HISTORIA: International Journal of History Education, Vol. XIII, No. 1 (June 2012)

THE ROLE OF CARTOON IN THE FORMATION OF ASIAN COMMUNITY: ART HISTORY ANALYSIS

Muliyadi Mahamood1

ABSTRACT

Cartoon art is a form of visual communication that can effectively convey a message and social criticism. In the Malaysian context, the editorial cartoons have been proven as effective since the beginning of independence until now. Even so, the form and style of criticism have always been changing through the time and are influenced by environmental, socio-political, legal and media ownership factors. Through formalistic and contextual analysis of selected works from Malaysia, particularly in Lat cartoons, this paper seeks survey and examines the existence of Asian cartoon style role towards the formation of the Asian community.

Key Words: cartoon, Asian Community, art history

1Muliyadi Mahamood, Professor of Visual Culture, Universiti Teknologi MARA (UiTM) Malaysia. For academic interest, the author can be contacted at office address: Puncak Alam, 42300 Bandar Puncak Alam, Selangor, Malaysia.

119 muliyadi mahammood, The Role of Cartoon in the Formation of Asian Community: Art History Analysis

Introduction In the pre-independence era (before 1957), the issue of modernity and “Western Lives in the West, East Stays Westernisation had become the main in the East” is the title that appears at the subject matter in the cartoon artwork top of the editorial cartoon created by Abd. and literature in Malaysia (Illustration 2). Manan in Warta Jenaka, a newspaper Literature and art in the cartoon had also of humor published on September 7, become platform for criticizing those who 1936. Words that have big meanings in forgot the roots of the culture and values interpreting the Oriental spirit arisen of the East. Literary works such as novel before the independence era. In this Pak Sako Putera Gunung Tahan (1938) work, animal imagery had been used in had symbolically criticized the Malay connection to convey political and cultural aristocracy and the Malay community in ideas. Malay people who really adored the general who had forgotten the roots of glorify of Western culture were symbolized their religion and culture. These groups as apes dressed in Western-style clothing, of people were characterized as a colonial and apparently turned out to be imperfect contrivance that could erode their own and totally awkward. Malay people who national culture. behaved Western attitude and applied Western cultures considered themselves higher than other Malay, and this phenomenon had been criticized to have harsh style through the anthropomorphic characters such as this (Illustration 8.1).

Illustration 8.2. Abdullah Abas, Warta Jenaka, November 23, 1936.

Now in this new millennium, we are still talking about the search for identity, especially the identity of Asia in the global nature of the good life and without borders. What are the possibilities that we can do in the context of the discipline Illustration 8.1. Abd. Manan, Warta Jenaka, of art and design in order to achieve this September 7, 1936. objective? In the context of this paper, I will review the work of cartoons based

120 HISTORIA: International Journal of History Education, Vol. XIII, No. 1 (June 2012) on the Malaysian experience. Through Wednesday Art Group has emphasized formalistic and contextual research on the independence of regional imagery based Malaysia cartoon works, particularly the on artistic expression, while Peninsula works of Lat, this paper aims to identify Painters have enforced art as a means of the universal elements and especially Asia channeling the nation’s cultural values, in in translating criticism- the message and keeping with the spirit of independence meaning towards the formation of the in 1957. Government commitment to the Asian community. importance of art, then reflected through the establishment of the National Art Contextual Factors of Art Style Gallery in 1958. Formation and Meaning in Malaysia For the field of cartoon art, the In the development of visual arts in editorial cartoon has become meaningful Malaysia, there are many contextual factors sociopolitical weapon since pre- that have influenced the art style and independence through the appearance meaning. In the early stages, colonization, of works that against the occupation migration and education were among the and severe criticism to the society and main factors. The arrival of the British government. Bad attitude: lazy, shy, in the end of the 1920s has influenced uncomprehended religious teachings, and the early modern art, that focused its love debt, had been criticized as factors creativity on the production of many that have constrained the progress of the watercolor paintings that depict the beauty nation (Illustration 8.3). of nature and local treasure of Malaysia, while the immigration of Chinese painters in the late 1930s has also contributed to the emergence of Western style in art, such as the influence impressionism and post impressionism and the featured of Nanyang impressionist painters. Painters who returned from studying abroad, such as Syed Ahmad Jamal, Tay Hooi Keat, Ismail Zain Ibrahim Hussein and Abdul Latif Mohidin in the decades of 1960s built the emergence of Illustration 8.3. Abu Bakar Mohd. Nor, Warta expressionism and abstract expressionism Jenaka, September 14, 1936 style in Malaysia. Although influenced by Western styles, local identity manifested Nevertheless, the post-independence through the selection of local and regional era saw the works of more moderate cartoon subjects as calligraphy elements appeared in promoting the spirit of national unity in the works of Syed Ahmad Jamal. Before in a newly independent country. Slopes the independence, the growth of art and cartoon series also featured a family theme many informal art education groups had through more polite and relaxed jokes, been led by artists such as Wednesday Art as in the series of “Mat Jambul Family Group and Peninsula Painters.

