FACULTY ART AND DESIGN

ART AND NASIONALISM

FET 638 ASIAN AESTHETIC ART AND CONTEXT

FISHERMAN AS SOSIO ECONOMY FOR MALAYSIAN IDENTITY

PREPARED BY

MUHAMMAD HAFIZ BIN KAMARUL NAEM

(2020986415)

PREPARED FOR

PROF. DR. RAFAEH LEGINO

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.

1. 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.
 Image 1: Sell fish at Pasar Besar Kuala Rompin.

2. STYLE AND HISTORICAL CONTEXT

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.

3. 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.
4. VISUAL RESEARCH

The life of fishing man

Fishing net
 Selling Fish

Restoran Chinese Seafood

 5. 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

Title: Siri Dungun

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.

6. Ideation/ sketchers
 7. CONCLUSION

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.

8. 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+MA

LAYSIA&source=bl&ots=qPNn9YUy_9&sig=ACfU3U3zQxDGHESyyaxUtiLYl4OX_kpO

dQ&hl=id&sa=X&ved=2ahUKEwjg-

dqPltHxAhWC3zgGHTbrCJ0Q6AEwE3oECBwQAw#v=onepage&q=ARTWORK

%20NASIONALISME%20IN%20MALAYSIA&f=false