iS 
FASCICULI MALATENSES 
49. Zither . Sakai ( Mai Dardi). Bidor, South Perak (PI. XXI, 
Fig- 23)- 
Cylinder of bamboo, roughly cut, about sixteen and a half inches long, 
open at both ends. Two strings of dark-brown fibre, knotted through slits 
below and bound round the bamboo high up, one above the other ; the ends 
finished off ornamentally in a scroll. The strings should be bridged up at 
both ends. Played with the fingers. 
* The ornamental scrolling of the strings is very characteristic of the 
instruments of the Sakais and Semangs, differentiating them from those of 
the Malays, Siamese, or Samsams.’ 
50. Sakai Zither . Same particulars. Similar to No. 49, but smaller; 
eleven and three-quarter inches long. 
51. Zither . Semang ( Semdn ), Grit, Upper Perak (PI. XXI, Fig, 24), 
Similar to Nos. 49 and 50, but better made. Bamboo cylinder, eighteen 
and a half inches long, slightly engraved. Two strings, consisting of a single 
cane thong, the ends of which are passed through small holes at the lower 
end of the bamboo, and are drawn tight and bound round the bamboo above, 
the ends being scrolled ornamentally. The upper bridges are missing. 
52. Zither , Sakai {Orang Bukit), Labuansara, near Kuala Lumpur, 
Selangor (PI. XXI, Fig. 25). 
Similar to No. 51, but three-stringed. The bamboo cylinder is twenty- 
five inches long and is narrow ; partly closed by a perforated node at one end, 
open at the other. The three cane strings are fastened at the lower end through 
a hole in the bamboo. They pass over a single grooved bridge at this end, 
over three bridges at the other, where they are fastened as in No. 51. Below 
the centre of the bamboo are four equidistant longitudinal slits about two and 
seven-eighths inches long and about three-sixteenths inch wide. The bridges 
were gummed in position in this instrument when it was procured ; in the 
other Sakai and Semang zithers they were loose. 
c The following facts should be emphasized with regard to the specimens 
described under the heading a Instruments of the Wild Tribes.” Only 
Nos. 43, 44, 49, 50, 51, and 52 were actually made by Sakais or Semangs, 
the remainder having been constructed by Malays, who said that they were 
Semang in design. Nos. 45 and 47, however, were not even ascribed to the 
wild tribes in this limited sense, but are included under the same heading for 
the sake of convenience, as one of them is identical with another specimen said 
to be of Semang design, while the other has the same Malay name, though it 
is quite a different instrument. 1 
