Singgang Hulu - Queensland Art Gallery
Singgang Hulu - Queensland Art Gallery
Singgang Hulu - Queensland Art Gallery
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Written by<br />
Roslisham Ismail a.k.a Ise Parkingproject.<br />
Graphic Design by<br />
Ikhwan Bob Ismail.<br />
Photography by<br />
Roslisham Ismail a.k.a Ise,<br />
Bob MagnusCaleb,<br />
Ikhwan Bob Ismail.<br />
Videographer<br />
Perez OldSkool,<br />
Imran Taib.<br />
Cover Design by<br />
Azzaha Ibrahim.<br />
<strong>Art</strong>works and Illustrations by<br />
Roslisham Ismail a.k.a Ise Parkingproject.<br />
Translations by<br />
Teratak Nuromar,<br />
Nur Hanim Khairuddin.<br />
ISBN 978 1 9215 0350 4<br />
The Langkasuka Cookbook was commissioned for<br />
‘The 7th Asia Pacific Triennial of Contemporary <strong>Art</strong>’ (APT7), held at the <strong>Queensland</strong> <strong>Art</strong><br />
<strong>Gallery</strong> | <strong>Gallery</strong> of Modern <strong>Art</strong>, Brisbane, 8 December 2012 – 14 April 2013.<br />
All rights reserved.<br />
No part of this publication may be reproduced, stored in<br />
a retrieval system, or transmitted on any form or by any<br />
means, electronic, mechanical, photo copying, recording<br />
or otherwise without the prior written<br />
permission of the writer.<br />
i
Contents<br />
Pembuka Bichara<br />
A Micro Study Of Langkasuka 3-14<br />
Pembuka Selera & Menu Sampingan<br />
Kerabu macang and Kerabu jantung pisang 16-19<br />
Teresek 21-24<br />
Laksam 25-31<br />
Hidangan Utama<br />
Returning & retuning 33-34<br />
Serati solor 35-42<br />
Nasi kerabu 43-52<br />
Solok lada dan Solok tene 53-56<br />
Nasi dagang 57-61<br />
Gulai kunyit lengkuas ikan tongkol dan Gulai udang 62-66<br />
Cuts of British and Malay beef 67-68<br />
<strong>Singgang</strong> limpa 69-70<br />
Story of <strong>Singgang</strong> hulu and <strong>Singgang</strong> hulu recipe 71-74<br />
Pencuci Mulut<br />
On food & travel 76-79<br />
Sira labu 80-85<br />
Sira pisang 86-88<br />
Ketupat sotong 89-91<br />
Lompat tikam 92-97<br />
Glossary 98-100<br />
Acknowledgments 101-103<br />
ii
Roslisham Ismail aka ISE<br />
Ise was born in 1972 in Kota Bharu, Kelantan, Malaysia. He is a<br />
conceptual artist whose work is based on his personal experience of<br />
urban communities and their culture. Ise’s interactive works celebrate<br />
his introduction to, and dialogue with, different cultures. He also<br />
works with comic narratives and his collection of popular material<br />
and is a co-founder of sentAp!, an art journal published<br />
quarterly in Malaysia.<br />
Ise received a Bachelor of <strong>Art</strong>s from Mara University of Technology in<br />
1997. He has taken part in a residency through the <strong>Art</strong>space Studio<br />
Residency programme in Sydney (2006), and received a grant from<br />
the Japan Foundation Kuala Lumpur (2007). He held his first solo<br />
exhibition at the 4A Centre for Contemporary Asian <strong>Art</strong>, Sydney, in<br />
2006. He has taken part in the Istanbul Biennial (with Indonesian<br />
collaborative group ruangrupa) in 2005, the Jakarta Biennale in<br />
2009, and the Singapore Biennale in 2011.<br />
The Langkasuka Cookbook was commissioned for ‘The 7th Asia<br />
Pacific Triennial of Contemporary <strong>Art</strong>’ (APT7), held at the<br />
<strong>Queensland</strong> <strong>Art</strong> <strong>Gallery</strong> | <strong>Gallery</strong> of Modern <strong>Art</strong>, Brisbane,<br />
8 December 2012 – 14 April 2013.<br />
iii
Pembuka Bichara<br />
Opening
A Micro Study Of Langkasuka<br />
Building A Bridge To The Land Across<br />
Having studied the culture and tradition of the ancient Malay kingdom<br />
of Langkasuka and traversed this ‘resplendent land’ (langkha in<br />
Sanskrit) for more than a decade, the knowledge I have gathered<br />
is still incomplete. I have met thousands of great masters yet feel<br />
I have learned from only one. After each discovery, I sketch my<br />
findings and observations: by drawing motifs to untangle my feelings,<br />
and by seeking out symbols to understand its ancient language,<br />
I attempt to unravel the questions and mysteries plaguing my mind.<br />
Lovers of history share a passion for researching and documenting<br />
whatever materials they can find, in the hope that these will lead to<br />
a great discovery. Records written by past travellers, merchants and<br />
scholars are evidence of the existence of a history or civilisation.<br />
Nowadays, however, with new technologies, new modes of thinking,<br />
and society’s increased awareness of its roots being uncovered and<br />
examined in a critical light, some propose that a number of these records<br />
function merely as channels for the writers to offer practical advice —<br />
promoting civilised lifestyles and didactic narratives — to be used as<br />
guidelines in life. Moreover, the vast diversity of disciplines in the field of<br />
historical study today often leads to confusion about certain historical<br />
facts. It is therefore the responsibility of all researchers, regardless of<br />
whether they are historians, geologists, artists or archaeologists, to<br />
work together to find ways to explain and validate the truth in history.<br />
3
Land Of Langkasuka<br />
The first evidence of the existence of Langkasuka is in a record<br />
left by a Buddhist traveller named I-Tsing. He mentions his journey<br />
to the Malay Archipelago in the sixth or seventh century CE and<br />
describes an old kingdom whose rule encompassed the states<br />
of Songkhla, Patani, Kelantan, Terengganu, and the eastern part<br />
of Kedah. There are also other accounts confirming the presence<br />
of this kingdom. Some of them were written by Arab merchants<br />
who called at its port to trade in spices. Its fame is also cited<br />
in the History of Liang Dynasty (502–556 CE). Other than written<br />
records, some antique maps depict the location of Langkasuka,<br />
but the question still remains as to whether or not this civilisation<br />
truly existed or if it is a mere myth or literary fiction, fabricated by a<br />
previous society. Many have put forward hypotheses regarding the<br />
actual centre of administration for this kingdom, suggesting it was<br />
it located variously in Patani, Kedah, or Kelantan.<br />
According to ancient records, Langkasuka was situated<br />
midway between the Kingdom of Khmer (Angkor Wat) and<br />
the island of Java and had been in existence since at least<br />
the second century CE. Hinduism was the original religion<br />
practised there, and the spread of Islam many centuries later<br />
led to significant changes in its administrative and social<br />
structures, finally turning the kingdom into an Islamic realm.<br />
No-one to date, however, has been able to give detailed and<br />
accurate explanations concerning the Kingdom of Langkasuka.<br />
4
Malays Of Langkasuka<br />
It is traditionally understood that Malays have inhabited the land<br />
of Langkasuka since the second century CE. They were then<br />
steeped in animism and mostly lived near beaches and rivers<br />
because their principal food sources were abundant there.<br />
They were largely engaged in farming and craft activities that<br />
were rooted in their beliefs and customs. The society eventually<br />
saw the emergence of a group of people who dabbled in art<br />
and produced objects of artistic value — the legacy of their<br />
artistic achievements is still evident, especially in the form of<br />
wooden artefacts and architectural elements.<br />
Further development of Malay society in Langkasuka took place<br />
when it adopted a monarchy. Intricate works of art, from palace<br />
architecture to small carved panels, suggest that the kingdom<br />
was among the greatest civilisations of its time, even though it<br />
is sketched only briefly in the history books of South-East Asia.<br />
With the founding of the kingdom, the people of Langkasuka<br />
started to forge their own identity, which can be characterised<br />
by the following factors:<br />
Aesthetics<br />
The Langkasukans used many motifs and symbols — largely<br />
influenced by religious beliefs — on their weapons, boats,<br />
tombstones and architecture. Close study of objects and<br />
artefacts has revealed that the Malays of Langkasuka mastered<br />
a form of artistic language. Their aesthetic concepts, and their<br />
philosophy, favoured moderation, decency, tranquillity and<br />
humility, and these were expressed through specific motifs and<br />
symbols. Objects created by other historical Malay cultures<br />
reflect similar aesthetic values, despite being produced at<br />
different times and places and by different people.<br />
<strong>Art</strong>efacts<br />
In the present day, artefacts function as a type of historical<br />
text. They provide an excellent source of study to verify the<br />
grandeur of the Malays in the past. From these artefacts, we<br />
can evaluate the immense artistic talents and technological<br />
