1993 APT1 Conference : Identity, tradition and change

P a r t IV An Expression Of An Islamic Identity : Achievements And Challenges Through their dedications and active partici­ pation in various solo and group exhibitions since the 70's, the presence of Islamically- oriented Malay artists have undeniably given a new dimension to the story of contemporary Malaysian art. Some critics considered their presence as a new emerging force which has radically affected the flow, direction and development of contemporary Malaysian a r t) Others are impressed by their dedications to synthesize traditional Malay forms with elements of contemporary visual expression. Their commitments in concretizing the ideals and aspirations of the National Congress are considered by some, as their real achieve­ ments. For example, in undercsoring the renewed sense of pride, the inner confidence and conviction shown by Malay artists toward their own Malay - Islamic traditional art forms and culture, Syed Ahamd Jamal, an eminent Malaysian painter-critic avers: Thedirection now is from within, inspired by a rich environment, trand cultures, rather than echoing trends from outside....This does not mean denying enrichment from outside. What it does mean is that creativity and artistic developments come from the centre itself and are not pale imitations of mainstream internationalism (6). Apart from the sense of certainty, the Malay artists recovery of the past equally reflects a conscious attempt to "Dewesternize" and "decolonize" their mind art "from the cultural supremacy of white man." It is a form of reaffirming and reasserting their own dignity, pride and identity. Convinced of the potentialities and vitalities of their own tradi­ tional and cultural heritage they are unwilling to allow their works be mere footnotes, carbon copies or pale imitations of main­ stream internationalism. In the context of the post-independence ethos their works signifies their response to the challenge of the National Cultural, Con­ gress in fulfilling its aspirations toward defin­ ing national cultural identity. Their works are more than just engagements with question of aesthetics; thev are actually social documents that have sensitively recorded the social- political spirit of the time. Commenting on the spiritual and religious nature of their work, a critic perceptively observes: "their works reflect a search for a deeper meaning in life - the search for inner peace - for higher plane of values," (7) to another critic this search signifies "an inward spiritual journey which leads man to a world of similitudes and Truth.” (S) Apart from the religious and spiritual motivations art historians and scholars are also impressed by these artists achievements particularly from the formal and aesthetical considerations. Writing on the Islamically - inspired art pieces by Syed Ahmand Jamal, an art historian observes: 29