Moving On by seven10

an aRt exhibition of small works by MembErs of APAD

PaRticipating Artists 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37.

Abdul Rahman Rais Abu Jalal Sarimon Amimah Amin Dino Hafian Ahmad Emad Md Ali Aseeri Hamidah Jalil Hazelina Oh Hui Zhong Idris Mohd Ali Izziyana Suhaimi Jeffrey Wandly Juhardi Mohamed Kamal Dollah M. Razali Mahat M. Rizal Mustafa Masturah Shaari Mohammad Fariz Abdul Aziz Muhammad Faisal Sidek Muhammad Najib Abdul Rahman Neelaufar Ayup Nhawfal Jumaat Norhidaya Kamaruddin Normaya Nurdin Nur Aisyah Mohamed Yatim Nur Iman Sumani Nur Nasuha Zakariah Rofizano Zaino Rosman Mohammad Shahid Rudy Djoharnaen Md Hussain Said Mohd Ali Saiman Ismail Sazali Rahmat Suhainah Sugeti Sujak Rahman Thaib A. Wahab Tumadi Patri Ye Ruoshi @Ruoshidah Yip Abdullah Yusoff Abdul Latiff

AD 3 P A 01 2 f o er s b Er to b m Oc e M 10 y 3â&#x20AC;&#x201C; b Organised by

i it

Apad

ANNIVERSARY

Generously supported by

Moving On

Foreword

Abdul Rahman Rais President

“Moving On” marks APAD’s first exhibition after moving out from Telok Ayer Performing Arts Centre (TAPAC) and moving in to the Aliwal Arts Centre in April 2013. For this show, APAD has reached out to 37 participating artists, with a record number of young talented art graduates in one exhibition. The exhibition will only showcases small works so as to give everyone a ‘level playing field’ for both established artists and fresh talents to display their works side by side. I am pleased to note that 16 artists (comprising over 40%) who participated in this exhibition are below 30 years of age. In comparison, the youngest is 22 years and the oldest is 72 years.

2013, 19 January: TUNAS 2013 - Chikdren’s Artwork, Past & Present

“Moving On” is also the final series of three art exhibitions which are specially organised in conjunction with APAD’s 50th anniversary since the beginning of this year. The primary aim of this exhibition is to showcase APAD new and young emerging talents with the intention to encourage them to be actively involved in the creative process. With the renewed vigour, APAD looks forward towards contributing a vibrant visual art scene in the years to come.

2013, 2 March: Our Pioneer Artists - Malay Visual Art Practices From Post-War Period

Moving On

Lakaran Pelukis

Gerakan Seni Rupa Melayu Singapura Pasca Perang

Mohd Raman Daud Wartawan dan ahli seumur hidup APAD

Pengenalan

kelas lukisnya dan pelbagai kegiatan lain akan terus menjadi

AHAD 24 Februari 2013 merakam semacam kerinduan dan pilu

cabaran besar - bahkan sejak penubuhannya.

terasa pada rakan-rakan ahli Angkatan Pelukis Aneka Daya (Apad). Kami hadir bagi mesyuarat agung ke-50 dan buat sekian

Segelintir saja badan Melayu/Islam yang mempunyai rumah sendiri. Mentelah Majlis Pusat yang pernah dianggap pejuang budaya Melayu, pun tidak dapat lagi membela nasib

kalinya di Pusat Seni Persembahan Telok Ayer (Tapac) yang

badan seni Melayu sejak status lamanya sebagai ‘induk’

usang dan dikosongkan badan-badan seni awal tahun ini.

dilucutkan lebih setahun lalu.

Tapac ialah bangunan bekas sekolah rendah dan terletak

Oleh itu, penakatan badan seni seperti Apad ialah

kerdil dibayangi pencakar langit Shenton Way. Tanahnya

sentiasa menunjukkan ia terus relevan pada mata NAC atau

memang terlalu berharga sedang yang menghuninya sekadar

pemerintah. Mengisi syarat ini memang bukan mudah. Pun

badan-badan seni, ujar seorang pelukis.

saya berbangga dapat terus mengikuti perkembangan Apad

Tapac mula dihuni pada 1985 sebagai antara daya galak

sejak mengikuti kelas lukisnya ketika beruniform sekolah

dan naungan daripada pemerintah untuk seniman lewat Majlis

(seluar pendek) pada awal 1970-an di bangunan lama

Seni Kebangsaan (NAC). Memang tanpa ‘rumah’, sukar bagi

Madrasah Al-Maarif di Ipoh Lane.

badan seni seperti Apad bergerak seperti mengadakan kelas lukisnya pada hujung minggu. Langkah NAC dalam aspek ini, antara lain, menepati pelan

Kini sudah ada pelukis atau pengarca kita yang sudah dianggap profesional sebagai pensyarah di maktab seni setempat atau kian dikenali di persada dunia menerusi

induk seni negara. Namun perjalanan nusa ini untuk menjadi

pameran di kota raya besar seperti New York. Sayangnya

Kota Kebangkitan Seni di Tropika masih jauh lagi.

pencapaian sedemikian dikecapi sebahagian ahlinya saja.

Dengan saiz Singapura yang kecil dan padat penduduknya

Majoriti masih lagi berhempas pulas mahu menjadi pelukis

pula, rumah atau hartanah di sini bukan saja kian mahal,

atau pengarca dengan bergantung pada pekerjaan tetap bagi

bahkan kian sukar diperolehi badan seni yang ‘kais-kaisan’

menyara hidup.

