P.Ramlee’s Message to Dear Leader Najib Razak et.al in UMNO


August 14, 2015

COMMENT: I have decided to leave this article in Bahasa Malaysia, although my readers are not just individuals who read and understand the Malay language, which our language nationalists still dream of making into a global lingua franca. It is MP Zairil Khir Johari’s tribute to the legendary Penang born and Penang Free School educated P. Ramlee, composer, director, singer-musician and comedian.

Najib and Rosmah-The Stars in LondonThe infamous Duo

The article contains valuable and relevant political messages for our dear Leader Najib Razak and his wife Rosmah Mansor and the current crop of UMNO leaders.–Din Merican

Here is some information on the late P. Ramlee, courtesy wikipedia.org: P. Ramlee was born on the first day of the Eid festival, which fell on 22 March 1929. His father, Teuku Nyak Puteh, was a sailor from Aceh, who later married Che Mah Hussain.

He attended Sekolah Jenis Kebangsaan Melayu Kampung Jawa (Kampung Jawa Malay School) and Sekolah Francis Light primary schools. Next he went to the famous Penang Free School secondary school until the second World War broke out. During the Japanese occupation years in Malaysia, he continued his studies at the Japanese Navy Academy. When the war ended, he resumed his studies in Penang Free School and was very active in sports.

In 1947, he won the first place in a song competition organised by Penang Radio. seven years after his acting career started, P. Ramlee directed his first film, Penarek Becha. In 1957, he appeared in the first of his Bujang Lapok comedic films, in which he acted along with Aziz Sattar and S. Shamsuddin, and which are still popular among modern Malay film watchers. During his career he directed and acted in 66 films, and had more than 360 songs to his credit.

P RamleeThe Pride of Penang–A Man of Prodigious Talent

He returned permanently to Kuala Lumpur after years with Shaw Brothers in Singapore. His final film was Laksamana Do Re Mi in 1973. In his last song, “Air Mata di Kuala Lumpur” (Tears in Kuala Lumpur), also in 1973, the lyrics depict his crushed feelings from a series of disappointments and setbacks upon returning to Malaysia after years in Singapore.

P. Ramlee was married three times. His first marriage, to Junaidah in 1950, ended in a divorce four years later. His second marriage, in 1955 to Noorizan Mohd. Noor Menonolq, a member of the Royal family of State of Perak, ended in divorce in 1961. His last marriage was in November 1961, to Salmah Ismail, a very famous singer known as Saloma.

On 29 May 1973, P. Ramlee died at the age of 44 from a heart attack and was buried at Jalan Ampang Muslim Cemetery, in Kuala Lumpur.

In 1986, 13 years after his death, in honour of his contributions to the Malaysian entertainment industry, the P. Ramlee Memorial or Pustaka Peringatan P. Ramlee was built in his home in Setapak, Kuala Lumpur. In 1982, the street Jalan Parry, in the center of Kuala Lumpur, was renamed Jalan P. Ramlee in his honour. In 1990, he was posthumously awarded the Malaysian honorific title Tan Sri, and then in 2009, the honorific title of “Datuk Amar” by Sarawak State Government. The Chief Minister of Sarawak, Abdul Taib Mahmud, an avid fan of P. Ramlee, presented the award to his adopted daughter, Dian P. Ramlee, in a ceremony honouring veteran artists in Kuching.

On 31 October 2010, a 90-minute documentary on his life was aired on History Channel Asia. During the documentary, it was revealed that P. Ramlee’s death was a shock to the nation, and a sense of collective guilt began to spread nationwide, as prior to his death he had been discredited and rejected by his own nation,citing that he was a “has been” and that his songs and film were no longer marketable. The documentary also revealed that despite his previous success in the entertainment industry, P. Ramlee died a penniless man, having given away the last of his money to a visitor to the house whom he deemed needed the money more than he.

The P. Ramlee House is a museum situated along Jalan P. Ramlee (formerly Caunter Hall road) in Penang, Malaysia. The building is a restored wooden house that was originally built in 1926 by his father and uncle. The house had previously undergone multiple repairs before being taken over by the National Archives as an extension of its P. Ramlee Memorial project in Kuala Lumpur. Items on display at the house include personal memorabilia related to his life in Penang, and items belonging to his family.–www.wikipedia.org

Malaysia: Lessons for Najib Razak from P. Ramlee

by Zairil Khir Johari

Nama P. Ramlee sememangnya tidak asing lagi bagi kita semua. Kehadiran Seniman Agung ini dalam arena perfileman negara telah meninggalkan kesan yang sangat besar dalam dunia seni, mahupun terhadap pembangunan masyarakat Malaysia. Sehingga ke hari ini, filem-filemnya masih menjadi tontonan dan rujukan umum.

