Negeri Sembilan. The name is believed to derive from the nine districts or nagari (now known as luak) settled by the Minangkabau, a people originally from West Sumatra (present-day Indonesia) who settled in Negeri Sembilan between the 15th and 16th century, at the height of the Malaccan Sultanate. It is the Minangkabaus who hold the key to the history of Negeri Sembilan.
The Negeri Sembilan that the early Minangkabaus knew was a rather loose confederation of nine fiefdoms in a secluded valley of the region. It was only in 1773, and with Raja Melewar (a member of the Western Sumatran royal family), as the Yam Tuan, (the local equivalent of the Sultan), that the 9 separate fiefdoms of Sungai Ujong, Rembau, Johol, Jelebu, Naning, Segamat, Ulu Pahang, Jelai and Kelang were unified.
The Negeri Sembilan that the early Minangkabaus knew was a rather loose confederation of nine fiefdoms in a secluded valley of the region. It was only in 1773, and with Raja Melewar (a member of the Western Sumatran royal family), as the Yam Tuan, (the local equivalent of the Sultan), that the 9 separate fiefdoms of Sungai Ujong, Rembau, Johol, Jelebu, Naning, Segamat, Ulu Pahang, Jelai and Kelang were unified.
Unlike the hereditary monarchs of the other royal Malay states, the ruler of Negeri Sembilan - known as Yang di-Pertuan Besar - is selected by the council of Undangs who lead the four biggest districts of Sungai Ujong, Jelebu, Johol, and Rembau.
A first time visitor to Negeri Sembilan would perhaps be drawn to the significant feature of a great majority of traditional houses which have the distinctive style of the Minangkabau features. Their traditional houses consist of sweeping buffalo horn shaped roof peaks.They continued the practice of their rich cultural heritage, which continues on today in the form of the fascinating Adat Pepatih, a matrilineal system of rule and inheritance where inheritance is passed through the generations from mother to daughter, unique only to Negeri Sembilan. The Minangkabaus and their adats, or traditions, and are indeed to be credited with Negeri Sembilan's many interesting aspects. This is clearly seen and felt even today, especially in the customs of marriage, ownership of property and dance forms. The custom is practised by 12 clans (the biggest family unit), which are Biduanda, Batu Hampar, Paya Kumboh, Mungkal, Tiga Nenek, Sri Melenggang, Sri Lemak, Batu Belah, Tanah Datar, Anak Melaka, Anak Acheh and Tiga Batu.
Being a Biduanda descendent, I have to inherit this custom as my mom's properties have to go to her daughters. A month ago, me and my sister went through the adat in transferring mom's property and my perceptions on this custom has enlightened as I saw the many good deeds behind the practice. We were given a "talk" by our buapak and Datuk Lembaga on the inheritance principle and practice before the transfer was being made. The buapak and Datuk Lembaga are required to be present in any sitting concerning property inheritance. I believe all customs carry good deeds but human greeds turn the goods into bad >>> eventually for the worst when family relations were hurt, humiliated, separated, etc.
Istana Seri Menanti
Set in a a quiet green valley and surrounded by padi fields and forest, the Istana Seri Menanti is a strikingly unusual structure, an unabashedly traditional building in this rapidly modernizing state. The current building was constructed between 1902 and 1908 for Tuanku Muhammad Shah, the 7th State Ruler or Yang Di-Pertuan Besar of Negri Sembilan. The Istana served as the official residence of the royal family until 1931, before it was converted to a Royal Museum in 1992.
The Craftsmanship of Seri Menanti
Though often touted as a tourist attraction, the Istana Seri Menanti might be better thought of as a cultural treasure, a showcase of the Malay woodworking craft. The palace was designed entirely by two local Malay master carpenters and was constructed the traditional way, without using a single metal nail, and the entire four-storey building is literally held together only by mortise-and-tenon joints and hardwood dowels and rivets.
The single most noticeable feature of the palace is its roof. To most western eyes, the steeply upturned, layered gables are strikingly peculiar, recalling the majestic sweep of a buffalo’s horns. The unusual roofline is a fairly common feature of more traditional village houses in the state and is emblematic of the local Minangkabau culture, one of the few matrilineal cultures still thriving in the world and to which about a quarter of Negeri natives belong. The Minangkabau originated in Sumatra, which lies directly across from Negeri Sembilan over the Straits of Malacca. In centuries past, the Minang, as the people were known, migrated across the water, bringing with them not only their culture but also their architecture. Little wonder then that when the palace was first built, its design would include the iconic upturned roofline of the local Minangkabau culture.
Even before entering the palace, visitors can examine one of the most noted features of the palace: its 99 pillars. The unusual number of pillars was deliberately chosen to represent famous warriors from the various clans in the state. More remarkable however is that the pillars are delicately and intricately carved with stylized images of flowers, holy verses from the Quran, geometric shapes and other abstract designs. The carving is noteworthy because the pillars are made of cengal wood, which is extremely tough to carve, easily dulling even the sharpest of blades. One can only marvel at the patience and dedication of the craftsmen who had to deal with such a difficult material.
