A living legacy

I POP into Galeri Petronas in Suria KLCC every time I happen to have a bit of free time while there (usually in between meetings or before a concert at the Dewan Filharmonik Petronas). Last year I particularly enjoyed #tanahairku, featuring Petronas advertisements with their prounity messages, but on Tuesday I was asked to say something at the launch of their latest exhibition, ‘Manah: A Living Legacy’. Here’s an excerpt of what I said:

I cannot profess to know much about indigenous art; let alone the Kelabit, Bidayuh, Kenyah, Temuan and other Orang Asli art being showcased in this exhibition. But from my limited exposure to indigenous cultures around the world, I know that there is so much to learn from societies which have retained a different way of life.

When you appreciate that others can have such different worldviews, you begin to question your own, and it is impossible not to become more tolerant, and more empathetic in the process.

When you understand that the things that you might take for granted – especially objects and occurrences in nature – are considered utterly important to others, you start to value the things in your world differently.

And when you see the ignorance and condescension that indigenous communities face – sometimes resulting in the destruction of their homes and livelihoods – you realise a different dimension to the concepts of identity and the challenges of shared citizenship.

Of course, these are issues of immense political sensitivity in Malaysia, where any public policy issue can have a racial angle. But the tragic thing about the quadripartite formula of ‘ Melayu, Cina, India dan lainlain’ is that it simultaneously obscures the profound differences that exist within each category, and also ignores the crosscultural experiences that have given rise to new expressions of Malaysian life.

The contemporary artists who are being featured in this exhibition – Alena Ose Murang, Kaleb Anyie Udau, Kendy Mitot and Shaq Koyok alongside Tan Wei Khen’s portraits – have a profoundly important role as ambassadors for the communities that they represent. Their art provides a piece of what it is to be Malaysian today, forming a narrative that is not monopolised by the state or hijacked by extremists.

It is crucial that this rich legacy is understood and appreciated. For successful and sustainable nation building cannot be forcefed by the state, nor should it be surrendered to the loudest in society. Rather, we must recall the agreements that made up Malaysia: between states, between communities, between different heritages that share the same physical space.

Sadly, the solemnity and sacredness of these agreements are not sufficiently impressed upon young Malaysians today. It is precisely this ignorance, this arrogance, that leads to apathy when entire communities lose the lands where their ancestors have lived for centuries.

That is why it is significant that Galeri Petronas is hosting this exhibition. For Petronas is an iconic brand in Malaysia; and to have such a brand supporting indigenous Malaysian art will not only expose the thousands of people who come through these corridors every week to a different perspective of the world, but also to educate and inspire Malaysians on what it means to be Malaysian.

Petronas chairman Tan Sri Sidek Hassan explained that the exhibition “seeks to re-represent indigenous aesthetics in a new context, challenging the notion of indigenous culture as something that is mysterious, inferior or backwards. The prejudices of modern society have led to the mistaken perception which assumes that the creativity and inventions of the past did not bear any influence or effect on their lives. Thus, it causes people to ignore the valuable treasures of their ancestors; while in awe of the presence of new inventions that are expensive and considered of high value and associated with prestige.”

A mesmerising sape and dance performance concluded the formal proceedings before a tour of the exhibition itself, organised into five sections – customs and culture, built form, art and recreation, beliefs and rituals, and contemporary expressions. The artefacts consist of heirlooms passed down the generations and also new items carved or made according to traditional methods. It was particularly inspiring speaking to the young artists who shared their concerns about their heritages being lost, and how that has spurred them to produce their art for posterity.

From stories older relatives have told me over the years, writings of nineteenth century travellers, even from P Ramlee movies, I know that many aspects of Malay culture have been lost as a result of a dominant narrative of identity being imposed. But these indigenous cultures have their champions; providing a glimpse into living legacies that all Malaysians should familiarise themselves with beyond the mere feel-good taglines of unity.

Tunku Zain Al-Abidin is founding president of Ideas.