Relevan sepanjang zaman

Penderma Utama

Hal ini kerana segala apa yang ditonjolkan dalam karyanya bukan sahaja relevan sepanjang zaman tetapi juga sarat dengan nilai dan kritikan sosial yang tajam. Ambil sebagai contoh adegan daripada filem Ali Baba Bujang Lapok arahan P. Ramlee, di mana setelah watak Ali Baba yang dilakonkan Aziz Sattar kembali pulang dengan sebuah peti yang penuh dengan wang emas, isterinya langsung bertanya: “Dari mana kanda curi wang ini?” Dijawab Ali Baba: “Kanda bukan curi, kawan kanda kasi, da.” Lalu isterinya membalas: “Kawan kanda siapa? Kawan kanda siapa?” Dengan penuh kejengkelan, Ali Baba membidas: “Eh, engkau berapa banyak mahu tanya da?”

Tidak sangka pula, adegan daripada filem tahun 1961 ini masih relevan pada hari ini, lebih 50 tahun kemudian. Mungkin ramai yang boleh bayangkan adegan yang serupa dengan dialog berikut: “Oh, banyaknya duit ini. Dari mana Dato’ curi wang ini?” “Saya bukan curi, kawan saya derma, lah.” “Siapa kawan yang derma itu? Siapa kawan yang derma itu?” “Eh, rakyat ini, berapa banyak mahu tanya lah?”

Selain menggelikan hati kita, P. Ramlee juga seorang budayawan yang berpandangan jauh merentasi zaman. Beliau mampu secara kritis mengangkat pelbagai isu dalam masyarakatnya – baik persoalan kebudayaan, ketidakadilan sosial mahupun agama dan moral. Seringkali, karya-karyanya akan memberi peringatan akan kepincangan yang bakal menimpa masyarakat sekiranya sesuatu masalah tidak diatasi dengan segera atau jika masyarakat tidak melepaskan diri daripada takuk yang lama. Dalam konteks ini, filem bagi P. Ramlee bukan sekadar alat hiburan, tetapi turut menjadi alat untuk mendidik dan membuka minda masyarakat.

Citra keagamaan dalam filem P. Ramlee

Dalam kepelbagaian tema yang dibawa oleh P. Ramlee dalam filem-filemnya, tema agama, dakwah dan moral tidak kurang pentingnya. Namun begitu, kaedah pengupasan citra keagamaan oleh P. Ramlee ini tidak mengambil bentuk yang nyata. Sebaliknya, ia lazimnya disuntik melalui simbolisme yang membawa makna yang tersirat.

Misalnya, dalam filem Pendekar Bujang Lapok, sikap Wak Mustar yang memaafkan para samseng biadab yang menolaknya di jeti perahu menggambarkan salah satu elemen moral yang dituntut dalam agama. Begitu juga dengan ketiga-tiga pendekar yang dimainkan oleh P. Ramlee dan dua sahabat karibnya, Ajis dan Sudin, yang mengembara untuk mencari ilmu. Bukankah ini merupakan “jihad” yang besar dalam agama?

Kuala Lumpur 06 May 2014. Labu (M. Zain) and Labi (P. Ramlee) with a kadi (Aziz Sattar) in the movie

Keprihatinan P. Ramlee terhadap kesenjangan kekayaan antara golongan miskin dan kaya juga terserlah dalam karyanya. Dalam filem Labu dan Labi, beliau secara tajam mengkritik golongan kaya yang menindas dan tidak ikhlas dalam mewakafkan harta kepada golongan miskin. Ini dapat dilihat melalui watak Haji Bakhil yang mempunyai agenda tersembunyi sewaktu beliau mendermakan harta kepada rumah anak-anak yatim. Kritikan terhadap sikap tamak golongan kaya turut boleh dilihat dalam filem Tiga Abdul, apabila watak Sadiq Sigaraga, seorang saudagar kaya, telah jatuh miskin akibat daripada kerakusannya. Pada penghujung ceritanya, watak protaganis, iaitu Abdul Wahub, kemudian mendermakan rumah kedai kepada anak-anak yatim, lantas menampilkan elemen kebajikan dan tanggungjawab sosial.

