overcome the challenges they face. The story uses the symbol of the "golden egg" to represent the wealth and prosperity that the oil industry brings to the village. This symbol reflects the importance of the oil industry to the village's economy and way of life.

Cultural Context

The story is set in Brunei, a small country located on the island of Borneo in Southeast Asia. Brunei is known for its oil and gas industry, which is a major contributor to the country's economy. Moreover, the story reflects the cultural context of Brunei, where the oil and gas industry is an important part of the country's identity and economy. The story also reflects the importance of community and cooperation in Brunei culture.

Literary Techniques Used

The story uses imagery and symbolism to create a vivid picture of life in the village and the challenges faced by the oilfield laborers. The story also uses dialogue and characterization to develop the characters and their relationships with each other. The use of dialogue and characterization adds depth and complexity to the story's themes of community and cooperation.

The poem entitled Borneo’s Green Heart is reflecting its country itself. It discusses the overall wealth and growth of Brunei stated from the lines “A kingdom of treasures” & “an environment of treasures” which makes it the “Land of Unexpected Treasures”. The lines "An abode of peace" and "A haven of tranquility" vividly express the safety and calmness of a country. These phrases conjure up a serene and harmonious image that signifies several key aspects of a peaceful and tranquil nation. An "abode of peace" implies that people are able to live without fear of violence and crime. While the “A haven of tranquility” affirmed sense of peace and quiet in the country. Lastly, in the lines “A den of hospitable people” showed the people’s hospitality of Brunei. Moreover, the country Brunei is not only rich economically but also in its people’s hospitality and country’s tranquility. Brunei's wealth transcends its economic prosperity. It is a country where the richness of life is defined not only by financial affluence but also by the extraordinary hospitality of its people and the tranquility that reflects the land.

The theme of the poem entitled “Borneo’s Green Heart” is to show the Brunei’s beauty in terms of economy, people, government, culture, and traditions. It captures the various beauty and reflects the nation’s wealth derived from its different source of national resources. Stated from the lines of the poem are hints of Brunei’s richness. Additionally, from the title itself “Green Heart” symbolizes the country’s environmental care. Beyond the environmental aspect, the poem also alludes to Brunei's economic wealth, which is derived from its diverse national resources. It hints at the nation's economic stability and the abundance of resources, such as oil and gas, that have contributed significantly to its affluence. The poem showcases the harmony between the government and its people, suggesting that the nation's prosperity is also rooted in effective governance and a united citizenry.

In the line “An abode of peace” implies that Brunei provides its citizens and residents with a safe and secure environment, free from the constant fear of violence and crime. This phrase underscores the nation's commitment to maintaining law and order. In Brunei, the low crime rate and the strict implementation of laws contribute to a society where individuals can go about their daily lives with a profound sense of safety. The phrase "a haven of tranquility" adds to the impression of tranquility in the nation. It emphasizes the tranquil atmosphere that penetrates peoples' daily lives. A number of things, such as the influence of Islamic beliefs, the peaceful coexistence of its diverse people, and a social commitment to peaceful conflict resolution, are responsible for Brunei's peace.

The phrase "Borneo’s green heart" employs metaphor as a compelling literary technique. Each word within this expression deviates from its literal definition, collectively painting a vivid and imaginative picture of Brunei. When we consider the literal definition. However, this metaphorical description transforms Brunei into something greater than a political entity. The term "green heart" implies a deep connection to the natural world, as if Brunei is the core of Borneo, the life force at its center.

