Gerapan Budaya di Tangan Aznan - March 2012

Sebagai seorang pengkarya seni yang berbakat dan kreatif, Aznan bergerak aktif dalam penghasilan karya daripada bentuk tema satira ke sebuah arca yang mempunyai sifat yang halus serta tinggi nilainya....

Dewan Budaya terbitan Jan 2012 - DBP

The Difference between Pantheism, Polytheism and Monotheism

SOUTH EAST ASIA PAPER

The History

Arts in South East Asia (SEA) started with the artwork related with the religious beliefs of the indigenous people of the region. Evidence of the artwork in the form of paintings found in caves such as Niah Cave, Sarawak and Irian Jaya support and other parts of SEA countries clearly depict the activities of the daily life of the primitive people during the period. The detail of the cave painting can be seen in the pictures below:

Pic 1: Cave Painting in Gua Niah, Sarawak

Pic 2: Hand Stenciling in Irian Jaya Cave

Pic 3: Human Activity Cave Painting in Irian Jaya.

Religious belief is an integral part of a community, binding the believers with the sense of purpose in life. In South East Asia (SEA) the history of the religious beliefs has gone through various cycles of evolution beginning with the concept of 'Pantheism' as practiced by the primitive people, followed by 'Polytheism' introduced by the Hindu, Buddhism and Christianity. Islam came to SEA and introduced the concept of 'Monotheism' - the belief in one God 'Allah, and Muhammad is the Messenger. The details of the religious beliefs are outlined as follows:

1. Pantheism

Pantheism is the belief in the existence of several gods.1 In the context of this paper, Pantheism will be discussed from this perspective in relation to the practice of Animism in the SEA before the arrival of Hinduism, Buddhism, Islam and Christianity. Animism is the practice that worships ancestors, a belief widely practiced by the primitive people in the region.

The concept of Animism thrives in the worship of 'semangat' (spirit) believed to 'live' in trees, stones and animals. These spirits must be constantly appeased in order to guarantee the worshippers to be 'guided' in their daily course of life that involved matters such as marriage, birth or even death. In Malaysia these practices such as 'Upacara Memuja Pantai,' 'Puja Padi' and 'Hari Gawai' were conducted on regular basis before the arrival of Islam. Both 'Puja Padi' and 'Hari Gawai' are ceremonies held by the farming communities believed to ensure good harvest.

It is common for these ceremonies to be held with the accompaniment of art and crafts specially made for the purpose. The 'Dongson' people of SEA for example, accompany the ceremony with drums specially made to celebrate the event. The drum found during the 'Bronze' Era in SEA, Hanoi drum describes about the belief of the people in the region. The drum also has been found in Klang town in 1905. 2

Pic 4: ‘Dongson’ Drum, Hanoi

The drum is engraved with the image of a Hornbill in relation to the superior being believed to dwell in the heaven above. The hornbill represents the messenger or the link between the heaven above and the people on earth. 'Boat of Death' is another artwork by artists who lived during the era when Animism was a popular belief of the people during the period.

Pic 5: Kain PUA

The 'Boat of Death' in the picture above represents the journey from earth to heaven. The belief that in death, a soul can be sent to heaven by boat has been practice due to the location of the ‘Nusantara’ island people which only sea is the symbol of the end of the journey.

The practice of Animism in SEA became less and less popular when Hinduism and other religions were introduced in the region, confining only to a small group of people like the Iban in Sarawak who until today, still celebration of 'Hari Gawai' a religious ceremony.

2. Polytheism

Polytheism is the belief in the existence of several gods each responsible in their areas of authority.3 The people of SEA readily accepted the belief system because the concept isn't that much difference from the idea of Polytheism as evident in Hinduism and Buddhism, which became widely practiced religions in the region. Earliest traces of Buddhism, Hinduism and Brahmanism can be found in various sites in the SEA countries such as the ‘Srivijaya’4 Empire in Lembah Bujang, Kedah, Malaysia, and Borobudur in Jogjakarta, Indonesia were the temple can be seen until now and the side in Kedah still been preserve.

Pic 6: Side at Lembah Bujang, Kedah

Pic 7: Borobodor, Jokjarkarta Indonesia

'Wayang Kulit' (shadow play) is the clear evident of Hinduism. The story of good versus evil as represented by the main character, Ramayana, is taken straight out of the Hindu storybook. ‘Mak Yong’ is another evident of the Hindu influence in art as espoused by Allahyarham Seniman Negara, Hamzah Awang Mat (1999) 4 on the creation of Wayang Kulit and Mak Yong.

'Jiwa dalang itu memang lembut, dia mengukir rasa hatinya (jiwa batin) yang mengalami berbagai pengalaman hidup. Sebagai dalang, saya juka mengukir Seri Rama, Sita Dewi, Rahwana, Wak Long dan Pak Dogol (fizikal patung wayang). Saya tahu Berahi watak-watak itu, saya ukirkan rasa hati mereka...Saya nanyikan suka sedih Sita Dewi, itulah ukiran hati; begitu juga dengan Khadijah Awang, dia menyanyi dalam Makyong, juga dia mengukir suara Makyong itu’.

'Wayang Kulit' is used as one of the channels to preach Hinduism through images and storytelling while Makyong uses dance to communicate the concept of the religion.

Pic 8: ‘Wayang Kulit’ Show

Pic 9: ‘Makyong’ show

The concept of trinity - the belief in the existence of three gods i.e. Jesus the Son of God, the Holy spirit and God himself was introduced in SEA by the Dutch and the British. Although Christianity never made inroads into the Malay communities, minority groups in the SEA accept the religion in countries like the Philippines.

