Victor Chin

This  month brings back the memories of the vote of dissent by 49% of  Malaysians in the last General Election against the ruling political party. In  West Malaysia there was a 51% opposition vote. For the first time  the Barisan National was denied its 2/3 majority in Parliament.

Many Malaysians had hoped to see a fairer, freer and  friendlier country since then. We wanted a clearer separation of powers between political party and government, religion and government,  race and government and law and government. This is our country and it does not belong to any political party (ruling or otherwise). Has there been much change?

We would like to see the government uphold the rule of law, to look after the welfare of its peoples and not use its system to just protect the ruling political party’s elite members and their abuse of powers. Has there been much change?

Our legitimate political dissent and opposition to the ruling party is our constitutional right. It  also plays a vital role of check and balance and must not  be misconstrued as our being enemies of the state which is what the ruling party has been doing in the last fifty years. Has there been much change?

Most of us do not cherish the idea of living under these extreme conditions  any longer. Do you?

There are more then 4.5 million Malaysians eligible to vote but they have not registered yet. Let’s get as many as possible to do so for the next election. Let’s vote our way to a fairer, freer and friendlier country. Can we make the changes ourselves and for our children?

Listen and watch Malaysians speak, sing and dance their hopes and aspirations for the future…

Distinctive and mineral rich limestone outcrops surround Ipoh city.

Limestone outcrops  dot the Kinta Valley in Perak. The capital city, Ipoh, is surrounded by these geological features. These natural structures, formed over millions of years,  greet you as you enter or exit. The geology of this area was and still is  its natural assets. Tin was like its gold. Ipoh was a place tin and its peoples built.

The history of Ipoh was a continuing  fight over tin and other natural resources.  Today,  the battle is over the governing of the state and what’s left of its natural heritage and its peoples – for those in power to exploit. This week’s  news, from the Federal Court, that the people of Ipoh will not be given a second chance to decide their own government but instead have been forced to accept one they didn’t elect, is another dark chapter of its history.

How can the people of Perak deal with the present situation in Perak?  Over the last weekend, Saya Anak Bangsa Malaysia brought some useful ideas to more than 120 participants in Ipoh.  At that forum, they got to know about the history of the struggle of all Malaysians  against their rulers and those in power, then and now.

Here is my video of some of the highlights of the event.

Syed Ahmad Jamal, Endau Rompin, 1985, Acrylics on canvas, 173×223cm

Nature has always been an inspiration for artists throughout the ages. Mountains, in particular, have inspired many regional landscape painters.

From China there has been a long history of artists who painted the many outstanding geological features of their physical geography. Some of these artworks besides depicting the shapes and designs of mountain formations in great detail also conveyed clear information of the various geological compositions of their landscapes.

One of the most well-known Japanese artists, Hokusai, from the Edo period, made colour wood block prints of a series of 36 views of Mount Fuji. The Great Wave of Kenagawa done in 1831 is one of Hukusai’s signature compositions of this collection of early postcards of Japan.

Cezanne paid homage to his boyhood home in Provence by painting the Mont Sainte-Victoire in Aix at least 60 times from 1885 to 1906. His devotion to a single hillock slightly over 1,000m in his backyard set the modern standard of painting and looking at European landscapes since the Renaissance.

He began to dismantle previous ideas of perspective and started to flatten out and break up his subject by using fragmented shapes, colours and brush marks. His paintings led the way for Matisse and Picasso and to Abstraction.

Syed Ahmad Jamal, Gunung Ledang Visited, 1992, Acrylics on canvas, 173×239cm

The mountains of Malaysia have attracted a few artists. Fung Yow Chork and Razak Abdullah are among the few landscape painters who got inspiration form the mountain backdrop of Kuala Lumpur, the Ulu Klang quartz ridge and Genting Highlands. Mount Kinabalu (4,101m), our highest mountain between the Himalayas and the Snow Mountains of New Guinea, has a devoted Sabahan painter — Benedict Chong.

Syed Ahmad Jamal, whose retrospective exhibition is currently at the National Art Gallery, has been moved by Gunung Ledang, near Muar, his home town, in Johor. Jamal has painted three artworks with that name. The first Gunung Ledang was in 1978 (this painting is not in the show), then Gunong Ledang Visited in 1992 and the last one Semangat Ledang in 1999.

Read more in The Malaysian Insider here…

A documentary of the ‘Saya Anak Bangsa Malaysia’s (SABM) “Believe Instead” public forum on Saturday 23 January 2010, at the Kuala Lumpur Selangor Chinese Assembly Hall. There were more then 230 participants from all walks of life from in and around the city. It was the first of a series of forums.The SABM plans a roadshow through the country in the course of the year.

“Land Below The Wind”, Cheong Sung Kin’s title for his exhibition of ceramic sculptures and teapots, is taken from the title of a book written in 1939 by the American author Agnes Newton Keith. Cheong is from Sandakan and the book was written in the same town in Sabah (then known as North Borneo). Subsequently that title has been accepted as the unofficial descriptor for Sabah.

Keith wrote mainly about her domestic life as a colonial official’s wife and a little of her infrequent treks into the jungle. Cheong’s sculptures are of the landscapes and its inhabitants; from his own observations and the family’s backyard. He grew up surrounded by natural environments and indigenous cultures and peoples.

“Land Below The Wind” was written in a genial style and is still very readable today. But Cheong’s new collection of forest and mountain settings have been through a baptism of fire and come out the other side as exquisite and unique objects of art. Besides, there are not many artists like him today who use wood fire to fire their clayware.

“Land Below The Wind No. 1″ is an imaginative and powerful use of clay to describe living in the middle of the rainforest and having to climb up and down the steps and negotiating the terrain daily. These are majestic trees with their crowns touching the clouds and the branches look like they are holding up the sky. This is not just art but the art of living with the forest.

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