Faded Grandeur in the Istana
Once inside, the Istana often strikes visitors more used to the extravagant palaces of Europe as a little bare. 
The first floor mostly consists of reception rooms and a long verendah; there are no grand, gold encrusted audience halls or fantastic ballrooms. An ancient Malay court was a relatively simple affair compared to the elaborate courts of the West, especially as Malays traditionally had little use for furniture. The courtiers would sit on cushions on the floor in the audience hall, while the royal family would sit on a rather grander platform at the end of the room. Instead of fancy furnishings, much of the grandeur of a Malay court would lie in the sumptuous thread of gold clothes of the royals, the gold ornaments they flaunted and the many other gold items the courtiers habitually used – after all, the Malay Peninsula was not called the Golden Chersonnese for nothing! Many of these artifacts are on display in the palace.
The first level of the palace was used for official functions, while the second level was used for private, family affairs. Much like the first level, most of the scant furniture in the rooms above have not survived, but in one of the visitors can see the one of few remaining pieces – a large gilded bed, raised on a platform. The third floor of the palace was reserved for the Yang Di Pertuan Besar’s private apartments.
The topmost fourth floor is known as the Tingkat Gunung, or Mountain Level, and once served as the ruler's study and treasury, where only he could ascend. My children dared themselves to ascend the staircase to the attic. Its steep, I guess about 80 degrees from floor level.
The road ride to this small town was tiring as I'd to manoeuvre the car following the curves of the road and queuing behind heavy vehicles trying to carry its load uphill. The joy was when we went downhill...imagining we are in F1...hahahaha. Still, its refreshing to be inside the reserve forest along the way.
This is my hometown though I wasn't raised here and gaining insight from the elders on the adat has given me a new perspective. Younger generations will need to learn and understand the custom and not putting self interest nor greed into it.
The Craftsmanship of Seri Menanti
Though often touted as a tourist attraction, the Istana Seri Menanti might be better thought of as a cultural treasure, a showcase of the Malay woodworking craft. The palace was designed entirely by two local Malay master carpenters and was constructed the traditional way, without using a single metal nail, and the entire four-storey building is literally held together only by mortise-and-tenon joints and hardwood dowels and rivets.
The single most noticeable feature of the palace is its roof. To most western eyes, the steeply upturned, layered gables are strikingly peculiar, recalling the majestic sweep of a buffalo’s horns. The unusual roofline is a fairly common feature of more traditional village houses in the state and is emblematic of the local Minangkabau culture, one of the few matrilineal cultures still thriving in the world and to which about a quarter of Negeri natives belong. The Minangkabau originated in Sumatra, which lies directly across from Negeri Sembilan over the Straits of Malacca. In centuries past, the Minang, as the people were known, migrated across the water, bringing with them not only their culture but also their architecture. Little wonder then that when the palace was first built, its design would include the iconic upturned roofline of the local Minangkabau culture.
Even before entering the palace, visitors can examine one of the most noted features of the palace: its 99 pillars. The unusual number of pillars was deliberately chosen to represent famous warriors from the various clans in the state. More remarkable however is that the pillars are delicately and intricately carved with stylized images of flowers, holy verses from the Quran, geometric shapes and other abstract designs. The carving is noteworthy because the pillars are made of cengal wood, which is extremely tough to carve, easily dulling even the sharpest of blades. One can only marvel at the patience and dedication of the craftsmen who had to deal with such a difficult material.
Faded Grandeur in the Istana
Once inside, the Istana often strikes visitors more used to the extravagant palaces of Europe as a little bare. 
The first floor mostly consists of reception rooms and a long verendah; there are no grand, gold encrusted audience halls or fantastic ballrooms. An ancient Malay court was a relatively simple affair compared to the elaborate courts of the West, especially as Malays traditionally had little use for furniture. The courtiers would sit on cushions on the floor in the audience hall, while the royal family would sit on a rather grander platform at the end of the room. Instead of fancy furnishings, much of the grandeur of a Malay court would lie in the sumptuous thread of gold clothes of the royals, the gold ornaments they flaunted and the many other gold items the courtiers habitually used – after all, the Malay Peninsula was not called the Golden Chersonnese for nothing! Many of these artifacts are on display in the palace.
The first level of the palace was used for official functions, while the second level was used for private, family affairs. Much like the first level, most of the scant furniture in the rooms above have not survived, but in one of the visitors can see the one of few remaining pieces – a large gilded bed, raised on a platform. The third floor of the palace was reserved for the Yang Di Pertuan Besar’s private apartments.The topmost fourth floor is known as the Tingkat Gunung, or Mountain Level, and once served as the ruler's study and treasury, where only he could ascend. My children dared themselves to ascend the staircase to the attic. Its steep, I guess about 80 degrees from floor level.
The road ride to this small town was tiring as I'd to manoeuvre the car following the curves of the road and queuing behind heavy vehicles trying to carry its load uphill. The joy was when we went downhill...imagining we are in F1...hahahaha. Still, its refreshing to be inside the reserve forest along the way.
This is my hometown though I wasn't raised here and gaining insight from the elders on the adat has given me a new perspective. Younger generations will need to learn and understand the custom and not putting self interest nor greed into it.