3. Monotheism

The concept of Monotheism is solely associated with Islam. It was first introduced in the SEA during the 13th Century by Arab traders who came to Malacca to do business in the spice region. Parameswara, the founder of Malacca who became a Muslim and changed his name to Sultan Iskandar Muzaffar Shah, 5 is an important figure in introducing Islam to his subjects. There is a popular theory now that Islam came to 'Tanah Melayu' from Arab traders who sailed from China. This is theory is supported by the existence of 'Batu Bersurat' found in Terengganu. H..M Toha Janja Omar (1964) 6 mentioned in his writing on the history of Islam in SEA:

'Masuknya Islam awalkali di Asia Tenggara yang tercatat di dalam sejarah adalah abab ke tigabelas. Marco Polo mencatatkan bahawa tahun 1292 di Sumatra Utara telah terdiri kerajaan Islam yang bernama Perlak' He mentions also that 'Penggawa Melaka menganut Islam pada awal dasawarsa abat ke lima belas...sejak abab ini Melaka menjadi pusat dan persebaran islam ke Seluruh Asia Tenggara.'

'Penggawa' in the statement is the Sultan of Malacca. Islam has a profound influence in art produced during the period as evident in Malay woodcarving. The 'Pandai Ukir'7 Melayu created their artwork using related symbols to represent the world. In it we can see the Malay philosopher relating Islam in the following:

Tumbuh berpunca...
Berpunca penuh rahsia
Hidup tidak menginjak lawan
Namun tidak memaut kawan
Tapi berlingkar penuh mesra

Allahyarham Nakula in Wawancara (1987) 8 explains

'Semua alam bermula dari benih (manusia 'terjadi' daripada benih suami dan isteri), pohon, benih dari biji, atau bertunas meranting, melentur tidak menjulang ke atas, merunduk ke bawah tapi tidak melemah rupa'.

In essence, Nakula talks about a seed, the beginning of existence and the importance of leading one's life by being humble in order to become 'Insan yang kamil' through every stage of his/her life. Also important is to live in accordance to the guidelines as stipulated by the Al-Qur'an and Hadith (syara') and not to breed animosity. During the Malacca Sultanate, the 'Pandai Ukir' Melayu gave their loyalty to the rulers and were entrusted to design and decorate the Palace of Malacca.

Pic 10: ‘Ukiran’ part of the house

Besides wood carving, Malay Muslim artist also produced other work of art during the era and the work has benefited the today's generation in many ways.

Conclusion

There is a clear difference between the 'isms'. Phantheism and Polytheism is the belief in the existence of several gods, while Monotheism believes in the existence of one god. Be it Phantheism, Polytheism or Monotheism, the artists who produced the artwork throughout the different religious periods in the SEA countries were responsible in coloring the region with different kinds of artistic expressions. The 'Dongson Drum' and the 'Boat of Death' it has been used by the believer in all the religion ceremonies and funerals. For 'Makyong' and 'Wayang Kulit', this two activities work as a messenger to the people about the Ramayana Epic and a way of asking the devotees to be good in life. The 'Chandi' Lembah Bujang and Borobodor built by the Buddish in Kedah and Jogjakarta during the Buddhism did give benefit to the people in the form of a place of worship and knowledge in the religion. As for Islam, the artist leads by the 'Pandai Tukang' Melayu have transformed the idea of beauty through the woodcarving and others. All these practices through the religion have given the work of art with a purpose not just Art for Art sake as ideally by the western artist.

Bibliography

1. (2002), Macmillan English Dictionary, Macmillan Education, UK. Pg 1025
2. Zainal Abidin Abdul Wahid (1972), Sejarah Malayisa Se Pintas Lalu, Dewan Bahasa dan Pustaka, Kuala Lumpur. Pg 12
3. (2002), Macmillan English Dictionary, Macmillan Education, UK. Pg 1025
4. Last updated: 23 Jul 1996, http://www.mahidol.ac.th/Thailand/glance-thai/animism.html, The External Cultural Relations Division Office of The National Culture by Mahidol University
5. Dr. Siti Zainon Ismail (2002), Meng’Ukir’ Seni Melayu, Fakuli Sains Sosial dan Kemanusaian, UKM, Malaysia.
6.Muhammad Haji Salleh, ed (1997), Tun Seri Lanang, Sulalat al Sulatin (Sejarah Melayu), Yayasan Karyawan dan Dewan Bahasa dan Pustaka, KL
7. Prof. H. M. Toha Jahja Omar (1964), Hukum Seni Musik, Seni Suara dan Tari dalam Islam, Jakarta. Pg 307
8. Sulaiman Esa (2000), Syerah, Kuala Lumpur.
9. Dr. Siti Zainon Ismail (2002), Meng’Ukir’ Seni Melayu, Fakuli Sains Sosial dan Kemanusaian UKM, Malaysia.

The impact of Nanyang Academy in Malaysia Arts

SOUTH EAST ASIA ARTS PAPER

The history of Art in Malaysia took an alternative route with the arrival of Europeans and Chinese in the region in the 20th Century.1 During the British colonial era, the officers of the East India Company commissioned talented artists who were mostly Englishmen and women connected one way or another with the company, to paint the scenes and landscapes of the country. Little wonders then that the popular genre of the day was that of Turner and Constable as well Realism of the Pre-Repellents era. This continued well into the 19th Century and blended with other forms and movements such as Impressionism, Cubism, Surrealism and Futurism. Besides the English, the Chinese too played an important role in the movement of Malaysia contemporary art. In 19372 a group of artists from China who had studied in the Shanghai Fine Art School, Shanghai Fine Art School and Shanghai University of Art migrated to the South East Asia to set up Nanyang Academy of Fine Art.3 The academy was founded by Lim Hak Tai together with a group of artists in Singapore. The academy has groomed and produced talented artists from Singapore, Malaysia and other countries in the region. Singapore then was part of Malaysia before being separated in 1965.4

Lim Hok Tai

The Changes The presence of Nanyang Academy of Art in Malaysia contemporary art brought about a radical change in the way traditional artists viewed the concept of art as the means to express their artistic skills. The artists who run the academy had received their education from art schools in Shanghai, Canton, Amoy, and were exposed to western art particularly that of Paris. For the first time in the country, or probably in the region, art education became a formal learning process that relied on organized curriculum with recognitions awarded to the students who later became influential figures in the promulgation of art in the country. Lim Hak Tai, the first Principal of the academy, introduced the methodology in the teaching of art as the subject, also helped create a style called 'Nanyang Style'5, the style that's uniquely Malaysian. The campus was located at 49, St. Thomas Walk, Singapore,6 accomplished the vision of producing artists armed with adequate knowledge and skills in subjects connected to art. The academy became one of the primary sources of references for the development of curriculums in the teaching of art, which includes the study of composition and various techniques of presenting arts. The Effect Nanyang Acedemy of Art is responsible in effecting a major change in the presentation of artwork from the hand scroll panting to easel painting. The format became the guiding principle for artists to paint their composition in top-to-bottom style to right-to-left as practised by western artists. The academy also introduced a new method of coloring with the introduction of function of colors for arts as depicted by the artwork by Cheong See Piang (1959).