skills of these earlier people. Their knowledge and expertise<br />
were so remarkable that they were able to build a civilisation of<br />
tremendous significance.<br />
54
Systems<br />
The Malays of Langkasuka had long adhered to systems that<br />
over time became gradually internalised. From the time they<br />
practised animist beliefs, they had lived in a milieu that placed<br />
high value on systems. This situation endured until the coming<br />
of Islam in the twelfth century, which subsequently served as a<br />
powerful influence in shaping the norms, values and behaviours<br />
of the Langkasukans. Under the rule of Islamic monarchs, the<br />
kingdom of Langkasuka became more organised, managing to<br />
lay out more refined rules and systems.<br />
Kings Of Langkasuka<br />
In principle, a government or kingdom can only exist when<br />
a ruling class is installed as its leader. The genealogy of the<br />
Langkasukan kings is found recurrently in records written by<br />
merchants frequenting the port, as well as in many ancient<br />
Malay hikayats (royal epics). The kings were appointed to govern<br />
various parts of the kingdom; from the beginning, the land had<br />
been divided into several territories, with each territory having<br />
its own ruler or ruler’s representative. With so many versions of<br />
stories about the Langkasukan royal family and its lineage, the<br />
system of monarchy in Langkasuka is highly complex.<br />
The kingdom went through a few phases of grandeur, such<br />
as the reign of Sultan Mudzaffar Shah, who ruled from Patani<br />
(1530–1564). Under his sovereignty, trade in Patani flourished<br />
and it became known as an Islamic state. The kingdom enjoyed<br />
the next era of prosperity during the reign of several female<br />
sovereigns. When Raja Hijau ruled from Patani (1584–1616),<br />
Langkasuka reached the peak of its greatness. After her<br />
demise, the throne was successively inherited by Raja Biru,<br />
Raja Ungu and Raja Kuning.<br />
A government must have enough wealth to generate the<br />
economy of the country. As trade was a vital element for this,<br />
Langkasuka established its port to attract foreign merchants.<br />
The port town was dynamic, bustling with activity and inhabited<br />
by distinguished people. Alexander Hamilton, an English trader,<br />
stated that Patani ‘was formerly the greatest Port for Trade in<br />
all those Seas.<br />
7
. . . It was the staple Port for Surat Shipping, and from Goa,<br />
Malabar, China, Tunquin, Cambodia and Siam. . .’1 One<br />
important consequence of the port was that local people could<br />
learn and gain new skills from foreign traders and visitors.<br />
Langkasuka began to enter the modern era, rising above<br />
the trappings of its ancient traditions. As its society started<br />
to engage in creative thinking, a number of innovations were<br />
made.<br />
<strong>Art</strong>s Of Langkasukan<br />
During this ‘golden’ age, from the fourteenth to the sixteenth<br />
centuries, Langkasuka became well known for its people’s<br />
unique virtuosity in diverse fields. The Malays of Langkasuka<br />
were profoundly creative and innovative in architecture,<br />
gastronomy, weaponry, costume, games, transportation,<br />
carving, writing and religion. Even though they practised<br />
their own unique traditions, some refute the originality of the<br />
Langkasukan culture, pointing out that it had close similarities<br />
with the cultures of other societies. It was, in fact, the tendency<br />
of the Langkasukans to modify other peoples’ ideas and<br />
inventions, reconstructing them into something new and fresh.<br />
It is difficult to ascertain, by way of physical evidence, the<br />
grandeur of the Langkasukan civilisation. Its traditional buildings,<br />
having been made of wood, could not withstand centuries of<br />
insects and heavy floods and collapsed before they could be<br />
preserved. Nevertheless, there are still fragments of collapsed<br />
8
palaces, mosques, temples, houses and wakaf pavilions, many<br />
of them hundreds of years old. Fortunately, due to initiatives<br />
taken by the government, universities, non-government<br />
organisations and individuals, these architectural remains are<br />
now conserved.<br />
The temple complexes of Angkor Wat and Borobudur, despite<br />
being roughly the same age as some Langkasukan architecture,<br />
survive because they are made of stone. The culture and<br />
customs of Langkasuka were very similar to those of the<br />
Kingdoms of Khmer and Java — with their immense skills and<br />
talents, the Langkasukans should have had the capability to<br />
erect equally impressive structures. There is evidence of this<br />
in the architectural remains of temples built around the Bujang<br />
Valley in Kedah and Yaring in Patani, and the motifs found in<br />
these buildings also closely resemble those used at Angkor<br />
Wat and Borobudur.<br />
9
In general, well-governed people tend to live well. In Langkasuka,<br />
this can be observed in the food eaten by its people, which<br />
was comparable in quality to that consumed by its royal family.<br />
Those in cosmopolitan urban areas also made every attempt to<br />
lead an artistic life and to look attractive; through their style of<br />
clothing, they projected a unique fashion, from the accessories<br />
on their heads, arms, shoulders, chests, waists and ankles,<br />
to their clothes and sarongs. Craftsmen produced sculptural<br />
objects and carved works, including the decorated hilts of kris<br />
(daggers) and other weapons. In terms of art work, carved<br />
panels for example, they used herbs and plants as motifs —<br />
the application of natural elements in this way shows a deep<br />
appreciation for the environment. By closely examining such<br />
artefacts, we notice that some of the artisans and craftsmen of<br />
Langkasuka even studied and carried out research in order to<br />
produce their creations.<br />
Gastronomic Heritage Of Langkasuka<br />
A kingdom’s strength can be measured through its ability<br />
to establish an administrative centre with architecture that<br />
reaches a high level of splendour and prominence. It can also<br />
be determined through culture and wealth. The cuisine invented<br />
by the Langkasukans partly reflects the past grandeur of the<br />
kingdom, from nasi gunung (mountain rice) in ancient times to<br />
nasi kerabu (salad rice), nasi dagang (trading rice), and various<br />
kinds of cakes. Diverse techniques of preparing food, and a<br />
wide range of tastes and colours, developed further during<br />
the early formation of the modern state in the 1800s. As a<br />
civilisation, Langkasuka has left behind an exciting culinary<br />
legacy.<br />
Ingredients are largely sourced locally. Easily obtained, they are<br />
mostly fresh — only dry ingredients are stored for any length of<br />
time. Understanding the basic ingredients is important as different<br />
areas yield different produce, resulting in different tastes<br />
even with the same recipe. The land of Langkasuka had its<br />
own ‘refrigerator’ in the form of an open and fresh environment.<br />
Every kind of ingredient — from eggplant, loofah, kangkong<br />
(water spinach) and petai belalang (wisteria) to chicken<br />
and fish — is abundant nearby.<br />
10
Asam and garam<br />
There is a Malay proverb that goes like this: ‘garam di laut<br />
asam di darat, dalam tempurung bertemu jua’ (‘salt (garam) in<br />
the sea and asam on the land, in a coconut shell they meet at<br />
last’). The creation of the traditional dish ike singge, a type of<br />
fish soup, represents a long journey taken, bringing together<br />
life from upstream and downstream. The same recipe is used<br />
by people in upstream and downstream regions but the dish<br />
tastes different because of the distinctive characteristics of<br />
the ingredients in each area. Local condiments and spices<br />
influence the cuisines of different cultures: Indians cook<br />
curry-based dishes, since spices are easily obtainable in their<br />
country; whenever noodles are mentioned, we may think about<br />
the Chinese, owing to the vast range of soup condiments<br />
available in China. As with ike singge, which developed<br />
because its ingredients can be acquired easily in this region.<br />
The Langkasukans conceived a variety of recipes based on<br />
local ingredients. Air asam (juice of Garcinia atroviridis) and<br />
ike singge not only signify the unification of downstream and<br />
upstream communities but also demonstrate that Langkasukan<br />
cuisine is imperfect without asam and garam to create the right<br />
balance of sourness and saltiness.<br />
Ulam and budu<br />
Nasi kerabu (salad rice) comes in white, blue and yellow (after<br />
the nicknames of three female Langkasukan sovereigns). It is<br />
a type of dry dish that allows one to taste all of the flavours<br />