Kehidupan masyarakat Melayu suatu ketika dahulu yang sangat kuat bersandar kepada unsur-unsur tahayul juga turut dikritik oleh P. Ramlee. Dalam satu adegan dalam filem Seniman Bujang Lapok, P. Ramlee memerlukan wang sebanyak RM350 untuk berkahwin, sedangkan beliau pada waktu itu sedang mengalami kesempitan wang. Lalu, Sudin memberikan Ramlee sebentuk cincin yang menurutnya memiliki hikmat. Cincin itu digunakan oleh Ramlee untuk meminta wang daripada  seorang pengurus syarikat filem yang bernama Kemat Hassan. Namun, Ramlee disergah oleh Kemat Hassan dan hanya mendapat RM5. Kecewa, Ramlee bertindak membuang “cincin hikmat” itu ke dalam longkang.

Babak ini memberi pengajaran bahawa apa sahaja yang ingin dicapai oleh manusia haruslah dilakukan dengan usaha yang keras. Penyandaran terhadap elemen-elemen tahayul bukan sahaja ditegah dalam agama, malah ia juga mampu menjadi penghadang kepada kemajuan masyarakat.

P. Ramlee sebagai pendakwah

Kepekaan P. Ramlee terhadap persoalan agama dan moral dalam filem-filemnya menjelaskan bahawa agama bagi beliau bukanlah alat untuk melemah dan memundurkan masyarakat. Sebaliknya, ia merupakan sumber untuk menggerakkan masyarakat dalam pelbagai sektor kehidupan.

Bagi P. Ramlee, agama juga bukanlah suatu alat untuk menghukum, sepertimana yang difahami oleh ramai daripada kita pada hari ini. Beliau lebih suka menampilkan citra agama yang progresif dan bertoleransi terhadap kerencaman masyarakat kita yang berlatarbelakangkan pelbagai kaum dan budaya. Alangkah baiknya sekiranya kita dapat mengiktibarkan cara pandang dunia P. Ramlee ini.

Akhir kata, P. Ramlee tidak melakukan dakwah melalui cara-cara yang biasa, umpamanya melalui penonjolan imej-imej kewarakan yang jelas lebih mementingkan bentuk daripada isi. Jika diteliti karya P. Ramlee, jelas beliau memilih untuk berdakwah melalui jenaka dan budaya popular yang halus bentuknya tetapi tajam kesannya. Isu-isu yang diketengahkan pula berkisar pada kepentingan ummah, kedaifan golongan miskin serta penindasan terhadap yang lemah. Dalam cara tersendirinya, P. Ramlee sebenarnya menzahirkan nilai-nilai agama yang sebenar.

Sesungguhnya, sumbangan P. Ramlee adalah sangat besar kepada kita semua. Walaupun sejarah akan selama-lamanya mengingati beliau sebagai seorang seniman dan budayawan yang tersohor, jelas usaha-usaha beliau sebenarnya menjangkaui batasan seni dan budaya. Malah, jasa dan baktinya dalam memajukan citra agama yang berjiwa besar dan progresif juga jelas melayakkan beliau untuk digelar sebagai seorang pendakwah. – Roketkini.com

https://youtu.be/Sna5-EeUMjw?list=PL0069E04E6745E940

 *Penulis adalah Ahli Parlimen Bukit Bendera

Congratulations, Zunar


October 3, 2014

Congratulations, Zunar

http://www.themalaysianinsider.com

Pirates-of-Carry-BN

Despite Putrajaya’s restriction, the work of cartoonist Zunar titled, “Pirates of the Carry-BN”, has been accepted into the Library of Congress in Washington, USA.

Zunar, whose real name is Zulkiflee Anwar Haque, said his book would be catalogued in the Asia Section of the library and become one of the more than 120,000 books of cartoons there. “For me, this is a form of appreciation, as none of my works are recognised here (in Malaysia). Some are even banned,” he said in a statement today.

Zunar said in a ceremony on October 1, Sara G. Duke, who is the curator of Popular and Applied Graphic Art in Prints and Photography Division, accepted the book on behalf of the library.

He said it was an honour to be part of the library’s 200-year-old history that boast a collection of over three million books and 33 million catalogued books. “The book is not found in any libraries in Malaysia. It is also not sold in any bookshop here for the same reason,” he said, adding that some of his previous works have been listed in the Library of Congress records, but does not exist physically.

Zunar is currently in the US, attending a month-long tour, “To Fight Through Cartoon”. He also held a solo exhibition at an art gallery, The Crane House in Louisville and gave lectures on art and journalism at the University of East Kentucky, the University of West Kentucky, Manual High School and Berea College.

