化愤怒为行动: 刘程强的黄金时代

没有刘程强的国会

今天是2020年6月30日，新加坡2020年全国大选提名日。

6月25日，工人党秘书长毕丹星在记者会上宣布，刘程强、方荣发与陈硕茂不会参加本届大选（2020年7月10日投票）。

工人党前秘书长刘程强接受媒体访问，表示完成党内领导团队更新，并且攻下一个集选区。他已完成设下的两个目标，可以功成身退了。参政没有所谓的完美成绩，只能说自己尽力而为，问心无愧地付出了。

（2015年勿洛体育场的群众大会：因新冠疫情的影响，这样的画面今年不会重来。话说回来，这样的激情是否真的换来相应的选票？投票是神圣的，投票是秘密的，只有自己知道。）

化愤怒为行动的潮州人

63岁的刘程强于1991年由后港居民送入国会，29年的付出已经超过詹时中，成为国会里任期最长的反对党员。“潮州怒汉”敢怒敢言，而且言之有理，难以驳斥，虽然在国会里势力单薄，无法动员政府资源做事，但已经跟詹时中一样，赢得许多尊重。

刘程强效应固然不可忽略，但可能局限于上了年纪的人，年轻选民可能更关注的是言论自由、气候变化的冲击等。两年前，刘程强将秘书长职位交给毕丹星后，已经自动退居幕后，毕丹星的表现也越来越成熟，甚至可以开玩笑说原来自己的中文名听起来像是“不担心”。

刘程强相信政党是个集体，必须建立体系，而不能长期依赖个人的魅力。我也相信人的魅力光环会减退，也不可能长期只手遮天，无论执政党、反对党、公司或社团，都避不开此定律。

后港的经历

去年有关阿裕尼市镇理事会财务管理事件在高庭审理，刘程强的宣誓书叙述初次当选（1991年），接管后港市镇会的辛酸史。当工人党当选阿裕尼集选区议员后（2011年），临时作出的许多决定，都跟当年后港的经验有关。

刘程强指出，后港的经历是这样的：8月31日当选，一个月后，建屋局通知将于年底终止市镇会的管理代理服务，并收回原来的办公室。他必须在剩余的三个月内招募新职员，安排他们接受培训，以及兴建新的办公室。幸亏有一群人乐意帮忙，才在短时间内克服难关。

接管阿裕尼集选区后，初期的电脑系统与管理程序所引起的财务损失，成为阿裕尼市镇理事会控告该理事会管理层的导火线。

黄金年华

在新加坡建立有实力的反对党不容易，吸引优秀、意志相投的人士是项艰难的挑战。刘程强因为对中文政策与教育制度的不满而从政，奉献人生宝贵的青春。60多岁的人，应该是回复平民生活，度过黄金岁月的时候。

刘程强已经做了很多，新加坡应该以有他这样的斗士，不眷恋权势的华校生引以为豪。

刘程强对民主政治的进程所付出的精力与勇气，值得许多掌声。

萧红的《黄金时代》：“我不能选择怎么生，怎么死，但我能决定怎么爱，怎么活。这是我的自由，我的黄金时代。”

感谢刘程强为新加坡的民主进程，奉献个人宝贵的黄金时代。

（培道中学学生跟老师合照。穿便装的老师为国会任期最长的工人党前议员刘程强。图片来源：Stella。）

相关链接

最后一夜

怒汉柔情：后港之子刘程强 Low Thia Khiang

AHPETC 阿裕尼后港榜鹅东市镇理事会

企业管治（Corporate Governance）：蓝与白的国会交锋

将冰山劈开

波东巴西就是詹时中（Potong Pasir was Chiam See Tong）

A century of Singapore intangible heritage: The origin of local lion dance and development

This article is published in the heritage book《鹤山狮 风雨兼程硕果百年 Lion dance: A century of Singapore intangible heritage》, Publisher: Singapore Hok San Association, December 2019. A publication supported by National Heritage Board, Singapore.

During Chinese New Year, many places in Singapore are immersed in thunderous lion dance performances. A key part is “plucking the green” (采青), i.e. getting the treasures from the mouth of a lion at the end of the performance to symbolise good fortune. 