(kais pagi, makan pagi). Mujurlah, Apad yang baru berusia lebih 50 tahun masih

Hakikatnya, ahli seni atau seniman memang insan bermaruah, apatah lagi dalam konteks ketimuran. Malangnya

diberikan ruang kecil secara perkongsian di sebuah pusat

sejak dulu, seni selalu diletakkan di kedudukan terendah

seni di Aliwal Street. Namun mencari ruang lebih besar bagi

dalam lapisan keperluan masyarakat. Keutamaan masyarakat

Moving On

ialah ekonomi yang digerakkan usahawan, syarikat,

mempunyai bakat peniaga atau pengurusan untuk ditampilkan.

profesional dan sebagainya.

Akibatnya, pencapaian badan seni kita masih lagi belum

Menurut sejarah, sejak zaman Kebangkitan Eropah

sampai ke mana untuk dipasarkan.

(Rennaissance) dalam abad ke-15 di Eropah, seniman yang bertaraf pujangga seperti Leonardo da Vinci perlu

Landskap Seni

mempunyai ‘naungan’ seperti keluarga Medici, golongan

Landskap seni Singapura berubah agak pesat antara 1930-an

saudagar yang menguasai ekonomi kota Florence. Adakah terdapat seumpama Medici di Singapura? Maklumlah watan ini dicatatkan dengan kadar jutawan tertinggi di dunia. Dalam ruang lingkup Singapura pula, ahli seni memang mendambakan bantuan pemerintah, diikuti dengan penajaan korporat dan pembelian daripada tokoh yang berada. Baru-baru ini, Singapura dikejutkan oleh kisah kebakaran studio seni di Telok Kurau. Banyak karya seni terbakar atau rosak dek pancutan air untuk memadamkan api. Studio seni ini juga di bawah skim NAC. Semoga pengalaman pahit ini mendorong langkah memastikan ia tidak berulang lagi bagi rumah seni yang lain. Pembelaan kepada ahli seni watan perlu berterusan kerana mereka menjadi penjalin antara apa yang diharapkan daripada pembangunan pesat Singapura iaitu mekarnya taman seni yang cukup indah. Yang perlu diinsafi ialah ahli seni bukanlah seorang pengurus niaga. Jarang kita menemui pelukis yang arif memasarkan hasil seninya. Segelintir seniman yang dapat berasa kaya dengan hasil seninya. Misalnya, kisah perih seniman besar P. Ramlee yang cuba melancarkan penerbitan filemnya di Kuala Lumpur (selepas masa depan perfileman Melayu di Singapura mulai goyah) pada dekad 1960-an sudah cukup menjadi iktibar kepada kita. Sayangnya, boleh dikatakan tiada badan seni Melayu yang

sehingga kini. Walaupun Singapura pernah menjadi pusat cendekiawan Melayu antara 1850 hingga 1960, namun tuahnya berubah selepas perpisahan dengan Persekutuan Malaysia pada 1965. Bahkan kesannya juga terasa pada kegiatan seni umumnya (tidak terhad pada masyarakat Melayu). Antara lain, setelah lama cuba menghidupkan kegiatan atau apresiasi seni, seorang usahawan seni berbangsa Inggeris, Donald Moore, menyifatkan Singapura sebagai ‘cultural desert’ (tandus seni) pada akhir 1960-an. Saya mula mengenali APAD pada 1972, ketika di menengah dua Sekolah Menengah Swiss Cottage. Seorang guru, Rafeah Ismail, telah menggesa saya menyertai kelas lukis APAD yang ketika itu diadakan di bangunan lama Madrasah Al-Maarif di Ipoh Lane. Pada mulanya agak kekok juga menyertai kelas yang mengajarkan seni lukis mengguna cat minyak, cat air, pensel atau arang serta kemudian batik. Ketika itu, pada usia 14 tahun, saya berkenalan dengan para murid kelas itu yang termasuk Sdr Abdul Rahman Rais dan Tuni Sharif (kini bertugas di bahagian grafik Berita Harian). Tulang belakang kelas lukis APAD ialah Idris Ali yang sehingga hari ini masih cukup sabar mengajar saban minggu, tidak kira hari hujan atau adakalanya kelas dihadiri seorang dua murid saja. Menurut Hj Abdul Ghani Hamid lewat bukunya, ‘An Artist’s Notes’ (terbitan Angkatan Pelukis Aneka Daya, 1991),

Moving On

kesedaran mengenai perjuangan pelukis atau seniman rupa

kesusasteraan baru oleh Chairil Anwar. Di Singapura, Angkatan

Melayu sudah berputik lama sebelum abad ke-20. Banyak

Sasterawan ‘50 merupakan yang pertama menggunakan istilah ini.

pelukis Melayu cenderung melukis pemandangan alam dan

APM menampilkan Mustafa Yasin (terkenal sebagai pelukis

membuat kerja tangan. Ini memandangkan pekerjaan melukis

latar untuk filem Studio MFP, Jalan Ampas), R Selamat Shariff,

sering rendah ganjarannya. Mentelah imej pelukis tidak

Marhaban Kasman, Yusof Aman (anak lelaki Aman Ahmad),

dipandang mulia sebagai suatu kerjaya.