Sara_Zunar_Zunar_Pic_03102014Zunar (left) and Sara G. Duke, curator of Popular and Applied Graphic Art in Prints and Photography Division, holding a copy of ‘Pirate of the Carry-BN’. – Pic courtesy of Zunar, October 3, 2014.

He is expected to attend a forum next in New York City and in San Francisco, where he would appear as a guest at the Annual Convention of The Association of American Editorial Cartoonists for three days from October 9.

Zunar is a political cartoonist who was detained under the Sedition Act for drawing cartoons which were deemed seditious. Seven of his books were banned in Malaysia.

In the “Pirate Of The Carry-BN”, he highlighted the unsolved murder of a Mongolian woman, the political conspiracy against opposition leader Datuk Seri Anwar Ibrahim, the wife of the present Prime Minister, and the Scorpene submarine deal and purchase.

He recently initiated the “Cartoonists Against Electoral Fraud (CAEF)”, a movement to protest against election fraud in Malaysia. And, he is the recipient of an award for “Courage in Editorial Cartoon Drawing 2011” by Cartoonist Rights Network, Washington. – October 2, 2014.

Literature moving into obscurity


June 15, 2014

Literature moving into obscurity

by Bhavani Krishna Iyer*@www.thesundaily.com

http://www.thesundaily.my/node/256005

E Literature

I HAVE vivid recollections of receiving brickbats from family members and friends when I made the announcement one eventful day that I was planning to pursue a doctoral degree in English Literature.

Many thought that such a degree would not earn me a living and yet others thought literature was out of vogue. I would say both these groups were neither completely right nor wrong, but the point is I have no regrets having pursued my passion.

It was uphill all the way getting material, and my search to support my thesis often ended in futility. I remember scouring bookshops in India where the assistants would send me to the deepest, darkest and most obscure corners in the shop to look for books related to literature. I often felt small but never any less important.

IT and engineering references were hot sellers and the bookshop owners used to tell me that literature books don’t sell because there was no demand.

There is also this common complaint that studying literature will not be of any use for a working adult unless one is teaching the subject. Not forgetting the acidulous remark we get that literature will not teach anyone how to make a sandwich or build a bridge, hence, why bother?

A course mate said she was almost coaxed into doing something “more marketable” when she was about to embark on the PhD. Such were the harsh realities when all things related to science and technology appeared to have elevated status at work and outside work, due to their perceived importance.

English writersWhen I stood in front of my boss years ago, asking for time off to attend classes, I was not surprised that he asked “how is it going to be of any benefit to you and the company.” I simply said, “I will be a better person to say the least, and of course as an employee, I will have a more enlightened view of my surrounding, the environment and the people around me.

“People with a literature background have better written and other communication skills and it has been widely accepted that understanding complex ideas and theories and doing research come easy,” I explained. He did not say anything further.

The zeal for literature is very much a personal preference, either you like it or you don’t and for those who are consumed in it for reasons other than academic, they will know the many-pronged benefits. I am a staunch believer that the interest can be developed.

Exposure to literature keeps one afloat in a conversation about the life and times of people which would appeal to just about anyone. Additionally, one’s vocabulary increases by reading literature and last but not least, literature serves as momentary escapism from the harsh realities of life. It serves to de-stress people who are overcome by the stress of modern living. People who read literary works will know the power and pleasure of using the language with all its quirks.

Personally, I think, literature adorns one with the ability to appreciate the enriching array of human characters and experiences.”But literature is difficult,” is often the lament from many, but let me tell you it need not be so if you get into the groove of it and start with the right material.

The Ministry of Education has incorporated a component called Language Arts in its English Language syllabus where pupils from Year 1 study rhymes, short stories and others to “activate pupils’ imagination and interest”.

I am told by a friend who is a teacher trainer that the English language teachers are exposed to teaching literature in the classrooms, in a small way from the way I see it but this is a good move and I hope we get this going without high-handed interference.

Having said that we seem to be in transition most times from quick-fixes in as far as learning English is concerned and perhaps a revolutionary policy in teaching and learning English might be just the answer to arrest the decay.