This poem entitled Travel Brunei Darussalam Poem - Bandar Seri Begawan appears to be a celebration of Brunei Darussalam, with on its capital city called Bandar Seri Begawan. The poet employs imagery and descriptive language to capture the essence of this country and its cultural and natural beauty. It also values the country through showing the nature and culture in Brunei and tells us about the poignant events which makes the country more beautiful. In the opening lines of the poem, the author sets the stage for what is to come by hinting at a comparison between the old and modern aspects of Brunei. This immediately engages the reader's curiosity, as it suggests a journey through time and an exploration of the evolving character of the country. By mentioning "Bandar Seri Begawan weds the old and new," the author sets the tone for a narrative that will highlight the harmonious coexistence of tradition and progress in this city. The first stanza and the lines “Bandar Seri Begawan weds the old and new - roads, heritage buildings, museums, mosques, parks” convey that these places have a memorable experience.

Themes, Symbolism, & Cultural Context

In the opening lines of the poem, the author sets the theme for the comparison between the old and modern aspects of Brunei. It suggests a story through time and an exploration of the evolving character of the country. By mentioning "Bandar Seri Begawan weds the old and new," the author sets the tone for a narrative that will highlight the harmonious coexistence of tradition and progress in this city. In connection with the previous statement, the poem may go on to discuss how the "old" is represented in the city's ancient architecture, the customs that are still alive, and the way of life that has been passed down through generations throughout the poem. Meanwhile, the "new" may be represented by the city's modern infrastructure, contemporary art, and the city's dynamic, changing society. The poem's notion of memorable experience symbolizes that Bandar Seri Begawan and Brunei provide something unique and profound to the visitors. It's more than just stunning landscape, it's a site where the past and present collide to produce an enriching experience for visitors.

The poem used metaphor and personification. The line "coconut palms sway and a Sharifah Aini song goes on air" used to relate the swaying coconut trees to the rhythm of a song. The poem personifies the river, it "opens one to the heart of the Sultanate," implying that it has human-like traits of invitation and disclosure.

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Bruneian Literature in English: An Observation

Disclaimer: Most of my thoughts here are speculative and in no way constitute definitive statements on the state of Bruneian literature in English. For more rigorous analyses, I can point you towards some of my academic work on Bruneian literature in particular: I have an article in the Journal of Commonwealth Literature , a book chapter in The Use and Status of English in Brunei Darussalam: A Kingdom of Unexpected Linguistic Diversity , a forthcoming chapter in a volume called Women in Postcolonial Southeast Asian Literature and another forthcoming article in a special issue of the journal World Englishes . I discuss various aspects of Bruneian literature and narrative-making in English and Malay in these publications, including representations of women, horror story tropes, and the imaginative horizons of Bruneian fiction.

I have followed with interest the development of local writing movements, including original theatrical productions such as Jongsarat by non-profit organization Seeds , and the writing jams and Spoken Word events organized by indie publishers Heartwrite . When talking to people interested in these events, it seems to me that there is a general desire for literary and artistic community, but that there is also uncertainty about positioning oneself within a genealogy of Bruneian narrative-making. Faiq Airudin puts it excellently in his post about Bruneian Creative Industries and the tendency to “firstisms”; I hope this article will be of interest to Bruneian writers and readers interested in Bruneian literary history in English.

I leave it to someone much more informed than me to write something on Bruneian theatre and local productions (which I will obviously read with great interest).

Existing Bruneian literature in English

First, a look at the numbers. I’ve compiled what I think is a fairly comprehensive list of Bruneian literature in English (a version of this list first appeared earlier this year in the Springer chapter referenced above), although I strongly suspect that there are other works that I’m not aware of.

One of my motivations for writing this article for Open Brunei is to crowdsource information on Anglophone Bruneian literature  – defined in this article as literature written primarily in English, and is about Brunei or by a Bruneian . I’m hoping that if any readers know of a text that fits the criteria, you’ll let me know so that we can build a comprehensive corpus of information.