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(Keluarga)” by Raja Hamzah (Illustration 4). In this context, the influence of English humor and cartoons, aspects of local culture and modernity also affected the work, in addition to the press policies that more favorable to the government. Malaysian Cartoon art developments should be divided into four important eras, namely Pioneer Era (1930s to 1957), New Era (1957 to 1970), Glory era (the 1980s), and the Pluralist Era (Since the 1990s ). In this context, cartoon style and Illustration 8.4. Raja Hamzah, ”Keluarga Mat principlehave also changed in parallel Jambul” in the Daily News, July 1, 1957. with the development of the state, society, During the decades of the 1960s, a culture, socio-political, technological trend towards the significance of art and and media ownership. At the beginning, design field has reflected through the cartoons were only published in the print formation of a number of art schools such media, animation, but later, in the form of as study Art and Design, MARA Institute electronic media, and up until now, they of Technology (ITM), which became are developed in various other forms such one of the pioneers of art education as digital media and the internet. institutions in Malaysia. Efforts to develop History has shown that the cartoon art in a local community committed to respond this country has gone through various stages to the nation’s development agenda. of development of the genre, style, theme, Since founded in 1967, the formation of form, meaning, and witty. Art has become a curriculum approaches and trends of visual sideline in film magazines and entertainment, arts education and cultural agenda of the cartoon art has a foothold as an important country has been taken into account. genre of visual art on its own. This situation In addition, the Philosophy in Education is evidenced by the emergence of specialized as well as nation, the important cultural magazines that magnitude numbers since events such as the formation of the National the end of the 1970s decades up to the Cultural Policy (1971), Seminars on the present, such as the Gila-Gila (Crazy-Crazy), Roots of Indigenous Arts and Their Present Gelihati (Gigling), Batu Api (Fire Stone), Mat Development (1979), and the rise and the Jenin, Humor, Ujang, Apo, Gempak, Utopia, tendency toward Islamic values have also Starz, JOM, and G3, and supported by the influenced the curriculum development emergence of many animated works. Filmed and the development of art in Malaysia the story of daily life as well as the various in general. The formation of the National characters, nations and cultures have been Cultural Foundation has also recommended able to reflect the country’s diverse and that the search of national identity based pluralist communities. on local indigenous culture has driven the artists and designers to refer to the

122 HISTORIA: International Journal of History Education, Vol. XIII, No. 1 (June 2012) traditional arts as their source of inspiration. spiritually, emotionally, and For the cartoonist, the search has made physically based on the belief in them possible to refer to the life and culture and devotion to God. Effort is surroundings as an inspiration, as Lat did in designed to produce Malaysian citizens who are knowledgeable, his masterpiece The Kampung Boy (1979) competent, honorable, responsible, ”The Boy Village”(Illustration 8.5). and capable of achieving well-being and contribute to the harmony and prosperity of society and the nation “(National Education Philosophy).

