Monday, June 29, 2009

The Anthony Milner essay and Liew Kung Yu’s art.

The Anthony Milner essay is quite a piece of writing that deals with the way history of Malaysia is shaped right from inception to date. It also looks at how different narratives compete with each other for relevance. Anthony Milner is part of the ISEAS project that looks at how different south East Asian countries developed into a nation state. Milner’s area of concentration is Malaysia where he examines the things that can make or break Malaysia. He refers to the concept of Malaysia as an “idea” that is in a precarious situation (state). He also spoke of how Malaysia lacks a common unifying factor that the people will look up to. He spoke of the Philippines situation where the great revolution lead by Andrés Bonifacio was seen as a single great tradition that unites them.
In his essay, he spoke of how different segments of Malaysia have their own perspective about national history and how each segment has rejected the others perspective because of racial issues. Malaysia is a multi racial society founded by all the races (Malays, Indians, and Chinese). However, the Malay race is claiming ownership of the land and considering others that are involved in the Malaysian project as settlers or migrants. This of course did not go down well with the rest of Malaysia especially the Chinese who are believed to have worked tirelessly for the independence that they are enjoying today.
The issue of race and unity will continue to dominate national discourse in Malaysia as long as the other races involved feel marginalized by one section (Malays). A lot of countries have dis-integrated because of this. However, Malaysia still remains in one piece after fifty years of independence. Does that mean that though Milner referred to Malaysia as ‘precarious’ it would never break? The answer lies with the future generations of Malaysia.
Anthony Milner suggested that in other for Malaysia to move forward as an indivisible country, equality must be emphasized. That will encourage inter-racial unity among the races and will save Malaysia a lot of headache. It will also end the long standing racial disharmony that is the case presently here in Malaysia. That’s his suggestions for a better Malaysia. And I say that will be a way out of this mess that Malaysia is in right now.
Liew Kung Yu is an artist that is unique in his own way. His art work is unique as well; he tries to use the common elements to tell his stories practically about everything in the society he lives. He tries to integrate elements that are seen as common so that the ordinary people can relate to his work. He tries to speak to his audience through his work and also criticize the ruling class.
In his latest work titled cadangan- cadangan (proposal for my country) Kung Yu tells a story of Malaysia using national landmarks as his tool to tell the story of how Malaysia is divided internally. He also has a habit of showing how divided the country is through his work. He uses a frame to indicate the boundaries of Malaysia and how the different races live and work. Kung Yu is a critic and a master of his art. His works speak for him and interacts with the audience.
The cadangan-cadangan displays public buildings and public spaces and shows how Malaysians live in different parts of the country. The four large art work also proposes how integrated the country should be, how it is possible for all the different races to come under one roof and live in peace and harmony. KungYu believes that Malaysia can actually be united if the right effort is made.
Anthony Milner and Liew Kung Yu are both trying to show in their own different styles how the country can unite and inspire one another. To see themselves as a people with a common destiny and purpose, rather than bickering about. Both of them believe that the racial problems of Malaysia can be solved and the country united if all sides especially the Malays compromise.

2 comments:

  1. One strategy to integrate Milner's essay and Kung Yu's art work is to focus on the issue of narratives. While art work's narrative is embedded in the play images it contains, no less, a strong sense of the national trajectory - capitalist (economy)and bourgeois (social-cultural) lead development replete with all the signposts of modernity (tall buildings, dams, satellites etc) clad in a thin veneer of tradition. Class divisions are, seemingly erased by a shared aesthetic (the kitsch of the classical 'european' columns). I am not sure Kung Yu shares in the normative assertions you make eg. "how the country can unite and inspire one another". Still, a good attempt at integrating the two texts.

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  2. On The Philippines I think you misread Milner (or maybe I did): "He spoke of the Philippines situation where the great revolution lead by Andrés Bonifacio was seen as a single great tradition that unites them." Bonifacio was in fact the anti-tradition, resisting the American (during its half century colonization of The Philippines) hagiography and canonization of Jose Rizal - the martyred (by the out going Spanish colonialists) novelist-intellectual. Bonofacio was taken up by the Filipino left as a revolutionary icon.

    Some books I found fascinating on The Philippines:

    Jose Rizal, "Noli Mi Tangere"
    Ray Ileto, "Pasyon and Revolution"
    Benedict Anderson, "Under Three Flags"

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