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21

The Labyrinthine Search for Self-Identity -The Art of Southeast Asia from the 1980s to the 1990s

USHIROSHOJI Masahiro Curator, Fukuoka Art Museum

1.

"The time has come for us to exam ine ourse lves in the light of what we have become as opposed to what we ought to be." 1

-Robe rto Feleo, 1988

The basic subject for Southea _st Asian modern art was, and probably is, in the exploration of se lf-identity. In other words, we find the primary focus of Southeast Asian modern art to be a process through which the artists become aware of thei r isolation from what they ought to be and they attempt to restore thei r lost selves.

The history of modern art in Southeast Asia is not so long. Some examp les before World War II should be admitted, 2 but it was in the postwar period that modern art actually becam e prevalent throughout Southea st Asia. The pioneering artists, who studied in the West and experienced Western direct ly art, devel­oped the techniques , styles, forms, and trends of modern art and aesthet ics.

From that time , the journey began, the labyrinthine search for "self-identity." In the context of art , its destination is not an imitation of weste rn art , but the creation of a unique style and the maturation of each artist's individual forms of spontaneous expression. The matter was fundam enta lly the same in Japan, although the period was slight ly different than in neighboring countries. The movemen t of Japanese modern art hist ory was also to study art in the West, then to create "Japanese oil paint ­ing" under the prevailing influence of Western art .

The sentence by Roberto Feleo, Philipp ine artist , with which this text begins , refers to the loss of cultural identity under the rule of Western powers for a long time. If modernization in the Asian count ries means to approx imate the modern Western civi­lization as closely as possible, whethe r a count ry was a colony of a foreign country or not, art could not remain aloof from that trend. Consequently, the isolation from "what we ought to be" becomes the most important issue for the artists in every country in Asia, and it is a natural result that they must search for "what they ought to be " or "self-identity" (it is becoming more and more natural beca use the values of "Western m,;idernity" themsel ves waver in confidence ).

In any case , the "sea rch for self-identity" was a very impor­tant subject for artis ts in Southeast Asia, because there is no possibility of finding a unique artistic expression if they could not rediscover once again their own cultural identity , which had alrea dy been lost

Furth ermore, during the period shortly after Southeast Asian

count ries attained independence, the flames of nationali sm burst forth and the establishment of a nationa l identity was an urgent task for the peoples in Asia, and it was a very difficult thing to ach ieve for countries whose peop le represent various ethnical identit ies. Such an enthusiastic atmosp here drove the artists to "search for self-identity ," but at the same time it caused the confusion bet wee n the search for the national identity demanded by the State and the "search for self-identity" necessary for individuals who need to express themselves. Perhap s the linkage of these two goals was a prob lem peculiar to Southeast Asian count ries .

2.

How, then, did Southeast Asian artists really try to solve that problem?

It is both difficult and contradicto ry to attempt to create one 's own world of expression throug h using the styles and techniq ues of modern Western art , and in depending upon the way of think­ing of Western art . When Southeast Asian artists took up that difficult challeng e, they tried to anchor themselves firmly within the unique and fertile traditions of Southeast Asia .

However, "the unique expressio n peculiar to Southeast Asian art," is actually composed of many levels: superficial depictions of Southeast Asian customs, life styles, or landscap es; represen­tations of Islamic , Buddhist, or Hindu religious episodes and views of the world; and applications of traditional art tec hniques or styles . But there are not so many examp les that strove for spontaneous and original express ion, name ly, at the creative artwork by the artists who are living in today 's Southeast Asia . Most of these works are confined within the unc ritical repetitions of traditio n or the eclecticism whic h introduced the frame of Western art into Oriental elements. That is wha t modern art in Southeast Asia is, because the equ ivocal concept of national identity went far ahead of the "sea rch for se lf-iden tity" for the self-expression of the artist .

Genera lly, the Oriental national identity was often pursued superficially , within the frame of modernism introduced from the Western world , which is representat ive of such materials and forms as canvas and oil painting , or the marble and bronze sculp­tures on a pedestal. But it was so ha rd to find the self that was searched for in such a way. It was not until the end of the 1970s and the 1980s that the artists reconsidered and became aware of "what they had become as opposed to what they ought to have been," and that reconsiderat ion then began to crystali ze in their artwork. 3

3.

When you travel through the Southeast Asian countries , you may notice the cultural common elements between them. If you get rid of the political boundaries of the borde rs which often shut them off, you can get the vision of a cultural frame different from that of the Stat e; the spread of religions such as Buddhism or Islam, and the popu lations of those of Chinese descent, of Malay

22

descent , or of Indian descent. Therefore, now is the time to re­

consider the true image of the Southeast Asian cultures in a field of art beyond the political frames of the borders, and then to start

again in order to realize what art could be in each country.

