FACULTY ART AND DESIGN
FET 638 ASIAN
AESTHETIC ART AND CONTEXT
FISHERMAN AS
SOSIO ECONOMY FOR MALAYSIAN IDENTITY
WORKING TITLE
Symbolizing
Nationalism Art through the fisherman as sosio-economy in Malaysian Identity in
still life
ABSTRACT
The purpose of my study is based on the Malaysian identity of fishermen who carry out socio -economic activities. In this study also involved the local traditions and culture of the Malay people. Nationalism is shown indicates the state of the local landscape and the various peoples of whom are people of Malay, Chinese and Indian. In addition, this nationalism is symbolized as the social life of the economy in terms of business dealings, processed for factories, salted fish processing and so on.
INTRODUCTION
In this art of nationalism, I want to
produce a work that shows the spirit of nationalism that is through the
intertwined relationship between the various layers of society living in one
community through the socio -economy of fishermen. If you look at Kuala Rompin,
I find that they help each other in terms of sales and other matters.
My idea choice for nationalism is that I
look at it from the point of view of a community in a community that lives
peacefully and helps each other. In Kuala Rompin in particular, these fishermen
will sell their seafood to the public as well as factories for canned food
processing. The subject matter I chose is saifish fish and lobster are among
the favorite seafood and make it part of the financial resources.
Seen from the point of view of the
sociological understanding of nationalism Emerson (1964) stated that
nationalism is the spread of the impact of the western revolution which has its
own chronology through the result of a process leading to the action of
nationalism to form a nation state. Thus, efforts to form a national cultural
identity beginning in the 1970s have evoked conflict between tradition and
modernity. After the National Cultural Congress in 1971, the painter Malay
cultural heritage as symbols and images put together in the context of
aesthetic tradition and Western modernity. Starting with the naturalistic,
expressionist, abstract style until the conceptual and theoretical ideas around
the 1970s .
The socio-economy that is still going
on in Kuala Rompin is one of the ways our society has established good
relations with other races. There is no denying that the socio-economy in this
area is indeed mutually beneficial. Modern art in Malaysia in particular is
influenced by the western art movement because this change in art is brought to
the abstrack form.
that is why I chose
this fisherman's subject matter because it symbolizes nationalism. The spirit
of nationalism can be seen in terms of the type of perwatakkan, Malay identity,
race and nation.
In a Malaysian art nationalism
especially this immigration process occurred as a result of the British
domination in the economic and socio- political economy in Malaya hence helped
to strengthen the economic state in these British colonies during the
nineteenth and twentieth century. The National Culture Policy introduced in
1971 in Malaysia, inspired from the idea of National Cultural Congress (Kongres
Kebudayaan Kebangsaan) organized by the Ministry of Culture, Youth and Sports.
This policy aspired to serve as a guide in establishing and maintaining Malaysian
nation identity. Among the main objectives – to strengthen unity though
culture,nurture and preserve national identity based on indigenous cultures
(Malay) and Islam. With this objective, the Islamic approaches and the elements
of traditional art began to be absorbed into works of art by local artists.
Based on meaning nationalism advocated the right of people who
defined themselves as nations to establish their own independent states.
My idea in centralizing nationalism is based on the culture and socio -economy that carries the spirit of patriotism in evoking a sense of love for the country. The picture in my idea is to show the activities of the basic economic sector which is the most important resource to the food sector and many others .In bringing the character of nationalism in contemporary art malaysia I also bring identity in art wilt show me the citizenship of Malaysia.
OBJECTIVES
·
To show the nasionalisme art through
the sosio-economy as fisherman
·
To emphasize the sosio economy as
fisherman in Malaysia identity.
· To visualize the fisherman society activities.
VISUAL RESEARCH
The life of fishing man
Fishing net
Selling Fish
Restoran Chinese Seafood
ARTIST REFERENCE
Syed Fakaruddin
Title: Kesatuan Tunggul Punggur
Medium: Oil
Paint and Arcylic on Canvas
Size: 91.5 x
91.5cm
Year: 2020
Content
This
artwork tell us the depicted the primitive territorial symbol and the idea of
stillness Malaysia in facing this troubling time through lifeless logs forming
the ‘Stripes of Glory’ flag as the title may recommends. He managed to bring
about a lively piece of art, almost 3-dimensional through hints of the national
palette and distinct foreshortened stumps.
Context
Two
elements which are significant to be highlighted from Syed Fakaruddin’s
‘Kesatuan Tunggul Punggur’ or ‘The United Logs of Stump’ are the title itself
and the exquisite skill of foreshortening
Ruzaika Omar Basaree
Medium: Mixed
media
Size:171 x 76 cm
Year: 1981
Content
Tells
us The Malay-Islamic social image is an image featured in human expressions and
culture and reflects the speciality of local craftsmen. This artwork show the
aesthetic art and the “Rumah Kampung Malay”.
Context
In
term of the context this artwork tell the Malay culture and the motif of craft
based on the nature value
Bayu Utomo Radjikin
Title:Bujang Berani
Medium:Metal and Plaster
Size: 100 x 97 x 55 cm
Year: 1991
Content
In
this work shows the heroism of the Dayak ethnic Sarawak. The name “Bujang
Berani” was given was because of the nature of courage, valor and elevated
fighting spirit. Also included is traditional clothing equipped with
accessories that symbolize the Dayak ethnic group. for expression and emotion on this sculpture is the
face of a hero who is brave and cries loudly because of the spirit of love for
the nation and heritage as well as about the existence of the origins and
history of heroism. ideas and perceptions. in terms of expression this sculpture
highlights the result of interaction with the spirit of heroism. in addition
this sculpture shows the spirit of nationalism because it can evoke the spirit,
values and feelings of identity. this sculpture is made using cast iron.
Context
Tells us the culture of the Dayak ethnic Sarawak and also the traditional accessories that symbolize the Dayak ethnic.
IDEATIONS/SKETCHERS
In conclusion, this study is about nationalism art that uses its own Malaysian identity in the production of works. The goal is to achieve and learn a lot about nationalism. Based on what I have produced, this is a Malaysian identity where the socio -economy itself in the community shows the national spirit as well as successfully understanding the concept of nationalism in a process of making artwork.
REFERENCE
Smith,
A. D. (2015). Artists and Nationalism. The Wiley Blackwell Encyclopedia of
Race, Ethnicity, and Nationalism, 1–2.
https://doi.org/10.1002/9781118663202.wberen053
Shireen Nazeri (2003) (Book:CONVERGENCE: Past, Reality & Future : Selected Artworks of Petronas Art) https://books.google.com.my/books?id=IHI8AwAAQBAJ&pg=PT37&lpg=PT37&dq=ARTWORK+NASIONALISME+IN+MALAYSIA&source=bl&ots=qPNn9YUy_9&sig=ACfU3U3zQxDGHESyyaxUtiLYl4OX_kpOdQ&hl=id&sa=X&ved=2ahUKEwjg-dqPltHxAhWC3zgGHTbrCJ0Q6AEwE3oECBwQAw#v=onepage&q=ARTWORK%20NASIONALISME%20IN%20MALAYSIA&f=false
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