that exist in it: ulam (dressed vegetables), plant shoots, bean<br />
sprouts, budu (fermented fish paste), telang flower (which<br />
colours the rice blue), solok lado (stuffed hot chillies) and so<br />
forth. As nasi kerabu is served uncooked, one can savour the<br />
original taste of each dry ingredient. Budu and chilli paste are<br />
added to heighten its flavour. Prepared in a culinary style called<br />
‘cooking on land’, it is a unique recipe in which many kinds of<br />
dry ingredients are mixed together to create a thrilling food.<br />
Laksa and laksam also use a large selection of fresh ulam.<br />
12
Nasi Gunung<br />
Nasi gunung, which literally translates as ‘mountain rice’, was<br />
prepared in ancient times for soldiers in battle. It is served on<br />
large trays in order to be swiftly and easily served en masse.<br />
A variety of dishes and vegetables are placed next to the<br />
mound of rice in the middle of the trays (giving the dish its<br />
name), enabling soldiers to have a quick meal when they can.<br />
As the basic ingredients are brought to the battlefield, they<br />
must be easy to carry and long-lasting. If chicken or fish is<br />
difficult to find, other meat, typically bird meat, can be used<br />
as a substitute. The gravy is poured into the centre of the rice<br />
pile along a length of bamboo, with the condiments arranged<br />
to save both time and space. Given that it is usually prepared<br />
during battle, the layout of nasi gunung has probably also<br />
doubled as a model for strategic military planning.<br />
In Langkasukan cuisine, food is customarily served in the most<br />
conscientious and punctilious manner. This is especially so<br />
with royal service: the food is prepared with full ceremony<br />
and only by chefs specially appointed to cook for the kings<br />
alone; the decorations and serving methods must also be of<br />
the highest quality. Langkasuka has a huge range of exquisite<br />
traditional foods and dishes that were originally created by the<br />
people of the country, displaying the brilliance of their artistic<br />
endeavours. The creativity and innovation of the people of<br />
Langkasuka in taste, style and colour — the traits that shaped<br />
the identity of a great civilisation at the height of its power and<br />
grandeur — are revealed in each recipe.<br />
Let’s savour this culinary treasure, this bridge to a distant<br />
kingdom, and preserve it before it disappears.<br />
<strong>Art</strong>icle by Azzaha Ibrahim<br />
Translated by Teratak Nuromar<br />
Kota Bharu,Kelantan<br />
2012<br />
Endnote<br />
1. See Andries Teeuw and David K Wyatt, Hikayat Patani: The Story of Patani,<br />
Martinus Nijhoff, The Hague, Switzerland, 1970.<br />
14
Pembuka Selera dan Menu Sampingan<br />
Starter and Side Dish
Kerabu Machang / Mangga Muda<br />
Machang / Young Mango Salad<br />
16
Kerabu Jantung Pisang<br />
Banana Flower Salad<br />
17
Kerabu Machang / Mangga Muda<br />
Machang (Young Mango) Salad<br />
Serve 4-5 people<br />
Ingredients<br />
- 6 young Machang / Mango fruit<br />
- 500gm Sardines<br />
- 10pcs Shallots - minced<br />
- 5 tablespoons of Roasted coconut paste (kerisik)<br />
- 1 cup Coconut milk – cooked with salt and sugar to taste<br />
- 2 teaspoons of Fish sauce (budu)<br />
- Black pepper<br />
- Salt and sugar<br />
Method<br />
- Boil the sardines in salted water.<br />
- When cooked, remove bones and keep the fish flesh aside.<br />
- Peel the machang fruit and finely grate the flesh.<br />
- Add salt to the grated fruit and mix thoroughly to remove all the sap.<br />
- Then wash with water and strain. Keep aside.<br />
- Pound together the coconut paste, fish flesh, black pepper, salt<br />
and sugar until a fine paste.<br />
- Add that to the coconut milk, together with the fish sauce<br />
and minced shallots.<br />
- Stir well and then pour over the grated young machang / mango fruit.<br />
- Mix thoroughly.<br />
18
Kerabu Jantung Pisang<br />
Banana Flower Salad<br />
Serve 4-5 people<br />
Ingredients<br />
- 2 banana flowers<br />
- 3pcs key limes<br />
- 500gm sardines<br />
- 10pcs shallots – minced<br />
- 5 tablespoons roasted coconut paste (kerisik)<br />
- 1 cup coconut milk – cooked with salt and sugar to taste<br />
- 2 teaspoons of fish sauce (budu)<br />
- Black pepper<br />
- Salt and sugar<br />
Method<br />
- Thinly slice the banana flowers and blanch until soft.<br />
- Remove from the water and strain.<br />
- Then squeeze the juice from the limes on to the<br />
banana flowers and mix well.<br />
- Keep aside.<br />
- Boil the sardines with salted water.<br />
- When cooked, remove bones from the flesh.<br />
- Pound together the fish flesh with black pepper,<br />
salt and sugar until a fine paste.<br />
- Add the paste, fish sauce and minced shallots<br />
into the coconut milk, and mix together.<br />
- Pour the whole mixture on to the banana flowers and mix well.<br />
19
21<br />
Teresek
Teresek<br />
Serves 4-5 people<br />
Ingredients<br />
- 1 handful long beans (cut to 1 inch lenghts)<br />
- 10pcs green chillies<br />
- 250gm shallots<br />
- 1 bulb garlic<br />
- 1knob fresh turmeric (approx 1 inch,peeled)<br />
- 1knob galangal (approx 1 inch,peeled)<br />
- 80gm chicken/beef curry powder<br />
- 1 tablespoon coriander seeds<br />
- 2pcs dried tamarind (asam keping)<br />
- 1000ml undiluted coconut milk<br />
- 4 tablespoon blended dried chillies<br />
- 4 tablespoon roasted coconut paste (kerisik)<br />
- 200gm chicken liver (cut in small pieces)<br />
- 200gm chicken gizzard (cut in small pieces)<br />
- 200gm chicken heart (cut in small pieces)<br />
- 200gm chicken feet (cut in small pieces)<br />
Method<br />
- Place fresh turmeric, galangal, shallots, garlic and coriander seeds<br />
in a food processor. Blend to a soft paste.<br />
- Mix paste evenly through the chicken feet, liver, gizzard and heart in a<br />
deep pot.<br />
- Mix curry powder and kerisik into chicken mixture.<br />
- Cook over medium heat until mixture is dry.<br />
- Stir in coconut milk, blended dried chillies and tamarind and bring to boil<br />
and simmer until chicken feet soften.<br />
- Stir in long beans and green chillies and leave to cook for<br />
another 3 minutes. Remove from heat.<br />
23
Laksam<br />
Rice cake noodles with condiments<br />
25
Laksam<br />
Rice cake noodles with condiments<br />
Laksam is a traditional Langkasukan dish combining rice cake noodles, gravy and<br />
accompanying condiments.<br />
Serves 7-8 people<br />
Part 1: Laksam (Rice Cake Noodles)<br />
Tools: Pot lids small enough to fit inside the steamer to be used as a mould<br />
Jug<br />
Steamer<br />
Ingredients<br />
- 1 kg Rice flour<br />
- 700 ml Warm water<br />
- Cooking Oil<br />
Method<br />
- Mix well together rice flour and warm water in a mixing bowl. The mixture<br />
should be liquid and should not stick to the spoon. Remove from mixing<br />
bowl and pour into a jug for easy pouring.<br />
- Prepare steamer to boiling stage.<br />
- Oil the pot lid/mould and place it inside the steamer.<br />
- Pour the flour mixture into the lid/mould, maximum 5mm thick.<br />
- Steam for 3 mins and remove the lid from steamer and leave it to<br />
cool at a slanted angle.<br />
- Repeat mould-steaming process with the balance of the flour mixture.<br />
- Always stir the mixture before pouring into the mould.<br />
- Once the steamed flour mixture is cooled, run a knife along the rim<br />
of the lid/mould to detach the steamed mixture and roll it like a swiss roll.<br />
- Set aside.<br />
- Slice the rolled steamed rice cake crosswise, approx. 1/2 inch widths.<br />
- Set aside to be served later.<br />
30
Part 2: Kuah Laksam (Laksam Gravy)<br />
A condiment to serve with the rice cakes.<br />
Tools:<br />
Food Processor<br />
Ingredients<br />
- 2 kg Fresh scad fish (Ikan selayang)<br />
- 1 litre Undiluted coconut milk<br />
- 500 gm Shallots (peeled)<br />
- 1 pc (1/2 inch) Ginger (peeled)<br />
- 1 clove Garlic (peeled)<br />
- 1 tsp Ground black pepper<br />
- 3 pcs Dried tamarind (asam keping)<br />
Method<br />
- Boil fish with asam keping until cooked, remove bones and flake flesh.<br />
- In a food processor, blend until fine flaked fish, shallots, ginger, garlic,<br />
black pepper and 200ml (1 tbsp) of coconut milk.<br />
- In a pot, place and stir well blended ingredients with remaining coconut<br />
milk, asam keping, salt and sugar to taste. Taste mixture before cooking.<br />
- Stir the mixture constantly over medium heat.<br />
- Once boiled, remove from heat and continue to stir until it<br />
cools to avoid lumps.<br />
Part 3: Ulam (Salad Condiment)<br />
A condiment to serve with the rice cakes.<br />
Ingredients<br />
(all in equal portions and mixed together)<br />
- Fresh bay leaves (chopped finely)<br />
- Daun kesum (chopped finely)<br />
- Torch ginger (chopped finely)<br />
- Long beans (sliced thinly)<br />
- Cucumber (sliced)<br />
- Bean Sprout<br />
Part 4: Sambal Belacan (Condiment)<br />
A condiment to serve with the rice cakes.<br />
Tools:<br />
