The Development of Contemporary

Art in Malaysia since 1930

Jacqueline Sim

Faculty of Social Science and Humanities (CAS), Tar University College

Abstract

This paper discusses how the development of modern art identity in

Malaysia from 1930 to the presence modern art scene in Malaysia. While

understand the history of the modern art scene in Malaysia, this paper

also want to discuss relation of social and culture development of the

modern art scene in Malaysia.While writings by Malaysian art historians

such as Redza Piyadasa highlights that Malaysian modern art only in

terms of its linear development, this paper attempts to discuss the early

development of modern art in Malaysia as being influenced either directly or

indirectly by the political and social conditions of Malaysia, therefore shifting

ways of investigating Malaysia art in a wider context of Malaysia‟s cultural and

plural studies. Focusing on Malaysian fine arts in the 1950s and 1960s, this

paper suggests the ways that Malaysia‟s early form of plural society had

influenced the early modern art development among artists in groups such as the

Nanyang, Wednessdya Art Group(WAG) and Angkatan Pelukis Semenanjung

(APS).

Keywords: Malaysia art, Development of Malaysia art, Contemporary art in Malaysia.

Introduction

The contemporary art in Malaysia begins around 1930s, there are three main factors

that influence the early development of modern Malaysian art. These three factors are,

namely English Colonization, the immigration of foreigners and education. The

emergence of modern Malaysian art is dependent to the national modernization

process. This includes visual arts, cartoon art, literature and other form of art that

involve in the culture development of Malaysia.

The birth of modern Malaysian art

History shows that colonialism, migrations and the Western education system played an

important role in the birth of modern Malaysian art. The modern works of art were

different from the conventional artistic expression of traditional art developed and were

explore by the artists in groups or individually. Hence, in this process of learning of the

development of modern Malaysia art must credit the style of each group of their

individual artist, and their social and chronological context.( Sarena, 2010)

Research shows that since the 18thcentury, Malaysia, then Malaya, had already been

depicted by European travellers and colonials and Chinese traders. A few writings have

suggested that modern art in Malaysia started circa 1920 with „pioneers‟ such

as Yong Mun Sen, Abdullah Ariff, Lee Kah Yeow, Khaw Sia, Tai Hooi Keat, and Kuo Ju

Ping, to name a few.

Plural Society

The political entity today known as Malaysia,was in historical times, a constituentunit in

the wider Malay world, or Nusantara, consisting of the region of

Malaysia,Indonesia and Philippines. The geographical entity known as West

Malaysia wasreferred to as the Malay Peninsula, or Tanah Melayu, meaning the land

that belongedto the people of Malay stock. Even though the Chinese and Indians had been

visitingthe region before 1400.

it was only after the establishment of the British control in the region, and the

exploitation of the rich natural resources of Malaya of rubber, tin and palm oil, which

immigrants from China and India began to settle in large numbers.

One of the important changes that resulted from British colonial rule was that the

demand for labour to serve the colonial economy resulted in an influx of

Chinese and Indian immigrants from the middle of the nineteenth century until

the1930s. With the opening of tin mines and rubber estates in the nineteenth century,

the British policy in Malaya served to maintain the cultural and economic

gaps between these immigrant communities from the Malays. This influx of immigrants

radically transformed the mono-ethnic indigenous society into a plural society

comprised of indigenous people, who were mainly Malay, and the immigrants, who were

Chinese and Indian. Chinese immigration increased rapidly in the second quarter of the

19th century. The rapid growth of Penang and Singapore as trade centres, followed by

the expansion of tin mining in the Malay states in Perak and Selangor,and

the opening of large gambier and pepper plantation in Johore,created a

demand forlabour and opportunities for employment and trade.

The British, however, followed a conscious policy of encouraging Indian

labour to offset the Chinese by establishing an Indian Immigration fund under

the Kangani system (the indenture system). As the development of modern plantations

in Malaya gained momentum, the influx of Indian labour increased. In the

1870s,f o r e x a m p l e , t h e I n d i a n p o p u l a t i o n w o r k i n g i n t h e s u g a r

e s t a t e s i n P r o v i n c e Wellesley, now Seberang Prai, was 30,000. Thereafter it

grew to about 120,000 in1901 and 625,000 in 1931.England‟s policy in Malaya

has always served to maintain the cultural and economic gaps between the three

major ethnic groups in Malaya. Kiran Kapur Datar in discussing the formation of plural society

in Malaya, discusses, how these colonial policies and distinct occupational structures

strengthened ethnic identities. He argues that the people who lived in Malaya

at that time were not only racially different, but they also spoke different languages

and practiced different religions. Initially, Chinese and Indian immigrant communities

came only to work, but as time passed many of them stayed longer, leading to a

situation in which the immigrant, non-Malays became as numerous as the

Malays. Due to this historical and political inheritance from the British

colonial policy, the people who lived in Malaya at the time of independence

lacked a common cultural establishment and identity and according to the

Western political theory from the 1930s and 1940s, British Malaya was regarded as

the example of the newly coined concept of „plural society.‟

The British administrator and political writer, J.S. Furnivall had coined the

term „plural society‟ to refer to a society in which many races or ethnic

groups live side by side in separate geographical and socio cultural enclaves, meeting

only in the marketplace. According to him, “each group holds by its own religion,

its own culture and language, its own ideas and ways. As individuals they

meet, but only in the market place, in buying and selling. There is a plural

society, with different sections of the community l iving side by side, but

separately within the same political unit. Even in the economic sphere there

is adivision of labour along racial lines.”

