Art In Malaysia Research Articles

National Policies and Their Reverberations on the Art Making and Art Scenes in Malaysia under Mahathir Mohamed’s Premiership

This article examines the direct and indirect reverberations of the 1971 National Culture Policy, followed by the indirect impact of the Islamic resurgence and the 1985 Dasar Penerapan Nilai-Nilai Islam dalam Pentadbiran (Inculcation of Islamic Values in Administration Policy) on Malaysian art and art scene. The National Culture Policy (NCP), reiterated the ethnic preference policy of the National Economic Policy which resulted in an espoused policy that centres on Malay culture and Islam. Although there were incongruences and inconsistencies in the impact of the policy towards the art field in general, this policy has resulted in the rethinking of the presentation of art in Malaysia. This article first discusses the context of the NCP and traced how many exhibitions and discourses along the line of Islamic/Malay culture are frequently organised. This article also discusses the tendency of the artworks that were selected to be included in these exhibitions based on the selection of works that alludes to Islamic art, the Malay culture and works that have both elements of Islam and Malayness.

The Appreciation of Tattoo Art among Malaysian

Tattoo art, once considered a taboo in many parts of Malaysia, is increasingly being recognized as a form of personal expression and artistic appreciation. This paper explores the evolving perceptions of tattoos within Malaysian society, emphasizing the factors contributing to their growing acceptance. Historically, tattoos were often linked to indigenous rituals, gang affiliations, or negative stereotypes. However, globalization, exposure to different cultures, and the rise of social media have shifted these perceptions, fostering a more nuanced appreciation of tattoo artistry. Through interviews, surveys, and analysis of tattoo-related media content, this study investigates the diverse motivations behind Malaysians’ decisions to get tattoos, including self-expression, cultural identity, and aesthetic appeal. The findings suggest that while conservative views persist, particularly among older generations and certain religious communities, a significant portion of younger Malaysians view tattoos as a legitimate art form. This demographic shift is influenced by the increasing visibility of tattoo artists, both local and international, who highlight the skill and creativity involved in tattooing. Furthermore, the study discusses the role of tattoo conventions and exhibitions in fostering a community of appreciation and learning. These events provide platforms for Malaysians to explore tattoo designs that resonate with their personal and cultural narratives, challenging traditional stigmas associated with body art. The paper concludes by suggesting that as societal norms continue to evolve, the appreciation of tattoo art in Malaysia will likely expand, reflecting broader global trends toward the normalization of body art as a personal and artistic choice.

A Conceptual Framework in Curatorial Practices in New Media Art in the Malaysian Art Scene

In Malaysia, technological devices such as computers were introduced as one of the art mediums to be used in the 1980s. New media art in Malaysia is often equated with electronic art, digital art, video, and media art. Thus, the objective of this paper is to identify the curatorial practices in new media art practice by the curators in the Malaysian art scene. This paper aims to construct a conceptual framework of curatorial practices in the new media art. This conceptual framework aims to highlight the main attributes and factors in curating new media art in Malaysia’s art scene. The method used in this research is the Kawakita Jiro which extracts the keywords related to the curatorial practices through the literature reviews. The result shows that the curatorial practices in new media art disciplinary, application, concept, perception, production, integration, and awareness are the curatorial practices in new media in the Malaysian art scene, and the conceptual framework shows that the interrelation between each attribute of curatorial practices has contributed to facilitating the production of new media art.

The Role of Computer Technology as Expanded Media on Visual Art, in Malaysia: A Literature Review

Malaysian visual arts have experienced significant growth and transformation in recent years. This reflects the current development of artists experimenting with new forms and media to convey their ideas and attract the audience's interest. This article explores the role of computer technology as an expanded form of media in the context of Malaysian visual arts. This article looks at how Malaysian artists incorporate computer technology in producing their work by using technology and not expanding the boundaries of traditional media use. This article will explain how artists use computer technology as an expanded media in changing and providing a different perspective in the context of visual art in Malaysia rather than directly giving the identity of the expanded media in Malaysia. This paper aims to provide a deeper understanding of the role of computer technology in the context of Malaysian visual art and shape the future of visual arts in Malaysia.