Indeed, there are many Southern lion dance troupes local and abroad such as Malaysia, China, Hong Kong, Taiwan, Thailand, UK and Canada. Their basic forms are similar. Although Vietnam has its own version of performance, those local Chinese still engage in traditional Southern lion dance. [1]

Yi Yi Tang Lion Dance Troupe

According to sources from Hok San Association, the Yi Yi Tang stele stated that during Qingming and Chongyang festivals, the Singapore Heshan clansmen would perform lion dance at the ancestor tombs to symbolise brotherhood and loyalty. [2]

The stele made reference to another document from “Tongyi She” (同义社) dated Guangxu 14 year, i.e. year 1888. It may be deduced that Heshan lion dance had been brought to Singapore back then.

For “Tongyi She”, this association was established during Qing dynasty. In 1924, the association founded Tongyi School at today’s Cholon, Ho Chi Minh City. It formally registered as Hok San Community Guild at Cholon in 1943.[3]

Hong Kong Street near Singapore River was where the early Cantonese immigrants set up their businesses to trade with China and Hong Kong. In the early 20th century, some coolies from Heshan (鹤山) prefecture of Guangdong province, China, congregated around Hong Kong Street to practice lion dance and martial arts.  This led to the establishment of Yi Yi Tang Lion Dance Troupe. The lion was invited to perform at Kwong Wai Siew Peck San Theng (广惠肇碧山亭), the Cantonese cemetery, during Qingming and Chongyang festivals as a form of ancestor worship. [4]

The lion dance troupe "Yi Yi Tang Lion Dance Troupe" was formed in 1920. It evolved into the forming of Singapore Hok San Association (鹤山会馆) in 1939. The lion dance troupe was subsumed under the Association. [5] 

(Hong Kong Street near Singapore River was where the early Cantonese immigrants set up their businesses to trade with China and Hong Kong.）

Yi Yi Tang Lion Dance Troupe is recognised as the first lion dance troupe in Singapore. In 1939, the second official lion dance troupe, the Kong Chow Wui Koon (冈州会馆) Lion Dance Troupe, was established. Hok San Association and Kong Chow Wui Koon are formed by Cantonese clansmen. Historically, Hok San (Heshan) was part of Kong Chow (Gangzhou) but separated as a new prefecture during Qing Dynasty.

After the Japanese occupation period, other lion dance troupes, regardless of dialects, were officially formed. The lion dance troupes help members of the group to build coherent teamwork and improve bonding among each other. 

Having said that, in 1951 when Singapore was conferred city status and held a celebration parade, only 6 lion dance troupes participated of which Hok San Association was one of them. [6]

Apparently, lion dance also attracted English newspaper reporters. For example The Singapore Free Press described that “a lion ran loose in the Happy World stadium. To the background music of a Chinese brass band, the lion danced fiercely and attacked an old priest. This was one of the many scenes in a lion dance display staged by the Singapore Nanyang Hok San Association last night in aid of the Singapore Anti-tuberculosis Association. [7]

In its heyday, The Hok San lion was invited to perform in front of the local TV audience. In 1968, the Hok San lion recorded the 45 minute stage drama “Hero and lion” in the studio of the Radio and Television Singapura (today’s Mediacorp) . 

(The hero of the stage drama “Hero and lion” performed in the studio of the Radio and Television Singapura.)

Tracing the legacy of lion dance

The lion dance is a pugilistic performance dating back to more than 1,500 years. During the Southern Song Dynasty about 1,000 years ago, the lion dance was known as the Northern Lion and commonly performed in festivals. The Southern Lion was developed much later in the Guangdong province. [8]

Singapore’s lion dance was originated from Southern provinces of China, in particular Foshan and Heshan. 

The Foshan lion has a high forehead, curved lips and a very sharp horn. The main traits of the Foshan lion dance are its attention to making larger strides in movement and strength in posture. 

Heshan lion is known for its richness of expression, unique footwork modelled after the cats and vigorous drumming style. The forehead of the lion head is lower. Its horn rounded and has a duck beak mouth with flat lips. The body of the lion is also explicitly more colourful. [9]

Distinguishing the various lions

Southern Lion also called Nanshi (南狮) and Xingshi (醒狮). The word 醒（xing）carries the meaning of awakened and is deemed auspicious. [10] Heavy eyebrows, bulging eyes, big nose, big mouth and single horn are the common characteristics of Southern Lion. 

The lion heads have two unique features based on shape and colour.  