4 .

It was between 1991 and 1992 that we twice visited and inves­tigated the capitals and other cities in the six ASEAN countries

for this exhibition of Southeast Asian contemporary art. 4 During

these ten years, cityscapes in Southeast Asia have changed

greatly, and we were able to find artwork that attained to fresh

and vivid expression . The change in art occurred invisibly

through a series of subtle displacements during the 1980s, which prepared the way for its long-expected and sudden revelation in

the 1990s with art works of substantial quality. Now the "search

for self-identity" in Southeast Asian art has matured and is facing a new era . I would like to examine some examples below .

5. A precipitous mountain range extends across the northern part of Luzon Island in the Philippines; only its steepness blocked

the Spanish from invading into that district . The native tribes,

which have maintained thei r traditions and cultures since

ancient times , still live there. For Filipinos who think they have already lost their identity under the rule of a different culture,

that ethnic culture 5 is, so to say, itself already lost.

Baguio, a city among the mountains, is located at the en­

trance to the ethnic culture area in northern Luzon. Many artists moved to Baguio in the 1980s and they organized the Baguio Arts

Guild (BAG) in the late 1980s. They had doubts about life in the

capital, Manila, where the influence of "Western modernism"

was evident, and they were also exploring "what they ought to be." In the Philippines, the people living in ethnic cultures are

called highlanders, and those living with the sense of values

affected by Western modernism are called lowlanders. The artists felt that the culture of the lowlanders around Manila could bring

nothing else but poverty, violence, and disorder. They tried to

find in the values of the highlanders something that could sur­

mount "Western modernism." And they attempted to encounter

"what they ought to be," and then to restore thei r lost selves. Consequently, the artists who belong to BAG find their creative

bases in the values of the highlanders . 6

Roberto G. Villanueva creates installations similar to religious structures used in the festivals of the highlanders, and he also plays a performance approximating the rituals. His action to soothe the fury of the goddess of a volcano Pinatubo in collabo­

ration with a shaman is in itself a religious ceremony, which

cannot be a work of art if one sees it only with the eyes of the lowlanders or of "Western modernism." However , he attempts to

open the autonomically closed system of the artwork and to return it to "what it ought to be" through the reestablishment of

the relationship with the community in order to recapture the

original power of the art itself . Therefore , he does not revive the

already dead tradition but communes with the living culture at

present. BAG invited groups from the provinces to its annual art

festival in order to promote exchange between the artists. One of the artists who exhibited-on-this occasion is Norberto Roldan;

he is a member of a group "Black Artists" in Negros. Thus , BAG

aims at making a decentralized network all over Southeast Asia. The problem of locality symbolized by the activities of BAG will

be a more and more important issue in the Southeast Asian art

scene of the 1990s.

6 . As I mentioned before, the societies of Southeast Asia have racial

boundaries which are cultural ones different from the actual

political borders. One of the groups that spread throughout the

Southeast Asian area is that made up of people of Chinese descent. They form Chinese societies, and they have a strong

consciousness of being Chinese• they do not identify themselves as Malaysians or Singaporeans but as Chinese, regardless of

where they live. Tang Da Wu is a Singaporean by nationality but a Chinese by

blood. He is the oldest artist among those exhibiting artworks at

this exhibition, and probably belongs to the second generation

of Singaporean modern art, by virtue of his age. However, he

could not find satisfaction in taking refuge in the traditional style or in coating the Western style with a Chinese flavor like others

did. Having lived for a long time in England , he mastered the

radical methodology of contemporary art. No sooner than he returned to his native country in the late 1980s, he organized the

Artists Village. Then he did a performance and made an instal ­

lation focused upon "the boat people" on a major street, executed

a work of "land art" in a forest demonstrating the power of a squall, and organized a group show in a museum whose subject

was the doom of the Earth. Those activities connected the new

methods with social issues and shook the art scene in Singapore, which inspired young Singaporean artists. The budding artists

are now rising from the Artists Village, and the art scene in

Singapore is suddenly revitalized. We could not introduce them

on this occasion, but I am confident that someone will appear as an artist representative of the next generation from among them.

Tang Da Wu always attaches importance to Chinese blood as

his artistic ground. He often practices his activities concerning ecological subjects; however, when he approaches the social

problems-including the indiscriminate hunting of the rhinoc­eros and tigers for Chinese medicine, the eating of endangered

species in Chinese banquets, and political subjects such as the Tiananmen incident-he singles out each subject and transforms it in his work from the standpoint of a Chinese. And that is the

way he explores his self-identity.