Plural society in Malaysia features the presence of different ethnic

groups brought together only for commercial ends and there is no real social mixing

andcross-cultural contact, only economic specialization and ethnic division

based on labour obtainment. The society lacks shared values and a „common will‟ and

is held together by dint of colonial power.

These are the conditions in the society which was left by the British in Malaya in 1957

and had indirectly influence the inclination of art groups that had been established

in the 1950s.Even one of the conditions to be met before the British would

relinquish itscolonial rule was that there should be cooperation and unity

among the variousraces and this inter-ethnic compromise was manifested by

the formation of threepo l i t i cal par t i es i n Ma lays ia – Uni ted Ma lays

Nat i ona l Organ i za t i on (UMNO) representing the Malays, Malayan Chinese

Associations (MCA) representing the Chinese, and Malayan Indian Congress

(MIC) representing the Indians. These three parties formed the Alliance party, now

known as the Barisan Nasional or National Front party, and have consecutively

won the country‟s elections until today. The Alliances presented a unique consensus

between the leaders of the Malays, Chinese, and Indians through a compromise known

as the „historic bargain‟in the Merdeka (Independence) Constitution of 1957.

Education, local Art groups in Malaysia Art

Associations and groups have spurred the development of art not only in

Europe, but also in Malaysia. The development of modern Malaysian art can

be traced through the history of its art associations and groups by focusing

on the artists, their works, objectives and principles, style, iconography and

activities. According to Redza Piyadasa, Malaysian involvement in easel

paintingin the 1930s was statered by a group of watercolour artist in Penang.

Their depictions of local landscapes indirectly formed the starting point for

the tradition of modern art in this country (Redza Piyadasa,1981:6).

With reference to Penang, early art activities probably began with the founding of

Penang in 1786 by Sir Francis Light under the East India Company, Penang was then

known as Prince of Wales island. British artists residing in Penang were fond of painting

the maritime views and Penang landscapes. However, it was likely that local Penang

artists were also catering to the patrons of the European Trading Company. The

modern art tradition may be traced back to around 1920 when the Penang

Impressionists was formed.

The artist group comprised of expatriate Europeans ((mostly English housewives) and

two local talents, namely Mrs. Lim Cheng Kung and Abdullah Ariff. During this time,

Abdullah Ariff‟s “Coconut Plantation-Dawn” or Yong Mun Seng „s “ Rumah Attap di Tepi

Laut” ( Small hut by the sea, 1960), their skill at in watercolour , and the most popular

medium in that time. From the perspective of style, the maturity of their works can be

seen through the spontaneity of the brush strokes and the wet technique using fresh

colour. On the other hand Yong Mun Seng‟s work mainly focused on human activities,

and the tradition of Chinese Landscape which has strong influences in Chinese concept

of artwork presence with the union of with nature.

The arrival of Artists from China in the 1930s played a significant role in the

development of Modern Malaysia art. The year 1938, the formation of the

Nanyang Academy of fines. This group of artists has contributed highly to the

local painting style. This group has contributed greatly to the local painting

style by combining eastern and western characteristics.

Coastal landscape with fisherman, by Abdullah Ariff (1904- 1962)

Georgette Chen, 1960, “Mother and Child”, oil paint, 64 x 80 cm

Most of these artists originated from China and migrated to Malaya ( also known as

Malaysia , after independent from the British Colonial) due to the Communist Revolution

, with a background of both the eastern and western fusion style. Among the most

renowned artisits were Cheng Soo Pieng, Chen Wen His and Geogrette Chen.

Cheong Soo Pieng, 1959. “Tropical Life”, watercolor, 88.9x45.6 cm.

The Nanyang Artists Like the Nanyang artists, the subjects chosen by the members of this

groupwere derived from the archipelago environment, situations and activities, even among the

non-Malay artists. Scenes such as bathing, drying clothes, fishing scenes,

local landscapes, folk games, and local myths comprised the matter of several

interesting subjects and recurring themes. “Spirits of the Earth, Sky and

Water” (1959) by the late Patrick Ng Kah Onn has been described by Mohd

Ali Abdul Rahman as possessing the influence of both Balinese painting and

the fusion of symbolism and metaphysics adopted by the Neolithic people.

Patrick Ng Kah Onn, “Spirits of the Earth, Sky and Water” (1959),Oil on board, 137 x

122cmSource: Masterpieces from the National Art Gallery of Malaysia,

K u a l a L u mp u r : B S L N , 2 0 0 2 . C o l l ec t i o n : B S L N

The work is divided into three sections: the upper part represents the spirit of the air, the

middle part represents the spirit of the earth, and the lower part represents the spirit of

the water.