For shape, the lion heads can be divided into the Foshan lion (佛山獅) and the Heshan lion (鹤山獅). 

For colour, the lion heads are distinguished by yellow (刘备, Liubei), red (关羽, Guanyu), black (张飞, Zhangfei). In the recent years, we have seen blue-white (马超, Machao) and green (赵云, Zhaoyun). They are based on the classic literary text Romance of Three Kingdoms (三国演义).  The values of brotherhood and loyalty are thus embedded into the lions. 

(Some of the lion heads displayed in Kong Chow Wui Koon Cultural Centre.)

‘Dotting the eyes’ (点睛) of the lion is a vital process as it symbolises giving life to the lion before it can perform. A person of significant social standing would usually be invited to dot the lion eyes to signify bright and clear vision. [11]

Chin Woo Athletic Association （精武体育会）formed the Northern Lion Dance Troupe in 1947. The Northern Lion is also called Beishi (北狮) which resemble closely to stone lions that stand in front of Chinese temples or traditional Chinese buildings. However, the Northern lion is less popular in Singapore and probably only confined to Chin Woo Athletic Association. [12]

An open area named “精武体育会操场” next to Pinnacle on Neil Road was belonged to Chin Woo Athletic Association. The Chin Woo lion dance troupes used to practice there between 1940s and 1970s. 

(The Chin Woo lion dance troupes used to practice at the open field next to today’s Pinnacle on Neil Road.)

Lion dance performance process

Lion dance performances are accompanied by drums, gongs and cymbals. Normally a performance group consists of about 8 to 10 people: 2 of them are lion dance performers. The accompanying percussive instrument players consist of 6 to 8 people.

Every movement of the lion has a specific musical rhythm. The music follows the moves of the lion. The drum follows the lion, and the cymbals and the gongs follow the drum. Throughout the performance, the lion will, based on the study of actual lion’s behaviour, mimic the moods and physical gestures which combine art and kungfu moves. 

The lion is played by two persons dressed in the lion costume. The Shitou (狮头, front performer) assumes the front body and controls the lion’s head, eye lids, ears and the mouth. The Shiwei (狮尾，back performer) arches forward to form the back of the lion and controls its tail.

The lion dance will begin when the percussive instruments are struck. The lion will enter the centre of the stage with strong rhythm and greet the audience, or ancestor or gods on altar (if playing at temple or within clan premises) with three bows. 

The performance usually takes about 15 minutes. Obstacles are laid by the party that has invited the lion dance troupe to perform. The lion has to compel to overcome these obstacles to finally acquire the “treasures”. 

In the process, the lion will perform eight movements - drunkenness, sleep, wakefulness, suspicion, anger, fright, happiness and merrymaking. Each movement is expressed by a different rhythm. 

The lion dance performance will end with three bows to the audience or the altar.

Plucking the green

 “Plucking the green” is a special lion dance routine performed on joyous occasions like Chinese New Year, new business launch and mid-Autumn festival. 

(The Hok San lion performing plucking the green during Chinese New Year.) 

Normally after the eight movements, the lion would pluck the green vegetable, swallow and throw them out. 

When performing during Chinese New Year in recent years, the lion would perform additional tasks such as peel open the oranges and leave a display of orange petals for audience to decipher for lucky 4D numbers. 

In the past, some customers would arrange for the lion to peel open a pomelo, pick up crabs, snakes or fish from a bowl. [13] Some secret societies would lay special array to test the lions.

Lion dance troupes usually have their main source of income in the form of red packets during “plucking the green”. Other incomes are commonly come from invited performances. The actual amounts are agreed beforehand with the customers. Some troupes are able to generate about $30,000 to $40,000 during Chinese New Year period. This amount is enough to cover rental, utility bills and travel expenses for that year. [14]

The origin of plucking the green can be traced back to the anti-Qing movement (反清). The phonetic similarity between “plucking the green” (采青) and “trampling the Qing” (踩清) were used to belittle the Qing government. Likewise, “swallowing the green” (吞青) signifies “overthrowing the Qing Dynasty” (吞清), and the routine of “throwing out the green” (吐青) is for “dissolving the Qing government”(吐清). 