In this context, for Malaysia, the role of the field of Art and Design covers the problemss that are actually relevant to the development of the individual and society, Illustration 8.5. Lat, The Kampung Boy, which at the same time in line with Asian 1979. values.

The Role Art and Design Fields in This was reinforced by organizing Malaysia seminars on the Roots of Native Arts that keep track on beauty and meaning of In this new millennium, the problem of traditional art forms. The rise of Islamic local and global values or identities often values in the 1980’s has also seen the become an important issue for artists and introduction of Islamic Art subjects at ITM cartoonists, of course, without neglecting in 1982 and the emergence of more Islamic the role of economic and commercial work has been created by instructors such values. This is consistent with the theme as Sulaiman Esa, Ahmad Khalid Yusof, of this seminar, which also emphasizes the Hashim Hassan, Ponirin Amin, Zakaria search for identity in the formation of the Awang, and Ruzaikha Omar Basaree. Asian community. In Malaysia, commercial The role of Art and Design in developing and industrial aspects of the art are not nations are also seen in the context of its marginalized, but many programs planned relationship with the National Education by the government generate the local Philosophy that becomes a core in the creative industry such as the creation of the curriculum development. As the following National Creative Industry Policy, National excerpt, the National Education Philosophy Creative Industry Fund, and various other emphasizes the balanced development incentives. of the individual in shaping society and a In addition to the involvement of the peaceful nation. industry, government support is also very “Education in Malaysia is an important in determining the direction ongoing effort towards further and continuity of art and design. The developing of the individual Malaysian Government established Art potentials in holistic and integrated School in Johor and Sarawak in 2007 ways, in order to create a balanced and declared the year 2010 as a year of and harmonious intellectually,

123 muliyadi mahammood, The Role of Cartoon in the Formation of Asian Community: Art History Analysis innovation and creativity that is known as the issue is related to the question of tree the Malaysia Innovative 2010 to endorse theme, style, appearance and methods of the government’s culture of innovation criticism? How can these things be linked and creativity that is so synonymous with and utilized by the Asian community? the world of art and design. Organizing Could the existence of a uniform nature of various activities and initiatives that lead the underlying themes, styles and methods to the creation and product design among belong to Asia criticism? the general public and students who demonstrate the visual arts that have the Local and Global Styles in Lat potential and demand. Cartoons In this context, the establishment of Mix 2012 Comics Symposium held bodies related to art such as the Malaysia at the Columbus College of Art & Design, Design Council (MRM) under the auspices USA, in October 2012 has featured four of the Ministry of Science, Technology interesting major themes: “The Epic and Innovation (MOSTI) in 1993 is seen Ordinary: Contemporary Life and the as positive. The agency plays a role as a Epic Narrative in Comics; Extraordinary promoter, counselor, and the innovation Epics: Reshaping History and Myth in activities among the people. Among others, to ensure product design locally to compete Contemporary Comics; Dimensions of globally, MRM focuses on three key roles, Gender: Depictions of Sex, Sexuality and namely, “to give recognition to the creation Gender in Comics and Sustainability potential and competitiveness, to provide or Apocalypse? Imagining the Future educational programs to researchers through Comics” (Columbus College of Art new from among students school and & Design). university students, and provide a platform The symposium theme of visual themes for competition to evaluate the product, lie actually across the global cartoons and to encourage more innovation creation comics. How does the story of ordinary produced “(Ahmad Zainuddin in Nazrul daily life can be lifted up as a great epic; Azim Sharuddin, May 26, 2010: 4). reforms the history and legend into great The progress of Art and Design and exceptional works; discusses gender Education directly correlated with the issues and the problems of the future in national development agenda, thus the the context of environmental issues. These potential is great and convincing. In themes are fascinating to be comprehended addition to efforts, strong academic staff, support from the government and industry by the comic and cartoon artists in drawing will most certainly boost the potential of their creative works. In addition to finding this area as a whole. the right and match style suitably applied It is generally associated with the in Asia, how meanings and messages can physical aspect, but what about the also be effectively and properly expressed. spiritual, especially in questions of Community and cultural pluralism meaning, value and artistic expression of Asia actually provide a great source of itself? In the context of the cartoon art, inspiration for great Asian cartoonists