( Open Brunei team adds: Kathrina says she can be contacted at [email protected] )

Some facts and figures

(Click the tabs below to browse the tables for Fiction, Drama, and Poetry)

I’m aware that there are more texts that reference Brunei in part or whole, including at least one novel, Anthony Burgess’ Devil of a State (1961), and a few memoirs, including Rachael Ann Malai’s The Cow Jumped Over The Moon: The Strange and Extraordinary Tale of a Nervous Breakdown (2007), Jillian Lauren’s Some Girls: My Life in a Harem (2010) and Lizzie Harwood’s Xamnesia: Everything I Forgot in My Search for an Unreal Life (2015). But I don’t include non-fiction in my overview, and I’m not sure yet how to categorize Anthony Burgess’ work.

Based on the tables above:

• There have been 6 novels and 7 poetry collections written about Brunei or by a Bruneian
• There is only one anthology of scripts in English
• 12 out of 14 Anglophone Bruneian texts were written after the year 2009
• 5 of these texts were published in Brunei – 3 or 4 of these were initiated and compiled by institutions or agencies for education in Brunei (CfBT and UBD)
• 2 texts were published by the National Language and Literature Bureau ( Dewan Bahasa dan Pustaka )
• At least 5 of these texts were published in Singapore (3 with Trafford Publishing)
• At least 4 of these texts were self-published

Observations

From the numbers above, we can make a few interesting observations.

• Firstly, there has been an exponential increase in the production of Bruneian literature in English since 2009 – that is, in the last 7 years. I have no idea what happened in 2009 to trigger this sudden output. I can hazard a hypothesis about the growing blogging culture in Brunei during that period and its relationship with an increased community of writers in English, but it would be speculative at best.
• Secondly, Bruneian literature in English has, by and large, been published outside of Brunei, with a strong bias towards self-published works . In the global community, there is less of a stigma associated with self-publishing than there used to be; self-publishing and vanity publishing are no longer interchangeable concepts. Partly this has come from a changing business model, influenced by such factors as the proliferation of e-books, the widespread appeal of fanfiction, cheap modes of production etc.
• Thirdly, the most obvious fact of all – there is quantitatively very little Bruneian literature in English . I’ve identified 14 texts above. Correspondingly there is a much more established corpus of Bruneian literature in Malay. Bruneian literature in Malay has a much older tradition than in English (although it is by no means objectively very old – the first Bruneian novel, “ Bendahara Menjadi Sultan” was published in 1951, followed by a novel in 1952 and then one in 1981. Prior to this, Syair Rakis , an epic poem widely considered the first modern literary text in Brunei, was published in 1847).
• Fourthly, there have been no published novels in English by a Bruneian female . Two females, Izzati Jamil and Flora Tavu, have published poetry collections; the only anthology of scripts in English was compiled and edited by Grace VS Chin. However, all the novels have been written by men.

I initially wanted to do some ethnographic work on the ethnicities, ages and other demographic properties of the writers, but I decided not to wade into that pool just yet. I think there’s a lot of stuff to mine there, but it should probably be done more rigorously and sensitively than is possible in this article.

Bruneian-ness as represented in Bruneian novels

For me, one of the interesting things about Anglophone Bruneian literature is the way that Brunei and MIB are represented.

Choice of Language

In some ways, one of my colleagues argues that the very use of English to write fiction remains a subversive choice, that resists the national imperative to prioritize Malay. Given how widely bilingual Bruneians are, I would posit instead that for many Bruneians, it is simply a pragmatic choice. I would agree however that possessing a good command of English has a cultural capital that is still tied to our relationship with the West, and with England in particular. In other words, because of our history as a former British protectorate, and the close relationship we continue to have with the UK, a good command of English is still something covetable.

This ideological relationship with the West may also have something to do with how Anglophone Bruneian novels are written. I suspect that Bruneian literature in English tends to mimic Western models and genres of literature. The Western settings and details are replaced with Bruneian ones, but otherwise the novels stick fairly close to the forms and content of Western literature, instead of exploring what a uniquely Bruneian literature in English might look like.

Ideologies and Themes

Due to all of these interesting implications in the use of language, I might have expected the values and ideology of Bruneian literature written in English to critique traditional Bruneian values and ideologies.