Mohd Daud dan A Ghani Hamid yang bertindak sebagai

Namun selepas Perang Dunia II, barulah kesedaran itu berubah menjadi usaha bersama untuk menubuhkan Persekutuan Pelukis Melayu Malaya di Kelab Kota Raja (dalam

ketuanya. APM diasaskan pada 22 Januari 1956 tetapi tidak lepas landas kerana kekurangan sokongan cergas. Untuk beberapa lama, para pelukis Melayu tanpa sebuah

perkarangan Istana Kampung Gelam) pada 1949. Pelukis

pertubuhan pun. Namun mereka sempat menyertai kegiatan

terkenal, Mahat bin Chadang (@C Mahat) dipilih sebagai yang

pameran oleh pertubuhan Melayu lain yang tumbuh bak

dipertuanya dan setiausahanya pula, M Salehuddin.

cendawan dalam musim hujan dalam dekad 1950-an. Misalnya,

Sebelum penubuhan PPMM, C Mahat telah mengadakan

para pelukis pernah menyertai Perkumpulan Seni (PS,

kelas lukis seawal 1947. Hasil lukisannya dipamerkan di

ditubuhkan pada 1955) dalam menyerikan Pesta Seni pada

Dewan British Council pada 1949.

Oktober 1957. Pada 2 April 1959, pameran lukisan selama

PPMM telah mengadakan pameran sulungnya di Dewan

seminggu diadakan oleh PS di dewan Sekolah Melayu Kota

British Council, Stamford Road, pada 11 hingga 17 Februari

Raja yang dirasmikan oleh pelukis ternama Indonesia, Radin

1951 yang disertai para pelukis terkemuka C Mahat, Sulaiman

Basoeki Abdullah.

Haji Suhaimi, Suri Mohyani, M Sawoot dan para pelukis dari

Persatuan Kebudayaan Melayu juga mengadakan kelas

utara Semenanjung seperti Saidin Yahya dan A.B Ibrahim.

lukis di Balai Rakyat Kebun Ubi, Jalan Penggaga setiap Ahad.

Lewat PPMM, nama-nama seperti Aman Ahmad (ayah

Lewat usaha Lembaga Tetap Kongres pula, sebuah

penyanyi terkenal Nona Asiah), Nik Zainalabidin, Idris Haji

pameran diadakan pada 22 hingga 28 April 1961 di Dewan

Salam dan Abdullah Ariff kian dikenali dan dihormati.

Peringatan Victoria.

PPMM juga mengadakan pameran pada 23 hingga 29 Disember 1951 dan pada 1953 yang turut disertai Latif Mohidin, Adam, Yusof Hashim, Mustafa Yassin, S Mahdar. Sayangnya, kegiatan PPMM mulai pudar dalam pertengahan dekad 1950-an. Muncul pula barisan pelukis yang menamakan diri mereka Angkatan Pelukis Muda (APM). Istilah ‘angkatan’

Saya masih teringat mewawancara wartawan veteran, sasterawan dan cendekiawan, Abdul Samad Ismail (19242008) pada pertengahan 1990-an di rumahnya di Petaling Jaya, bahawa Singapura merupakan pusat Dunia Melayu yang menyaksikan peranan tiga ombak kesedaran: pertama, kesedaran siasah yang antara lain membawa

sering digunakan untuk memancarkan perjuangan. Ia

pembentukan Kesatuan Melayu Singapura (1926) pimpinan

luas digunakan di Indonesia untuk mencerminkan gagasan

Mohd Eunos Abdullah (namanya diabadikan di Jalan Eunos);

Moving On

kedua, kesedaran gerakan pendidikan dan peningkatan

lewat penyertaan dalam arus nasional serta akrab dengan

taraf ekonomi seperti kelas madrasah sehingga usaha wanita

para pelukis Cina yang sudah lama berakar dalam gerakan

untuk berdikari, Tenaga Murni, dan

kesenimanan di Singapura. Ini merupakan antara pendekatan

ketiga, kesedaran para seniman untuk meningkatkan

A Ghani Hamid yang akrab dengan pelukis seperti Georgette

harga diri seperti terpapar dalam usaha Zubir Said dan Ahmad

Chen, antara pelukis perintis di Singapura. Bahkan sebilangan

Jaafar dalam bidang muzik, P Ramlee dalam filem, kesedaran

pelukis bukan Melayu seperti Thomas Yeo telah menerima

membangun masyarakat marhaen oleh Asas ‘50 dan sebagainya.

pengiktirafan APAD.

Permulaan Apad

Daya Cipta Dan Tanggapan Masyarakat

Ketika bertemu di rumah Cikgu Marhaban Kasman di 497-2

Kebanyakan pelukis Melayu sering mengambil ‘jalan biasa’

Jalan Timun, pada 1 Julai , Abdul Ghani Abdul Hamid (@A

dalam berkarya seperti menghasilkan lukisan cat air atau cat

Ghani Hamid) menampilkan peri perlu ditubuhkan sebuah

mengenai pemandangan kampung, pinggiran kota dan potret.

badan pelukis. Gagasan ini disokong oleh lima pelukis lain iaitu Muhammad Ali Sabran, Muhammad A Kadir (S Mohdir),

Namun M Salehuddin yang terkenal dengan rencah komiknya, ‘Long dan Ngah’ dan ‘Si Kumbang’ di mingguan Utusan Zaman,

Ahmin Haji Noh, Hamidah M F Suhaimi dan Mustafa Yassin.

telah cuba ‘mencetuskan’ pembaharuan dengan menghasilkan

Maka tertubuhlah Angkatan Pelukis Aneka Daya pada 29

lukisan abstrak ‘Bahana Asmara’ - gaya lukisan seniman

Julai 1962. A Ghani Hamid telah menjadi Yang Dipertua yang

Perancis Fernand Leger.

pertama. Wartawan akhbar Berita Harian, Sulaiman Jeem, melaporkan: “Seluruh pelukis Melayu di Singapura sekarang ini telah

Bagaimanapun karya pelukis A Ghani Hamid dari genre abstrak, ‘Mata dan Hati’ (1957) yang telah menarik ulasan ‘kurang senang’ di Utusan Zaman yang menyifatkannya rasa

mempunyai persatuan sendiri, ‘Angkatan Pelukis Aneka

kurang senang. Lukisan ini telah menimbulkan semacam

Daya’. Satu cogan kata yang akan menjadi matlamat dan

polemik yang menolak erti seni moden, khususnya abstrak.

