1993 APT1 Conference : Identity, tradition and change

P a r t III The Post-Independent Period And The Recovery Of Islamic Identity To many Malay artists the Independence of Malaysia holds multiple significance. On the socio-political level, it signifies the liberation of their "body" while on the socio-cultural and socio-religious level, it denotes the libera­ tion of their "mind and spirit" from Western domination. However, as citizens of the post-colonial period in the developing country of Malaysia, the Malav artists are confronted with a number of complex problems. How to recon­ cile the elements of Islam with Nationalism and Modernity? How to differentiate modernity as an ideology and modernity as methodology? How to recoincile the forces of Tradition which define their selfhood, identity and dignity with the subversive and secular rerces of modernism? Living in the modernizing oiural society what is his true identity? Is he a Malav, Malaysian or Muslim? Is his identity national or religious? Is he Muslim first or citizen of his country? Hence, the succeeding decades of post-inde­ pendence period, proved to be a intense period of re-questioning, re-evalution of their beliefs, aspirations, and idealism. The need for self-definition and self-discovery - of address­ ing the questions of "who am I? and what are my roots?", to some, become verv. real and tangible. It is within this context of the intense period of soul-searching that the convening of the National Cultural Congress (1971) and later, the phenomena of the global Islamic Revivalism (80's) became the most crucial and meaningful to many Malav artists. In essence these two historically significant events, have provided a concrete framework of references, that contributed immensely in determining the direction, the philosophical basis, rationale and justification for their art. In retrospective, their positive response toward the realization of the aspirations of the Congress and particularly that of the Islamic resurgence, needs to be appreciated from the following perspectives: i) socio-cultural:- their efforts to reclaim their past reflect their creative response to the challenge of the Post - independence period. As Antal would explain it. an artist Goes not only concern with the problem of aesthetic;-, but is also activelv involved with the social and political reality of his time. He is essen­ tially a social documentor, reflector, and sometimes, the reinforcer of the aspirations and idealism of his society. It is by engaging an active dialogue with his social reality' that his work srains its contextual relevancv and meaning. iii the artistic-creative: Innate to many artists is the impulse to be creative, innovative, to creatively explore new ideas, theme, forms etc. Furthermore, the drive to discover new voice, to articulate new concepts and ideas is also the primary concern of many contempo­ rary artists. Hence, to many Malay artists the opportunity' to satisfy these basic needs, is provided by their recourse to the appropria­ tion of the traditional Malay-Islamic heritage. 26