*The writer was a language teacher and now teaches part-time in public universities, apart from having a full-time job. Comments: letters@thesundaily.com

Favourites from the Zain Azahari Collection


December 5, 2013

Favourites from the Zain Azahari Collection @ The Edge Galerie

MY COMMENT: This is the first time I feature art on this blog. HavingKamsiah and Din2 been to the Opening Day of this excellent art exhibition at the Edge Gallery in Mont Kiara with my wife, Dr. Kamsiah, I cannot not resist posting this review (http://artklitique.blogspot.com/2013/10/favourites-from-zain-azahari-collection.html?m=1).

Apart from the fact that Zain Azhari is my friend and golfing mate, and  I have  the highest regard for the many fine human qualities of this septuagenarian, I felt this review reflects exactly how I felt as I saw the paintings on display.

I have seen some of them before at Zain’s home and office, but not collectively ina  single place. In my view, it is a sample of the finest art collection by an individual in Malaysia.Thanks, The Edge Gallery and Zain for making it possible for members of the public to see them.

Zain is passionate about everything he does from his legal work, music, golf, reading, and art. He is an amazing man. –Din Merican

Favorites from Zain Azahari Collection

Pastoral, sensual, vigorous – these common descriptions surmise the prominent art collection of Zain Azahari, where a selection of 38 pieces are displayed at this exhibition. Large works by Ibrahim Hussein and Hendra Gunawan greet the visitor with titillating intent, where Fauvist colours and sinuous contours excite primitive human senses. Flanking both sides of the lobby, Latiff Mohidin and Anuar Rashid arouse the spiritual with abstract illustrations of great control and harmonious beauty, easily subjugating works by young artists hung in the same area.

Ramlan Abdullah’s aluminium sculpture also blends into the gallery’s medieval design, as the contemporary takes a back seat to master artists belonging to the Modern era. Earth and human form an unbreakable bond in these works, implying the collector as one whom possess deep faith and a resilient outlook of life.

Zain No 1Kampung truths: Jalaini Abu Hassan – Di Murahkan Rezeki, Di Berkatkan Hati (2011)

This philosophy is clearly specified in Jalaini Abu Hassan’s meditative ‘Di Murahkan Rezeki, Di Berkatkan Hati’, a minimal juxtaposition of objects (by Jai’s standards) beautifully rendered, where words elucidate Malay sayings and its connotations. When utilised correctly, writing creates additional dimensions on a canvas, Mangu Putra’s picture of utter despair being a good example. Academic painting typify depictions of toil and hard work, contrasting with the creative expressions of Mount Merapi by Affandi and Srihadi Soedarsono.

Illustrations of human feet seem to captivate the collector, who own a couple of high-priced watercolour masterpieces by Chang Fee Ming. Among the elegant dancing figures shown, including Latiff’s curious ‘Bird Dance’ sculpture, a menacing ‘Barong’ by Popo Iskandar emerges proudly from the shadows.

Zain No.2Crimson tide: Latiff Mohidin – Malam Merah (1968)

Zain’s collection boasts many works by the renown Latiff, none more significant than ‘Malam Merah’. Lively strokes of purple, yellow, and white, provide an inherent energy to the amalgamated Pago-pago, as a single horizontal line allows the sun / moon to set. The remaining areas are painted crimson red, while darker brush strokes sketch movement that augments the powerful picture. Cheong Soo Pieng’s tender ‘Mother & Child’ follows in the Nanyang tradition, which the pioneer artist updates via a rare oil painting.

Zain No. 4Why brown? Ibrahim Hussein – Farewell to New York (1969)
Previously unseen to the public is Ib’s ‘Farewell to New York’, a witty nude done in his characteristic Pop manner, where the curious usage of brown as its background has me polishing my chin while pondering the rationale. More sensuality is exhibited in Anthony Lau’s ‘Exstacy’, a wooden pair of smooth forms that recall natural contours, its overt tension depicted in the horizontal gap.
Zain No. 5Gliding sarongs: Dzulkifli Buyong – Four Friends (1964)
Hung low to provide viewer clarity, many works from this collection are museum-worthy, with the occasional odd gem standing out beyond Nusantara motives. Dzulkifli Buyong’s quirky ‘Four Friends’ “captures that single moment that is the birth of our Malaysian Modern art movement”, as described by curator Anurendra Jegadeva. Simple pastel colours, gliding sarongs, lily buds in the air, and innocent human gestures – I will not be surprised if the artist was in fact drawing 4 versions of his self.

Moving from flying figures to floating heads, Agus Suwage’s brilliant red fields pay tribute to artistic influences in an unconventional manner, the depiction like a tinted collage filtered through a computer program. Singling out figurative subjects is Ahmad Zakii Anwar’s contemporary approach, the huge portrait of a hippopotamus beckoning the viewer to come closer and swat flies, while the logical me clamour to inject meaning into a successful aesthetic.