lambang angkatan itu bergiat dalam perjuangan mereka,

Namun kritikan sedemikian hanya mendorong para

telah dipersetujui oleh pelukis-pelukis ini dalam sidang permulaannya, baru-baru ini. Cogan kata tersebut berbunyi ‘Secita Mencipta’.” Sejak itu, APAD tidak lagi tersekat-sekat dalam

pelukis Melayu terus meneroka pendekatan dan teknik baru. Mereka juga menyedari bahawa teman-teman para pelukis Cina sudah jauh lebih menyerlah dalam bereksperimen. Namun para pelukis Melayu juga menyedari batas susila yang

pergerakan. Para anggota pengasasnya, terutama A Ghani

ditetapkan Islam. Hal ini menjelaskan bahawa hampir tiada

Hamid dan S Mohdir boleh disifatkan sebagai ‘paksi’

gambar yang dinilai ‘menjolok mata’ seperti gambar wanita

penakatannya (survival axis). Walaupun mencerminkan citra

bogel dan sebagainya.

pelukis Melayu, APAD cuba bersifat terangkum atau inklusif

Pada 1969, Menteri Ehwal Masyarakat, Encik Othman Wok

Moving On

dalam amanatnya sempena pameran seni Apad, menyatakan

Tapac dengan tiga muralnya yang megah dihasilkan Kamal

bahawa usaha pelukis setempat untuk meneroka gaya baru

Dollah dan rakan-rakannya akan memberi laluan kepada

demi menghasilkan suatu yang terbaik berbanding tradisi yang

pembangunan. Kami bergambar berlatarkan mural-mural ini

beku, wajar digalakkan.

dengan pelbagai rasa di hati.

Sejak itu para pelukis Melayu Singapura kian ‘bebas’ berkarya walaupun tidaklah sebebas pelukis Barat dalam menampilkan tubuh pukas manusia atau gambaran dan arca

Mungkin di tapaknya nanti tersergam sebuah lagi bangunan gagah tinggi menjulang di kawasan pusat bandar kita. Tetapi badan seni kita pula ke mana arahnya?

yang boleh dianggap tidak sesuai dengan adab ketimuran. Para pelukis dan pengarca Melayu kian dikenali di persada nasional dan serantau. Di anak tangga teratas ialah Iskandar Jalil, pandai tembikar dan penerima Pingat Budaya. Sarkasi Said @Tzee telah menempa nama sebagai pandai batik dan begitu juga Sujak Rahman. Dua pengasas Apad, A Ghani Hamid dan almarhum S Mohdir (Mohammed bin Abdul Kadir) memang telah lama dikenali kerana kegigihan mereka dalam berkarya dan membangun Apad sebagai ‘ikon’ masyarakat. Saya yakin para ahli Apad yang menjadi pelapis seperti Kamal Dollah, Suhaimi Sukiyar dan lain-lain akan memberi sumbangan besar untuk membawa Apad ke tahap selanjutnya.

Badan Sosial Apad perlu memikirkan apakah ia wajar merubah corak urusannya ke arah usaha sosial (social enterprise). Hal ini boleh dibincangkan dengan para ahlinya dengan kerjasama Majlis Seni Kebangsaan dan pihak-pihak tertentu. Antara faedahnya ialah Apad boleh memilih untuk menjadi badan mencari laba (untung) atau tidak. Tenaga pengurusan (kakitangan bergaji) boleh diambil. Namun ia memerlukan pejabat dan juga balai seni untuk mempamerkan karyakarya ahlinya. Di samping itu, laman sawang (website) atau Facebook Apad perlu menampilkan karya-karya ahlinya untuk dipasarkan di serata dunia. Tentulah Apad boleh mendapatkan

Sesudah 50 Tahun

suntikan dana daripada syarikat atau individu untuk tujuan ini.

Keusahawanan amat diperlukan bagi penakatan Apad di tahap selanjutnya dengan pemasaran Facebook dan sebagainya. Para ahlinya perlu dikenali dan dikagumi untuk membawa kesan kepada kewujudannya. Apa pun, Apad boleh disifatkan antara segelintir badan seni mapan kerana daya tahan relawannya yang luar biasa. Namun tentulah ia perlu melalui paradigma atau tatacara baru untuk membangun - jauh berbeza daripada zaman atau kaedah rintisan para pendirinya seperti Haji Abdul Ghani Hamid, 80 tahun, dan almarhum Mohamed bin Abdul Kadir (S Mohdir).

Tukikan Seni Rumpun Rantau rumpun Melayu Asia Tenggara merupakan kawasan seni tampak yang masih ‘baru’. Apad boleh menjadi ‘gerbang’ kepada khazanah ini dengan cuba merangkai kerjasama dengan para pelukis atau badan seni tampak menerusi pelbagai perjanjian yang tidak begitu mengikat dari segi pemasaran dan seumpamanya.