Socially Responsive Performance Art: The History and Context of Selected Performance Art in Malaysia

Since the 1990s, Malaysian artists have been using performance art as an artistic medium. Nevertheless, the history and context of performance art in Malaysia have not been examined in the context of Malaysian art history in particular. Coming from the fine arts background, artists such as Intan Rafiza, Sharon Chin, Aisyah Baharuddin, Rahmat Haron, Azizan Rahman Paiman, Mislina Mustaffa, and Fared Ayam, are among Malaysian artists who have been producing performance art as their main artistic medium. These performances, as will be discussed in this article, are what we define as “socially responsive medium” as these performances are not only ways for artists to express themselves but most importantly, the performances were inspired and executed as a form of artistic assertion or response in regard to various issues happening that triggered or inspired these artists to react via the execution of these performances. To give a better historical context and background, this article will first elucidate and delineate the historical development of performance art within the larger visual arts practice in Malaysia before focussing on the examination of selected performances by the few artists that this article argues as being “socially responsive.” This section will focus the term used and the nature of the performances itself.

The Human Soul as a Symbolic Message in Contemporary Arts in Malaysia: A Study of Daud Rahim’s Works

The objectives of this study are to describe the structure of the message and to interpret the meaning of the use of symbols which are the core of a message in the context of the soul through Daud Rahim’s series of paintings entitled “Jiwa” (2013). This study was carried out to approach, understand, and at the same time explain the human soul as a symbolic message in contemporary art in Malaysia concerning aspects of the structure, content, and function of messages from a number of works produced by Daud Rahim. An art study methodology that focuses on an in-depth and comprehensive explanatory system has been used based on an analysis model that has been developed from a relevant conceptual framework which is Human Spirit as a Symbolic Message in Fine Art. The results of the analysis show that the signs and symbols of Daud Rahim’s works want to express the symbolic message of a human phenomenon involving modern humans who are unable to control their passions, so they become egocentric figures who are obsessed and greedy with the material world so that it is difficult to activate feelings of love and affection. affection and slowly erodes the social relations around him. In conclusion, visual artwork is a nonverbal communication tool or media created by artists to convey messages to others regarding issues or problems of humanity, society, and culture, which are repackaged through the use of certain signs and symbols. Jiwa Manusia sebagai Pesan Simbolik dalam Seni Rupa Kontemporer di Malaysia: Kajian terhadap Karya-karya Daud Rahim. Penelitian ini bertujuan untuk mendeskripsikan struktur pesan dan memaknai penggunaan simbol-simbol yang menjadi inti pesan dalam konteks jiwa melalui lukisan seri Daud Rahim berjudul “Jiwa” (2013). Penelitian ini dilaksanakan untuk mendekati, memahami, dan sekaligus menjelaskan jiwa manusia sebagai pesan simbolik dalam seni rupa kontemporer di Malaysia menyangkut aspek-aspek struktur, isi, dan fungsi pesan dari sejumlah karya yang dihasilkan oleh Daud Rahim. Metodologi kajian seni memfokuskan pada sistem penjelasan yang bersifat mendalam dan menyeluruh telah digunakan berdasarkan pada model analisis yang telah dibangun dari konsep-konsep yang relevan yaitu kerangka konseptual spiritual manusia sebagai pesan simbolik dalam seni rupa. Hasil analisis menunjukkan bahwa tanda dan simbol dari karya-karya Daud Rahim mengungkapkan pesan simbolik dari sebuah fenomena kemanusiaan yang melibatkan manusia modern yang tidak mampu mengawal hawa nafsu sehingga menjadi sosok-sosok egosentris yang obsesif dan rakus dengan dunia material sehingga sulit mengaktifkan perasaan kasih dan sayang sehingga secara perlahan-lahan mengikis hubungan sosial di sekelilingnya. Kesimpulannya, karya seni visual ialah alat atau media komunikasi non-lisan yang diciptakan oleh seniman untuk menyampaikan pesan kepada orang lain mengenai isu atau masalah kemanusiaan, masyarakat, dan budaya yang dibentuk semula melalui penggunaan tanda dan simbol tertentu.