Cheong See Pieng, Tropical Life, 1959

In 'Tropical Life' Cheong See Pieng presents his work in easel position instead of the traditional hand scroll format. The main theme of the painting is the story of a Malay family with each character in the painting performing his/her role. In the painting, the main characters i.e the man and the boy is detached from the daily feminine activity performed by the women and the girl. The artist uses a range of colors which is in stark contrast from the traditional Chinese.

Lai Foong MoiMorning in The Kampong 1959.

The painting by Lai Foong Moi is an example of the influence of western art in that it introduced the concept of perspective. A Malay lady as the center eye point with a house in the distance creates the sense of depth. Together with the use of color not commonly found in a Chinese painting, Fooi Moi has created a new form of art, which depends on the sense of perspective, lighting composition and color.

Chuan Thean Teng, Catching the Fowls 1962

Chuan Thean Teng uses top-angle approach in the painting 'Catching the Fowls' to add a dramatic feel of the action as well as create the sense of movement since the subject is not the same as objects usually used for a still-life. Done in Batik, the painting is uniquely Malaysian. From all the work done by the students and the artist of Nanyang Academy of Art, it shown how they are encouraged to represent the natural environment of the surroundings in order to connect art with the socio-economic events of the era. Their minds are constantly challenged to produce works with strong cultural identity based on the knowledge they acquired at the academy. Conclusion It is amazing to conclude how a group of artists trained in Shanghai managed to firmly establish a genre that later came to be known as 'Nanyang Style' - the style that has a strong cultural identity that's truly Malaysian. With the introduction of organized syllabus and curriculum of teaching art, Nanyang Academy of Art started a wave of revolution that gave birth to the creation of Malaysia contemporary art, a genre that's uniquely Malaysian.

Bibliography

1. Reza Piyadasa (2001), Rupa Malaysia, Meninjau Seni Lukis Moden Malaysia, Balai Seni Lukis Malaysia, Kuala Lumpur. Pg 9

2. (1999), A Brief History of the NAFA Alumni Association, http://www.living2000.com.sg/alumni/AlumniHistory.htm

3. Kwok Kian Chow(2000), Nanyang Academy of Fine Arts and the Beginnings of the "Nanyang School", http://www.thecore.nus.edu.sg/landow/post/singapore/arts/painters/channel/7.html

4. (2000), Nanyang Academy of Fine Arts, http://www.singaporeartsnculture.com/english/engnafa.html

5. (1999), A Brief History of the NAFA Alumni Association, http://www.living2000.com.sg/alumni/AlumniHistory.htm

6. (1999), A Brief History of the NAFA Alumni Association, http://www.living2000.com.sg/alumni/AlumniHistory.htm

The Definition of Art and Craft, The Role of Art, The Role of Artist, Meaning of Originality, Tradition, Beauty, Nature of Art.

The Definition of Art and Craft

What is art?

Art is something that can attract a person to observe or view due to it beauty and its presentable look. The art also must be a work that can communicate and useful between a viewer and the artist. But of all the beauty in the world, the works of beauty by the Mighty Allah is the infirmity and with His approval the human can create a beautiful art. As said by Hashim Musa (1996) about the concept of arts:

'Art, for human is the occasion for expression, talking, verbalization and speech, and for the representation of beauty, truth and perfection. However, the real height of beauty truth and perfection is Allah and all His creation." 1

To express the need in art, an artist should know how to communicate with the viewer, spectator or observer through his art as the medium. The communications that created by the artist have made the art useful and some times meaningful for human. Craft is Art, art done by the artist that so beautiful and useful to the need of its observer. Craft, did have all the concept mention as an artwork. In the word from Wikipedia, The Free Encyclopedia (2003) were one of it definitions about arts is:

“Art is a craft, but not just any sort of craft. It is a craft of expression - of someone's feelings or thoughts, and it can take many forms depending on a chosen medium." 2

Here we can see haw the medium gain an importance role in presenting arts, the arts either can just be observe as the collection of its admirers or as a work that can be useful and serve its obvious practical needs to others and it also have an aesthetic value, as mention in the Wikipedia, The Free Encyclopedia (2003) as the following:

“Good art can work on many levels and is capable of many interpretations." 3

Generally speaking, there are no separations between work of art and craft; it is true because in craft the beauty and the purpose for human interest are already generated.

Role of Art

Art have so many role, back in the past arts was more to the practice of human activity and as documentations. The purpose is to past information to the present generation about their experience and activity. This practice can be seen in all the cave painting existed now, for example the cave painting arts found in The Cave of Lascaux, (Paleolithic Age). 4 We also can relate this type of work to the statement by Leo Tolstoy (1828 – 1910):

“Art is a human activity, consisting in this, that one man consciously, by means of certain external signs, hands on the other feelings he has lived through, and that other people are infected by these feelings and also experience them." 5

The role has developed, to the art were it is more to be practice to the performing a religion or community believe icon. It also did not stop there; the art role has been evolve to something that over and above necessity were the art is only can be observe by some people who can afford it. By than the western ideologies have separate the work of art that benefits the usurer as the craft and the work of art that can only be observe by certain people is an artwork as a masterpiece.