Pestle and mortar<br />
Ingredients<br />
- 11 pcs Bird’s eye chillies (cili padi)<br />
- 2 pcs Red chillies.<br />
- 17gm Belacan<br />
- 1 clove Garlic (peeled)<br />
- 3 pcs Calamansi / Limes<br />
- 1 pinch Salt<br />
Method<br />
- Pound all ingredients except calamansi until fine and mixed well.<br />
- Squeeze calamansi / limes juice over pounded ingredients ingredients<br />
and mix well.<br />
- Ready to be served.<br />
31
Hidangan Utama<br />
Main Course
Returning & Retuning:<br />
Ise’s Interaction With His Roots<br />
In his career so far, Ise has always explored new working strategies and curatorial<br />
schemes for his different art projects. One interesting trait of his practice is<br />
that, throughout the process of creating his art, he frequently establishes close<br />
collaborations and interactions with other people, either among his circuit of<br />
‘superfriends’ or those living in the place, community or social group he is engaging<br />
with. This, in part, is informed by his belief that art is intended to interact with<br />
everyday life and across contexts and shouldn’t be isolated from the dynamics of<br />
culture and the surrounding world.<br />
While Ise’s previous works are largely based on his own life experiences and personal<br />
exchanges, his recent creations seem to be built on a greater awareness of the<br />
potential effect of both society and his subject matter on his art and art-making<br />
process. Ise’s intuitive and candid interactions with the social, political and cultural<br />
realities of his surroundings allow him to identify his artistic oeuvre within the<br />
framework of real-life situations. Consequently, his current artistic direction leads<br />
him to focus more on public-oriented and socially engaged projects. Moreover, by<br />
arranging collaborative programs and interactive events with ordinary people, he<br />
hopes to bring contemporary art to those with limited access to its realm.<br />
Ise has engaged a variety of people to help him create and complete his works,<br />
including 3m x 3m x 3m = 27m3 (National <strong>Art</strong> <strong>Gallery</strong>, Kuala Lumpur, 2004);<br />
Ghost (15, Kuala Lumpur, 2010); It feels like I’ve been here before (Institute of<br />
Contemporary <strong>Art</strong> Singapore, 2010); and Trio terror (with ruangrupa, Jakarta, 2010)<br />
among others. In several recent projects, however, we witness how personal stories,<br />
emotions and narratives of ordinary people are altering the methods of his artistic<br />
production. In Secret affair (Singapore Biennale, 2011), we see him collaborating<br />
with six Singaporean families, delving into their personal lives and histories in a<br />
more involved and deeper manner, with Ise as a detached observer. For Variable<br />
truth (4A Centre for Contemporary Asian <strong>Art</strong>, Sydney, 2012), he approached a<br />
young Malaysian couple struggling to make a living in Sydney. Acting as a travel<br />
agent, he took them on an outing of their choice around the city, to give them a<br />
happy experience to be remembered for the rest of their lives.<br />
Ise researches his sociocultural milieu to discover new perspectives and develop<br />
new insights for his art. To bring his artistic practice and discourse to the next level,<br />
he is always willing to take on new challenges and risks. In March 2011, while he<br />
was busy with three major art projects, he made the bold decision to move back to<br />
his hometown in Kelantan, a culturally rich, politically dynamic and religiously active<br />
state on the east coast of Malaysia, but with generally poor contemporary art<br />
infrastructure and exposure. His decision was partly a response to a break-in at his<br />
studio in Kuala Lumpur and partly due to his desire to look after his ancestral house<br />
in Kota Bharu. He knew from the outset that this drastic change might plunge him<br />
into entirely different circumstances, possibly even leading him into a downward<br />
spiral of artistic suicide.<br />
33
Over the last 19 years or so, Ise has rarely stayed in his hometown for long, except<br />
perhaps during the annual Eid ul-Fitr celebration. Having lived and worked in<br />
Kuala Lumpur since graduation, he had not only lost contact with most of his relatives<br />
and childhood friends but also lost touch with the finer aspects of the culture<br />
and daily life of Kelantanese people. Seven months after his return to Kota Bharu,<br />
he gradually acclimatised to his new life and surroundings. He had re-established<br />
contact with several old family members and acquaintances, and even struck up<br />
friendships with a meat seller, a food stall operator and a female fishmonger, among<br />
others. Most importantly, he also managed to build up a new network of collaborators,<br />
including a few prominent master craftsmen and researchers of ancient Malay<br />
culture, civilisation, mythology and history.<br />
Living in a milieu with such a heavy emphasis on the preservation of traditional<br />
values and ethics has, to some extent, inspired Ise to explore materials and ideas<br />
relating to centuries-old culture and history. If life in Kuala Lumpur provided him with<br />
urban experiences, modern narratives and decadent things, his life in Kelantan is<br />
surrounded by many traditional elements that apparently remain embedded in the<br />
identity and culture of most of its people. One of the rich cultural heritages of Kelantan<br />
that caught Ise’s attention was its traditional gastronomic legacy.<br />
Together with his new friends and collaborators, he travelled all over the state in<br />
search of exquisite traditional foods and dishes in an effort to understand the culture<br />
of food and eating habits, and the social, political and economic structure of<br />
food in Kelantanese society. He copied down age-old recipes and cooking techniques<br />
from master chefs, and observed food being prepared by expert cooks,<br />
including his grandmother and aunt. He even tried cooking some of the recipes<br />
himself. He sampled these culinary wonders, including simple foods eaten by the<br />
common people, those consumed by soldiers engaged in battle, and the fine cuisine<br />
served to the royal family.<br />
Ise’s attempt to trace the history and genealogy of certain rare dishes brought him<br />
to southern Thailand: the land of Langkasuka in ancient times and a volatile geopolitical<br />
area in recent decades. The maritime kingdom of Langkasuka, believed<br />
to have been founded in the second century CE around the Malay Isthmus at the<br />
southernmost part of Thailand, had ruled the entire northern region of the Malay<br />
Peninsula, including Kelantan, until its eventual decline and fall around the end of<br />
the eighteenth century. Owing to its long rule over the region, Langkasuka influenced<br />
the life, culture and art of the Kelantanese. This is evident particularly in the<br />
symbols, icons and rituals used by traditional Kelantanese craftsmen in woodcarving,<br />
kris-making and architectural construction; in the performing arts of Wayang<br />
Kulit, Menora and Mak Yong; and in the culinary tradition of Kelantan.<br />
Ise has indeed returned to his roots to retune his personal life to an ancient ethos<br />
and eidos, and to launch yet another interesting phase in his creative career.<br />
Nur Hanim Khairuddin<br />
Kuala Lumpur<br />
2012.<br />
34
Serati Solor<br />
Royal Dish<br />
35
Serati Solor<br />
Serati solor is a traditional Langkasukan royal dish.<br />
Serves 3-4 people<br />
Tools:<br />
Pestle and mortar<br />
Deep large pot large enough for entire duck<br />
Twine<br />
Deep grill<br />
Main Ingredients<br />
- 1 Muscovy duck (Itik serati) weighing approximately 2 kg<br />
(cleaned and innards removed)<br />
Part 1: Ingredients<br />
- 1 pc (1-inch) Fresh turmeric (peeled)<br />
- 2 stalks Lemongrass (serai)<br />
- 5 cloves Garlic (peeled)<br />
- 1 tsp Salt<br />
- Water<br />
Method<br />
- Score the entire body of the duck with criss cross/vertical lines.<br />
- Pound all ingredients to a fine paste in the mortar.<br />
- Rub the paste evenly all over the duck and marinade for 10 mins.<br />
- Use twine to tie the wings and legs together with the body and place duck<br />
into the pot.<br />
- Fill the pot with water until the duck is submerged and boil for an hour.<br />
- Remove duck and set aside to cool.<br />
Part 2: Ingredients<br />
- 10 cloves Garlic (peeled and sliced thinly)<br />
- 10 pcs Shallots (peeled and sliced thinly)<br />
- 6 pcs Star anise<br />
- 5 pcs Cinnamon sticks<br />
- 9 pcs Cloves<br />
- 8 pcs Cardamom<br />
- 1 tbsp Kerutub spice paste<br />
- 1 tbsp Cooking oil<br />
- Water<br />
39
Method<br />
- Fry all ingredients except Kerutub paste in a wok with oil until fragrant.<br />
- Add some water and Kerutub paste into the fried ingredients and<br />
mix evenly.<br />
- Remove from heat and set aside.<br />
- Rub this mixture all over the boiled duck and marinate for 1 1/2 hours.<br />