Despite having a shorter tradition in picture making, the Malaysian works hold their own when compared to the diversity displayed in the Indonesian paintings. Among the many natural landscapes, a hazy wetland and a vertically-stretched Batu Caves signify personal importance, the former a nostalgic memory and the latter being Zain’s first collected artwork (a wedding gift!). Zain’s stories and passion are expounded and repeated across few essays in the catalogue, inspiring all who appreciate art.

Zain No.3From Kahli, Van Gogh, Bueys, Sudjojono, Freud to Hiroshige: Agus Sugawie– Agus SuwagePemandangan Dunia Wi (Earthly Landscape) (2011)

Having amassed 400 works over the past 50 years, Zain Azahari’s collection is a testament of one’s relentless pursuit of art on one’s personal terms. Not a luxury item, never an asset type, consistent in vision, absorbing one’s soul and intellect. I may not share Zain’s taste in art, but I do share a similar passion, which makes him my Art Collector idol for years to come.

Malaysia under Prime Minister Najib: Only SLOGANS


August 25, 2013

Malaysia under Prime Minister Najib: Only SLOGANS

FROM THIS

1Malaysia

1Malaysia

TO THIS

photo 5

Malaysia-Endless Possibilities

BETTER THIS?

tema-dan-logo-hari-kemerdekaan-56-2013

Happy Birthday Malaysia

August 25, 2013

MY COMMENT: Mr Hussin, I would like to support your idea that we should beDM latest positive about this “Endless Possibilities” campaign and regard it as an effort to brand our nation. 1Malaysia was a brand too, although it is not an original idea.

In the 1980s when I was with Sime Darby in Singapore, the Government there had a national day theme song, One People, One Nation, One Singapore and went on to create a united Singapore. Israel too had a similar campaign and now they have this EP concept. Don’t forget Altantuya’s Mongolia. What has become of Najib’s 1Malaysia? It is a sham. We are today very divided along lines of race and religion.

Both Tun Mahathir and Tun Abdullah had their share of slogans. Slogans are meaningless. Hiding behind slogans, Tun Mahathir, for example, destroyed the civil service, subdued the  Judiciary, humiliated our Rulers, and weakened other institutions of governance. He created an all powerful Executive Branch and subjugated our Parliament. So, you cannot blame Malaysians for being cynical.

I for one would like to see this government get down to managing our economy, fighting rampant corruption and crime, and stopping those who use race and religion for political ends. Let us in stead celebrate our rich diversity; let us recognise the contributions and sacrifices of all Malaysians, irrespective of race, religion and creed, and  let us galvanise our creativity and talent to build a truly united nation. To achieve this goal, we need an enlightened and responsible leadership. That is what is lacking today. Slogans won’t help.–Din Merican

http://www.themalaysianinsider.com

Malaysia Branded with Endless Possibilities

by Rahman Hussin

Malaysia-- Endless PossibilitiesAs the world becomes more globalised, countries need to develop a clear brand proposition to communicate national identities abroad.

Nation branding is becoming increasingly important as countries compete for a share of the world’s consumers, tourists, exports, investors and the ever important talents.

Much ado has been said at the recent unveiling and leaked national campaign undertaken by PM Najib’s Administration, “Endless Possibilities”. Meme, jokes and ridiculed follow suit since then with many taking it to social media to air their grievances that the campaign was another sloganeering effort with no real substance.But is it without substance? Is the act of ridiculing justified?

“Endless Possibilities” or EP for short is a nation branding campaign aimed at not only attracting tourism but also expanding the Malaysian brand into various sectors including business, culture, lifestyle and sports.

In short, nation branding is an effort to infuse the values that we Malaysians take pride in and expanding them into other facets of the country to ultimately create an edge in the global arena.

While not arguing about whether the slogan and tagline used in this campaign is a result of masterful word wizardry, I would like to invite everyone to take a step back.

I believe that more important than finding the answer is to ask the right question. Thus, I pose this to the esteemed readers of this website, instead of arguing and asking about who has first dips on the slogan, shouldn’t we instead focus on finding ways to galvanise Malaysians to partake in this national effort to create a Malaysia brand.

The Future Brand Country Brand Index (CBI) report 2012-2013 puts Malaysia at the 36th place in terms of country brand rankings and the same report also listed Malaysia amongst the future 15 nations that will be tomorrow’s leading country brands.