Role of Artist

An artist in the ancient world brought up their duty as documentations of the world they live in, as we can see in the cave painting at the Niah Cave in Serawak (Peleolithic Age).6 In the Age of Animism the artist as the presenter of artistic work or to create an object of his population believe during that time and after the religion era such as Hinduism, Buddhism and Islamic came the artist presented their work according to the religion and their ideology. This we can see in a statement by Henry Fuseli (1741-1825)

“Ancient art was the tyrant of Egypt, the mistress of Greece and the servant of Rome." 7

In his statement above it is clear that during those years the artist role in present their works by following his believe and needs of their masters. An artist is also having generated the base of form germinates and develops its possibilities as in Michael Tawa (1992) writing was clearly stated:

“An artist who traditionally mediates between form and matter by becoming the vehicle, agent and instrument of formal realization." 8

Here he stated the role of artist is stated when they created the process in all aspect of harmony and temperance – on a proportionate co-ordination and co-operation between the form, the artist and the materials. As we understand that the role of artist is not just for his art for arts sake but also involves the whole idea of community in their area or believes.

Meaning of Originality, Tradition, Beauty

The coming of Islam in the Malay world has brought the need to go back to the beginning base in arts; the functions of art have been taken in a serious concern in creating an art. The art doesn’t mean for certain individual but it also must be function for all and can be useful for others in their daily life. The art that generate from tradition is the type of art that been past through generation to generation such as the work of art from the wood caving, waving and others. It also the type of art that been past due to the religion needs such as the work of art for the god image in Hinduism and Buddhism. In Islamic art the work of calligraphy and the architect design of the mosque is one of the works that have its own beauty. As mention by Nasr, S. A. (1981) as following:

“In facts, the word tradition is related etymologically to transmission and contains within the scope of its meaning the idea of the transmission of knowledge, practice techniques laws, forms and many other elopements of both an oral and written nature”. 9

In all type of artwork done by the artist the beauty cannot be separated. “Beauty is a gift of God." 10 By Aristotle (384 b.c – 322b.c), In the world that full with beauty, we should never forget that Allah has created it for us and the creativity that He have given to us, is a bless. According to Fernand Leger (1881-1955)

“Beauty is everywhere, in the arrangement of your pots and pans, on the white wall of your kitchen, perhaps more then in your eighteenth-century salon or in the official museum." 11

To him all creation by man that base on their creativity is arts and it doesn’t mean the art must be presented in a salon, gallery or museum art is every ware; if just we knew how to appreciate it art is everyway in the creation of household or in our surrounding.

Nature of Art

Art in the form of work in the beginning is a source of documentation and it also function as an information for the people believe and religion. The artist use this opportunity to tell us a story of the people in the previous era, to deliver a political message during that time or just to make others think, it grabs the attention of others and makes others to experience what have the arts expresses. Through it we have the knowledge about the past, religion and events; it is function as documentation for us to live in a better way in the future. An art in the form of object is something can be use with an artistic value. The work of art that so practical for human use in his daily life are so importance and it been transfer form generation to generation. Art is for all and the entire world can benefit it.


Bibliography

1. Hashim Musa (1996). Seni dan Kosmologi. Balai Seni Lukis Negara. Kuala Lumpur. Pg 18
2.Wikipedia (23 March 2003), Wikipedia The Free Encyclopedia, http://www.wikipedia.org/wiki/Definition_of_art
3.Wikipedia (23 March 2003), Wikipedia The Free Encyclopedia, http://www.wikipedia.org/wiki/Definition_of_art
4.Margaret Wilson Fuller. (2003), The Cave of Lascaux, Norbert Aujoulat © National Centre of Prehistory, 5.http://web.culture.fr/culture/arcnat/lascaux/en/index.html
6.Hadden, Peggy (2002), The Quotable Artist, Allworth Press, New York. Pg 7
7.Abdul Rahman Al- Ahmadi (0000), Arts & The Islamic World, note from class, 9 July 2003. Pg40
8.Hadden, Peggy (2002), The Quotable Artist, Allworth Press, New York. Pg 5
9.Tawa, Michael (1992), Craft in Society An Anthology of Perspectives. WA: Fremantle Center Press. Pg 271
10.Nasr, S. H. (1981), Knowledge and the Sacred, New York. Pg67
11.Hadden, Peggy (2002), The Quotable Artist, Allworth Press, New York. Pg 190
12.Hadden, Peggy (2002), The Quotable Artist, Allworth Press, New York. Pg 193

National Culture Congress, The Impact to the Malaysian Artist Artwork

A definite answer as to when did the movement in Malaysia contemporary art begin remains a question. Opinions differ among historians and artist alike but acceding to David Kanansky (1988), “The contemporary art movement in Malaysia began about twenty five years ago. It is quite surprising how many fine artists have emerged on such a short time…”[1] As Redza Pyadassa (1992) shares the same view as Kanansky’s about the begging of Malaysian contemporary art, “Modern art activity in Malaysia begin in earnest only in the immediate period after World War II. This somewhere belated development, peculiar to the Malaysian situation, may be attributed to the general lack of encouragement given to the cultural activities by the British, whose annexations of parts of the Malay Peninsula begin in 1924.”[2] Zainol Abidin (1996), in support of the view expressed by Kanansky and Piyadassa, emphasizes this point in an article ‘Contemporary Malaysian Painting’ that Malaysian contemporary art began in the second decade of this century i.e. circa 1920s[3]

Malaysian contemporary art was at its high of experimental period during the 1960s when Malaysian artist who received their training overseas returned to the county with western ideas. During the period, the freedom of expression was stretched to the very limit of creative realm, farming their perception of the universe on international views considered in vogue during the era. This resulted in a myriad of works produced during the era; works with no definitive guidelines as to what constituted Malaysian contemporary art. Furthermore, most of the works produced during the era had no definite point of reference to traditional elements, which consequently detached them from any attempt to promote national image.