Part 3: Ingredients<br />
- 500 ml Coconut milk<br />
- 500 ml Water<br />
Method<br />
- Place marinated duck into pot, fill pot with coconut milk and water.<br />
- Boil duck in coconut milk mixture for 20 mins.<br />
- Remove duck from pot and set aside.<br />
Part 4: Percik Gravy Ingredients<br />
- 2 1/2 litre Undiluted coconut milk (separated into 2 litre and 1/2 litre)<br />
- 2 tbsp Gulai darat spice paste<br />
- 1/2 tbsp Kerutub spice paste<br />
- 5 pcs Cinnamon sticks<br />
- 5 pcs Cloves<br />
- 5 pcs Star anise<br />
- 5 pcs Cardamom<br />
- 250 gm Shallots (peeled and sliced thinly)<br />
- 1 bulb Garlic (peeled and sliced thinly)<br />
- 2 pc Yellow onion (blended)<br />
- 4 tbsp Cooking oil<br />
- Salt and sugar to taste<br />
Method<br />
- Heat up wok with oil and sautee spices, shallots and garlic until golden.<br />
- Add in Kerutub paste and Gulai darat paste and stir until fragrant.<br />
- Stir in 2 litres of coconut milk and let it simmer for 20 mins.<br />
- Add in yellow onion and continue to stir on medium heat until<br />
mixture thickens.<br />
- Add salt and sugar to taste. Remove from heat temporarily.<br />
- Remove 1/3 of mixture into a bowl and add in balance of uncooked<br />
1/2 litre coconut milk to thin out this mixture.<br />
- Balance of 2/3 of mixture in wok will now continue to be stirred<br />
till it thickens more.<br />
- Remove and set aside.<br />
Part 5: Ingredients<br />
- 1 stalk Sugarcane (will be used as skewer and therefore needs to<br />
be longer than the length of the duck, skin removed)<br />
- Thin Percik gravy (150ml)<br />
- Thick Percik gravy (100ml)<br />
- Prepared duck, Itik serati (whole duck)<br />
Method<br />
- Prepare hot grill.<br />
- Skewer the duck with the stalk of sugarcane.<br />
- Grill duck for 5 mins to dry out the skin.<br />
- Remove duck from grill to baste with thin Percik gravy.<br />
- Place duck back to grill for 5 mins.<br />
- Repeat the basting and grilling process twice.<br />
- Once duck is cooked, remove from grill and coat with thin Percik gravy.<br />
- Put the duck back to grill for another 3 mins.<br />
- Remove duck from grill and set aside to cool.<br />
- Remove sugarcane before serving.<br />
40
Nasi Kerabu<br />
Blue Rice With Salad<br />
The East Coast’s favourite rice dish is<br />
coloured blue by steaming rice with<br />
Butterfly Pea Flower / Blue Pea Flower. It<br />
is eaten with ulam (a salad of fresh herbs<br />
and leaves), fried grated coconut, salted<br />
egg, fish crackers, budu (fish sauce) and<br />
fried fish or chicken with a drizzle of curry<br />
sauce and sambal on the side.<br />
43
Nasi Kerabu<br />
Rice with Salad<br />
Serves 4-5 people<br />
The Rice<br />
Tools: Rice Cooker<br />
Ingredients<br />
- 1kg rice<br />
- 20pcs Butterfly pea<br />
flowers (Bunga telang)<br />
- 2pcs Pandan leaves<br />
- 3pcs Kaffir lime (Limau purut) leaves<br />
- Water<br />
Method<br />
- In a mixing bowl, mesh the Bunga telang flowers in 1 litre of water.<br />
- Strain out the flowers and keep the dyed water.<br />
- Wash rice as per normal in a rice cooking pot and pour in dyed water – where the<br />
level of water should be as per normal level.<br />
- Add in knotted Pandan and Limau purut leaves and cook per normal.<br />
Accompanying dishes for the Nasi Kerabu<br />
Tools: Pestle and mortar<br />
Coconut Sambal<br />
Ingredients<br />
- 1pc Coconut (flesh grated)<br />
- 1pc (1inch) Ginger (peeled and sliced thinly)<br />
- 2 stalks Lemongrass (Serai)(white part sliced<br />
finely,discard green part)<br />
- 5pcs Shallots (peeled and quartered)<br />
- 2 cloves Garlic (peeled and sliced thinly)<br />
- 10pcs black peppercorns<br />
- 40gm palm sugar or Gula melaka<br />
- Salt & sugar to taste<br />
Method<br />
- Slowly fry the grated coconut without oil in a pan until it turns golden<br />
brown.<br />
- Add in ginger, Serai, shallots, garlic and black peppercorns and continue<br />
to fry for 2-3 mins on medium heat.<br />
- Remove fried mixture into pestle and mortar, pound together<br />
with Gula melaka, until Gula melaka is crushed finely.<br />
- Add salt and sugar to taste.<br />
- Remove from pestle and mortar, serve.<br />
48
Fish Sambal<br />
Tools: Pestle and mortar<br />
Ingredients<br />
- 500gm Sardines/Horse<br />
Mackerel – cleaned and gutted<br />
- 2 tsp salt<br />
- Cooking oil<br />
Method<br />
- Boil the fish in water with the salt until cooked.<br />
- Remove fish from pot and drain out water from fish.<br />
- Fry fish in a pan with oil until crispy.<br />
- Debone fish and place flesh into pestle and mortar.<br />
- Pound flesh to a paste.<br />
- Ready to serve.<br />
Tumis Nasi Kerabu (Saute)<br />
Ingredients<br />
- 500ml Undiluted coconut milk<br />
- 8 pcs Shallots (peeled and sliced thinly)<br />
- 4 cloves Garlic (peeled and sliced thinly)<br />
- 1 pc (1-inch) Ginger (peeled and sliced thinly)<br />
- 2 stalks Lemongrass (Serai) (remove green part, bruise white part)<br />
- 2 pcs Dried tamarind (Asam keping)<br />
- 15 gm Dried chillies (grinded with a little warm water)<br />
- 4 pcs Cinnamon sticks<br />
- 8pcs Cloves<br />
- 4 pcs Star anise<br />
- 5 tsp Cardamom<br />
- 4 tbsp Cooking Oil<br />
- Salt and sugar to taste<br />
Method<br />
- Place coconut milk with a pinch of salt in a pot over low heat, stir<br />
occasionally without bringing into boil.<br />
- Sautee shallots, garlic, ginger and spices in oil, add in ground wet<br />
chillies and fry until fragrant.<br />
- Remove fried mixture into hot coconut milk and stir on medium heat.<br />
- Add in Asam keping and continue to stir for 30 mins.<br />
- Add sugar and salt to taste.<br />
- The mixture is ready when it is well blended and thick in consistency.<br />
- However, if the mixture is too thick, add in some water.<br />
Fried Fish in Batter<br />
Ingredients<br />
- 500 gm Sardines/<br />
Mackerel (cleaned and gutted)<br />
- 4 tbsp Rice flour<br />
- 1 tbsp Corn flour<br />
- 1 tsp Turmeric powder<br />
- 7 tbsp Cooking oil<br />
- 1/2 cup Boiled warm water<br />
- Salt and sugar to taste<br />
49
Method<br />
- Mix well rice flour, corn flour and turmeric powder and add in a pinch of<br />
salt and sugar.<br />
- Add warm water in small portions until batter is thick and even.<br />
- Dip the fish into batter and fry until cooked.<br />
- Ready to serve.<br />
Grilled Beef<br />
Tools: Pestle and mortar<br />
Grill<br />
Ingredients<br />
- 500 gm Beef sirloin cut<br />
- 1 pc (2-inch) Fresh turmeric root (peeled)<br />
- 1 bulb Garlic (peeled)<br />
- 2 stalks Lemongrass (Serai) (white part chopped roughly,<br />
discard green part)<br />
- Salt to taste<br />
Method<br />
- Pound turmeric, garlic, serai and a pinch of salt in mortar until finely crushed.<br />
- Mix evenly pounded ingredients into beef and leave to marinate for 30 mins.<br />
- Grill beef on hot pan until well done.<br />
- Slice beef to pieces when serving with Nasi kerabu.<br />
Chilli Water<br />
Tools: Pestle and mortar<br />
Ingredients<br />
- 15 pcs Bird’s eye chillies (cili padi)<br />
- 1/2 cup Rice vinegar<br />
- 1 pc Lime (Juice only)<br />
- Salt and sugar to taste<br />
- Hot water<br />
Method<br />
- Soak cili padi in hot mater for 5 mins.<br />
- Remove chillies from water and pound them into a paste.<br />
- Mix pounded chillies, vinegar, lime juice, salt and sugar together.<br />
- Ready to serve.<br />
Ulam (Salad)<br />
Ingredients<br />
- Bay leaves (sliced finely)<br />
- Daun kesum (sliced finely)<br />
- Bunga kantan (sliced finely)<br />
- Long beans (sliced finely)<br />
- Cucumbers (sliced finely)<br />
Bean sprouts<br />
Method<br />
- Mix together all fresh ingredients and ready to serve.<br />
- Ready to serve.<br />
50
51<br />
‘Budu’<br />
This is the product of<br />
fresh anchovy mixed<br />
in salt, palm sugar and<br />
tamarind and then left<br />
for 200 days to ferment.<br />
The result is a dark<br />
brown sauce that is an<br />
appetizing blend of salty<br />
and sour. It is served as<br />
a condiment.
Solok Lada dan Solok Tene<br />
Stuffed Chillies and Stuffed Snake Gourd<br />
53
Solok Lada dan Solok Tene<br />
Stuffed Chillies and Stuffed Snake Gourd<br />
Main Ingredients<br />
- 30pcs Green Chillies<br />
- 2pcs Snake Gourd<br />
Ingredients for the filling/stuffing<br />
- 1kg Sardines/horse mackerel<br />
- 500gm Shallots (peeled)<br />
- 250ml Undiluted coconut milk<br />
- 1pc Coconut flesh (grated)<br />
- 1 Egg<br />
- Salt and sugar<br />
Method in preparing the filling<br />
- In a pot, put in fish, water and 1tablespoon of salt and bring to boil.<br />
- Once cooked, remove fish from pot.<br />
- Let cool and then remove head and bone.<br />
- Keep flesh and pound into paste.<br />
- Mix egg and grated coconut into the fish paste.<br />
- In a food processor, mix in fish mixture, coconut milk and<br />
shallots til a smooth mixture.<br />
- Salt and sugar to taste.<br />
Method in preparing the stuffed chillies<br />
- Make a cut in the chillies lengthwise and remove the seeds.<br />
