AOTM: Menyisir Rambut by Dzulkifli Buyong

For Malay women, berkemban is often referred to as preparation for bathing. It is synonymous with kain batik sarongs and pale-coloured designs, and only requires a long piece of sarong, where the sarong is tied tightly on the chest without using a rope. Think of it as an invigorating cold shower; it’s chilly, especially on a sunny day, but it’s worth it. 

An early pastel dated 1962, Menyisir Rambut is one of Dzulkifli Buyong’s most daring compositions, featuring three tawny-skinned women, with their black hair down, in the act of berkemban. Two of them finger comb their waves and curls so they can feel and remove tangles and knots without snagging or snapping as the third watches. Finger combing on their wash day is by far the most convenient time to do it. One subject carefully divides a few sections of her hair to make it easier to finger comb. The scene captured by Dzulkifli also features a river estuary with Nipah in the background. 

The 1960s were an extremely powerful era for Dzulkifli Buyong (1948–2004), when he was hailed as a child prodigy at the age of 14. He was a prominent member of the Wednesday Art Group collective and was known for his ability to render his subjects with extraordinary insight and sensitivity. His artwork often explores the Malay identity, as controlled by the social and ideological structures of the Malay community. 

This breathtaking artwork certainly goes beyond aesthetics and offers deeper layers of meaning and significance that may not be immediately apparent. In essence, beauty is just one aspect of art appreciation, inviting viewers to “see” the sound or “hear” the colour.