Malay sentiment was re-awakened during the mid 1970s following the racial unrest that erupted in Kuala Lumpur in 1969, which saw violent clashes between the ethnic groups. As a young nation, Malaysia was rudely shaken by the crisis, and efforts to restore inter0recial relationship among the ethnic groups were seriously pursued by the government to ensure that the event will not repeat itself in the future. In 1971[4] The First National Cultural Congress was set up with the objective to encourage artist to project the sense of national pride and identity in their work. With the clear sense of direction outline in the Congress, the perspective that had a bearing in the larger interest of the nation in presenting the national culture now shapes the artists’ minds. Redza Pyadassa (1992):”The growth of a modern art tradition in Malaysia since inde3pendence has manifested essentially pluralistic tendencies, as might he expected of a multiracial and multicultural environment lacking a homogenous cultural identity.”[5] It is decided in the National Cultural Congress that the country needed a common national cultural identity to unify the multiracial population. The basis of the national vision has been agreed as following:

The Vision
. To unite the whole country by the national culture
. To guide, spread and construct national culture in creating national personal identity.
. The richness and the higher quality in the spiritual and the living by balancing the development of our social economy

Basis Formula
. Malaysian National Congress has to follow the original citizen of this region
. Other related cultures that relevant and appropriate can be adopted into the national culture
. Islam is the important elements in creating the national culture.

Strategy
. To acquire and develop the national culture in attention to concern the national culture through the joint venture research, development, education, expanding and relation
. To upgrade and to stabilize the culture by leadership
. Create the right communication to national awakens, nationality and the Malaysian nationalism
. To fill the need in the region social culture in the whole nation by the social culture service
. To upgrade the status and art quality

(Dasar, Matlamat dan Strategi Pembinaan Kebudayaan Kebangsaan, Kementerian Belia dan Sukan)[6]

Armed with clearly stated outlines as to what should be incorporated in the works before they are considered relevant to the aspirations of the national culture, the Congress identified the works by Syed Ahmad bin Jamal, Ismail Zain, Sulaiman Isa, Ruzaika Omar Bassaree, Ponirin Amin, Siti Zainon Ismail, Matura Abdul Rahman, Zakaria Awang and Ahmad Khalid Yusuf[7]. It was hoped that these artist would collectively raise national artistic standard to a higher level through their works. This aspiration is evident in Bakar Zain (1998)’s presentation in a dialogue entitled ‘Astra, Semi Rapa dan Buddy, “Suatu hasrat besar yang menjadi perjuangan sejumlah kecil budayawan ialah untuk melihat kebangkitan budaya di Malaysian dan Asia bagi mengembalikan imej dan harga diri bangsa”[8] The importance and the need to produce works with which we can identify as Malaysian is noted by Kok Chren (2000) is “ Malaysian natural topical environment with its rich diversity of flora and fauna provide a natural palette for the artist to mix the color and (re) compose the form. Also, abstraction demand more creative and original interpretation of whatever, with an approach that can be analogical, aesthetical or spontaneous. For artist who are Muslim idolatry represent nation of human go against Islam structures and to they are more disposed to this organism, geomantic, organically over mystical”[9]

In this forum, the invited panelists are among the artists that created an impact on the National Cultural Congress. They are Rozaika Omar Basseri, Dr. D’Zul Haimi, Ramlan Omar and Jailani Abu Hassan. I will try to establish a connection between the paradigms that had been set by the National Cultural Congress and how the works by these artists are influenced by those paradigms in presentation of the visual art.

1. Rozaika Omar Basseri
Rozaika Omar Basseri attended the meeting of the National Cultural Congress in 1971 as an artist. The idea of national culture art had been exposed to her at the very creation of the guidelines of national culture itself. It was in Dungun, Terengganu that she had the opportunity to gather the elements that would set herself as the embodiment of the aspiration of the National Cultural Congress. In her ‘Siri Dungun’, Rozaika brings out the element of ‘Kerawang’, a wooden decorative installed above the windows of a traditional Terengganu Malay house. Acknowledging the powerful work by Rozaika, Syed Ahmad Jamal Considers her work as ‘…and Rozaika Omar Basseri in Dungun Series, “Window within window’” become established in Malaysia imagery”[10]. The traditional element, which Rozaika has successfully incorporated in her ‘Siri Dungun’, has resulted in a work that’s truly Malaysian. It is a masterpiece of Malaysian art image.

Rozaika Omar Basseri 1 : ‘Siri Dungun’ 1979

2. Ramlan Abdullah
For Ramlan Abdullah, an artist should respond to his environment. Having admitted that his work is directly influenced by the guidelines set by the National Culture Congress, Ramlan warns that an artist should not consider the guidelines as an excuse to re-produce creative works that look like Malays culture and at the end it is just a cut and paste work.
Ramlan has consistently used sign and symbols in his work in relation to the choice of materials, technology and nature. In ‘Mother and Child’1990, he connects the symbolic relationship between a mother and her child with the element of construction, structural and gravity of his sculpture.

Ramlan Abdullah 2: ‘Mother and Child’ 1990

The same element is evident in his work ‘Down to Earth’ 2000, a table sculpture created by him with the combination of the nature element. The balance of element to create the artwork has the gusher to the sympathetic element to the nature and technology.

Ramlan Abdullah 3: ‘Down to Earth’ 2000

In ‘Time and Direction’ he incorporates the Islamic element where the theme to create the artwork is ‘Way’. In this artwork he shows the ‘Kiblat’ as information and guide for the Muslim to perform their daily prayers. The sculpture has brought a mark to the venue where the sundial has its own task direct to Muslims in the right direction.

3. Jailani Abu Hassan
Jailani Abu Hassan interprets the guidelines in the National Cultural Congress from a different perspective. As a painter Julian’s work is based on the expirnces as a child frowning up in Malaysia. In an interview he says:

“Our childhood and heritage they all are part of our subconscious mind, obviously, sometime has triggered this element to resurface-perhaps to re-establish my culture roots and identity”[11].

In his work title “Congkak Lubang 6’ (1997) he uses the element of traditional plaything once widely popular among the Malays.

