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Minister's message -- Foreword -- Preface -- Introduction -- Imageries of independence : 1; The Flag Bearers', 2; The Current Chroniclers, 3; The Oblique Turners, 4; Memory Enlisters -- Acknowledgements -- Index.
Malaysia is a multifaceted country ethnically, culturally, linguistically and religiously and it is this diversity that makes it so fascinating. This harmonious blend extends even to the nation s architecture. Landmarks of Malaysia: 365 Watercolours by Chin Kon Yit will bring together the landmarks of the entire country including the Peninsula, Sabah and Sarawak. From remote Bajau Laut water villages to the Petronas Twin Towers, the breathtaking architecture and natural landscapes of the country s 12 states, and of the federal territories, will be recorded in vibrant watercolour and delicate sketches by acclaimed artist Chin Kon Yit. Accompanying the sketches will be descriptions that provide insights into the locations features. The collection of paintings will be preceded by two introductions. One, on the architectural inheritance captured in the paintings, by architect Lim Take Bane, the other, on Kon Yit s paintings as art, by artist, curator and writer Anurendra Jegadeva. Readers of the book will be taken on a nationwide tour as seen through the eyes of the artist with his sketchbook in hand. Looking at this book, Malaysians and visitors alike will be reminded of the country s rich architectural heritage and of the cultural diversity that is the hallmark of Malaysian society today."
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Living Art: Indonesian Artists Engage Politics, Society and History is inspired by the conviction of so many of Indonesia’s Independence-era artists that there is continuing interaction between art and everyday life. In the 1970s, Sanento Yuliman, Indonesia’s foremost art historian of the late twentieth century, further developed that concept, stating: ‘New Indonesian Art cannot wholly be understood without locating it in the context of the larger framework of Indonesian society and culture’ and the ‘whole force of history’. The essays in this book accept Yuliman’s challenge to analyse the intellectual, sociopolitical and historical landscape that Indonesia’s artists inhabited from the 1930s into the first decades of the new millennium, including their responses to the COVID-19 pandemic. The inclusion of one of Yuliman’s most influential essays, translated into English for the first time, offers those outside Indonesia an insight into a formative period in the generation of new art knowledge in Indonesia. The volume also features essays by T. K. Sabapathy, Jim Supangkat, Alia Swastika, Wulan Dirgantoro and FX Harsono, as well as the three editors (Elly Kent, Virginia Hooker and Caroline Turner). The book’s contributors present recent research on issues rarely addressed in English-language texts on Indonesian art, including the inspirations and achievements of women artists despite social and political barriers; Islam- inspired art; artistic ideologies; the intergenerational effects of trauma; and the impacts of geopolitical change and global art worlds that emerged in the 1990s. The Epilogue introduces speculations from contemporary practitioners on what the future might hold for artists in Indonesia. Extensively illustrated, Living Art contributes to the acknowledgement and analysis of the diversity of Indonesia’s contemporary art and offers new insights into Indonesian art history, as well as the contemporary art histories of Southeast Asia and Asia more generally.
Silat Seni Gayong is an art of self-defense, a fighting art but one that also emphasizes the development of the self, becoming a better person, and serving humanity. Sometimes compared to a tiger ready to devour its prey, Gayong helps practitioners develop and increase physical fitness, flexibility, mental conditioning, and self-confidence. Author Sheikh Shamsuddin, who has studied Gayong for 25 years, introduces this little-known practice to Western readers in this first book on the subject in English. The most comprehensive study in any language on Gayong and its customs, The Malay Art of Self-Defense explores in depth the system, techniques, crucial elements, and philosophies involved. Also covered are the art's history, profiles of the most notable practitioners, and an informative Q&A collected from various martial art practitioners to expand readers' knowledge and appreciation. Included are photos of Gayong demonstrations, traditional training centers, customs, and events.
In February 2014, an international colony of young, freewheeling and footloose artists held a group exhibition that would stand as a pivotal turning point for the future of George Town, Penang. It was an exhibition destined to make the artists household names, infamous for boldly swinging into parties and installing challenging art onto Southeast Asian walls. It would also spell the return of George Town to a worldwide destination, a city relegated to backwater ashes rising to heights shared by heritage, culture, and cosmopolitanism. In this personal exposé, James H. Springer documents the lives and times of artists during the period of 2010 to 2016, telling the story of George Town’s gentrification through their own influential experiences. Through childhood memories, artistic inspirations, fluctuating relationships and artwork – learn how these young artists lay a new path for George Town going into unpredictable times. During what could arguably be described as Malaysia’s most troubling political era, Springer describes how the flourishing of art in George Town gave its population a much needed respite from federal government tomfoolery. In addition, George Town’s rising art scene gave Penang State a leg up in economic prosperity, creating an unheard of level of opportunity that would either be capitalised on or squandered. Malaysia’s Canvas lays bare the reality of being an artist in a developing country and the change it can inspire, with no holds barred.
Provides a deeply researched account of contemporary Asian art movements, focusing on the work of a select group of internationally renowned and politically engaged artists.
This book explores race and multiculturalism in Malaysia and Singapore from a range of different disciplinary perspectives, showing how race and multiculturalism are represented, how multiculturalism works out in practice, and how attitudes towards race and multiculturalism – and multicultural practices – have developed over time. Going beyond existing studies – which concentrate on the politics and public aspects of multiculturalism – this book burrows deeper into the cultural underpinnings of multicultural politics, relating the subject to the theoretical angles of cultural studies and post-colonial theory; and discussing a range of empirical examples (drawn from extensive original research, covering diverse practices such as films, weblogs, music subcultures, art, policy discourse, textbooks, novels, poetry) which demonstrate overall how the identity politics of race and intercultural interaction are being shaped today. It concentrates on two key Asian countries particularly noted for their relatively successful record in managing ethnic differences, at a time when many fast-developing Asian countries increasingly have to come to terms with cultural pluralism and migrant diversity.