As lion dance passes down over the generations, other elements such as fortune, wealth and prosperity were included in the plucking green themes, leading to the rich traditional culture today. [15]

People involved in lion dance in Singapore today

There are about 300 lion dance troupes registered as affiliated members with the Singapore Wushu Dragon & Lion Dance Federation but not all are active. [16]

It is estimated that there are about 10,000 people involved in lion dance. [17] Nevertheless, some of the performers are representing multiple lion dance troupes and not all are active. 

The lion dance circle in Singapore is closely-knitted and with strong networks between troupes. Troupes usually help each other out when there are manpower shortages. For example, the members of Stamford Dragon Lion Arts and Cultural Troupe (史丹福龙狮文化艺术团) are mainly students or national service personnel. Because of their other commitments, when come to important performances, the troupe would combine with another lion dance troupe to complement each other. The average age for the troupe has also been raised from 25 years old several years ago to 30. [18] This is typical among the lion dance troupes in Singapore.

New Southern lion dance troupes were formed from time to time. For example, Xinyang Athletic Association which formed in 2007 was started out as members of Nanyang Junior College Pugilistics Society and then Nanyang Junior College Alumni Dragon and Lion Dance Troupe. [19] Kuan San Tang Dragon and Lion Dance Troupe were set up in 1991 by more than ten teenagers who had great passion for this performance arts. [20] Lion dance is growing strongly as compared to before and immediately after the Japanese occupation period where there were only three officially registered lion dance troupes in Singapore: Hok San Association, Kong Chow Wui Koon, and Chin Woo Athletic Association. 

As physical strength and endurance are quite demanding for lion dance, the active practitioners are mainly in the range of 18 to 60 years old. The older ones would usually assume coaching role.

Learning to perform lion dance

Lion dance performances are usually coached by masters who have acquired sufficient skill, experience and knowledge through years of practice. The masters are assisted by their senior disciples. The learners are generally students, national servicemen and young male and female adults who have strong interest in lion dance and martial arts.

Performing lion dance requires physical ability and kungfu skill. It is pertinent for the practitioners to have already learned martial arts.

Lion dance practices usually carried out at the troupe vicinity, once a week at night during weekends so that they would not conflict with school and work. The frequency would increase before important performances and competitions. 

(Hok San lion dance training on Sunday.)

During normal training sessions, members get to learn about musical instruments, lion movement and coordination between music and movement. [21] They may choose their specialty after acquiring the basic skills. 

The hierarchy for the lion dance troupes is simple. Typically, the lion dance master is the leader sits at the top of the hierarchy. Under the master, there are seniors, juniors and those who are playing drums and gongs. 

If the troupe belongs to an organisation such as clan association or temple, the troupe will have to report to the higher echelon, i.e. the board of directors of the organisation. 

The evolution of lion dance performances

Lion dance performers are from different Chinese ethnicities with some performers from other races. Hok San Association and Kong Chow Wui Koon attracted Indians in age 20s to join their lion dance troupes. JingYang Lion Dance Troupe attracted Malays in their 20s.

Lion dance techniques are increasingly pushing the boundaries of height through high poles and freeform style. By pushing the boundaries, lion dance appears to become more attractive to the youth and has spread to China and Vietnam. In 2007, Malaysia government announced high pole lion dance as national heritage which attracted other races into this special form of martial arts. Currently, Malaysia is preparing to apply for UNESCO intangible heritage. [22]

However, local traditional lion dance troupes prefer to hold on to the inherent values embedded in the dance and would not move along the direction of acrobatic lion dance which is deemed as high risk and may cause severe injury.

The traditional lion dance routine had props and sets which was based on cave and crossings. These props and sets became mountains and gigantic bridges. In recent years, lion dance training has begun to incorporate video technology to complement the traditional method of demonstration and verbal dictation. The lion dance troupes also leverage on social media, websites, blogs and Facebook to broadcast their activities.

Other challenges

The situation of insufficient lion troupe members to meet the Chinese New Year demand was apparent in the last few years but this should be deemed as a happy problem. In 2015, only 194 out of about 300 lion troupes applied for plucking the green license due to manpower shortages. This was a drop of about 5% as compared to the previous years. [23]  Nam Sieng Dragon and Lion Dance Activity Centre invited lion dance performers from Vietnam to help out but they were stopped from entering Singapore by the immigrant custom at Changi Airport due to Ministry of Manpower’s policy. [24] 

Some Singaporeans have perception that lion dance troupes are linked with secret society. At least one of the troupes (Ding Sheng Lion and Dragon Dance Troupe as reported in newspaper) was battling with this concern. This is probably due to some lion dance performers resembled with “Ah Beng” style and with tattoos on their bodies. For those lion dance troupes which are affected by “tattoos image”, the performers are advised to put on arm sleeves. The masters also serve the role of educating their disciples. [25] Although this may impact on the general image of the lion dance troupes, there is no adverse trend affecting the development of local lion dance for now. 