Jailani 4: ‘Congkak Lubang 7’ 1997

Jailani experiments with various types of media and this has brought him prestigious acknowledgement through his painting entitled ‘Catan Orang Kampung.’ These paintings have worn a Major Award in 1998 Malaysian Contemporary Art Competition. It is important, he explains, that in searching for new dimensions an artist should understand the medium and it’s potential. The work that related to his discover about his environment, himself and his belief in god[12]. Iqbal Abdul Rahim (2001) says: “Much has been written about Jai’s travels and study overseas, but the truth is, Jai never left Malaysia.”[13] Here we can see how his artworks have brought us inside Malaysian without conscience; it brings us back to the National Culture.

Jailani 5: “Congkak Lubang 6” 1997

Jailani 6:”Petai on Stack & Red’ 1997

The National Culture Congress has also changed the way of presenting art in Malaysian image and for the Muslim artist the fact that Islam is the important basic elements in creating the National Culture, it has brought up the establishment of the Islamic ideas and element in the artwork.

By the late 1970s, the search for Malay roots becomes enmeshed with Islamic ideas liked to an international fundamental revival. The Muslim artist will try to present their art based on the Islamic need as mention by Hani Ahmad (1995):
“Since Islam is centre on Unity, Islamic art cannot base upon Tawhid (the divine unity), a concept implying the oneness of God. His realities, name and attributes, God is the supreme artist and thought man He finish His creation in art. There should not be any separation between art and religion and to be artist, art is the expression of his or her soul. Art is like a door or window through which our can enter a still wider area. It is the expression of beauty, which comes naturally with ease and relaxation. The abstraction (in the form of awang larat)manifests the concept of unity in multiplicity and acts as the unifying factor between to matter and the spiritual world, The form and content emphasizes the divine culture the project ethic and traditional identity”[14]
This matter also has invited Sharifah Zuriah Al Jeffri to give her understanding on the issue, for her:
“In contrast, there are Muslim artist almost work are influenced by the Malay-Islamic tradition. This change began in the eighties when artist perused the Islamic concept of art. Figurative forms are summed and preferences are the plain calligraphy, native and abstract”[15].
Among artist who pioneered in the Islamic arts, is Syed Ahmad Jamal, Khalid Ahmad, Gaffar Ibrahim, Sharifah Fatimah Zubir and Sulaiman Esa followed by some others important names such as Omar Rahmat, Zakaria Awang, Ponerin Amin, Awang Damit , Mat Anuar, Hashim Hassan, Raja Zahabuddin, Mastura Rahman, Habibah Zikri, Rozaika Omar Bassree, Siti Zainon, Shukor Hashim, D’Zul Haimi, Khatijah Sanusi, Wan Ahmad, Fatima Chik, Tengku Sabri, Ramlan Abdullah, Ali Rahman, Wan Zahari , Arrifin Ismail and others.[16]
This is same of the Islamic artwork created by Malaysian artist in conjunction of the National Culture Congress

Khalid Ahmad 7: ‘Alif, Ba, Ta” 1971



Sulaiman Esa 8: “Nurani” 1984

The search for cultural identity and a sense of cultural commodity within a multiracial, multicultural context need not be restricted to one vision of reality alone. Among the artist regarded as being involved in neo-regionalist concerns are Tan Choon Ghee, Ismail Hashim, Viktor Chin , Nirmala Shanmughaligam, Haron Muchtarm, Wong Hong Cheong, Redza Piyadassa, Eric Peris and Bayu Utomo Radjikin[17]. The Artist mentioned has been established with their artwork based on the ethnic culture, Not all the Malaysian artist active in creating art has practiced the Islamic method in his or her artwork. The experiments to identify formulation have offered an insight into the artist perception of modern painting, in their Pre-occupation with the medium and technique, it could be understood that for them, modern painting was about stylistic innovations detached from considering of meaning of subject matter.

4. Tajuddin Ismail
While some regard their presence a significant force in the contemporary Malaysian art scene, otters insist that their creative contribution remain questionable. For instance, Tajudin Ismail, one of the panels in this forum, for him the National Cultural Congress doesn’t bring any impact to his creativity. In his opinion the congress should be just created as a guideline for the artist to create their arts. For him an artist shouldn’t use it as limitations to produce their creative work. In this presentation the congress has created a single viewpoint of creating art, in fact the congress is suppose to be a landmark and a way of style for developing the Malaysian art. As for him, the interest to emphasize the certain revolution of art has brought him to be more interested in experiment the idea and looking for style[18]. When he creating an apart work the inspiration for him will come through life, experience, nature, travelling and the people he meet, because all of this is important for his source in capturing an idea.[19]
Just have a glimpse of a few of his artwork:

Tajuddin 9: ’Terrance & Terrain No. 2’ 2000

Tajuddin 10: ‘Monson – Tanjung Biru’ 2001

The issue I try to bring up in this forum is haw the Malaysian artist has the impact on the National Cultural Congress of 1971; they either embarrass or rejected it. The change they have made presenting their art, from the western way to the Malaysian style. In presenting the Malaysian style in visual art, artist has been introduced to the Malay culture base with the Islamic content. Muslim artist try to revitalize the spiritual and religions foundation in their artwork. Even though the Islamic image are from the adaptation from the Middle Eastern countries still the traditional Malay art and craft did have embody the spirit of Islamic art. Just have a look at the philosophy of the Malays wood coving: the sprite of Islamic has been blended into it, function as the understanding of the Malay ontological interrelationship between God-Man-Universe:

Tumbuh berpunca
Punca penuh rahsia
Tumbuh tidak menunjak lawan
Memanjat tidak memaut kawan
Tepi berlengkar penuh mesra[20]

The root of Malay culture has been used to (re) present the national identity into art and the National Cultural Congress also have created a frameworks refer to the basic culture of the multiracial content in this region, Not all the Malaysian artists have used the Islamic content in their creative work; the guidelines to producing art based on the congress have been adopted in ethnic group arts. Where the artist have reacted their artwork based on the culture continuity within a multiracial, multicultural context, The impact of ht National Culture in creating Malaysian artist artwork have been successfully (re) presented. But there is still a difference between those who choose to droll on move universal themes (at birth in a Malaysian setting) and those who attempt to force on issue who are manifesting particular to Malay sentence, At the end it is all up to the artist, if they think that the National Cultural Congress is the right guideline for them to be creative then it is, and if they didn’t the creatively work still been accepted by the Malaysian.