Moving On

Biasiswa dan Geran Seni Sudah tiba masanya Apad cuba menghulurkan biasiswa seni untuk murid kelas lukisnya atau ahli mudanya yang berpotensi. Untuk ini, Apad boleh bekerjasama dengan Lembaga Biasiswa Kenangan Maulud (LBKM). Pemberian biasiswa boleh diikatkan dengan rancangan pembimbingan (mentoring) ialah pelukis muda diberi tunjuk ajar oleh pelukis Apad yang veteran. Akademi Apad Sesudah kelas lukisan, wajar bagi Apad mewujudkan akademi seninya. Langkah ini memang sukar namun ia merupakan perkembangan wajar dalam usianya yang semakin matang. Lewat Akademi ini, pelukis atau pengarca berkebolehan dapat diasah dan terus dipupuk menjadi seniman terbilang. Harapan Saya yakin Apad akan dapat hidup 50 tahun lagi jika ia mempunyai para ahli yang berdedikasi. Usaha rintisan A Ghani Hamid dan para sahabatnya kini diwarisi oleh Encik Abdul Rahman Rais dan rakan-rakannya. Proses patah tumbuh, hilang berganti ini perlu dipastikan terus bertali-arus. Kepimpinan dan pengurusan trampil amat diperlukan oleh Apad untuk menjadi institusi seni yang disegani lagi dikagumi.

SEKIAN

2013, 24 February: APAD 50th Annual General Meeting (last held at Telok Ayer Performing Arts Centre)

Moving On

Artist’s Sketches

Mohd Raman Daud Journalist and lifetime member of APAD

The Malay Fine Art Movement in Post-war Singapore

Translation by Syed Muhd Hafiz (Curator based in Singapore)

Introduction

housing centre along Aliwal Street. However the search for

Sunday 24 February 2013 was a poignant day and it was

bigger premises for its painting classes and other activities

particularly sad for friends and members of the Angkatan

is the bigger challenge; in fact it has been its main challenge

Pelukis Aneka Daya (APAD).

since the establishment of the society.

We had our 50th general assembly, the last one, at

Only a small fraction of the Malay/ Muslim organisations

Telok Ayer Performing Arts Centre (TAPAC), a run-down and

here have their own premises. Majlis Pusat was once considered

recently-vacated building.

the champion of Malay heritage and culture. But it is no longer

Dwarfed by the skyscrapers along Shenton Way, TAPAC, used to house a primary school. “It is sitting on premium land and the old building is just housing some artists’ organisations,” said an artist. Started in 1985, TAPAC was a government initiative to

able to perform that role since revoking its status as an umbrella body for many affiliates of Malay cultural organisations. Therefore the strategy adopted by arts organisations like APAD is to demonstrate its relevance to the National Arts Council or the government. This endeavor has not been an

help the local artists, administered through the National Arts

easy process. However I am proud to have followed APAD’s

Council (NAC). Without a ‘house’ it had been tough for local

development, ever since my participation in their art classes in

arts organisations like APAD to find a venue to conduct their

the 1970s (while still in my school shorts and uniform) at the

activities and their weekend art classes.

old premises of the Madrasah Al-Maarif, at Ipoh Lane.

Housing our art bodies is part of the NAC’s many tasks

Nowadays we hear of local painters or sculptors becoming

in line with our Nation’s master plan for the arts. Yet our

professional lecturers at our art colleges or participating in

Nation’s journey is still far from over to reach the status of the

exhibitions at international cities like New York, though only

Global City of the Arts.

a few in APAD enjoy this status. Most of its members are still

With Singapore’s space constraints and increasing population, land and housing properties are not just

struggling to be artists as they juggle full-time jobs. Honestly, a person of the art or an artist is a dignified

expensive but it’s getting increasingly more difficult for arts

person, what more in the Oriental context. Yet since time

organisations - most of them being humble organisations with

immemorial, arts have been given a low priority in society

not much operational budget - to get access to these sites. Fortunately APAD which recently celebrated its 50th anniversary, was offered a small shared office at the new arts

which usually places premium on the well-being of the economy run by so-called entrepreneurs, companies and professionals.

Moving On

Historically, the beginnings of the Renaissance period in

The Arts Landscape

Europe around the 15th century had the support or patronage

The development of the arts landscape in Singapore has

of the Medici family, a powerful clan that dominated the

evolved significantly between the 1930s till now. Even though

economy of Florence. Through their patronage, we see the rise

Singapore was the center of the Malay intellectual scene

of great artists like Leonardo da Vinci. Do we have individuals

between 1850 to 1960, her fate took a drastic turn since the

or organisations like the Medici family here? Especially now

separation from Malaysia in 1965. The consequences of that

when it has been said that Singapore has the highest number

event affected the arts scene (not exclusive to the Malay

of millionaires in the world. The local artists would really

community). One of the effects was Donald More, a British

need government assistance, corporate sponsorship and the

businessman and supporter of the arts proclaimed Singapore

patronage of philanthropists and buyers who will buy local art.

to be a ‘cultural desert’ in the late 1960s after failing to

Recently, the local arts scene was shocked by the fire incident that broke out at the Telok Kurau studios. Part of the

enliven the arts scene and arts appreciation here. I was first introduced to APAD in 1972 while I was still a

NAC Arts Housing scheme too, many artworks were destroyed

Secondary Two student in Swiss Cottage Secondary School. A

during the extinguishing of the fire. We can only hope that this

teacher by the name of Rafeah Ismail had encouraged me to

unfortunate incident would not repeat itself, especially for

join APAD’s art classes which were held at the old premises

the other arts housing buildings. Support for the local artists

of Madrasah Al-Maarif at Ipoh Lane. Initially, it was abit

have to be continued as they are the ones that balance the

awkward attending the art class which taught oil painting,

modernization of Singapore, with cultural progress and making

watercolour, charcoal drawing followed by batik. At 14

it a creative hub.

years of age, I had then been introduced to fellow students

The ones that need to be supported are the artists, not the

including Abdul Rahman Rais and Tuni Sharif (now working in

businessmen. Rarely do we meet artists who can market his/

the Graphics Department of Berita Harian). The anchor or the

her artworks well. Only a fraction of artists manage to become

teacher of that class was a certain Idris Ali, who till this day

rich. A prime example would be the legendary P. Ramlee

still teaches every weekend, rain or shine, even when only two

who tried to launch his new film production company in

students turn up for the class due to the weather.