Wednesday Group

In 1954, the Wednesday Group was founded in Kuala Lumpur by Peter Harris, an

English painter, art educator and Art Education Inspector for the Education Ministry

( Ibid:10).This group that regarded art as a medium of self- expression produce major

artists such as Patrick Ng, Ismail Mustam, Syed Ahmad Jamal and Dzulkifli Buyong. A

wide range of theme and style has arose in this group. The themes of landscape,

childhood, and society .They mainly use and experiment in oil paint with thick

overlapping strokes of colour reminiscent of the impasto technique used by Ceszanne,

the most important French Painter of the early 20th century. Most of the Wednesday art

group‟s artists contain images of elongated and rather stylized human figures as in the

work of Peter Harris.

Kapitan Kling Mosque, Penang size, 23 x 28 cm, by Peter Harris

Only after the 1950s however, did the development of modern art in Malaysia gained

momentum. Especially among three major groups such as the Nanyang,

Wednesday Art Group (WAG) and Angkatan Pelukis Semenanjung (APS).

Angkatan Pelukis Semenanjung (APS).

This group of artists that upholds the principle that art is a medium of

cultural expression is the Angkatan Pelukis Semanunjung(APS). This group

was founded in Kuala Lumpur in 1956 under the presidency of Hoessein

Enas, while the late Tan Sri Yaacob Latif was the first patron (ASP

Catalogue,1990:36). The members of this group focused on portraits that

Abdullaj Latif Mohidin, 1964 “ Kesepian” (loneliness ), oil paint, 61 x 90 cm

were adapted to reflect the national identity, for instance through clothing,

customs and occupations. Although landscapes were featured, they did not

occupy a major place, and were not as important as portraits. For example in

Mazli Mat Som‟s “ Menanti Nelayan”( Waiting for the Fishermen,1961), the

landscape serves as the background for the potrait of young malay girl

wearing a kebaya. The artist of APS , which is stil l active today, espouse the

principole of the Rukun Negara and the National Cultural policies in their

work.

Mazli Mat Som,1961.” Menanti Nelayan”( Waiting for the Fishermen)oil

paint, 76 x92 cm.

Group Anak Alam and Persatuan Pelukis Malaysia

In 1974, the group Anak Alam was of founded and formed. This group which focuses on

the role of the individual artist in the development and expansion of the scope of art.

Some of the members also involved in theatre and poety. This group consist of the

founder Abdul Latiff Mohidin, Zulkifli Dahalan, Ali Rahamad and Abdul Ghafar

Ibrahim(Syed Ahmad Jamal, 1987:20). The style which this group follows is experiment

and in free form. There are no specific theme and principle in art work. Finally, the

Persatuan Pelukis Malaysia (PPM) was officially launched on 25 April 1980 at the

National Art Gallery, with Syed Ahmad Jamal as its first president. This association is

functions are to develop art in line with the country‟s cultural aspirations, to mind and

elevate the moral, social and material situation of artists, to cooperate with the

government for the advancement of art as well as to encourage and promote art in the

country and abroad (PPM Constitution:3).This association, has contributed to the

development of art through a variety of activities such as exhibitions, seminars ,talks

and visits.

Conclusion

The role of art groups and associations in the development of art in this country cannot

be denied. The emergence of a new group does not mark the demise of older ones,

instead denotes a new advancement of the art scene. Many artists has benefited as

working a group helps stimulates similar objective and vision. Hence, this way artists

are motivated and these supports had indirectly create a competence level in create

works that have substance and significance. All these groups and association had

definitely contributed many aspects to the local art scenes. They have successful

planted various style, topic, themes in the local modern art.

The Malaysian Artist‟s Styles from 1930 to presence has been in vast form of themes

and specify context. They are mainly influence by the national and local political scene,

cultural, education, economy and Islamic influence. Hence, the current Malaysia

Modern art scene, still has a plenty of space to grow and improve in the future. As there

are still many young artists, in this country are still highly motivated and inspired by the

artworks created by this pioneer groups of “Great Artists” or “Guru” of this era.

ART INCORPORATED INTO THE NATIONAL CULTURE

Choong Kam Kow, Form and Structure, 1998

Art with National Identity context

Syed Ahmad Jamal, Gunung Ledang

Art that shows Islam elements

Mastura Abdul Rahman, 1990. “Tanpa Tajuk: Siri

Dalaman”,arkrilik, 88 x 88 cm

Art that shows Islam elements & Values

Sulaiman Esa, “Garden of Certainty II”, 1995.

Art reflects on Political and Propaganda message

May,13,1969.by, Redza

Piyadasa

Friends in Need” (1986) oleh Nirmala Shanmughalingam (Koleksi

Balai Seni Lukis Negara).

Art reflects on Global Issue

Ibrahim Hussein, 1969, “My Father and the Astronout”.

Art reflects on Economy value

The Durian Seller, Datuk Chuah Thean Teng

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pluralist era (1930s -1990 ), Utusan Publications & Distributors Sdn Bhd.

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ed. PA: Soundres Elsevier, 2007.

3. Krug, M.An Artist’s Handbook: Materials and techniques. London: Laurence

King,

4. Sarena, A, 2010, Absenteeism of Malaysian Identity in art in the early years of

Independence .