[1] David Kanansky (1988), Contemporary Painting of Malaysia, Balai Seni Lukis Negaram Kuala Lumpur, Malaysia. Pg 1
[2] Redza Pyadasa (1992), today’s Malaysian Seen Through Art, Contemporary Malysian Art, The Japan Faundation ASEAN Culture Gallery. Pg. 11
[3] Zainol Abidin Ahmad Shariff (1996), Malaysian Art, Contemporary Paint and Traditional Adornment, Malysian Tourism Promoting Bhd. Pg. 7
[4] Redza Pyadasa (1992), today’s Malaysian Seen Through Art, Contemporary Malysian Art, The Japan Faundation ASEAN Culture Gallery. Pg. 12
[5] Ibit, Pg. 11
[6] Kementerian Kebudayaan, Belia dan Sukan Malaysia, Dasar Matlamat dan Strategi Pembinaan Kebudayaan Kebangsaan, Kuala Lumpur.
[7] Redza Pyadasa (1992), today’s Malaysian Seen Through Art, Contemporary Malysian Art, The Japan Faundation ASEAN Culture Gallery. Pg. 12
[8] Bakar Zain (1998), Mencari Imej Malaysia, Dialog Sastra, Seni Rupa dan Seni Bina, Yayasan Seni, Perak.
[9] Kok Chren (2000), 10/2000, 10 artins for year 2000, Art Salon Bangsar Baru Kuala Lumpur.
[10] David Kanansky (1988), Contemporary Painting of Malaysia, Balai Seni Lukis Negaram Kuala Lumpur, Malaysia. Pg 13
[11] Rush Hashim (1999), Jai – Drawing with the minds eyes, Kuala Lumpur
[12] Ibit, Pg. 21
[13] Iqball Abdul Rahim (2001), JAI, Gallerie Taksu, Kuala Lumpur.
[14] Hani Ahmad (1995), Art and Sprituality, Balai Seni Lukis Negara Kuala Lumpur.
[15] Sharifah Zuriah Al Jaffri (1995), Contempolary Malaysian Art, Balai Seni Lukis Negara, Kuala Lumpur. Pg. 7
[16] Sulaiman Esa (1992), Identiti Islam dalam Seni Rupa Malaysia, Pencapaian dan Cabaran, Balai seni Lukis Negara Kuala Lumpur. Pg 20
[17] Redza Pyadasa (1992), today’s Malaysian Seen Through Art, Contemporary Malysian Art, The Japan Faundation ASEAN Culture Gallery. Pg. 12
[18] Tajuddin Ismail (2003), Forum Malaysia Contemporary Art Class Master 2003, Universiti Teknologi Mara, Shah Alam.
[19] Ibit
[20] Sulaiman Esa (1992), Identiti Islam dalam Seni Rupa Malaysia, Pencapaian dan Cabaran, Balai seni Lukis Negara Kuala Lumpur. Pg 20

Video Art - The New Media in Malaysian Art Scene

The development of Malaysian contemporary art has brought out a variety of styles and methods in the way of presentation an artwork. The style and media used by artist's ranges from traditional watercolor painting to digital technology. These changes are alrady pridected by Paul Valery in his writing 'The Conquest of Ubiquity' about 60 years ago: 'Our fine arts were developed; their types and uses were established, in times very different from the present, by man whose power of action upon things was insignificant in comparison with ours. In all arts there is a physical component which can no loner be considered or treated as it used to be, which cannot remain unaffected by our modern knowledge and power. We must expect great innovations to transform the entire technique of the arts, thereby affecting artistic invention itself and perhaps even bringing about an amazing change in our very nation of art."1 Over the years, the prediction has begun to show its merit with the establishment of New Media Technique, opening up a new direction in the Malaysian art scene. There are several new media technique currently being explored in producing an artwok, namely video art, video installation art and digital art.

The discussion centered on artists who use video and video installation as the medium in presenting their artwork. Video as the medium in art began in the United States of America in 1965 when a Korean-American, Num June Paik pioneered the use of commercial video camera as the medium to present his work. With a video camera, a Sony Porta Pack equipment, he led the movement in the use of video in art. Since then, artists began to make use of the technology in various ways. In Malaysia video art technique started rather late, that is towards the end of the 80s and the beginning of the 90s. Among the proponents of this medium are Hasnol Jamal Saidon, Wong Hoy Cheong, Baharum Aris, Lim Eng Hoi, Noor Azizan Paiman, Faizal Zulkifli and others to name but a few.

The development in the technology has created changes and at the same time gave birth to an interesting array of perspectives for the artists to present their work. To strive for beauty, an artist needs to understand human desire for things beautiful. Hashim Musa (1996) has this to say about the concept:
'Art, for human is the occasion for expression, talking, verbalization and speech, and for the representation of beauty, truth and perfection. However, the real height of beauty truth and perfection is Allah and all His creation." 2
To express the need in art, an artist should know how to communicate with the viewer, spectator or observer using his art as the medium. The need to communicate is a big task for the artist to present his/her creativity beyond the conventional media available to him/her. This has been emphasized by Hasnol Jamal Saedon (1989) on how the interaction between the artist and his/her audience can be achieved through video art technique.

"Painting or other creative means of expression must be able to communicate, it demands serious commitment from the artist involved, especially matters concerning the idea, we adapt an open approach to deal with our means of expression. As a result, our idea will not exist in a form of painting but could also be developed and expanded through other forms of art." 3

Zanita Anuar (2000) mentions that electronic media is not just another new technology but it also holds the role for reshaping our ways of thinking.