References

1. 2013年越南胡志明市第五郡华人舞狮表演，You tube， https://www.youtube.com/watch?v=21AvqNDSmZU, accessed 11 January 2017.

2. 《新加坡鹤山会馆二零零六年纪念特刊》，新加坡鹤山会馆出版，p. 47.

3. “旅越鹤山同乡会概况”，《新加坡鹤山同乡会十周年纪念特刊》，新加坡南洋鹤山同乡会，31 December 1949，p.31。

4. 《新加坡鹤山会馆二零零六年纪念特刊》，新加坡鹤山会馆出版，p. 47.

5. 霍炳权主编，《新加坡鹤山会馆二零一五年纪念特刊》，新加坡鹤山会馆出版，pp. 25-27.

6. “一舞龙队六舞狮队花车二百余架”，《南洋商报》19 September 1951, p.5.

7. The Singapore Free Press, 3 October 1951, p.8.

8. “Lion dance”, From Wikipedia, the free encyclopaedia, https://en.wikipedia.org/wiki/Lion_dance，accessed 5 January 2017.

9. “Southern lion classification”, Singapore Wushu Dragon & Lion Dance Federation, http://www.wuzong.com/en/wushi_nanshixingte.php, accessed 5 January 2017.

10. Mo Cuiyu, The Cantonese lion head: the process of making a lion head in Guangzhou. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Retrieved from http://dx.doi.org/10.5353/th_b5071629, p. 25.

11. “Lion Dance”, Singapore Infopedia: an electronic encyclopaedia on Singapore’s history, culture, people and events, http://eresources.nlb.gov.sg/infopedia/articles/SIP_57_2004-12-27.html , accessed 11 January 2017.

12. 关于新加坡精武体育会, http://www.sgchinwoo.com/Home, accessed 7 January 2017.

13. “Lion Dance”, Singapore Infopedia: an electronic encyclopaedia on Singapore’s history, culture, people and events, http://eresources.nlb.gov.sg/infopedia/articles/SIP_57_2004-12-27.html,  accessed 11 January 2017.

14. Fabian Koh, “Roaring interest in lion dance”, Straits Times 20 November 2016, http://www.straitstimes.com/singapore/roaring-interest-in-lion-dance, accessed 7 January 2017.

15. “Lion & Dragon Dance Curriculum”, http://www.kongchow.org/index.php/en/dragon-dance,  assessed 22 April 2019.

16. 会员名单，Singapore Wushu Dragon & Lion Dance Federation, http://www.wuzong.com/affiliates_list.php, accessed 7 January 2017.

17. Fabian Koh, “Roaring interest in lion dance”, Straits Times 20 November 2016, http://www.straitstimes.com/singapore/roaring-interest-in-lion-dance, accessed 7 January 2017.

18. 薛淑慧，“年初四开工大吉：采青预约大增 应接不暇”，http://www.channel8news.sg/news8/singapore/20160211-sg-lion-dance/2507030.html 11 February 2016, accessed 10 January 2017.

19. About Xinyang & Yongyang Athletic Association, http://www.xinyang.com.sg/aboutxinyang,  accessed 7 January 2017.

20. About Team KST, http://www.teamkst.sg/, accessed 7 January 2017.

21. Fabian Koh, “Roaring interest in lion dance”, Straits Times 20 November 2016, http://www.straitstimes.com/singapore/roaring-interest-in-lion-dance, accessed 7 January 2017.

22. “大马高桩舞狮申世遗 张盛闻促响应百万签名活动”，星洲日报 2017年10月10日，http://www.sinchew.com.my/node/1689995, accessed 26 April 2019.

23. “农历新年醒狮团员人数不足 采青工作减少”, 狮城6点半 2 February 2015，8频道http://www.channel8news.sg/news8/ca/newsbulletin/episodes/20150222-news-630/1672976.html, accessed 12 January 2017.

