Over a period of thirty years, Ibn Battuta visited most of the known Islamic world as well as many non-Muslim lands. He is known for his extensive travels, accounts of which were published in the Rihla (lit. Ibn Batutah (Arabic: ʾAbu ʿAbd al-Lah Muḥammad ibn ʿAbd al-Lah l-Lawati ṭ-Ṭangi ibn Batutah), or simply Ibn Battuta ( ابن بطوطة) (Febru– 1368 or 1369), was a Moroccan and Berber explorer.

This study demonstrates the embedded socio-cultural complexities of the region, the sophisticated ways in which millennials manoeuvre around these social sanctions and how hip-hop has developed from a stigmatised art form to one that has been coopted at all levels from grassroots Muslim organisations to government ministries.The History Pages: Ibn Batutah | ابن بطوطة

This explosion in the popularity of hip-hop has invited high profile statements from political elites from all three countries, professing their concerns about the future of the young. Generally, Malay youth involvement in hip-hop comes as a challenge to both religious authorities-who do not see the elements present in hip-hop culture as in line with Islamic values -and the state which deems the genre as incompatible with conservative Asian values. Although it has been relatively slow in coming, young Muslims in Indonesia, Malaysia and Singapore have embraced the music genre with much enthusiasm since the 1990s. This article examines the evolution of hip-hop culture in Southeast Asia. This paper will explore the formation and history of the Sultan of Lingga’s Brass Band, concentrating on how its use impacted upon the power struggle between the Sultan, the Viceroy and the Dutch Colonial Government, eventually leading to Sultan Mahmud’s deposition by the Dutch, before being replaced, first by a more docile relative and eventually, in 1886, by the son of the Viceroy. In this context, the introduction of an even louder ensemble, and one that was a recognised symbol of Dutch power, had the ability to profoundly impact the balance of power in the area. Nobat were not only vital in the process of installing a ruler, but the dynamics of their performances was seen to denote the extent of a Sultan’s rule. While most Europeans are instantly familiar with the political power denoted by a fully-uniformed military band, the Sultanate had its own musical ensembles to confer power, known as Nobat. Although ostensibly under the employ of the Sultan of Lingga, in reality the band played an important part in the power struggle between Sultan Mahmud and his Viceroy who, with the help of Dutch influence, gradually sought to become de facto ruler of the kingdom. Upon completion of their studies they returned to Riau, forming a military band at the palace of their patron, Viceroy Raja Jaafar on the island of Penyengat.

Raja Jaafar sent a group of local men to Melaka to learn European music, receiving instruction in a range of instruments including military drums, flute, trumpet and violin. The Sultan of Lingga’s Brass Band, also known as Korps Musik, was formed by Viceroy, Yang Dipertuan Muda Riau VI, Raja Jaafar in the late 19th Century in what is now Indonesia’s Riau Province.

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