Aileen Margaret Robertson: Senoi Collection
The World Oral Literature Project is pleased to act as host to a growing collection of heritage recordings, the earliest here dating from 1941 and deposited by Aileen Margaret Robertson. Details of the full collection can be browsed on DSpace@Cambridge by clicking here.
Known as Peggy, Mrs Robertson acted as custodian of an extensive collection of material documenting the Temiar Dream Music, a form of narrative song that was used to tell folklore. The recordings were captured over the course of an entire night and brought from Malaysia, via Delhi to the UK by Mrs Robertson's husband, Eric D. Robertson in the February of 1942. The collection consists of ten audio tracks and accompanying photographs, articles and numerous correspondence with other researchers in this field.
In addition to the material associated with with the Temiar Dream Music, Mrs Robertson also included five tracks, recorded at a later date, of three English songs and two instrumental recordings that are included in this collection.
Collection Details:
Collection: Senoi Collection
Collector: Aileen Margaret (Peggy) Robertson
Date(s): 1941
Language(s): (Ple-)Temiar
1. Contemporary Notes of Aborigine Divisions
Notes made by Aileen Margaret Robertson on aborigine divisions such as ethnic groups, cultivation and hunting.
[Archive]
2. Horniman Notes
Notes on the location of the nose-flute recordings and recording equipment.
[Archive]
3. A Letter to Lim Chong Keat from Peggy Robertson
This letter discusses the original recordings of the Ple-Temiar music and photographs and the opportunity to meet.
[Archive]
4. Oberiberg Landler: 2 Bands - 1
Two instrumental recordings from 1960.
[Archive] [Listen to audio]
5. Oberiberg Landler: 2 Bands - 2
Two instrumental recordings from 1960.
[Archive] [Listen to audio]
6. English Children Singing: Juliet’s Song
A group of songs performed by children recorded in 1949.
[Archive] [Listen to audio]
7. English Children Singing: Pull This Rope Gently
A group of songs performed by children recorded in 1949.
[Archive] [Listen to audio]
8. English Children Singing: Morning Sammy
A group of songs performed by children recorded in 1949.
[Archive] [Listen to audio]
9. A Letter to Mr. Robertson from Dr. John Wren-Lewis
The contents of this letter regards what could be found out about the views of H.D. Noone and his relationship with Kilton Stewart. The letter also raises questions about Noone that Mr. Robertson may be able to answer. It lists the areas in which the writer would be interested in Robertson’s thoughts, such as the mystery of the 1934 and 1939 lectures. Accompanying the letter is the extract from a manuscript of a proposed book on “Dreams and the Creative Process” in which Wren-Lewis asks for Robertson’s opinion.
[Archive]
10. The Nose-flute
A black and white photograph of two men and one child squatting and one man standing. One of the men squatting holds a nose-flute.
[Archive]
11. Cover Letter from an Editor – Dr. John Wren-Lewis Paper
A cover letter regarding the publication of a paper by Dr. John Wren-Lewis concerning his near-death experience causing a change in consciousness.
[Archive]
12. A Letter from Dr. John Wren-Lewis to Mr. Beamish
The contents of this letter regard the dream cult of the Senoi and the importance in setting the record straight as to the involvement of Kilton Stewart and H.D.Noone. The letter also discusses the whereabouts of Noone’s research and the one document that exists in which he mentions Senoi dreams.
[Archive]
13. A Letter to Mr. Robertson from John Wren-Lewis
This letter concerns Dr.John Wren-Lewis introducing himself to Mr. Robertson in the hope that Robertson may confirm the stories behind the Senoi “dream tribe” and H.D. Noone.
[Archive]
14. A Letter to Mrs. Robertson from Dr. John Wren-Lewis
This letter highlights the trip into the Malay jungle by Dr. John Wren-Lewis, obtaining up-to-date photographs of the Temiar as well as some valuable historic photographs from a Malay civil servant. He also requests any reminiscences from Mrs. Robertson.
[Archive]
15. Draft Letter for the British Council
This draft letter to the British Council discusses two sets of 10 discs containing recordings. Mr Robertson saw fit to have the discs copied at the Gramophone Company due to their great cultural importance.
[Archive]
16. A Letter to Peggy Robertson from Stewart Wavell
This letter documents that Stewart Wavell was unable to find the thesis of H.D. Noone but comments on its content. It highlights Wavell’s work with Tony Beamish and where material may have been deposited.
[Archive]
17. A Letter to John Wren-Lewis from Stewart Wavell
This letter documents the answers to a variety of questions that had been sent by John Wren- Lewis in a previous letter. Stewart Wavell also refers to his previously mislaid manuscript.
[Archive]
18. A Letter from Tony Beamish to Eric Robertson
This letter refers to the John Wren-Lewis correspondence.
[Archive]
19. A Letter from Eric Robertson to John Wren-Lewis
This letter refers to questions John Wren-Lewis had asked Eric Robertson.
[Archive]
20. A Letter to Stewart Wavell from Peggy Robertson
This letter dicusses the correspondence between the Robertsons and John Wren-Lewis and, to them, the alien subject of psycho-anthropological analysis.
[Archive]
21. Draft Notes and Responses
These are the draft notes and final responses written by Eric Robertson in answer to the queries and statements posed by John Wren- Lewis to Tony Beamish, Eric Robertson and Peggy Robertson.
[Archive]
22. A Letter regarding correspondence of Tony Beamish
This letter (from Eric Robertson to John Wren-Lewis) documents the fowarding by Tony Beamish of the correspondence he received from John Wren-Lewis, for Eric Robertson to confirm.