"Electronic media is one of the forms of media which is constantly generating charge through multi form mutations of information...multi-media is defiantly more than just a new technology it must be acknowledged further for its role in reshaping our ways of knowing, within our varied and particular societies." 4

It is a challenge for artists to produce art that involves direct communication using every conceivable element in transmitting an idea. Video art and video installation art can give the artists the opportunity to present their work using various techniques in the communication process.For Fauzan Omar (2000), his agreement with the usage of video technique is rather profund:

"Kebiasaan menggunakan teknologi industri dari lingkaran elektronik hingga ke sistem komputer dapat dilihat dalam penghasilan seni sezaman. Mereka telah menggunakan peralatan teknikal yang canggih (komputer, televisyen, perakam keset video, digital juga dengan filem) dan fotografi sebagai komersil proses dan kajian sebagaimana artis turut menggunakan peralatan terkini untuk mencapai persembahan yang lebih jelas." 5

We can deduce from Fauzan that artists who use video art technique try to present a clearer vision and information to the their audience. Unlike conventional media, video art has a wider audience because it is not confined only to those who appreciate art but also accessible to non-formula art audience. As a statement written by Richard Julin & Henri Irrje (2003), translated by Prof. Madya Dr. Mulyadi Mahmood.

"Seni video hari ini tidak semestinya ditujukan secara khusus kepada orang yang hanya berminat dalam bidang seni. Sebaliknya ia ditunjukkan kepada khalayak massa yang tidak dilatih untuk mentafsir kod tertentu untuk memahami seni sezaman." 6

3 Extracts From the Discussion in Video Art and Installation.From the issue in New Media - Video art and video installation in Malaysian art scene, these are some of the artists who feature the use of video techniques in their works. From this forum two prominent figure in promoting video artwork have been chosen to elaborate there are Hasnol Jamal Saidon and Wong Hoy Cheong

Hasnol Jamal Saidon 1: 'Kedek...kadek...Ong...' 1994, is one of original artwork with colibration of video presentation.

The work by Hasnol includes the application of video art, which Zanita Annuar (2000) agrees:
"Teknologi digunakan untuk merangsang persekitaran keduanya tampak semulajadi dan yang nyata tiruan pula, mereka mencadangkan kemungkinan masa depan siber dan menganggap kerjasama teknologi mengubah cara kita berinteraksi sesama manusia dan mencadangkan kemungkinan ada yang berlaku di dalam persekitaran yang kian berubah." 7
In her statement she mentions the usage of the technology in video art can be applied to the development of the surroundings either for art or nature as well as a copy image. The use of this technology is to combine it and make a change on how to interact with the change in the development as Hasnol has shown in his work.

In his 'Kedek...kadek...ong...' 1994, using a video computer animated frog. Hasnol projects a frog under a coconut shell, living in one place and thus totally unaware of the surroundings beyond the shell. The frog is not open to new ideas and its mind is adverse to change. Hasnol's work, initiated by the Malay proverb, espouses that one should not alienate oneself against the outside world because this will hinder oneself from acquiring greater knowledge. Hasnol presents his work in a loop animation of a frog leaping repeatedly in a TV monitor to suggest the danger of a closed mind. The second half of the artwork depicts the frog crawling under one of the coconut half shell adorned with gaudy-looking batik design. Red tapes haphazardly lashed around the works and over the monitor, hitting at bureaucratic sloth and to negate any perception of prettification.The potential of the video art is not only for imitation of something that can be done in reality but also can be used as an element to promote cultures and past events as explained by Stuart Koop (2002).

"...videos embody this potential, as they set in train elements drown from various cultures, side-by-side, overlapping in fast a furious throbbing montage." 8

Cheong has stretched the concept in his work depicting war and its effects on the victims. In his work we can see how the element of story-telling been joint in and the side-by-side, overlapping infests and furious throbbing montage been appalled.

Video art has been developed to carry the international image. With this the audience can consume the beauty of the art through the eye and at the same time it can provoke the intellectual an emotional imparity it can be seen in the "Sook Ching" 1990 by Wong Hoy Cheong. Cheong uses video art to present his work. In this video art he presents the history of the World War II and its victims. The gruesome details of the victims were obtained through interview that related their personal accounts during the war. This attempt has successfully unearthed real-life war stories during the Japanese occupation, which has become of the national history.
In his presentation he has arranged the interview with the victims in order to present his work chronologically for the realistic effect on the audience.

Wong Hoy Cheong 2: Historical Method use by artist to produce his artwork with a real-life war stories.

Video art began as the search for a new material and process to present Western art. The artist who presented video art as the medium tried to encourage the audience to interact with the subject matter so as to make the experience more personal. These types of art that bring out the sentiment of documentation art that represents an individual voice or the public voice that has been segregated and separated from the majority. The development of video art and video installation in Malaysia is rather slow. Although it is now a popular topic among artists, probably due to the recognition of the media through Young Contemporary Art Major award. Despite that, the art is still not widely practiced by the artists. It could be due to the high cost or lack of encouragement from the authorities or institutions. For now the artists at University Sarawak, Mara University of Technology and Malaysia Institute of Art are doing most of the works in this media.

Bibliography
1. JD Jarvis (2003). Digital Art: The Quest for Presence. http://www.dunkingbirdproduction.com.
2. Hashim Musa (1996). Seni dan Kosmologi. Balai Seni Lukis Negara. Kuala Lumpur. p18

3. Hasnol Jamal Saidon (1989). Bicara Makna Empat Persepsi. Balai Seni Lukis Negara. Kuala Lumpur. p 4

4. Zanita Anuar and Wayne Tunnicliffe (2000). Flow/Arus. The Art Gallery of New South Wales. Sydney. p19

5. Fuzan Omar (2000). {E.Art Asean Online}.infounder by UNIMAS. Kuching.

6. Richard Julin & Henri Irrje (2003), translated by Prof. Madya Dr. Mulyadi Mahmood. Beyond Paradise. Penulis, Pelukis dan Moderna Museet. Kuala Lumpur.
7. Zanita Anuar and Wayne Tunnicliffe (2000). Flow/Arus. The Art Gallery of New South Wales. Sydney. p15

8. Stuart Koop (2002). The Asialink Center. The University of Melbourne. Victoria. Australia.