Instead, what I found was that the ideology and values in the Anglophone Bruneian novels I read were surprisingly conservative and traditional. This was particularly the case in Amir Falique’s The Forlorn Adventure , a time-travel novel about the first Bruneian astronaut who goes into space in 2014, and due to a series of events and cryogenic freeze, wakes up 500 years later. During the course of his code-breaking adventure, the protagonist, A’jon, visits the Brunei of 2550 and attempts to save the world from destruction.

Sci-fi novels as a genre tend to have a lot of resistant social commentary. The exploration of alternative dimensions, worlds, societies, often acts as an allegory or metaphor or analogy to critique the status quo. However, in The Forlorn Adventure , the exploration of time travel functions not to critique the status quo, but to reinforce it.

In the Brunei of the future, the symbols which have survived are symbols of national identity – the Sultan Omar Ali Saifuddien mosque dominates an otherwise urban landscape of high speed transportation, the lush tropical rainforest has become a global tourist attraction, and the monarchy remains intact, with the Sultan of 2550 a direct descendant of the current Sultan. A shopkeeper with a (cringingly represented) Chinese accent emphasizes that racial boundaries are still intact. A’jon’s host is a Malay man who demonstrates his worldliness with his collection of Western paraphernalia. The values of Melayu Islam Beraja have survived (if not evolved) in the 500+ years since A’jon’s own time, clearly staking out its immutability as a timeless ideology.

Written in Black has a different approach to the idea of Bruneian-ness, which, while also largely uncritical, offers an interesting insight into the icons and symbols which have been earmarked as constituting a particular Bruneian culture.

A coming-of-age story of a Chinese boy modeled on Huckleberry Finn, in an attempt to bring his brother home for their grandfather’s funeral, Jonathan Lee goes on a series of adventures through Brunei. He encounters a poklen community, a sad shopkeeper (I feel like shopkeepers perhaps are a big theme in Bruneian literature) with voodoo dolls, and generally taking the reader on a ride through the “exotica” of Brunei. That poklens , bomohs and landscape come to stand in for Bruneian culture is an interesting comment on what is normative, what is exotic and novel, and the discourse of counter-cultures in Brunei.

In the anthology In the Spotlight , Brunei is represented in these plays as a place of limits and restrictions , which are seen as something to be preserved rather than defied. While deviant and transgressive behaviour is allowed to exist beyond the borders of Brunei, in the plays the transgressors willingly exile themselves. This behaviour suggests that while the transgressors are unable to stop their “deviant” behaviour, they nonetheless recognise the “deviance” of their behaviour, and still subscribe to the morality and ideology which codifies their behaviour as such. Their self-imposed exile also denotes their continuing loyalty to the values of the nation-state and their commitment to upholding this ideology.

For more of my thoughts on it and its place in the Bruneian canon, you can read the article I co-wrote with a colleague for the Journal of Commonwealth Literature (referenced in the Preamble).

In conclusion, Bruneian-ness in Anglophone Bruneian novels, it seems to me, subscribe to a reinforcement of national markers and narratives of identity.  1

Going Forward

Three things:

1. There’s still a lack of critical mass in Bruneian literature, both in English and to a lesser but still notable extent, in Malay. It’s definitely difficult as a scholar to work with such a paucity of texts. I suspect that as a writer, with so little literary heritage (in English) to draw on, the representative responsibility of writing an imagined Brunei is partly why novels have drawn on Western models. In Written in Black’s “Disclaimer” , KH Lim writes,

This is a work of fiction. Although many of the places, situations and people in the story are inspired by my own personal experiences while growing up in Brunei, most of the location names are made up and this book is not meant to be regarded as autobiographical in any way, nor is it meant to be taken as a definitive description of day-to-day Bruneian life.To the reader interested in learning more about Brunei, there is plenty of information available on the web for your perusal. Or better yet, you could go over and see for yourself.