By my account, I think it’s timely that we embark on this nation branding effort today. No country has done this before you say? In the same report, our neighbour down south is amongst the 25 top country brands in the world, together with the likes of Sweden, Denmark and The United Kingdom. Not only that, it has also won praises in its leaders single minded effort to undertake nation branding effort.

Now that we have established that other nations are doing it too, shouldn’t we instead find ways to contribute to “Endless Possibilities”?

While I am suggesting that we support EP, I am also against supporting in blind faith.Moving forward, as a concern citizen of this country, I am pushing for greater transparency in our nation branding effort.

Details such as cost and benefit analysis must be made available. On top of that, any engagement and discourse to explain EP must be undertaken and it has to be as inclusive as possible. Let us not feel that we have been excluded in the roll out of this nation’s branding campaign.

Let’s go beyond the slogan, rhetoric and the divisive politics that has reared its ugly head post GE 13.EP’s essence is reflected in the drive towards achievement against all odds, backed by belief that we have what it takes to get there.

Looking back, this country has demonstrated time and again, our ability to emerge resilient after financial, political and health crisis. We’ve learnt and matured from our prior challenges and are now well on our way to realise Vision 2020.

I urged the good people of this country to hold back just a little until the official launch of the nation’s branding exercise, “Endless Possibilities” and suspend our judgment. After all, aren’t we all a courteous lot who pride ourselves in our ability and intellect to make sound judgment after deducing all the fact?

Until the facts are out there, any analysis and induction of the campaign remains a hypothesis, a guess at best. Again, until all the facts are out there, the best we all can come up with are “endless” guesses.

* Rahman Hussin reads The Malaysian Insider.

In search of the Sacrosanct


January 20, 2013

In search of the Sacrosanct

by Sarah NH Vogeler@www.nst.com.my

Taman Nurani — Islamic Impressions In Malaysian Contemporary Art at Galeri Petronas elucidates the artists’ ceaseless pursuit of the divine, writes Sarah NH Vogeler

IT is always a vivifying experience visiting Galeri Petronas, far from the madding crowd, in another universe with no sales personnel and pitches.Just art. Plenty of it. Bliss.

Syed Ahmad Jamal's legacy

Its latest engagement: A voluminous 57 works, beginning from the 1970s, highlighting compelling pieces in the collections of Galeri Petronas, The National Visual Art Gallery and several private collectors.

These have been classed under four themes: Abstract Works: Manifestations Of Spirituality; Landscapes: Reflections Of God’s Greatness;  Cultural And Traditional Motifs: The Continuation Of Tradition Into Contemporary Art; and, Calligraphy: Transformation In Contemporary Art.

Guest curator Professor Dr Muliyadi Mahamood explains: “Taman Nurani aspires to contemplate the development of form and content of works with an Islamic motif in Contemporary Malaysian Art; to put forward works pervaded with an Islamic inspiration as a reflection of the artists’ commitment in visualising the spiritual element of art, and to analyse the impact of related aspects on the development of contemporary Islamic art in Malaysia.”

Within the ambience of contemporary Malaysian art, Abstract Works: Manifestations Of Spirituality showcases restrained and methodical works with abstract ministrations based on geometrics, contours and motifs, and the more revealing and impulsive caresses of an organic persuasion; both styles equally cogent, as seen in Dr Sulaiman Esa’s Nurani (1983) and Ke Arah Tauhid (1983).

One of the most salient artists exploring Islamic issues in the context of contemporary art in Malaysia, Sulaiman’s investigations represent the acme of the Tawhid concept. He emphasises: “Through Islamic art, a Muslim artist strives to integrate his religious belief/life with his creative/artistic one.”

This complex approach is also evident in Langit Dan Bumi I and III (1998 and 2000Syed Ahmad Jamal2 respectively) by Malaysia’s National Art Laureate, the late Datuk Syed Ahmad Jamal (right), whose 1978 Rupa dan Jiwa exhibition held in Universiti Malaya became an impetus to re-examine the artistic characteristics of Malay art.

Following a seminar held in Institut Teknologi Mara’s School of Art and Design (now the Faculty of Art and Design, Universiti Teknologi Mara) in 1979, Muliyadi observed that a significant number of Malaysian artists attempted to constitute a kinship between traditional and contemporary forms of art, including through the visualisation of an Islamic inspiration, giving birth to exhibitions such as Malaysian Islamic Art: Traditional And Contemporary Art (Festival Istiqlal, Jakarta, 1991), Islamic Identity In Malaysian Art: Achievements and Challenges (National Art Gallery, 1992) and The Malay World Exhibition (National Art Gallery — Galeriwan, 1999).