Kuala Lumpur in the 1960s, after the Malay film industry was declining. His failure is a lesson for all of us. It is lamentable that no Malay arts organisations have the financial capabilities or that entrepreneurial spirit to propel

In his book, ‘An Artist’s Notes’ Hj Abdul Ghani Hamid mentioned that the awareness of artists’ struggles and of Malay artists have long developed since before the 20th century. Many Malay artists were inclined to depict natural

them. Due to this unfortunate lack, the achievements of our

landscapes and craft work since painting did not bring much

arts organisations are still nowhere to be marketed.

income, therefore a career as an artist was frowned upon.

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However after World War Two, this awareness expanded

Selamat Shariff, Marhaban Kasman, Yusof Aman (the son of

into an initiative which saw the founding of the Persekutuan

Aman Ahmad), Mohd Daud and Abdul Ghani Hamid who was

Pelukis Melayu Malaya (PPMM or The Malayan Malay Artists

the leader of the society. APM was established in 1956 but did

Society) in 1949, at the Kota Raja Club. Renowned artist

not last long due to lack of a strong support.

Mahat Bin Chadang was elected to be its first president and M

For quite some time, the Malay artists were without

Salehuddin was its secretary. Before the formation of PPMM,

any organisations. However they still continued to take

C Mahat had already been organizing art classes as early as

part in exhibitions organized by other Malay societies that

1947. His works were also exhibited at the British Council Hall

was mushrooming rapidly in the 1950s. For example, they

in 1949.

participated in a show by Perkumpulan Seni (PS, which was

PPMM organized its first group show at the British Council

formed in 1955) to grace the Pesta Seni (Arts Festival) in

Hall at Stamford Road which was held from 11-17th February

October 1957. On April 2nd 1959, a week-long exhibition

1951. The exhibition featured locally renowned artists like C

was organized by PS at the Kota Raja Malay School hall,

Mahat, Sulaiman Haji Suhaimi, Suri Mohyani, M Sawoot and

which was opened by renowned Indonesian artist, Radin

other artists from the rest of the Peninsular like Saidin Yahya

Basoeki Abdullah. Persatuan Kebudayaan Melayu (Malay

and A.B Ibrahim. Through PPMM, names like Aman Ahmad

Cultural Association) also held their art classes at the Kebun

(father of famous singer Nona Asiah), Nik Zainalabidin, Idris

Ubi Community Centre along Jalan Penggaga every Sunday.

Haji Salam and Abdullah Ariff also became recognized and

Between 22-28th April 1961, another exhibition was also held

respected. PPMM also held other exhibitions, one between

by the Lembaga Tetap Kongres at the Victoria Memorial Hall.

23-29th December 1951 and in 1953 where artists like Latiff

I still recall the interview of the senior journalist, literary

Mohidin, Adam, Yusof Hashim, Mustafa Yassin and S. Mahdar

laureate and academic, Abdul Samad Ismail (1924-2008)

participated.

in the mid-1990s, at his house in Petaling Jaya where he

Unfortunately PPMM’s activities began to decline around the middle of the 1950s, afterwhich a new batch of artists who called themselves Angkatan Pelukis Muda (APM or The Young Artists Society) emerged. The term ‘Angkatan’ is usually

mentioned that Singapore was the hub of the Malay world which saw three waves of realization: first, political awakening that resulted in the formation of Kesatuan Melayu Singapura (Singapore Malay Union, 1926)

used in the context of a ‘struggle’. In Indonesia, the term is

led by Mohamed Eunos Abdullah (several roads and housing/

widely used in the literary movement led by Chairil Anwar. In

industrial estates are named in honour of him);

Singapore, Angkatan Sasterawan ’50 (ASAS 50) was the first to adopt this term. APM featured Mustafa Yasin (renowned for his supporting roles in the MFP Film Productions, located at Jalan Ampas), R

second, social awareness that led to the robust educational and economic upliftment programmes such as Anglo-Malay evening classes and women’s movement, Tenaga Murni, and third, awareness among the art community to strengthen

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the Malays’ self esteem shown in the works of maestros Zubir

Creativity and Society’s Perceptions

Said and Ahmad Jaafar, P Ramlee’s films and the struggle to

Most Malay artists tend to take the ‘normal route’ in their

uplift the poor in the literary works of writers known as Asas

practice by creating watercolour or oil works of kampong

‘50 and others.

sceneries, suburban scenes or portraits. However M Salehuddin who was known for his comic series ‘Long dan Ngah’ and ‘Si

Beginnings of APAD

Kumbang’ in the daily, Utusan Zaman, attempted to ‘provoke’

In a meeting at the house of teacher Marhaban Kasman at

a change by producing an abstract work ‘Bahana Asmara’ – in

497-2 Jalan Timun on 1st July, Abdul Ghani Hamid suggested the need for an artist’s society. This suggestion was supported by five other artists: Muhammad Ali Sabran, Muhammad A Kadir (S Mohdir), Ahmin Haji Noh, Hamidah M F Suhaimi dan Mustafa Yassin. Therefore on 29th July 1962, Angkatan Pelukis Aneka Daya (APAD) was formed. Berita Harian journalist, Sulaiman Jeem reported: “All the Malay artists in Singapore have their own society now known as Angkatan Pelukis Aneka Daya. A slogan that will be their mission and symbol of their direction, have been agreed upon in a recent meeting. That slogan is ‘Secita Mencipta’ (With Common Objective We Create).” Since then, APAD was no longer restricted in their progress. The senior members, especially Abdul Ghani Hamid and S Mohdir can be considered the society’s ‘anchor’. Even though it may seem that APAD was supporting the Malay community, it also tried to be inclusive by working together with the Chinese artists who have been active in the art scene in Singapore for a significant period of time. An example would be Abdul Ghani Hamid’s close relations with artists like Georgette Chen, one of the pioneer artists in Singapore. Also, a number of non-Malay artists like Thomas Yeo have received awards by APAD.