So many interesting things to parse in this disclaimer! I’ll just pick this out – there is a clear acknowledgement of something scholars of minority literature have long known: for minority writers or writers who write about places or people which have known little literary exposure, they will (fairly or unfairly) encounter expectations of representation. There is huge pressure not only for representation, but to wholly and comprehensively represent their infinite multiplicities  and facets of reality. This expectation disappears only when there are enough voices and varieties of voices, reaching a level of quantity and visibility so that no single voice is expected to carry the weight of the whole.

2. There is a desperate need to develop and continue developing a culture of critique and conversation. Art thrives on scholarship, on readership, on critique and review and attention – art can resist, defy, refuse all these things, but it is always in conversation with it. Art that is only in conversation with itself, that does not push back against other minds and modes, will struggle to go anywhere. (I hope this will prove impetus for Hazirah to write a sequel to her excellent thoughts on a culture of critique in Brunei .)

3. Is increasing the quantity and quality of Bruneian literature in English dependent, to some extent, on government support ? I’m skeptical and also a little wary about this, but it’s worth discussing. It’s a question that often comes up in policy-making about the arts in the ASEAN and regional context.

There are so many more things that could be said or studied about Bruneian literature in English, creative communities in Brunei, and so on. I’m particularly interested in the material modes of production of texts; ideological work being done, the linguistic properties of Bruneian fiction, especially its bilingualism, and representations of religion. Increasingly, I’m also interested in the form that creative communities in Brunei have taken, and the function they serve in the Bruneian creative ecosystem.  2 I would love to hear from any readers on any or all of these.

I also want to acknowledge digital media and platforms and the important work sites like Songket Alliance and Mode Seram do in creating and encouraging a bulk and body of work by Bruneian writers. The prevalent trend of self-publishing and publishing Bruneian literature in English overseas suggests to me that “traditional” publishing in Brunei may not be the future of Bruneian narratives, for a variety of reasons that I won’t go into here (mostly because they’re highly speculative). I’m definitely excited to see the results of the recent Open Call for submissions on Bruneian identity by Heartwrite.

What are your thoughts?

• What do you think has contributed to increase in the production of Bruneian literature in English since 2009?
• Have you read the novels mentioned –  The Forlorn Adventure  or  Written in Black – and how do you think they represented Bruneian-ness?
• Finally, do you know of any Bruneian texts written primarily in English, and is about Brunei or by a Bruneian not mentioned? Please contact the author with the details!

Add your comment below!

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About kathrina mohd daud.

Kathrina reads books for a living. When she's not working, she writes a little fiction, hikes a few hills, and talks femaleness, art, love and life with friends and family. E-mail at  [email protected] , especially if you know of any Anglophone Bruneian texts!

Kathrina's acknowledgements: Many thanks to Hazirah Marzuke, Khairunnisa Ibrahim, Zuliana Masri, Ewana Yusop, Grace Chin, Maslin Jukim, Low Kok Wai and Faiq Airudin for their generous discussions and analyses on Brunei, Bruneian creative industries, and literature. I also want to acknowledge my students, who I tested a lot of the ideas in this article on. Editing & Formatting: Hazirah Graphic: Faiq

Assalamu’alaikkum. Pleasant surprise to find my poetry collection here… 🙂

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An Overview of the Language, Literature and Culture of Brunei Darussalam

• First Online: 27 February 2021

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Brunei Darussalam (henceforth Brunei) is a small country about 5 degrees north of the equator on the northern coast of Borneo, an island it shares with the East Malaysian states of Sarawak and Sabah and the Indonesian territory of Kalimantan.

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The Language Situation in Brunei Darussalam

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Deterding, D., Ho, H.M.Y. (2021). An Overview of the Language, Literature and Culture of Brunei Darussalam. In: Ho, H.M.Y., Deterding, D. (eds) Engaging Modern Brunei. Springer, Singapore. https://doi.org/10.1007/978-981-33-4721-2_1

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