24. 李蕙心，“人力部拒发特别准证： 培养本地采青人员 舞狮团不能找外援”, 《联合早报》 20 January 2016.

25. Fabian Koh, “Roaring interest in lion dance”, Straits Times 20 November 2016, http://www.straitstimes.com/singapore/roaring-interest-in-lion-dance, accessed 7 January 2017.

甩锅·孭镬·食死猫

作者：幼吾

原文刊登于《联合早报》2020年6月15日。

最近我们常听到“甩锅“这个名词，是中国用来斥责美国把全球大流行病疫——2019冠状病毒疾病，归咎于中国泄漏病毒，隐瞒病情。在没有足够科学证据证明之前，美国还连同其他友邦、盟国，要采取法律行动，控告中国，要求她因此次疫病造成的灾害与损失，要求赔偿天文数字款项。

所谓甩锅，就是闯了祸后，将祸事转移到其他地方，怪罪他人。甩锅相等于把肮脏的锅抛给别人，目的是推卸责任，嫁祸予人。

另有一个词儿与锅有关的，就是“背黑锅“。中国南方人把北方人所使用的锅叫做“镬”（wok）。这个wok字多年前已经列入剑桥英文大辞典。粤人把“背黑锅”叫做“孭镬”（读作咩沃mie wok），也就是让别人顶罪，承担后果，冤枉无辜的人。原来镬底（锅底）有一层乌黑的污垢物，是经过长时期的燃烧（尤其是以前用柴炭生火），日子一久，积聚了一层黑垢。广东人叫它“镬捞”（wok low），一不小心接触到这些“镬捞“，皮肤和衣服就会被抹黑。故此人把乌黑的镬孭（背）在身上，不难被污染抹黑！至于被冤枉，被人一口咬定犯错，粤语就叫“屈（wat）人孭镬”！

自己没有做过的事情，而被人诬赖，是被人嫁祸、冤枉的意思，在粤语有一句很妙、很传神的说法叫“食死猫”。我请教过一位老广州亲戚，有关食死猫的典故。原来以前广东有一位老村民黄爷爷，有一次他到井边打水，发现一只死猫，于是顺手把它捡回家烹煮来吃。过不久，猫的主人发现猫儿失踪，而且知道是黄爷爷宰了来吃，就诬赖黄老偷了他的猫，并杀来吃。其实，这猫儿可能已经死去，主人故意把死猫丢弃在井边，设下圈套，引人受骗上当，要求赔偿。两人为了此事，闹上村里由族老组成的“乡约堂”（乡公所）。“判决”结果，黄爷爷有罪，“流放”村外10年。为了贪便宜，馋嘴，黄老食死猫的代价，实在太大了！

似水流年金山行（Gulung Ledang, Mount Ophir）

金山的马来名Gulung Ledang，欧洲人取名 Mount Ophir，相信是最多新加坡人登顶的南马高峰之一。青春岁月，豪气痴狂，今宵对月笑，明朝马蹄忙。

金山行的第一次1982年，第六次千禧年“偷吃”，从对面的山峰启步。转眼又过了两个年代，2020年3月初驱车重回故地。第七次，登不了高峰至少跟金山公主瀑布（Kolam Puteri）面诉衷情，竟然真像燕子般飞到她身边。

（金山行，第一次1982年）

（金山行，第六次2000年，“偷吃”从对面山头出发。）

从前意气风发，重诉衷情的当儿已经满头华发。虽不至于对酒当歌，人生几何，终究望着水一片，留下只有思念。像瀑布，一串串，永缠绵。流光三十八载，外貌早已变，处境都变，情怀未变。

金山公主

从金山脚到公主瀑布只需约半小时，沿着瀑布旁的梯级和前人留下的黄泥路，危险性不高，还可沿途观赏热带雨林丰富的物种。

（金山行，第七次2020年，从山脚到公主瀑布约半小时。）

（绿蜻蜓：金山的热带雨林有丰富的物种。Andy Bell 摄影。）

 金山公主的传说源自《马来纪年》：

马六甲王朝的苏丹马末向金山公主提亲。苏丹有意，公主无心，刻意提出八大条件。七瓮女人的眼泪和七盘蚊子的心脏都难不倒苏丹，其中两条要苏丹和苏丹儿子的血各一碗，等于要他们的命，苏丹只好知难而退。

