Apad Pioneer Artists

Our Pioneer Artists Malay Visual Art Practices From Post-War Period

Participating Artists Abdul Ghani Hamid Aliman Hassan Aman Ahmad (Pak Man) Ibrahim Muda (Ismail Muda) Idris Mohamed Ali Iskandar Jalil Jaafar Latiff

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M. Sawoot A. Rahman (Pak Sawoot) Mohamed Abdul Kadir (S. Mohdir) Mohammad Din Mohammad Rosma Mahyudin Guha Said Mohamed Ali Sarkasi Said Sujak Rahman Sulaiman Haji Suhaimi Wandly Yazid

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Our Pioneer Artists Organised by

Apad

www.apad.org.sg arais.apad@gmail.com

Generously supported by

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ANNIVERSARY

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Foreword Abdul Rahman Rais President

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Angkatan Pelukis Aneka Daya (Apad) formed in 1962 draws its strength from the collective efforts of its members to make it a modestly successful society to this day. Much of its achievements came about from the vision set about by its founder-members and past Presidents, Abdul Ghani Hamid and Mohamed Abdul Kadir (S. Mohdir).

Departing from past anniversary exhibitions, Apad has set out to showcase in this ‘Our Pioneer Artists – Malay Visual Art Practices from Post-War Period’ Art Exhibition the artistic gems found prior to modern Singapore. This is one of Apad’s ambitious the vital support and encouragement from the late artists’ families, early generation artists and sponsors.

Above all, this exhibition is considered a rare opportunity for Apad to contribute towards the historical developments of the that this minor endeavour provides a lasting impression to viewers and recognition to the efforts made by early generation artists towards the visual arts landscape and heritage.

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1988, 25 - 28 February: ART 25, 25th Anniversary Art Exhibition 1992, 24 – 27 October: ART 30, 30th Anniversary Art Exhibition 1997, 25 – 30 October: ART 35, 35th Anniversary Art Exhibition and Launching of APAD’s website: www.apad.org.sg 2002, 2 – 8 October: FORTY, 40th Anniversary Art Exhibition 2007, 25 May – 8 Jun: KAMPONG, 45th Anniversary Art Exhibition

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Semangat Apad: The Pioneering Generation

Art collectives or societies seem to be a dated concept in our contemporary art world. They either disband after a few years or fade into oblivion as members strike out on their own or get context, art collectives have always been an endearing aspect of its art historical narratives. Besides functioning as a support system development of their respective countries. Thus for an art society to celebrate its 50th anniversary is no mean feat.

Established in 1962, Angkatan Pelukis Aneka Daya, popularly known as Apad, was formed during the politically-tumultuous with much political uncertainty. There were the Maria Hertogh riots and Hock Lee bus riots. The Baling Peace Talks were held between the British and Malayan authorities and the Communist Party of Malaya in 1955. Two years later, Malaya achieved independence from Britain and the decade ended with Singapore attaining self-government. However this political uncertainty also laid fruit to some of the most enduring legacies in the Malay art collective movements.

To provide a contextual background of art collectives in the

also some suggestions of alternative frameworks in studying the strategies will shed new directions for future scholarship.

1962, 29 July: Inauguration of ANGKATAN PELUKIS ANEKA DAYA at Sims Avenue Community Centre

Persatuan Ahli-ahli Gambar Indonesia) in 1938, his critique of the Mooi Indie painters encouraged subsequent jiwa ketok (visible soul) and do away with the formulaic trinity of ‘mountain, coconut trees 1 Numerous other collectives

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which include Seniman Muda Indonesia Pelukis Rakyat established in 1946 and 1947 respectively.

Closer to home, the proliferations of art collectives in Malaya seem to centre on the British ports of Penang and Singapore. One of expatriates, mostly housewives. Established around the 1920s, the group also included one Mrs Lim Cheng Kung, a Chinese millionaire’s wife and the well-known Abdullah Ariff, then an art teacher at the Penang Anglo-Chinese School.2 group of Chinese artists who had migrated here from China.

Mostly alumnis from the Shanghai Art University, Shanghai School of Fine Arts and Shanghai School of Art, they form what is believe to be one of the earliest art societies in Singapore, the Salon of Art Studies in 1935, later renamed as Society of Chinese Artists.3 Artists members did not seem to differ much in terms of their counterparts, the early Malaya-based artists seem to be contented with continuing the legacy of Western academic painting and traditional genres like Chinese calligraphy.

To understand the Malay pioneers’ art activities, one needs to be aware of the challenges that have proved problematic for past researchers and historians here. Dominated by the Nanyangcentric art historical discourse, one tends to forget that Singapore (or Malaya during the pre-60s) was part of the Nusantara, loosely translated as the ‘Malay world’. Approaching this topic from a Nusantara perspective might shed some light on the hitherto, perception of Malay artistic activities starting only from the formation of Apad.4 Another approach might be locating Singapore within the ‘Malayan perspective’ rather than isolating Singapore’s cultural

activities from the greater Malay Peninsula. Apad’s founding member and well-known writer and poet Abdul Ghani Hamid wrote that one of the earliest art societies established by the Malay artists was the Persekutuan Pelukis Melayu Malaya (PPMM) which was established in 1949.5 Headed by C. Mahat, who has since moved to Kuala Lumpur, Malaysia, he represents the diaspora of artists once

who was PPMM’s founding secretary and a certain Latiff Mohidin who had participated in a PPMM exhibition in 1953.6 Looking at the early works by Apads pioneering generation, the artistic trends of that time. Visits by renowned artists from

Pemandangan, M. Sawoot’s Penjual that period.7 Satay and Pak Man’s Sepanjang Jalan Kenangan and Perahu Nelayan are that period.

