Cover Image

Hybridity and the construction of a Malayan cultural tradition: Selected works in Malayan modern art

This paper examines selected artworks produced by Malayan artists of Chinese descent during the 1950s and 60s within the contexts of Malayan nationalism and cultural tradition. The artists mentioned here went overseas for art education from the 1950s onwards and returned to Malaya as art teachers an...

Full description

Saved in:
Bibliographic Details
Main Author: Ong, E.
Format: Conference or Workshop Item
Language:English
Published: 2015
Subjects:
H Social Sciences (General)
NX Arts in general
Online Access:http://eprints.um.edu.my/15528/1/Emelia_OngIL_Kertas_Kerja_ICACA_2015.pdf
http://eprints.um.edu.my/15528/
Tags: Add Tag
No Tags, Be the first to tag this record!
id my.um.eprints.15528
record_format eprints
spelling my.um.eprints.155282016-01-12T03:16:44Z http://eprints.um.edu.my/15528/ Hybridity and the construction of a Malayan cultural tradition: Selected works in Malayan modern art Ong, E. H Social Sciences (General) NX Arts in general This paper examines selected artworks produced by Malayan artists of Chinese descent during the 1950s and 60s within the contexts of Malayan nationalism and cultural tradition. The artists mentioned here went overseas for art education from the 1950s onwards and returned to Malaya as art teachers and/or artists. They include Yeoh Jinleng, Lee Joo For, Cheong Laitong, Patrick Ng Kah Onn, and Chuah Thean Teng. These artists were mostly educated in Western universities with the exception of Chuah Thean Teng. The latter although educated in Amoy Academy of Art in China, learnt Western painting alongside Chinese traditional painting. Cheong Laitong and Patrick Ng were mostly selftaught but later also studied at western colleges. The artworks discussed in this paper form an interesting contribution to a Malayan cultural imagining during that period. While local art historical writing frequently discuss their works as derivative of Western artistic movements and mostly detached from nationalistic discourse, I argue that the significance of their work lay in their claims for an authentic Malayan identity through the notion of hybridity. Their works may be viewed as a construction of Malayan cultural identity that was centred on the idea of the plurality of the different ethnic communities that make up the population of Malaya. Their notion of Malayan identity was built on the foundation of a Malayan nationalist sentiment and spirit that emerged during the 1950s. 2015-10 Conference or Workshop Item PeerReviewed application/pdf en http://eprints.um.edu.my/15528/1/Emelia_OngIL_Kertas_Kerja_ICACA_2015.pdf Ong, E. (2015) Hybridity and the construction of a Malayan cultural tradition: Selected works in Malayan modern art. In: 4th International Conference of Applied and Creative Arts. ICACA 2015 , 22-23 October 2015, Faculty of Applied and Creative Arts, UNIMAS, Sarawak.
institution Universiti Malaya
building UM Library
collection Institutional Repository
continent Asia
country Malaysia
content_provider Universiti Malaya
content_source UM Research Repository
url_provider http://eprints.um.edu.my/
language English
topic H Social Sciences (General)
NX Arts in general
spellingShingle H Social Sciences (General)
NX Arts in general
Ong, E.
Hybridity and the construction of a Malayan cultural tradition: Selected works in Malayan modern art
description This paper examines selected artworks produced by Malayan artists of Chinese descent during the 1950s and 60s within the contexts of Malayan nationalism and cultural tradition. The artists mentioned here went overseas for art education from the 1950s onwards and returned to Malaya as art teachers and/or artists. They include Yeoh Jinleng, Lee Joo For, Cheong Laitong, Patrick Ng Kah Onn, and Chuah Thean Teng. These artists were mostly educated in Western universities with the exception of Chuah Thean Teng. The latter although educated in Amoy Academy of Art in China, learnt Western painting alongside Chinese traditional painting. Cheong Laitong and Patrick Ng were mostly selftaught but later also studied at western colleges. The artworks discussed in this paper form an interesting contribution to a Malayan cultural imagining during that period. While local art historical writing frequently discuss their works as derivative of Western artistic movements and mostly detached from nationalistic discourse, I argue that the significance of their work lay in their claims for an authentic Malayan identity through the notion of hybridity. Their works may be viewed as a construction of Malayan cultural identity that was centred on the idea of the plurality of the different ethnic communities that make up the population of Malaya. Their notion of Malayan identity was built on the foundation of a Malayan nationalist sentiment and spirit that emerged during the 1950s.
format Conference or Workshop Item
author Ong, E.
author_facet Ong, E.
author_sort Ong, E.
title Hybridity and the construction of a Malayan cultural tradition: Selected works in Malayan modern art
title_short Hybridity and the construction of a Malayan cultural tradition: Selected works in Malayan modern art
title_full Hybridity and the construction of a Malayan cultural tradition: Selected works in Malayan modern art
title_fullStr Hybridity and the construction of a Malayan cultural tradition: Selected works in Malayan modern art
title_full_unstemmed Hybridity and the construction of a Malayan cultural tradition: Selected works in Malayan modern art
title_sort hybridity and the construction of a malayan cultural tradition: selected works in malayan modern art
publishDate 2015
url http://eprints.um.edu.my/15528/1/Emelia_OngIL_Kertas_Kerja_ICACA_2015.pdf
http://eprints.um.edu.my/15528/
_version_ 1643690074625277952
score 13.211869

Similar Items