自古以来，帝皇都有失意的时候，苏丹马末与金山公主的故事不是帝皇第一回失利，也不会是最后一遭。

黄金半岛

历史上，马来半岛曾有“黄金半岛”之称，是亚洲大陆连接马来群岛的陆路走廊。约两千年前，马来半岛已有羯荼、狼牙修（Langkasuka）等古国，羯荼地处吉打北部；狼牙修的领土包括北大年及吉打，中国古书有多个名称，如宋代的“凌牙斯加”，元代“龙牙犀角”，明代“狼西加”。
 

吴庆辉的“亚洲大陆南端一角的黄金半岛与沙巴纳”[1]写道：“公元1至3世纪，古代罗马在中东和印度地区的港口派驻商务官，而当时一位驻扎在埃及亚历山大港名叫托勒密 （Claudius Ptolemy, 100-160 AD）的罗马官员，曾经留下手搞和地图，大约一千多年以后欧洲最早向世界进行海上探索的葡萄牙人，曾跟据这些资料了解他们响往的神秘‘东方’。”

托勒密所绘制的一幅亚洲沿海城市地图，内容是根据曾到东方经商人士的描述，在亚洲陆地南端有个肥胖的半岛（见图中间偏右），名为“黄金半岛”，位置就在今天的马来半岛，而在该半岛的南端有一座名为”沙巴纳” (Sabana) 的地方，这很可能就是我们古代新加坡的另一个古名。

金山是黄金半岛的词源

许云樵的《马来亚丛谈》指出，托勒密的《地理志》称马来亚为“Aurea Chersonnesus”，也就是黄金半岛。马来亚的黄金在古代受人注意，一世纪希腊航海家的著作《印度洋环航记》（Periplus Maris Erythraei）称它为“金地”（Chryse）。有人认为《旧约圣经》内列王纪上第九章所记载，所罗门王获得黄金的“俄斐” （Pohir）[3] 就是马来西亚西海岸，海拔4187英尺的素山（Gunong Ledang）。公元前249年，印度孔雀王朝的阿育王（Asoka）曾经派遣长老往金地（Suvarnadhumi）传播佛教，金地包括缅甸、泰国和马来亚一带。

（托勒密的亚洲地图上的“Aurea Chersonnesus”（黄金半岛）地处亚洲最南端。）

关于金山称为奥菲亚山（Mount Ophir）的由来，许云樵的解释是这样的：《圣经》再三提到黄金产地俄斐，16世纪末的葡萄牙史官Manoe Godinbo de Eredia的《黄金半岛题本》（Informacao da Aurea chersoneso）描写马来亚的金矿丰富，认为这就是所罗门获得黄金的地方，欧洲人因此称这座山为Mount Ophir（俄斐山）。

马来西亚的含金量

马来西亚的含金量确实不小，彭亨号称“马来西亚的金矿”，赢得“遍地是黄金”的美名，采金活动可追溯至16及17世纪。

彭亨劳勿（Raub）从文东开车北上约半小时，劳勿榴梿比文东还闻名。据说在马来文中，Raub和Raup相通，意思是“双手掬取”。原来当地人偶然发现河床上有闪烁的金光，俯身淘起来一看，意外发现了黄金，于是这个地方就叫Raub。采金是早期非常重要的经济活动，因黄金而繁华起来。

据说19世纪末，彭亨苏丹阿末（Sultan Ahmad）授权新加坡富商阿沙卡夫（Syed Mohammad Alsagoff）采金，阿沙卡夫派人远赴婆罗洲，找到澳洲淘金者雪敦（Sefton），成立Raub Australian Gold Mine （RAGM），启动澳洲人在劳勿的采金业。金矿没落后，劳勿地区开发为种植园，以橡胶、油棕、可可和榴梿为主。

注：

[1] 吴庆辉，“亚洲大陆南端一角的黄金半岛与沙巴纳”，accessed 6 April 2020。

[2] 许云樵，《马来亚丛谈》新加坡青年书局出版，2005年7月26日简体字初版, ISBN 981-05-4021-3。

[3]许云樵书中写俄斐为Pohir，应为Ophir之误。

相关链接

金山行

Folklore of Mount Ophir 金山传奇