The expression and revelation of spirituality immortalising the artists’ sentiment and insight is perceptible in Abdul Latiff Mohidin’s visually-arresting Gita Summer II (2005) and Voyage I & II (2005), Mohd Sanip Lasman’s The Grace (1990), Siti Zainon Ismail’s Kubah Hijau Jingga (1994), Khalil Ibrahim’s After Figure (1990), Sharifah Fatimah Syed Zubir’s Illusion (1983) and Two Figures (1988), and Roskang Jailani’s Nature XIV (2002).

And one’s tracks are halted by the sight of Ramlan Abdullah’s larger-than-life Unity In Diversity (2012), a steel construct which dismisses the conviction of an alpha and omega; there is no beginning or end, only the infinite.

In Landscapes: Reflections Of God’s Greatness, Abdul Latiff Mohidin’s Teluk Kumbar-I (2005), Yusof Ghani’s Rimba Terjun (2000), Pasir Mas (2000) and Batu Laut (2000), Ilse Noor’s Kebun Mimpi (1982) and Taman Impian (1989) all lean towards the four stages of the creative process of Islamic art as indicated by Professor Dr D’zul Haimi Md Zain in his book, Seni Islam (2007); imitation of nature, conception, stylisation and abstraction.

These artists’ portrayal of nature spurns naturalism, depicting its exquisite complexion in a more conformed manner. Raja Zahabuddin Raja Yaacob’s Keagungan Tuhan (1991), Haron Mokhtar’s Nostalgia Masjid Jamek, Kuala Lumpur (1989) and Mohd Azlan Mohd Amin’s Amalan Mulia II (1992) channels the intimation of Islam through Man’s profound reverence to God.

Professor Dr Zakaria Ali stated in Seni Dan Seniman (1989) that art must be refined, useful, cohesive, balanced and significant.In Taman Nurani, the cultural and traditional motifs utilised, although florid, are also powerful as attributes of the Malay culture which is rooted in Islam.

These artists are driven by their devotional and cultural environment, as well as the search for a national identity, as seen in Hashim Hassan’s Deir Yassin Dikenang (1987), Khatijah Sanusi’s Warisan II (1994), Mastura Abdul Rahman’s Interior No 29 (1987), Sharifah Fatimah Syed Zubir’s Garden of the Heart II (2004), Awang Damit Ahmad’s Essence of Culture III (1991), Ruzaika Omar Basaree’s Siri Dungun (1981), Fatimah Chik’s Unity In Harmony (1996) and Nizar Kamal Ariffin’s Pohon Beringin (2001).

Some of the more prominent Malaysian artists who use or are inspired by calligraphy in their art include Syed Ahmad Jamal, Ahmad Khalid Yusof, Omar Basaree and Omar Rahmad.

Taman Nurani beckons the world with Omar Basaree’s gold emblazoned Iqra (1969) alongside Ahmad Khalid Yusof’s Dimensi (1992), Nizar Kamal Ariffin’s Khat Muhammad (2006), Omar Rahmad’s Kalimah Syahadah (1984), Husin Hourmain’s Menanti Senja (2010), and Harun Abdullah Combees’ Allah Muhammad (1994). Calligraphy mirrors the artists’ reference to the Holy Quran, the decisive beacon for Muslims.

We have come a long way since Universiti Malaya’s 1975-endeavoured Pameran Seni Khat (initiated by Syed Ahmad Jamal).  From then to Taman Nurani, we have witnessed a momentous and eloquent progression in Malaysian Islamic contemporary art, which Muliyadi hinted at the possibility of an extended world tour — London, Paris, New York perhaps?

As Professor Dr Zakaria Ali, the Harvard alumni-artist-scholar-extraordinaire succinctly summarises, a remounting of Taman Nurani is pivotal to gain international recognition, for fear of becoming insular otherwise. And as evidenced in the works, these Malaysian artists are of world calibre.

They bring to mind the lyrics of an M.Nasir song, of a soul which seeks:

Hanya kepadamu kekasih
Aku tinggalkan
Jawapan yang belum kutemukan
Yang bakal aku nantikan
Bila malam menjemputku lena beradu

Syed Ahmad Jamal's legacy 2

It is the collective and lingering response from Taman Nurani; one of contemplation, of longing, in search of the sacrosanct.