- Stuff the filling tightly into the chillies.<br />
- Bring water to boil in steamer and place in stuffed chillies.<br />
- Steam for approx 7 minutes.<br />
Method in preparing the stuffed snake gourd<br />
- Use knife to remove hardened skin edge and cut gourd into<br />
section of 2-3 inches long.<br />
- Use a spoon to scoop out fibrous flesh, but keep some flesh for<br />
the base to keep the stuffing in.<br />
- Stuff the gourd with filling to the top.<br />
- Prepare steamer in boiling water, place gourd standing<br />
inside steamer to steam for approx 10 minutes.<br />
56
Nasi Dagang<br />
Trading Rice<br />
A speciality of<br />
Kelantan, nasi dagang<br />
is a combination of<br />
glutinous and white<br />
rice cooked in<br />
santan that is served<br />
with sides of tuna and<br />
prawn with yellow<br />
gravy, hard-boiled egg<br />
and sambal.<br />
57
Gulai Kunyit Lengkuas Ikan Tongkol<br />
Tuna with Yellow Gravy<br />
62
Gulai Udang<br />
Prawn with Yellow Gravy<br />
64
Gulai Kunyit Lengkuas Ikan Tongkol<br />
Tuna with Yellow Gravy<br />
Serves 4-5 people<br />
Tools:<br />
Food processor<br />
Deep pot<br />
Ingredients<br />
- 1 kg tuna (cut into 4 pieces)<br />
- 500ml coconut cream<br />
- 10pcs shallots<br />
- 1 knob inch fresh turmeric<br />
- 1 knob inch galangal<br />
- 5pcs dried chillies (cut and soaked in hot water)<br />
- 2pcs dried tamarind (asam keping)<br />
- 3pcs green chillies<br />
- Salt and sugar to taste<br />
Method<br />
- Boiled tuna with dried tamarind and salt.<br />
- Blend shallots, fresh turmeric, galangal and dried chillies.<br />
- Put the blended ingredients in a pot. Add 500ml coconut cream.<br />
- Heat the pot and stir until the gravy boiling twice.<br />
- Add boiled tuna in the gravy.<br />
- Add dried tamarind, salt, sugar and green chillies.<br />
- Simmer for 3-4 minutes.<br />
- Ready to serve with Nasi Dagang.<br />
65
Gulai Udang<br />
Prawn with Yellow Gravy<br />
Serves 4-5 people<br />
Tools:<br />
Food processor<br />
Deep pot<br />
Ingredients<br />
- 2 kg Mid - Large size prawns (remove head only)<br />
- 500ml Undiluted coconut cream<br />
- 10pcs Shallots (peeled)<br />
- 1 knob Fresh turmeric (approx 1 inch, peeled)<br />
- 1 knob Fresh galangal (approx 1 inch, peeled)<br />
- 5pcs Dried chillies (sliced and soften in hot water)<br />
- 2pcs Dried tamarind<br />
- 5pcs Green chillies (keep whole)<br />
- Salt and sugar to taste<br />
Method<br />
- Place shallots, fresh turmeric, galangal and dried chillies in a food<br />
processor, blend to a paste.<br />
- Stir coconut milk and processed mixture in a pot over medium high heat<br />
and bring to boil.<br />
- Continue with stirring in dried tamarind, prawns, green chillies.<br />
- Add salt and sugar to taste.<br />
- Remove pot from heat once prawns are cooked.<br />
- Ready to serve.<br />
66
Cuts of British and Malay Beef<br />
Brain<br />
Otak<br />
- Kerutub<br />
Neck<br />
- Stewing Steak<br />
Daging Tengkuk /<br />
Daging Tekak<br />
- Daging Gulai<br />
- Daging Bakar<br />
- Sup<br />
Chuck & Blade<br />
- Chuck Steak<br />
- Mince<br />
Daging Nggoh /<br />
Bonggol / Kobe /<br />
Sarang Tebuan<br />
(Daging Special)<br />
- Daging Bakar<br />
- Stik<br />
-Gulai<br />
Fore Rib<br />
- Rib-eye Steak<br />
- Boned Rolled Rib<br />
- Bone in Rib Roast<br />
Tulang Rusuk<br />
Atas<br />
- Sup<br />
Sirlion<br />
- Sirlion Steak<br />
- Roasting Joint<br />
- T-Bone Steak<br />
- Fillet Steak<br />
Batang Pinang /<br />
Munsil (Daging<br />
No.1)<br />
- Daging Bakar<br />
- Stik<br />
Rump<br />
- Rump Steak<br />
- Roasting Joint<br />
Hujung Munsil<br />
- Daging Bakar<br />
- Kurma<br />
Topside<br />
- Roasting Joint<br />
Paha Merah<br />
- Gulai Buku Besar<br />
- Kurma<br />
Silverside<br />
- Roasting Joint<br />
Paha Merah<br />
- Gulai Buku Besar<br />
- Kurma<br />
Thick Flank<br />
- Braising Steak<br />
Daging Alu<br />
- Sambal Daging<br />
- Serunding<br />
Oxtail<br />
Ekor<br />
- Sup<br />
Cheek<br />
Daging Pipi<br />
- Gulai Kawah<br />
- Gulai Darat<br />
- Sup<br />
Tulang Kipas<br />
- Sup<br />
Clod<br />
- Burgers<br />
- Stewing Steak<br />
Daging Senonok /<br />
Harimau Menangis /<br />
Lemak Kerak Kelapa<br />
- Daging Bakar<br />
Munsil Luar<br />
Daging Kulit<br />
Perut (Daging<br />
No.2)<br />
Munsil Dalam<br />
Perut<br />
Tulang Mohngeng<br />
Fore Shin<br />
Kaki Depan<br />
- Daging Bakar<br />
- Sup<br />
Gear Box<br />
- Sup<br />
Kuku Kaki Depan<br />
- Sup<br />
Brisket<br />
- Rolled Brisket<br />
- Lean Mince<br />
Daging Dada<br />
- Gulai<br />
- Goreng<br />
Thin Rib<br />
- Short Rib<br />
Tulang Rusuk<br />
Muda<br />
- Daging Bakar<br />
Spleen, Heart, Liver,<br />
Lung and Kidney.<br />
Limpa, Jantung, Hati,<br />
Paru-paru dan Ge’li<br />
(Buah Pinggang<br />
- <strong>Singgang</strong><br />
- Gulai<br />
Thin Flank<br />
- Skirt<br />
- Mince<br />
Daging<br />
Cincang<br />
- Daging Bakar<br />
- Gulai Darat<br />
Shin<br />
Daging<br />
Keting<br />
- Sup<br />
- <strong>Singgang</strong><br />
Gear Box<br />
- Sup<br />
Batu Pelir /<br />
Lemak Selo<br />
Thick Rib<br />
- Braising Steak<br />
Tulang Rusuk Tebal<br />
- Daging Bakar<br />
Mohd Lukman Ghazali<br />
Butcher<br />
Kampung Pintu Geng<br />
Kota Bharu, Kelantan<br />
Translated by Ise<br />
67
<strong>Singgang</strong> Limpa<br />
Cow Spleen Soup<br />
69
<strong>Singgang</strong> Limpa<br />
Cow Spleen Soup<br />
Serves 4-5 people<br />
Ingredients<br />
- 500 gm Cow spleen (Cut into 1-inch cubes)<br />
- 10 pcs Shallots (peeled and sliced thinly)<br />
- 1 bulb Garlic (peeled and sliced thinly)<br />
- 1 pc (1/2-inch) Ginger (peeled and sliced thinly)<br />
- 1 pc (1-inch) Galangal (peeled and sliced thinly)<br />
- 2 tbsp Dried chillies (soaked, then blended)<br />
- 2 tbsp Budu<br />
- 1 tbsp Roasted coconut paste (Kerisik)<br />
- 2 pcs Dried tamarind (Asam keping)<br />
- 1 lt Water<br />
Method<br />
- Place into pot and mix evenly: cow spleen, shallots, garlic, ginger,<br />
galangal, blended dried chillies, budu, kerisik, and asam keping.<br />
- Leave to marinate for 15-20 mins.<br />
- Add enough water to submerge the spleen.<br />
- Cook on medium heat for 45-60 mins, stirring occasionally.<br />
- Ready to serve.<br />
70
Story of <strong>Singgang</strong> <strong>Hulu</strong><br />
Kings of Langkasuka were largely fond of hunting games in<br />
inland forests. During their hunting trips, they would always<br />
bring with them not only palace cooks but also cooking<br />
ingredients found in the downstream region of the empire.<br />
According to stories told by old people, when a certain<br />
Langkasukan king went to the Chintawangsa mountain to hunt,<br />
his royal retinue was greeted with much joy and fervor by the<br />
upcountry community living there, who met with their king for<br />
the first time. To celebrate this blissful occasion, the king asked<br />
his chef to cook the animals he had hunted and killed.<br />
Among the various foods served, the king was particularly<br />
drawn to a soupy dish that had a unique and delicious flavor<br />
he never tasted before. When asked by the king, the chef<br />
apologized and admitted that it was actually not cooked by him<br />
but by the community themselves. Instead of getting angry,<br />
the king instructed the chef to learn how to make the dish.<br />
However, the chef told him that the dish could not be prepared<br />
in the palace because the ingredients to cook it were difficult<br />
to find in the downstream area.<br />
The dish, called <strong>Singgang</strong> <strong>Hulu</strong>, was indeed so exceptional<br />
and special that upon his return to his palace the king kept<br />
having a great craving for it. Besides serving as an element<br />
that has strengthened the relationship between the royals<br />
and the upstream communities since from the past until<br />
today, <strong>Singgang</strong> <strong>Hulu</strong> also symbolizes the kings’ sincerity in<br />
appreciating and accepting the common people.<br />
<strong>Art</strong>icle by Azzaha Ibrahim<br />
Translated by Teratak Nuromar<br />
2012<br />
71
72<br />
<strong>Singgang</strong> <strong>Hulu</strong><br />
Freshwater Fish In Sour Soup
<strong>Singgang</strong> <strong>Hulu</strong><br />
Freshwater Fish In Sour Soup<br />
Serves 4-5 people<br />
Ingredients<br />
- 2 marbled sleeper/marbled gudgeon/river fish (medium sized) – cut into 3<br />
pieces.<br />
- 10pcs shallots – cut into quarters.<br />
- 10pcs cloves garlic.<br />
- 10pcs bird’s eye chillies (cili padi) – cut in halves.<br />
- 3 knob inch piece ginger – finely sliced.<br />
- 4pcs tamarind slices<br />
- 3pcs Polyganom leaves (Daun Kesum)<br />
- 8 1-inch pieces Akar giant (ginger root family) plant - pounded<br />
- 1 litre water<br />
- 1/2 knob torch ginger flower buds (Bunga Kantan) – finely sliced<br />
- 2 inch piece shrimp paste (Belacan)<br />
- 2 tsp salt<br />
Method<br />
- Put on gloves and use your hands to mix the shallots, garlic, bird’s eye<br />
chillies, ginger, tamarind slices, polyganom leaves, akar giant and<br />