He states that his nationality, namely, being a "Singaporean" is a trifle that comes into question with official documents,

because he is Chinese.

23

7. Nearly 40 percent of Malaysia's population is of Chinese descent,

which is slightly less than in Singapore. "Bumiputraization" limits the opportunity for Chinese people to have an art educa­

tion; therefore, Chinese artists have rarely emerged in Malaysia. In the Malaysian art world, which has been occupied with the

clique of the MARA Institute of Technology (ITM), Chinese

artists such as the graduates of the Malaysian Institute of Art

(MIA) have been becoming noticeable little by little during these years. The leading artist is Wong Hoy Cheong, who was born

after the foundation of Malaysia as a state and is younger than

Tang Da Wu by two generations. He also studied in a foreign

country, in the United States, and returned to his own country

after an interval of ten years. In the United States, there was a period when he was strongly conscious of being a Chinese and

was wearing the popular attire of the People's Republic, but now he says that he is not a Chinese anymore and affirms that he is a

Malaysian.

The decorative abstract art by the Malayan artists has been

the main stream in the Malaysian art scene. It was the result of the Islamic precepts forbidding the iconolatry, and consequently

figurative paintings were rare . But now Wong Hoy Cheong or Tan

Chin Kuan, who is still younger than the former , vitalize the art world with figurative paintings that contain socia l and sometimes

politica l messages. Tan Chin Kuan enhances the consciousness of being a Chinese in consolidating his political and social atti­

tude little by little from his inner psychological images to the

actual problems of the Chinese people in Malaysian society.

On the other hand, Hoy Cheong focuses upon the Western domi­nation over Asia and the Japanese military government in

Malaysia, and returns to the origin of the country as a Malaysian.

8.

At the same time, on the side of the Malayan artists , the move­

ments to exceed the frame of the "decorative abstract art" revealed itself . At the "Salon Malaysia," the exhibition opened to

the public sponsored by the government on a national scale after an interval of thirteen years, the large-scaled installations at­

tracted the public attention in the sections of both painting and

sculpture. The grand prix works of Zulkifli B. Yusoff (a simple but

vigorous installation) and of Mohd. Fauzin B. Mustaffa (a painting

that inherits the Malayan decorativeness), both probe into the

rapid modernization, the great change in a society undergoing economical growth, the dissolving union in communities , and the destruction of the life environment .

In Thailand, the group called Neo-Traditional aims at the

recurrence to the tradition and is gaining in public favor. How­

ever , there appears some artists who try to depict the actual

changes in the society with familiar materials such as soil, wax, farming tools , industrial products , and so on, and Montien

Boonma is the leading figure in this movement.

In Indonesia, the group organized mainly of artists from the Bandung Institute of Technology (!TB) has lost its influence over

the Indonesian art scene , where it took a role as "a window to

Western modernism" until the 1980s. On the other hand, a group of mystical fantastic painters in Jogjakarta, which as tlie counter­

part of the former, has not yet revealed its new aspect. Instead

of these groups, the new form of art emerged around Jakarta, which is called "Instalasi" and is a mixture of installation and

performance. This form of art has been unfamiliar in Indonesia,

and the artists of "Instalasi " are critical of the social issues such

as the destruction of the environment. Among them, two artists

are exhibiting their works in this exhibition, Dadang Christanto and Heri Dono living in Jogjakarta. They are artists to be noticed

in these movements. Generally, each country in Southeast Asia

experiences the disintegration of its old society, previously com­

prised of communities, and the emergence of a new society

filled with commodities . The artists explore the meaning of self­identity in facing the social changes hastened by modernization

and industrialization .

9.

As I mentioned above, the art scene began to change around the

beginning of the 1990s in every country of Southeast Asia. In the

Philippines , there is a movement to rediscover the lost self in the local ethnic culture and to try to surmount the values implanted

from Western modernism . In the Chinese societies in Asia , some artists attempt to find the self with recourse to being a Chinese.

Or on the contrary , some try to find their self-identity through

their nationality, through which we could recognize changes

in Chinese society . Anyway, it is evident that Southeast Asian modern art develops and advances in "exploring self-identity."