124 HISTORIA: International Journal of History Education, Vol. XIII, No. 1 (June 2012) to produce quality work. From rich and Lat cartoons, including the sensitivity to the various types of folklores, storytellers, oral diversity of customs and traditions of a society traditions and daily life can all be turned of Malaysia; concern for the cultural aspects into one of visual themes and subjects of dying Malaysia; the themes of political which will never break and run out. and social life and neutrality; appearance For Malaysia, the best example is the work issues of international issues in the context of renowned cartoonist, Lat with his work of Malaysia; as well as humor and subtle The Kampung Boy (1979) (Illustration 6) that satire reacted to flaws that exist in society in lift the daily life of the rural communities in general. Lat ways in criticizing the ethics and publicly acceptable forms and performances. aesthetics have met the subtle, more layered The story of this ordinary life can be turned symbolic Malay criticisms. into an enduring masterpiece of old and “Keluarga Si Mamat” grasps the time-tested sound, translated into various subject and includes questions on current languages, thus allowing the Asian values issues, thus shows sensitivity of Lat on appreciated by the global community. local and contemporary issues that has tUnderstand and respect the values of the been established in the works of lerang multi-ethnic culture is a way in which Asian slopes cartoon before creeping in editorial societies can understand each other in cartoons “Scenes of Malaysian Life” in the creating a desired Asian community. New Straits Times.

Illustration 8.6. Lat, The Kampung Boy, 1979.

Illustrasion 8.7. Lat, Keluarga Si Mamat. The question of national identity, as 1979. well as a plural society of Malaysia is key issues in the Lat story. Among other things, In addition, Lat has produced any factors that contribute to the strengthening other important works in a form of books

125 muliyadi mahammood, The Role of Cartoon in the Formation of Asian Community: Art History Analysis as Kampung Boy (1979), Town Boy (1980), Mat Som (1989), Kampung Boy-Yesterday and Today (1993), and over 20 anthologies editorial cartoons. In Kampung Boy, village atmosphere is described with such delicate and detailed imagery through imaged-house and neatly painted flora. Other than reflecting life experiences, Kampung Boy reflects the values of subtly beautiful countryside of Malay culture, such as family love and friendship: as a reflection of the universal value of Asia. In addition, slopes cartoons and books, of Lat’s multiracial sensitivity to Malaysia has Illustration 8.8. Lat, Town Boy, 1980. also reflected in editorial cartoons featuring self-portraits and caricatures of the figures, This is also reflected in the works of Lat and several characters who often appear like editorial cartoon that also reflects the multi- an old lady, bald male of Chinese, stocky with ethnic characters as a reflection of society. spectacled man of India, Sikh men and Malay Through Lat cartoon, the world community couples in scooter. recognize Malaysia’s multi-ethnic nature These characters have become trademarks and culture. The multiculture of Asia is in his cartoons and reflected the country’s indeed the pluralistic nature and diversity ethnic diversity and Lat’s sensitivity against that should thankfully be celebrated by racial and cultural diversity of Malaysia. Lat taking into account values, customs and masterpieces show that he is an employee morality of the society. This includes the who is sensitive and concerned to the current way of conveying subtle symbolic and developments, the identity of the people, the prudent criticism (Illustration 8.9). diversity of customs, cultures and traditions of the plural society of Malaysia. Through various genres of cartoons, Lat shows attributes or characteristics of the unique and special nature of the core and symbol of the Malaysian and the Asian communities, thus making the reflection of his Malaysian and Asian faces. Lat works such as Town Boy (1980) (Illustration 8) also discusses multi ethnic and cultural aspects of the characters learned from the lives of the children. It is clear that tolerance should be inculcated from childhood as a basis to understand each other.

Illustration 8.9. Lat, Lat Was Here, 1995.

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