[Archive]
23. Recollections
Some notes, in hindsight, of the night of recordings, written by Peggy Robertson.
[Archive]
24. Eric Robertson’s CV
The CV of Eric Robertson from the beginning of his education in 1921 to the appointment of his most current position for the BBC, at the time of writing his CV, on April 15th 1945.
[Archive]
25. A Letter to Peggy Robertson from Lim Chong Keat
This letter introduces Lim Chong Keat to Peggy Robertson, as he wishes to build up material on the Temiar.
[Archive]
26. A Letter to Peggy Robertson
This letter to Peggy Robertson refers to Richard ‘Dick’ Noone’s papers, John S Pinning and Professor King. From ‘James’.
[Archive]
27. Instruction to Copy Discs
This letter to a Mr Glover at the British Ministry of Information contains information as to what should be done to the recordings made in the December of 1941 of the Ple-Temiar community.
[Archive]
28. Instructions for Processing Recordings of Temiar Dream Music
A short note on how the Temiar Dream Music should be re-recorded onto a more sturdier form of disc.
[Archive]
29. Commentary on Temiar Dream Music - with List of Tracks
A short article written by H.D. Noone about the Temiar’s relationship with spirits and the Temiar shaman (or ‘hala’) accompanied by the list of nine Dream Music tracks.
[Archive]
30. Commentary on Temiar Dream Music – Full Article
A short article written by H.D. Noone about the Temiar’s relationship with spirits and the Temiar shaman (or ‘hala’). This commentary goes on to explain the music and the dancing that can be heard.
[Archive]
31. Recordings of Ple-Temiar Dream Music
A piece written about the events of the night of recording the Dream Music as well as some background information about how the whole night came together. It goes on to explain the importance of the recordings and the impact of war and H.D. Noone going missing, and the ability to record the Temiar again.
[Archive]
32. Song Descriptions
A description of the nine Dream Music tracks recorded in the December of 1941. Each point highlights the spirit which inspired the song and a short explaination of what the spirit told the ‘hala’.
[Archive]
33. Temiar Dream Music – Bah Motoh
A narrative song as a form of telling folklore. It is accompanied by a Percussion instrument, a gong with leather stretched over it and a piece of bamboo is struck.
[Archive] [Listen to audio]
34. Temiar Dream Music – Han Joi
A narrative song as a form of telling folklore. It is accompanied by a Percussion instrument, a gong with leather stretched over it and a piece of bamboo is struck.
[Archive] [Listen to audio]
35. Temiar Dream Music – Siku
A narrative song as a form of telling folklore. It is accompanied by a percussion instrument, a gong with leather stretched over it and a piece of bamboo is struck.
[Archive] [Listen to audio]
36. Temiar Dream Music – Telei Bah Peb
A narrative song as a form of telling folklore. It is accompanied by a percussion instrument, a gong with leather stretched over it and a piece of bamboo is struck.
[Archive] [Listen to audio]
37. Temiar Dream Music - Ajin
A narrative song as a form of folklore. It is accompanied by a percussion instrument, a gong with leather stretched over it and a piece of bamboo that is struck.
[Archive] [Listen to audio]
38. Temiar Dream Music - Alus
A narrative song as a form of telling folklore. it is accompanied by a percussion instrument, a gong with leather stretched over it and a piece of bamboo is struck.
[Archive] [Listen to audio]
39. Temiar Dream Music – Dalam Guni
A narrative song as a form of telling folklore. it is accompanied by a percussion instrument, a gong with leather stretched over it and a piece of bamboo is struck.
[Archive] [Listen to audio]
40. Temiar Dream Music – Chinchem 1
A narrative song as a form of telling folklore. it is accompanied by a percussion instrument, a gong with leather stretched over it and a piece of bamboo is struck.
[Archive] [Listen to audio]
41. Temiar Dream Music – Chinchem 2
A narrative song as a form of telling folklore. it is accompanied by a percussion instrument, a gong with leather stretched over it and a piece of bamboo is struck.
[Archive] [Listen to audio]
42. Malaya Broadcasting Corporation Recording Van
A black and white photograph - (Written on reverse) ‘8th December, 1941 Malaya Broadcasting Corporation Recording van at Bersei, Upper Perak, with Ple-Temiar aborigines after previous night recordings specially constructed “Longhouse” in background’.
[Archive]
43. Group Photograph
A black and white photograph taken infront of the “Longhouse” - (Written on the reverse) ‘Carvill, recording engineer, MBC, second from left, and Sahwi, Sumatran driver, second from right, with Ple-Temiar’.
[Archive]
44. Individual in front of the Longhouse
A black and white photograph of an individual posing in front of the Longhouse.
[Archive]
45. The Nose-flute
A black and white photograph of two men and one child squatting and one man standing. One of the men squatting holds a nose-flute.
[Archive]
46. Nose-flute Player
A black and white photograph of a man playing a nose flute in front of some recording equipment.
[Archive]
47. In Front of the Longhouse
A black and white photograph of a Malaya Broadcasting Corporation recording van parked infront of the “Longhouse” with a group of Ple Temiar males and Carvill, the recording engineer, in the background.
[Archive]
48. Ple Temiar Group
A black and white photograph of a group of five men.
[Archive]
49. Nose-flute Players
A black and white photograph - (Written on the reverse) ‘Pat Noone, Protector of Aborigines, Perak, encouraging Nose-flute players’.
[Archive]
50. Malay Negative
A negative of a group of men standing on and around a porch of a house surrounded by trees.
[Archive]