the style of French painter, Fernand Leger. Abdul Ghani Hamid who is an abstract artist had also created ‘Mata dan Hati’ in 1957 which received an ‘uncomfortable’ response from Utusan Zaman. The painting raised a polemic debate, rejecting the definition of modern art, specifically abstraction. However these criticisms only inspired the Malay artists to further their practice and improve on their technique. They also realized that their artist friends, like their Chinese counterparts have gone far in their experimentations. Malay artists also realized the limitations of their own religion, Islam. This limitation dictated their works which prevented them from creating provocative works like nude women and others. In 1969, the Minister of Social Affairs Mr Othman Wok, in his opening speech for an APAD exhibition said that local artists should be encouraged to explore a new language to produce something significant based on their traditions. Since then, local Malay artists here have been ‘free’ to create though of course, not as free as Western artists who depict the nude body or sculptures which are not sensitive to our Eastern values. Local Malay artists have been recognized here and internationally. At the top would be Iskandar Jalil, a master potter and a recipient of the Cultural Medallion. Sarkasi Said @Tzee has established himself as a Batik expert, so has Sujak Rahman. The two APAD co-founders Abdul Ghani

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Hamid and the late S Mohdir have long been recognized for

for its salaried staff. It would also need an office and gallery

their commitment towards their art and establishing APAD as

space to display its members’ works and also, APAD’s website

an ‘icon’ for the community. I am confident that the younger

and Facebook page should be displaying its members’ works

APAD members like Kamal Dollah, Suhaimi Sukiyar and others

so that it can be exposed to the rest of the world. It is possible

will contribute significantly in taking APAD to the next level.

for APAD to get some funding from corporate sponsorships or through individuals.

After 50 Years The entrepreneurial spirit is needed in pushing APAD to the

Niches for Malay Heritage

next level, for example through Facebook and other forms of

The Malay Archipelago is a region where its visual cultures

social media. Its members should be recognized and respected

can still be considered ‘new’. APAD can be the bridge to these

to enable the society’s relevance.

cultural legacies by co-operating with fellow artists or visual

Nonetheless, APAD can be categorized as only one of the few established arts organisations due to its strong network of

culture organisations, though various informal tie-ups and other types of collaborations.

volunteers but of course, it still needs a paradigm change or new strategies to continue its development. These strategies

Scholarship

ought to be relevant now, compared to the earlier challenges

The time has come for APAD to give out scholarships to its

faced by the pioneers like Abdul Ghani Hamid, 80 years old and the late S Mohdir. TAPAC with its three grand murals done by Kamal Dollah and friends will give way to redevelopment. We took a group portrait in front of the murals with mixed feelings. Maybe another skyscraper will rise, towering over our city but where is the direction of our arts organization? Social Body APAD needs to think about whether it should change its management towards a social enterprise. This can be discussed with its members, together with the National Arts Council and relevant parties. A plus point would be APAD being able to be a for-profit or non-profit organization. Funds can be utilized

art class students or young members with potential. For this scheme, APAD can work together with Lembaga Biasiswa Kenangan Maulud (LBKM). The distributions of scholarships can be tied in with a mentoring scheme where the veteran APAD artists will guide the young artists. APAD Academy After its classes, APAD should establish its own art academy. This move is admittedly challenging but it is a logical step since APAD has been around for quite some time. Through this academy, talented painters and sculptors can be trained and nurtured to be renowned artists.

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Aspiration I am confident that APAD can live on for another 50 years if it has dedicated members. The early efforts of Abdul Ghani Hamid and his peers have been taken up by Abdul Rahman Rais and friends. This tradition of renewal has to be strengthened. A strong leadership and skilled management are most needed by APAD to become an arts organization that is admired and respected.

END

2011, 28 May: Contemporary 2011 Art Exhibition

2011, 17 September: Equilibrium - 2nd Women Art Exhibition

2013, 3 August: APAD participated in an art exhibition in conjunction with Racial Harmony Day Celebration cum 18th Anniversary of Miao Hua Chinese Art Society

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Abdul Rahman Rais b. 1956 Moving Out <Tapac > 2013, Photography 60cm x 22cm arais.apad@gmail.com 96798525

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Abu Jalal Sarimon b. 1964 Single Sofa, Love Seat #1 2013, Acrylic on canvas 40cm x 30cm abjsarimon@gmail.com 96647914

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Amimah Amin b. 1986 Enclosed Desires 2013, Mixed medium on watercolour paper 30cm x 30cm amimah.amin@gmail.com 94515545

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Dino Hafian Ahmad b. 1980 Random drawings 2013, Marker and pencil on paper 29.7cm x 21cm dinohafian@gmail.com 94783541

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Emad Md Ali Aseeri b. 1989 Only if for a night 2013, Digital illustration 30cm x 30cm ricewaremad@gmail.com 81838528

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Hamidah Jalil b. 1960 Hampatong V 1997, Acrylic on canvas 51cm x 66cm hamidahjalil02@gmail.com 81803835

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Hazelina Oh Hui Zhong b. 1991 Presence 2013, Oil on canvas 30cm x 30cm hazelina.oh@gmail.com 91740715