torch ginger flower buds together with a little water.<br />
- Add the shrimp paste and salt, and mix again well.<br />
- Then add the whole mixture with the remaining water and fish into a pot<br />
and cook until boiling.<br />
- Serve the cooked dish with rice.<br />
74
Pencuci Mulut<br />
Dessert
On food and travel<br />
I fell asleep in the early part of the flight from Vienna to Amsterdam. It<br />
was Saturday 1 September 2012. I initially thought that the aircraft was<br />
still preparing for take-off at Schwechat’s international airport until I saw<br />
bubble-shaped clouds from my window. We flew upwards. The interior of<br />
the plane felt so quiet. Maybe the passengers were still sleeping. I am not<br />
someone with a high level of flying experience, but my observations tell me<br />
that after take-off is the time when passengers seem to go to sleep. I saw<br />
two flight attendants push a trolley towards me. As they pushed the trolley,<br />
I heard one of them say, ‘Savoury or sweet snack?’<br />
I chose the savoury snack. I first thought that there were peanuts in the<br />
small packages that were handed to me, but inside were pentagon-shaped<br />
salty biscuits. They tasted good. The man who sat next to me chose the<br />
sweet snack. I tried to guess what was inside his package. Maybe it was<br />
a stroopwafel. Or maybe it was a sweet pie. I slowly munched the salty<br />
biscuits. I wondered whether they could fall under the ‘pretzel’ category:<br />
they were pentagon-shaped, not knots or sticks, but they were still flavoured<br />
with salt.<br />
When I was still living in Indonesia, trains were the main means of travel<br />
between cities. The duration of intercity journeys in Indonesia is usually long.<br />
The usual time taken to travel from Yogyakarta, the city where I lived, to<br />
Jakarta is 10 hours by a Taksaka or Argo Lawu train. Whereas the time taken<br />
to travel from Yogyakarta to Surabaya, the city where I was born and raised,<br />
and the city where my parents live, is 6 to 7 hours by a Sancaka train. The<br />
duration of intercity journeys in the Netherlands, the country where I live<br />
now, is usually short. The usual time taken to travel from Leiden, the city<br />
where I live, to Den Haag is 12 minutes by Intercity train. The time taken to<br />
travel from Leiden to Amsterdam is 36 minutes by Intercity train. I normally<br />
just bring along coffee and bread when travelling by train here.<br />
Long journeys can trigger boredom. Some people find happiness in<br />
sleeping, letting themselves be carried away by dreams, or simply tiredness.<br />
Others choose to continue their work — reading books or working on their<br />
laptops. Snacking is done in an arbitrary manner. It is something that has<br />
to be available when needed. The random character of snacks makes<br />
them a good travelling companion, but there is no guarantee that they will<br />
cure boredom. Choosing travelling snacks is a trial-and-error process. We<br />
stand in front of supermarket racks of snacks and try to imagine what they<br />
would taste like. We try to contextualise their taste with particular means<br />
of transportation. We may also consider how their packages would fit into<br />
our bags.<br />
Mobile food<br />
On intercity night-train journeys in Indonesia, Kereta Api Indonesia (the<br />
Indonesian Railway), a state-owned corporation in charge of operating<br />
public railways, will serve snacks and dinner to executive passengers.<br />
Snacks are packaged in a paper box. The box has the Kereta Api Indonesia<br />
symbol printed on it. Each box consists of bread with fruit jam filling,<br />
packaged in plastic, and a cup of mineral water. (rice), oseng-oseng buncis<br />
(green beans with soy bean sauce), fried chicken or fried egg, and shrimp<br />
crackers. Apart from my usual travel snacks, I often brought along a bento<br />
76
crackers. Apart from my usual travel snacks, I often brought along a bento<br />
box from a Jakarta-based Japanese fast food restaurant, Hoka-Hoka Bento,<br />
or a packaged lunch or dinner consisting of rice, sautéed vegetables, and<br />
a fish or chicken dish.<br />
This reminds me of another snack box. My mother used to bring a box of<br />
snacks every time she had a meeting in her office. She was a principal<br />
of a state elementary school in Gresik, a district in East Java province. It<br />
is only 30 kilometres away from Surabaya. It is home to Semen Gresik,<br />
the largest cement factory in Indonesia, and Petrokimia Gresik, the largest<br />
fertiliser factory. What was inside the box varied from time to time. In her<br />
work environment, meetings are apparently the time where everyone would<br />
get a box of snacks. I reminisced about the times when I would patiently<br />
wait for my mother at home, gathering the snack box from her arms with a<br />
heap of smiles.<br />
Snacks, lunch, and dinner services are not provided in economy and<br />
business trains in Indonesia. Mobile vendors provide food in such trains,<br />
serving peanuts, fried tofu slices, chips, different rice-based snacks,<br />
different kinds of bread with sweet fillings, cold drinks. They walk freely<br />
through the train, carrying their products in baskets or portable racks, and<br />
offer them to passengers. As they walk along the train, each will shout out<br />
their items for sale. They form a food choir. In their own way, they contribute<br />
to the train soundscape. As they get out at the next stop, the train returns<br />
to its quiet state.<br />
Food and the city<br />
These vendors remind me of vendors elsewhere. Street vendors are<br />
everywhere in Taipei. I went there two months ago. I saw them in front of<br />
shops, on pavements, and on street corners. Taiwan is a nation of snacks.<br />
I bought a snack from one of the vendors in Taipei City Mall. It was a waffle<br />
in the form of a fish, with a cheese and corn filling. The waffle sellers were a<br />
man and his daughter. The freshly cooked waffles were put inside a rack with<br />
a sliding glass door. They were categorised into several groups according<br />
to their fillings. Cheese and corn. Powdered green tea. Red bean. Why did I<br />
not choose the waffle with powdered green tea or red bean instead? Green<br />
tea powder would give the impression that I just bought a healthy snack. I<br />
think red bean is healthier than a mixture of cheese and corn. I once bought<br />
bread with red bean filling for breakfast. The bread had shredded almond<br />
on top. On my first night in Taipei, I bought a round-shaped waffle with red<br />
bean filling. It seems that Taiwanese people like red beans.<br />
The snacks I ate helped me remember my time in Taipei. I bought a package<br />
of shredded almonds and dried belacan on my first day in the city. It was<br />
Thursday, July 12, 2012. I decided to eat at least two different snacks<br />
each day. I ate thin slices of dried fish on the next day. C, my travelling<br />
companion, bought them from the 7–11 store near our hotel. The same<br />
shop also sold boiled eggs. Two big bowls of boiled eggs were placed<br />
on top of a wooden table at the centre of the store. A pile of paper plates<br />
sat next to the bowls. The colour of the boiled eggs was dark brown.<br />
What is the mixture of herbs and spices used for boiling the eggs? Do the<br />
Taiwanese perceive boiled eggs as a snack or an additional dish for meals?<br />
On Saturday night I bought a package of chocolate biscuits with shredded<br />
almonds from a bakery shop on the street I walked every day from the hotel<br />
to the conference venue at the National Taiwan Normal University.<br />
77
I bought chocolate cake from the same shop on Friday night. C bought me<br />
a pastry with pork floss filling on Monday night. I bought the same pastry on<br />
the night before leaving Taipei. I ate it at Taipei airport while waiting for my<br />
flight to Amsterdam. While slowly eating the pastry, I thought of the shop<br />
which sold ice cream at Shida night market. The vendor sold the ice cream<br />
in big cones. Does the ice cream taste good, I wonder? I regretted the fact<br />
that I did not buy the ice cream. It seems to me that eyes and impulse buying<br />
operate under different principles when travelling.<br />
***<br />
After arriving back in Leiden from Vienna, my snacking continued: this time<br />
with some spring rolls from a small Chinese restaurant called Kwantung.<br />
Nuraini Juliastuti<br />
Netherlands<br />
080912<br />
78
Sira Labu<br />
Sweet Glazed Pumpkin<br />
79
Sira Labu<br />
Sweet Glazed Pumpkin<br />
Serves 4-5 people<br />
Tools<br />
- Deep pot<br />
Ingredients<br />
- 1pc Pumpkin (approx 1kg, peeled, quartered and seeds removed)<br />
- 2 pieces Palm sugar (Gula Melaka)<br />
- 2pcs Pandanus leaves (washed and knotted)<br />
- 250ml Undiluted coconut milk<br />
- 2 tablespoon slaked lime water<br />
- 1 cup tap water<br />
- 1 pinch Salt<br />
Method<br />