The Visual Representation of Malaysian Cultural Identity in 1950s Printmaking Artworks

Printmaking is one of the categories of visual arts that is still practiced and plays an important role in the development of visual arts in Malaysia. In the production of printmaking artworks, the representation of images or visuals is important in reflecting the artist’s background, which is often closely related to understanding history, heritage, or culture. This research aims to explore the visual representation of Malaysian culture, which was portrayed in Malaysian printmaking artworks in the 1950s. The method for identifying Malaysian culture is through an integrative literature review. A few 1950s printmaking artworks have been selected to be analyzed based on Malaysian cultural elements through a content analysis approach. The sample for this research is printmaking artworks that were produced in 1950. The outcomes of this research indicated that in showing Malaysian cultural identities, the existence of Malaysian cultural features in printmaking artworks from the 1950s had become crucial historical evidence. Without these visual depictions, future generations are unable to learn about Malaysian culture and the past. The research findings from this study will be used as a guide for future researchers, especially in understanding Malaysian culture from the perspective of the visual arts. In conclusion, it is suggested that future research on Malaysian printmaking include more samples from different eras so that the development of the visual depiction of Malaysian culture through printmaking may be characterized in more detail.

The Integrations of Islamic Patterns in Malaysian Contemporary Art

The National Cultural Congress which was held in 1971 has brought the idea of national identity into art and served as a guideline for Malaysian artists in their creative process. In this context, Islam becomes one of the main elements in representing our cultural identity. As a result, Islamic patterns serve as symbols and styles that were applied in most contemporary art in Malaysia to interpret the connections between man, the universe and their Creator. This phenomenon has witnessed the emergence of many important and interesting works created by major Muslim artists with various unique methods of applying Islamic patterns. Consequently, the objectives of the present study are to explore the style of Islamic patterns integrated in Malaysian contemporary artwork, to examine the strategies or methods used by the artists in producing their artwork and finally, to analyze the philosophy and the concept of Islamic patterns that are being projected in Malaysian contemporary artwork. Works by five significant artists namely Dato’ Syed Ahmad Jamal, Sulaiman Esa, Fathimah Chik, Mastura Abd Rahman, and Ahmad Khalid Yusof have been chosen for the present study which used Feldman’s approach to art criticism as its methodology. The present study indicates that all 15 artworks from the five selected Malaysian artists implement the style based on the elements of the Malay cultural heritage as well as the influence of the Islamic concept and teaching. Most of the patterns and motifs found in all the artworks studied are directed to Islamic philosophy such as arabesque patterns, Islamic calligraphy, floral motif, and geometrical pattern. The present study also shows that the main strategy used in all the 15 artworks is in accordance with the four principles introduced by Ismail al-Faruqi comprising repetition, stylization, denaturalization, and abstraction. It is hoped that the present study will create awareness among Malaysian artists and audiences of the importance and significance of Islamic patterns in contemporary art.

The Development of Visual Art in Malaysia: Focus on Traditional Element

Research writing on the elements of culture has been the focus of many scholars. However, writing that focused on cultural elements in the visual arts has received less attention. Intrinsic elements in artworks are very important for the public to understand what the artist wants to convey. Thus, in preserving the culture, this writing focuses on cultural elements in visual arts. Due to a number of issues, including the false perception of the concept of "Islam and Malay," despite the fact that it also has a universal connotation, the implementation of DKK 1971 is still perceived as having failed to bring together the various races and ethnicities in Malaysia. The objective of this writing is to identify cultural elements in visual arts through a review of past paper writing and the second objective is to determine research gaps to be proposed as new issues for the future research. The methodology of this writing is to use a qualitative method. The results of the review of past paper writing are used to identify the cultural elements in visual arts. This writing is focused on data collection through close reading, text content and making interpretations. The results of the findings show, most of the artworks have been focused on environmental themes, Malay design motifs such as batik, Malay textiles and the way of life by the Malay community. Only a few researches have focused on the use of oral literature in the visual arts. Therefore, the next study to focus is the use of oral literary elements in visual arts that should be highlighted in preserving Malay culture.

Spaces of Experimentation and Collaboration in Early 1990s Malaysian Art

Abstract: At the zenith of the Mahathir era, amidst the economic boom and rapid development of the early 1990s, Malaysian art exhibitions were charting a novel path in the arena of installation and performance art. This paper will closely examine three seminal installation art exhibitions, namely Sook Ching (1990), 2 Installations (1991), and Warbox Lalang Killing Tools (1994), where some of the artists involved chose to perform and/or collaborate with dancers and theatre makers, culminating in some of the earliest experiments with performance art in Malaysia. What sets them apart from other installation exhibitions of that period is their use of performance as a tool to confront, unsettle, and challenge audiences in institutional spaces, thereby opening up new possibilities for experimentation and risk-taking.

