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3) jjijW,~

The Temptation of Tradition

USHIROSHOJI Masahiro Curator, Fukuoka Art Museum

The First ASEAN Symposium on Aesthetics, Worksh op and Exhibiti on was held in October 1989 at the National Art Gallery in Kuala Lumpur. The overall theme was Tradition, the Source of Inspira tion. Based upon this theme , conversations we re ca rried out among twenty -nine artists from six ASEAN countries (seve nteen participated in the symposium and twelve in the wo rksho p and the exhibition) , and they also had the opportunity to create and exhibit their works together.

The present exhibition consists of thirty-one works chosen by the National Art Gallery from among the 103 wor ks that were displayed at that symposium.

Il Tradition, the Source of Inspiration. Most Japanese people, who

have little knowledge of ASEAN contemporary art, may find this theme a bit unexpected, or they may find it quite bland. But for ASEAN art, this is an extremely poignant theme. The purpose of this essay is to try to convey that poignancy.

III When I visited Malaysia 's art college in March 1979, I heard the

teachers admonishing their students always to include trad itional Malay motifs in their works. And I saw works that included old Malay architecture, traditional customs, or more abstract represen ­tations of tradition adapted into the styles of the various artists there. What provinc ial nationalism! I wanted to laugh but found that I could not, because I found a poignancy that did not allow me to laugh in their constant use of the phrase "nation al ident ity."

National identity . This is one of the elements that serves towa rd creation of the originality of Malaysian art, that makes it truly Malaysian . I suddently found myself face to face with the centra l problem of ASEAN contemporary a rt.

N While there are some differences in terms of general conditions

among the various countries, ASEAN modern art got only a very feeble sta rt prior to World War II, established its inde pendence after that war, and underwent a sudden spurt of development through the introduction of Western modernism . Imitati ve acceptance and reflection upon Western art styles finally led to the birth of original styles of expression in each of the ASEAN nations (national identity). While the re is the pre -war pioneering Indo­nesian Perusagi, this phenomenon basically appeared after the 1950s in direct relation to the nationalistic atmosphere that grew up around national independence.

The shift from imitation of Western art to a search for a unique means of expression is similar to the path taken by Japanese modern art in its groping about for "Japanese style oil painting ." But there is an far more complex facet to the sea rch for "national identity" in ASEAN. This complexity arises from the numerous races , languages , and cultures that exist in each of the ASEAN nations. In the ASEAN region , the uniqueness of each individu al race and cultu re has always been of greater importance than the framework of national originality or identity. National identity was something that had to be created anew . This was necessary not only in the field of art , but in the establishing of the new national body politic itself.

7

V Let's take Malaysia as an examp le. Malaysia is a composite

racial nation made up of Malay , Chinese, Indians , and several other races. On May 13, 1969, a large scale riot broke out as a result of deep antagonism among these various races. Subsequently, the government established policies that gave preference to Malay, and made the attempt to carve out a national identity based upon Malay culture. In the field of art, a conscious movement toward seeking after Malay forms was initiated. 11 Krishen Jit wrote, "At first (and in many cases up to the present), what they picked up from their frantic inquiries were dislocated traditional images , wrenched out of their original context. These they endeavoured to implant in modern and unfamiliar settings in order to instil a local and what they imagined to be a directly communicable identity to their creative works." 21 These words are a precise expression of the situation in Malaysia at the time of my visit. At that time, the people had succeeded in surmounting "the political and social trauma of May 13, 1969,"31 and they were in the process of estab­lishing a Malaysian identity and of discovering a way out of their dilemma in Malay cultura l traditions. This high -handed regression to tradition gave birth to countless superficial works of art. Only a small handful of loyal artists we re subsequently ab le to arrive at an "or iginal " form of expression.

VI I have taken Malaysia as an examp le here, but the artists of all

ASEAN nations continue to work with a strong consciousness of trad ition. The main reason for this is that they are relying on trad ition as an aid towa rd breaking through the overpowering influence of Western art and a rriving at a true originality. The second reason is that the unique traditions left over from the days before colonial rule are necessary in the establishment of a new national identity. The third reason is the increasingly strong nostalgia for traditional folkways that go to make up the cu ltural identity that is beginning to disappear in the midst of the vigorous waves of rapid modernization and urbanization that are encroach­ing upon the natioins of ASEAN today. In a way, th is trend toward tradition among ASEAN artists is a natural and at the same time an easy choice. This is due to the fact that while it is qu ite impossible to create works that are completely independent of the art works of the past , it is only when the creative process is set firmly on a den ial of estab lished values that truly creative works are born.

VIl Even as we enter the 1990s , "nationa l identity " continues to

keep ASEAN art ists un der its spell . Thus "t radition" holds an increasingly strong temptation for them as a source of inspiration . But th is tem ptation has become a yoke that is eq uall y as heavy as that of "Wes ternism ," standing as a double -edged sword that threate ns the identity of the individ ual artist himself.

Notes: 1) "The aut horities decided it necessary to realise elements which would

symbolically identify the national culture of the various peoples. The basis for this national culture would be Malay culture, with input from other cultures. This awa rene ss give rise to a conscious effort of realising visual forms which would be identified as expressing national ethos." Syed Ahmad Jamal 'The Present Condition of Contemporary Art in Malaysia,' Catalog of the 2nd Asian Art Show, Fuku oka, Fukuoka Art Museum, 1985, pp.118-20.

2) Krishen Jit "Symbols and Symbolic Visions in Modern Malaysian Art ,' Catalog of the 3rd As ian Art Show, Fukuoka , Fukuoka Art Museum , 1989, pp.225-28.

3) Ibid .

(Translated by Don KENNY)