- Mix slaked lime water and tap water in a mixing bowl, throw and shake<br />
pumpkin in the mixture quickly. Remove and wash pumpkin.<br />
- Place pumpkin, pandanus, Gula Melaka, coconut milk, salt in a deep pot<br />
and leave to cook on medium heat for 10 minutes. Do not stir.<br />
- Remove pumpkin and leave remaining liquid to cook until it thickens.<br />
- Pour thickened liquid over pumpkins to serve<br />
83
Sira Pisang<br />
Sweet Glazed Banana<br />
85
Sira Pisang<br />
Sweet Glazed Banana<br />
Serves 5-8 people<br />
Ingredients<br />
- 20pcs bananas (pisang abu / pisang kapas / pisang berangan variety)<br />
- 20 tablespoons granulated sugar (ratio of 1 tablespoon of sugar<br />
for every 1 banana)<br />
- 3 Pandan leaves – tied in a knot<br />
- 1 teaspoon yellow food colouring<br />
- Water<br />
- Table salt<br />
Method<br />
- Cut (not all the way through) the bananas with the skin on lengthwise.<br />
- Cook them in water with 1 teaspoon of salt until the water starts to boil.<br />
- This will remove the sap from the bananas and firm up the flesh.<br />
- Then drain out the water.<br />
- Cut the bananas straight through and throw away the skin.<br />
- Keep aside.<br />
- In a pot, cook together 500ml of water, the sugar and food colouring.<br />
- Keep stirring the mixture until it boils.<br />
- Then, put in the cooked bananas and Pandan leaves into the boiling<br />
mixture and stir for 3 minutes.<br />
- Ready to serve.<br />
87
Ketupat Sotong<br />
Squid Stuffed With Glutinous Rice<br />
88
Ketupat Sotong<br />
Squid Stuffed With Glutinous Rice<br />
Serves 4-5 people<br />
Ingredients<br />
- 2kg squids<br />
- 1 1/2 cup glutinous rice<br />
- 500ml coconut cream<br />
- 4 slices Palm sugar (Gula Melaka)<br />
- 2pcs Pandan leaves (knotted)<br />
- Skewers<br />
Method<br />
- Soak glutinous rice in coconut milk for 20 minutes.<br />
- Loosely stuff the soaked glutinous rice into squid<br />
body (as the glutinous rice will expand).<br />
- Attach stuffed squid body and tentacle with skewers.<br />
- Place attached and stuffed squids, remaining coconut milk<br />
and Pandan leaves and Gula Melaka in a pot<br />
and bring to boil.<br />
- Ready to serve.<br />
89
Lompat Tikam Jump and Stab<br />
91
Lompat Tikam<br />
Jump and Stab<br />
Serves 4-5 people<br />
Tools<br />
- Steamer<br />
- Food processor<br />
- Muslin cloth<br />
- Baking pan (Oiled)<br />
Ingredients<br />
- 500 gm Glutinous rice<br />
- 225 gm Rice flour<br />
- 500 ml Undiluted coconut milk (divided into 2 equal portions)<br />
- 294 gm Palm sugar<br />
- 3 stalks Pandan leaves (washed and roughly chopped)<br />
- 1 tsp Red food colouring<br />
- 2000 ml Water<br />
- Oil<br />
- Salt and sugar to taste<br />
Method<br />
- Soak glutinous rice in red food colouring and 1400ml water for 4 hours.<br />
- Drain the water and steam until half cook (approx 20 mins), remove halfcooked<br />
rice and mix in evenly 1 portion of coconut milk in a mixing bowl.<br />
Resteam rice until fully cooked. Set aside.<br />
- In a food processor, blend together pandan leaves and 200 ml of water.<br />
- Line muslin cloth over a bowl, pour out pandan mixture over muslin cloth<br />
and squeeze out pandan juice/extract.<br />
- Stir well together pandan extract and rice flour and cook over medium<br />
heat with constant stirring for 1 hour.<br />
- Prepare a baking pan by coating it with some oil. Pour cooked batter<br />
into baking pan and set aside to cool.<br />
- Add 1 tbsp of salt and remaining coconut milk into a pot and stir<br />
constantly over medium heat for 10 mins. Set aside to cool.<br />
- Heat and stir in 400 ml water with palm sugar until palm sugar is<br />
well dissolved. Set aside palm sugar syrup.<br />
- To serve this dish, on a plate, place equal portions of glutinous<br />
rice and pandan batter, and drizzle over coconut milk<br />
and palm sugar syrup.<br />
96
Glossary
Glossary<br />
Air Asam = Juice of Garcinia Atroviridis.<br />
Asam Keping=<br />
Dried Tamarind.<br />
Belacan = Shrimp paste.<br />
Budu = Fermented fish paste/sauce.<br />
Bunga Kantan=<br />
Bunga Telang=<br />
Ginger flower/ Torch ginger bud.<br />
Butterfly Pea Flower.<br />
Cili Padi = Bird’s Eye Chilli , Capsicum chinense.<br />
Daun Kesum =<br />
Daun Pandan=<br />
Polyganom leaves.<br />
Pandan / Pandanus leaves.<br />
Garam = Salt.<br />
Gula Melaka =<br />
Gulai Darat =<br />
Ikan Selayang=<br />
Palm sugar.<br />
Special Kelantanese curry paste.<br />
Scad Fish.<br />
Ike Singge = A type of fish soup.<br />
Itik Serati = Muscovy Duck.<br />
Kerisik = Roasted, pounded dessicated coconut.<br />
Kerutub = Special Kelantanese curry paste.<br />
Laksa = Spicy Peranakan noodle soup.<br />
Laksam = Flat rice noodle.<br />
Limau Purut =<br />
Kaffir lime.<br />
Nasi = Rice.<br />
Nasi Dagang =<br />
Nasi Gunung =<br />
Nasi Kerabu =<br />
Dagang literally means Trade,<br />
Nasi Dagang means Trading Rice.<br />
Gunung literally means Mountain,<br />
Nasi Gunung means Mountain Rice.<br />
Kerabu is a traditional salad prepared as a<br />
condiment,Nasi Kerabu means Rice<br />
with Salad.<br />
98
Nasi Gunung =<br />
Gunung literally means Mountain, Nasi Gunung<br />
means Mountain Rice.<br />
Percik = Literally means splash. Ayam or Ikan Percik:<br />
Grilled Chicken or Fish splashed with<br />
thick gravy.<br />
Sambal = Chilli-based sauce that is usually used as<br />
a condiment.<br />
Santan = Coconut milk.<br />
Serai = Lemongrass.<br />
<strong>Singgang</strong> <strong>Hulu</strong>=<br />
Mixed fish sweet-sour soup.<br />
Akar Giant = Root of ginger family that only can<br />
found in Jeli,Kelantan.<br />
Eid-ul Fitri = Muslim holiday that marks the end of<br />
Ramadan, the Islamic holy month of fasting.<br />
Hikayat = Tale or Saga.<br />
Mak Yong = Traditional form of dance drama from<br />
northern Malaysia, particularly from<br />
the state of Kelantan. It has<br />
Hindu-Buddhist roots that long predate<br />
Islam in Southeast Asia.<br />
Menora = Dance drama developed in Thailand about<br />
2,000 years ago.<br />
Wayang Kulit =<br />
Shadow play or shadow performance.<br />
99
Acknowledgments
Acknowledgments<br />
Ise would like to thank:<br />
Allahyarham Hj Ismail Ishak, Allahyarhamah Hj Wan Som Wan<br />
Yusof, Allahyarhamah Fatimah Ishak, Roslawati Ismail, Munira<br />
Ismail, Rosni Ismail, Nik Hasbullah Mat Amin, Nurul Wahidah,<br />
Muhammad Fahmi, Nur Alia Syahida, Rusnah Ismail, Roslan<br />
Ismail, Rosli Ismail, Muhamad Ismail, Aminah Sulaiman, Che<br />
Faridah Yusoff, Sakinah Husain, Mek Hj Muhammad.<br />
Awie + Umie and family, Ujang, Wai, Sitty + Dino and family, Yan,<br />
Rosli, Linda, Eina, Pit + Hanisa , Duta Anwar, Perez + Lily and<br />
Irdina Iyila, Kak Hanim + Abg Syed and Family, Bob MagnusCaleb,<br />
Hasanul + Tet and Doa, Kimi.<br />
Bakawali Sari Warisan - Norhaiza Noordin and family, Nik Rashidi Nik<br />
Hussein, Varna <strong>Art</strong> Design and Built - Azzaha Ibrahim, Faizal Amer<br />
Abdullah, Imran Taib, Sanusi Khanafiah, Adnan Mat Bunga,<br />
Fadil Mohamed, Ikhwan Bob Ismail.<br />
June Yap, Qinyi Lim, Goh Beng Lan.<br />
Yap Saubin, Rachel + Joshua, Rafizah Abdul Rahman, Halim<br />
Rahim, Im + Zak and family, Erna + Azmir, Hakim Hasnul,<br />
Fahmi Ismail, Kontak, Chang Fee Ming, Mokhasha , Abe,<br />
Ahmad Syahrin, Baktiar Naim, Rahimi , Mr Pakha and Fatimah,<br />
Bingley,Dato Edin, Phuan Thai meng, Nadhirah Nutty, Vincent<br />
+ Nadia,Adline, Beverly, Simon soon, Kyoko Kugai, Goyona<br />
Jung + Seung Jung.<br />
Zamani, Hawari, Abg Lid,Meli, Shamsul (Kedai Patti), Abg Zaid,<br />
Ranizan Yunus, Azlina Ibrahim, Siti Fatimah Hj Muhammad,<br />
Allahyarhamah Hajah Rahmah (Marubo,Tanjung Mas,Naratiwat),<br />
Aishah Ameran.<br />
Toby Chapman, Chloe Lanser, Beattie Lanser, Summar<br />
Hipworth, Aaron Seeto, Simryn Gill, Russell Storer, Reuben<br />
Keehan,Christina Pagliaro, Ellie Buttrose , Amy Moore, Tarun<br />
Nagesh.<br />
Mat Hassan Chabang 4, Abg Loh ( Pattani ), Abg Sod ( Songkhla ).<br />
Mg Pringgotono, Sari Julia, Gusti, Ika, Nuning, Irwan Ahmett,<br />
Ruru.<br />
Ise also would like to thanks to all Facebook friends, people<br />
who love and hate him.<br />
Special note:<br />
Nasi gunung original recipe is from Faizal Amer Abdullah,<br />
he get the recipe from Hajjah Rahmah 1996 - from Marubo,<br />
Narathiwat, Thailand.<br />
101
Graphic Designer<br />
Ikhwan Bob Ismail<br />
Photographer<br />
Roslisham Ismail a.k.a Ise, Bob MagnusCaleb, Ikhwan Bob Ismail.<br />
Videographer<br />
Perez OldSkool, Imran Taib.<br />
Cover Design by<br />
Azzaha Ibrahim.<br />
<strong>Art</strong>works and Illustrations by<br />
Roslisham Ismail a.k.a Ise.<br />
Translations by<br />
Teratak Nuromar.<br />
The Langkasuka Cookbook was commissioned for<br />
‘The 7th Asia Pacific Triennial of Contemporary <strong>Art</strong>’ (APT7),<br />
held at the <strong>Queensland</strong> <strong>Art</strong> <strong>Gallery</strong> | <strong>Gallery</strong> of Modern <strong>Art</strong>,<br />
Brisbane, 8 December 2012 – 14 April 2013.<br />
102