THE INTERPRETATION OF SIGNS ON PROJECTION ART OF VEIL OF AN ARTIST AND A FICTIONAL DIALOGUE

The form of communication of new media art serves as a vital link between the world of art and the society. The scenario for the advancements of new media art in our country is inadequate in respect of the intellectualism aspects of studies and the knowledge of projection art. As part of this study, projection art in Malaysia will be analysed to see how artists employ technology and visual art semiotics to convey their ideas to audiences effectively. This paper discusses the projection artworks produced by Hasnul Jamal Saidon titled Veil of an Artist and A Fictional Dialogue. The semiotics approaches which involve in constructing the content analysis semiology and in-depth interviews were utilised to analyse the projection artwork by Hasnul Jamal Saidon. Furthermore, this study aims to discover the value of message that embedded in the projection artworks of Hasnul as well as to interpret the signs and meanings included in each piece of art. According to the research, projection artwork of Hasnul demonstrates the new media and its always changing, intricate ways in which individuals express and interpret in different perspective of the value of the subject, and ideologies of nature, as well as social morality, and conventional standards. Study finding shows that artworks may effectively transmit the intended messages of the artist as well as themes and issues that they addressed regardless of the date or place in which they were produced.

PERANAN DAN SUMBANGAN NIK RAHIMAH NIK IDRIS DALAM BIDANG SULAMAN KELINGKAN

The ‘kelingkan’ embroidery is a traditional Malay art passed on from generation to generation. The art received the highest recognition from female nobility and aristocrats who wore it to important events in olden times. However, the art of embroidering ‘kelingkan’ faces extinction due to a decrease in demand from the community because of its high cost and shortage of skilled ‘kelingkan’ embroiderers. Moreover, there is a lack of reference materials and documentation of ‘kelingkan’; hence it is not widely known today. This paper, therefore, aimed to introduce a prominent ‘kelingkan’ practitioner from Kelantan named Nik Rahimah Nik Idris. The research delved into her role and contribution towards ‘kelingkan’ embroidery, specifically in Kelantan and Malaysia in general. Researchers conducted a literature review and then fieldwork to interview ‘kelingkan’ embroiderers. The results were then evaluated through content analysis. Findings showed that Nik Rahimah is indeed an important figure in the art of ‘kelingkan’ as she was a royal embroiderer, ‘kelingkan’ demonstrator, expert and promoter of the art in Malaysia and abroad. As such, she has made a significant contribution in upholding and preserving the art of ‘kelingkan’ embroidery. Keywords: role, embroiderer, kelingkan, Kelantan.

Respons Seniman Malaysia Dekad 1970-an terhadap Dasar Kebudayaan Kebangsaan: Satu Analisis Awal Pameran "Towards a Mystical Reality" (1974) dan "Rupa dan Jiwa" (1979)

Art exhibitions play an important role in developing and supporting art activities in Malaysia and are often used as platforms to showcase works of the visual arts to the public. The National Cultural Policy (NCP) (1971) had a profound impact on the development of the visual arts in Malaysia. This policy is the country’s official attempt to establish a Malaysian identity, especially in the arts. Indirectly, it also challenged the boundaries of the definition of art in terms of philosophy, sociology, and aesthetics, in the context of exhibition practices. This paper discusses two local art exhibitions— Towards a Mystical Reality (TMR) (1974) and Rupa dan Jiwa (1979). This paper discusses both exhibitions in the contexts of the NCP, particularly by focusing on the aspect of (Malay) nativism, and through the introduction of new ideas and concepts with an intellectual component.