The changes in the art scene in Southeas t Asia, namely , the appearance of a new subject (changing society), new forms of art

(installation and performance), and the materials (familiar ones

from daily life), come from the desire of the artists to engage in

the society in which they live and in the real world surrounding them. As one of the Indonesian artists says , they needed "the

new form, new style , and new materials in order to express a new

subjec t." They could no longer represent borrowed ideas with

borrowed materials and techniques from the Western world. Instead , it becomes obvious that they are trying to express them­

selves through spontaneous forms of expression. It might be said

that their struggle is to get rid of the "frame of modern art in Southeas t Asia. "

There could be various interpretations of these movements . Viewing them from a standpoint that denies the autonomic

development of Southeast Asian art, one could not recognize the

necessity of inducing the spontaneous expression on the grounds tha t these movements are only following the most recent trends

in Western contemporary art . And further, there might be doub ts

that "Southeast Asian art" could not engender a universal and creative artwork which would become a driving force in the

"Pos t-Modern " period , because it leaves ambiguous the signifi­

cance of modernity without examination. Certainly , one might notice the vestiges of the trends of

24

Western art. But if one tries to trace out the autonomic develop ­

ment, one could consider that Southeast Asian modern art is now bearing fruit after a long struggle for self-identity, swaying be­

tween the overwhelming influence of the Western world and the

seduction of its own traditions.

The exhibited pieces of art should show us that Southeast Asian contemporary art is now on its way to realizing more spon­

taneous and more libera l expression, through the liberation from the frame of "modern art" and the acquisition of its own tech­

niques and the urgent subject of self-identity.

When it was released from the spell of "Western modernism,"

the binding force of tradition to stand against the Western influ­

ence weakened at the same time. Therefore, the young gener­

ation of Southeast Asians has to confront realities that are a

mixture of Western and traditional elements .

10.

Whether Southea::,, Asian art could find "what it ought to be," or

not, whether it could reconcile the opposition between what it

has become and what it ought to be, or not-at the moment we

do not need the answer, because art is not the answer. It does

not matter how and what we ought to be. The core of Southeast

Asian modern art is the awareness of the gulf inside us and the journey of exploration for the self. The maturity derived from the

exploration is now bringing about new possibilities for Southeast

Asian art. (Translated by FUJIHARA Erimi)

Notes 1. Roberto Feleo , "Message ," Exhibition Catalogue of Asian Artists Today­

Fukuoka Annual 1, Roberto Feleo, Fukuoka Art Museum, 1988, p. 5. 2. The examples are the group of Nanyang Academy of Fine Arts founded in

1939 in Singapore , or the Persagi group organized in 1937 in Indonesia. In the Philippines , Victorio Edadez, "father of Philippine modern painting ," held an exhibition in 1928 which announced modern times. Then in 1937, "13 Modems " was organized. In Thailand, Silpa Bhirasri, "father of Thailand modern art ,'' founded the Art Academy in 1933, and began to educate the first generation of the modern art in Thailand

3. The people concerned with art in Southeast Asia often say that the "Festival: Contemporary Asian Art Show, 1980" held at the Fukuoka Art Museum provided a clue to the rising movements to reexamine the relationships between the Asian countries regarding contemporary art and the Asian tradit ional arts or the ethnic craft arts , including the tendency not to learn from Western art as a model. The reason is that it was time to reestimate different cultural values in the world and to relativize the Western sense of values. However, it is a great pleasure for us that our project might have opened an opportunity for Southeast Asian artists to turn their faces to each other.

4. The persons in charge of organizing the exhibition and a field survey are as follows: Nakamura Hideki and Tani Arata, art critics; Sakonaka Yoko, curator of Hiroshima City Museum of Contemporary Art; Furuichi Yasuko, The Japan Founda tion ASEAN Culture Center ; Ushiroshoji Masahiro, curator of the Fukuoka Art Museum.

5. Alice Guillermo draws a clear line between ethnic culture and folk culture . The former is a culture inherited among the tribes who were never under the Spanish rule , namely, the mountain tribes in the north of Luzon and the Islamic culture in the south. The latter is the culture of tribes influenced by Spain ("The Social Roots of Philippine Popular Arts" in Rediscovery-Essays on Philippine Life and Culture, ed . by C.N. Lumbera and T.G. Maceda , trans. by Fukunaga Kei, (Tokyo: Imura BunkaJigyosha, 1981), pp . 11-25.

6. Roberto G. Villanueva plans to execute his work in the north garden of the Fukuoka Art Museum in the end of September. Further information about the act ivity of the Baguio Arts Guild will be provided with "Baguio Revisited ,'' in

FS. Fukuoka Style , vol. 5, 1992, by myself, and "A Haven for Lowland Artists ," in Mabuhay: The Inflight Magazine of Philippine Airlines , November 1989, by Elizabeth V Reyes.