1993 APT1 Conference : Identity, tradition and change

Creative Approach Toward Tradition Another equally pertinent issue raised by the critics is how to adopt a creative and innovative approach toward one's past? How can tradition be reappropriated and creatively interpreted so that it becomes the revitalizing and catalvstic agent that stimulate the produc­ tion of dynamic, challenging and innovative works that are both relevent and meaningful to the time. Herein lies the secret and greatness of works by many Japanese artists and archi­ tects. The sculpture of Isamu Noguchi, the painting of Arakawa, and the architecture of Kanzo Tange, not only provide the examples of some of the most exciting, and innovative contemporary art of our time but are also deeply rooted in the Zen Buddhist tradition. The real task therefore is not let tradition be a trap, that would imprison our creativity, stifle our imagination, and suppres our drive for originality and innovativeness. For example, in making an oblique refer­ ence to this critical point, in reviewing the recent one-person exhibition bv Siti Zainon, the well-known painter-critic Pivadasa in­ quires: "How successful are these Islamic experimentations in esoteric religious symbol­ ism is the moot po in t ... the challenge lies between sentimentility and innovative visual constructosdetermined by more stringent contexts and paradigms (13). Social Relevance Finally, to another critic, the defects in the works of these artists are caused not so much by their philosophical or formalistic shortcom­ ings, but more due to their social relevency in terms of society and time. In a paper entitled "Seniman Islam: Peranan Masakini dan Masadepan", Chandra Muzaffar chides those Muslim artists whose art are excessively concerned with spiritual matters dealing with personal piety and salvation while ignoring the more "urgent" and relevant social issues of the day. Should Muslim's entrusted role as God's vicegerent on earth be limited to onlv to the maintenance of a personal and a private relationship with God or should it not also include playing active and positive role in society ?. It is not part of the religious .duty of every Muslim, artists included, to realise and actualise God's Divine Will on earth? Is it not the vital aspect of being a Muslim to "promote the good and eradicate the evil? If Muslim artists are so engrossed with matters concern­ ing their own salvation and lines in the hereaf­ ter, who is going to perform God's entrusted trust to speak out against social injustice, corruption, environmental degradation, moral crisis and spiritual decadance? For Chandra, the real challenge lies on not only in maintain­ ing a balance between one's link with God, but more importantly, with other fellow men. In short, the issue here is, how to render one's spirituality relevant to social reality, indeed, to ascertain that the "seed of one's spirituality is nourished in the womb of society ! Guest Curator, Sulaiman Esa.