Exploring the Impact of Street Arts Variables in Preserving the Malaysian Culture

Street art has been becoming one of the popular artwork in contemporary art scene. It has become a tool to help in sending out messages to everyone very easily on a constant basis, just like official advertising and other communication tools. Regardless of cultural or racial differences, street art, in such a creative communication method has the ability to link with people. In fact, some cities in Malaysia have gained popularity since the creation of street arts. With the rise of street arts in Malaysia, some renowned street artists are being commissioned to produce the artworks. Despite the fact that the installation of street art has been established for quite some time, yet it is only now that people are more aware of its importance in improving the city’s image, further to preserve our culture. There is still limited knowledge about the guideline to support the street art activities in preserving our culture. Therefore, this study aims to establish Factor Analysis in Exploring the Impact of Street Arts Variables in Preserving the Malaysian Culture. This paper addresses three variables which is independent variables, moderator and dependent variables. Factor analysis was conducted and eventually a whole new framework for the guideline in supporting the street art activities is proposed in developing tourism sector meanwhile preserving Malaysia culture.

Abdullah Ariff: A Cosmopolitan Artist Of The Early 20th Century Malaya

Abdullah Ariff (1904-1960) is one of the earliest Penang artist active in producing illustrations and art works during the early 20th century Malaya. He was a self-taught artist and subsequently an art teacher at the local Anglo-Chinese School, Penang. He was one of the earliest local members of the Penang Impressionist, an art groups consisting of mostly wives of English officers and expatriates. As one of the early Malayan painter who had exhibited in the United States, United Kingdom and France during the 1950s, Abdullah Ariff was accorded the title ‘Father of Modern Art in Malaysia’ by Zakaria Ali through an exhibition held at that National Arts Gallery under the same title. Working as both illustrator and artist, this paper will examine the cosmopolitanism of Abdullah Ariff through his background and works he produced. Keywords: Abdullah Ariff, cosmopolitanism, illustrations, watercolour painting, Malaysian art

The Ecological Model of Visual Artists in the Malaysian Contemporary Visual Arts Industry: A Framework Proposal

The increasingly challenging and competitive artwork production environment has prompted visual artists to have an arrangement of state-of-the-art art production practices. Currently, the system of production and marketing of works does not have a clear guideline in the industry that can help in the survival of professional visual artists in Malaysia. Therefore, this study is designed to get clear feedback from those who are already active in this industry related to the challenges faced and the marketability of the works of visual artists to continue to compete in the local and international art production stage. This paper aims to identify the non -technical practices required for the successful implementation and marketing of works of art in Malaysia. The results of this study will provide a detailed study of the practices of visual artists in the implementation and marketing that need to be considered by those who will venture into the arena of professional production. Through this paper, a framework has been developed through a comprehensive review from the point of view of literature as well as practical practice. Keywords: Non -technical practice, production of works, visual artists, visuals, art work.

ART AND CRAFT IN THE ERA OF CREATIVE INDUSTRY IN MALAYSIA

Malaysia is targeted to become a developed county in the year 2020. This paper aims to establish an ideology that craft is a high art creation that deals with intellectual, careful and meaningful output. In order to develop an inclusive framework about art and craft, this paper reviews the development of craft and art in Malaysia. The epistemological discussion on the definition of art and craft will offer a fresh spectacle on art and craft as elements that can ensure the success of the creative industry. The combination of art, craft and Malay aesthetics provides more clues on how the creative industry can go about. In addition, several initiatives from Malaysia are presented due to illustrate how Malaysia engineered the country towards 2050. Creative industries in Malaysia have a very high potential to be developed and should supported by the government as well as the private sector. This researcher believes that active and dynamic collaboration, new media exploration, cross discipline and innovation will be the crucial issues to be considered in the development of art and craft in the era of creative industry.

Public Perception Towards Graffiti Art in Malaysia

Public Perception Towards Graffiti Art in Malaysia

Contemporary Video Arts in Malaysia: A New Framework

Contemporary Video Arts in Malaysia: A New Framework

매경(Makyung)을 현시대와 관련있게:국립예술대학, 문화와 말레이시아 유산과 그 너머

This paper documents the efforts to propagate the traditional theatre form Makyung through the system of education at the National Academy of Arts, Culture and Heritage Malaysia. Beyond the educational institution, several individuals have becom e key players in the landscape of performing arts in Malaysia through organizations they have established or through the agency of the state. The arts workers have realized that merely preserving traditional theatre as a cultural artefact makes it merely an object of curiosity. These individuals have successfully brought Makyung to new public urban sites through innovations within the genre, keeping it relevant to contemporary society.