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Idris Mohd Ali b. 1944 Coffee Shop 1999, Watercolour 40cm x 30cm art@mayagallery.com.sg 94699105

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Izziyana Suhaimi b. 1986 Making Working Time 4 2013, Mixed - embroidery on paper 30cm x 40cm izziyanasuhaimi@gmail.com 93395027

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Jeffrey Wandly b. 1964 Tengkhuluk #2 2012, Ink and pastel on canvas 38cm x 48cm jeff@mayagallery.com.sg 97359880

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Juhardi Mohamed b. 1988 Clockman #1 2010, Digital print on fine art paper 30cm x 45cm juhardyy@hotmail.com 90271904

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Kamal Dollah b. 1967 Tiada gambar secantik lukisan (progress detail) 2013, Mixed medium 30cm x 30cm kamaldollah@gmail.com 96805094

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M. Razali Mahat b. 1963 My Space - A Poetic Dialogue #2 2013, Acrylic on canvas 36cm x 36cm padigallerydesign@gmail.com 96949651

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M. Rizal Mustafa b. 1976 Untitled 2013, Watercolour 30cm x 40cm art_rizal@yahoo.com.sg 91593332

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Masturah Shaari b. 1969 Crumpled Up 2013, Coloured pencil on paper 28cm x 38cm mas@mayagallery.com.sg 96746050

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Mohammad Fariz Abdul Aziz b. 1991 Gentrification #1 2013, Plexiglass Variable dimensions frzphotography@gmail.com 90925620

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Muhammad Faisal Sidek b. 1986 Rakus 2013, Photography Variable dimensions m.faisalsidek@gmail.com 90303067

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Muhammad Najib Abdul Rahman b. 1989 Spacescape 2013, Photo collage 30cm x 30cm najib89@gmail.com 98574774

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Neelaufar Ayup b. 1991 White Plastic Bag 2013, Photography 30cm x 42cm neela_daniel239@yahoo.com.sg 98410886

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Nhawfal Jumaat b. 1991 Beyond Writing, After Caspar D. Friedrich, of Jerusalem 2013, Laser print on paper 29cm x 29cm nhawfal_99@hotmail.com 97789577

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Norhidaya Kamaruddin b. 1985 Adapt 2013, Batik 40cm x 50cm norheedaya@gmail.com 94740994

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Normaya Nurdin b. 1978 “Mmmm…5 Minutes” (in series of 2) 2013, 3D mixed medium 25cm x 25cm preciousbrushes@gmail.com 85244714

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Nur Aisyah Mohamed Yatim b. 1991 Jibam Jibam 2013, Light box 42cm x 29.7cm aisyahyatim@live.com 83832624

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Nur Iman Sumani b. 1990 Where Got Time? 2013, Aerosol paint on canvas emnwasp@hotmail.com 97731104

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Nur Nasuha Zakariah b. 1991 Bangkit 2013, Mixed medium, pencil work/ink 30cm x 60cm nasz_007@hotmail.com 93572110

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Rofizano Zaino b. 1970 Make Your Mould 2013, Mixed 60cm x 60cm rofizano@gmail.com 98767574

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Rosman Mohammad Shahid b. 1972 Dis-mobility: A Drawing Process 2013, Pen & Charcoal on paper 25cm x 25cm bumimu@yahoo.com 92721984

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Rudy Djoharnaen Md Hussain b. 1980 dan sebutlah perkataan… “ Zam Zam Ala Ka Zam” (and say the words “ Zam Zam Ala Ka Zam”) 2013, Mixed media on paper 40cm x 40cm jazzdjoe@gmail.com 83143849

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Said Mohd Ali b. 1941 Bamboo 2013, Chinese ink 30cm x 40cm saidmohdali18@yahoo.com.sg 90283116

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Saiman Ismail b. 1952 Clone 2013, Acrylic 36cm x 48cm saimanismail@yahoo.com 9832 3324

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Sazali Rahmat b. 1970 Pucuk Menakung (Series) 2013, Pottery (Coiling) 10cm x 15cm sazali_rahmat@moe.edu.sg 97816429

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Suhainah Sugeti b. 1991 Pupil of Expression 2013, Mixed media on canvas 46cm x 61cm hanasugeti@gmail.com 82998521

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Sujak Rahman b. 1949 Mother and Child (III) 1986, Batik mixed 50cm x 60cm sujakarts@gmail.com 90015217

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Thaib A. Wahab b. 1990 Trypophobia (Series 5) 2013, Photography 21cm x 30cm thaib.wahab@gmail.com 90293242

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Tumadi Patri b. 1959 Wayang in Glass 3 2013, Mixed media on paper 36cm x 48cm tumadipatri@yahoo.com.sg 85306482

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Ye Ruoshi @Ruoshidah Yip Abdullah b. 1973 Paper aeroplane 2013, Oil on canvas 51cm x 51cm ruoshi@flowerism.com 98577370

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Yusoff Abdul Latiff b. 1946 Keppel Bay Marina 2013, Watercolour 56cm x 37cm al_yus@hotmail.com 98293940

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Acknowledgement Angkatan Pelukis Aneka Daya â&#x20AC;&#x201C; Association of Artists of Various Resources (APAD) wishes to extend its grateful thanks and profound appreciation to the following for their co-operation and assistance towards the success of this exhibition: Guest of Honour

Curatorial Committee

Mr Masagos Zulkifli Bin Masagos Mohamad

Mr Abdul Rahman Rais

Senior Minister of State

Mr Kamal Dollah

Ministry of Home Affairs and Ministry of Foreign Affairs

Mr Suhaimi Sukiyar