Besides the visits of these renowned artists, another important point of departure would be the early art classes by the pioneer generation. Artists like Suri Mohyani and C. Mahat would have played pivotal roles in nurturing the younger generation of Malay artists. Besides being artists, the former was part of the Education Ministry and had attained a UNESCO fellowship to further his art studies in 1956 at the National Art School in Sydney. C. Mahat was also active in organising the ‘Singapore Malay Art Class’ in the late forties prior to the establishment of PPMM. The latter had also published a series of instructional art books titled Petua Melukis in 1949. These artists-educators can be said to be functioning educational institution at that point of time was the Nanyang

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Academy of Fine Arts, established in 1937 and whose curriculum was still modelled closely to the Shanghai art institutions where their early educators were mostly from. Several of the younger Apad artists have since continued to volunteer their services for art workshops for example the TUNAS program which have nurtured young artists since the 1960s. of the clan associations in playing a ‘crucial role in community bonding’.8 Detailing how the early clan associations helped the early immigrants to ‘feel more rooted’ to their new surroundings, it brings to mind how the early art societies in Singapore also functioned as a support system for young artists in a time where there was a lack of art schools and training. Apad’s enduring legacy would also be this similar spirit, especially to early Malay artists, energy of its pioneers.

However, reading the history of Apad’s pioneering generation, one cannot help but sense a narrative with gaps that clearly need to be addressed by future scholars and art historians. This essay has suggested some strategies that involve an alternative framework or a multi-disciplinary approach. However beneath the gaps, it is hoped that visitors to the exhibition will be able to appreciate the early effort of our pioneers, both who have passed on and those who are still active in the arts scene. Only through a more nuanced study of Singapore’s early art history, will one truly appreciate the multifaceted developments of the cultural scene of this small island-state and its important role in the artistic developments of the region.

Endnotes 1.

Kesenian Meloekis di Indonesia: Sekarang dan jang akan datang 2. Leng, Yeoh Jin. Semangat Pelopor Seni 1950an – 1960an (The Pioneering Spirit), 1997, p.28.

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4. For a more elaborate story of this framework, refer to my earlier thesis titled ‘Nanyang or Nusantara: A Genealogy of Singapore’s program at Goldsmiths, University of London, 2011.

5. Hamid, Abdul Ghani. Kegiatan Kolektif Pelukis-Pelukis Melayu.

1990, p.2 6.

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8. Accessed 22nd Feb 2013, <http://www.todayonline.com/ singapore/clan-associations-have-crucial-role-communitybonding-president-tony-tan>

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The Search 1965, Watercolour 51cm x 61cm Maswati A. Ghani (Mdm) Collection

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Abdul Ghani Hamid b 1933

Malay poet-artist to date. He has produced many paintings of international standard and poems of high quality since 1948. He is one of the earliest proponents of Pablo Picasso in this region He is well known for his creation of controversial art piece in 1957 entitled ‘Mata dan Hati’ which means eyes and heart. The painting drew much polemical debates which lasted for a few years. He is one of the founding members of Angkatan Pelukis Aneka Daya (Apad of 29 years from 1962 to 1983. Abdul Ghani received the ‘Tun Seri Lanang” (1997) award and the Cultural Medallion in 1999.

Insipid Sun 1974, Oil 48cm x 63cm Maswati A. Ghani (Mdm) Collection

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Berpacu Dengan Waktu 1998, Watercolour 142cm x 112cm Abdul Halim Aliman Collection

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Aliman Hassan b 1932

College in 1951 and was a teacher. His artistic talent was spotted by his lecturer when he started painting in the 50’s. After offered to learn the English Language and to further his studies for 3 years in a university in England. As he came from a poor family background and needs to take care of his siblings, he did not proceed with his plan to go to England upon his late mother’s advice. His artistic talents and deep interest in both visual art and poetry writings have kept his passion alive and he continues to paint and write poetry. Aliman is a pioneer in the transformation of two art forms in the 70’s. His works depicted both in visual ink was his preferred medium. Many people still call him ‘Cikgu’ (teacher in the Malay Language) to this very day.

Fire I am Not 1990, Watercolour 83cm x 69cm Abdul Halim Aliman Collection

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Sepanjang Jalan Kenangan 1957, Pastel 49cm x 56cm Nona Asiah Aman (Mdm) Collection

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Aman Ahmad (Pak Man) d 1893 - 1968

Aman Bin Ahmad was a multi-disciplinary commercial artist whose work could be seen through the various commercial his early years, he travelled with the opera - Malay â&#x20AC;&#x2DC;Bangsawanâ&#x20AC;&#x2122; troupe to act as well as paint the backdrops needed for different scenes. When he eventually settled down in Singapore, he experience of the movies.

Perahu Nelayan 1950, Acrylic 89cm x 58cm Nona Asiah Aman (Mdm) Collection

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Pemandangan (Scene) 1962, Oil 60cm x 45cm Azizan Ibrahim Collection

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Ibrahim Muda (Ismail Muda) d 1947 â&#x20AC;&#x201C; 1991

member of Apad. He has also worked with the Central Council paintings were serious pieces of sceneries in oil. Later on he Muda volunteered his services freely to the community and had taught art at Apad Art Class for many years. He was a pioneer teacher in graphics which Apad had introduced as an art course in the 80â&#x20AC;&#x2122;s.

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Pura Ubud Bali 2012, Watercolour 102cm x 84cm Maya Gallery Collection

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Idris Mohamed Ali b 1944

for more than 4 decades. He started painting at the age of 10. As a second-generation Singaporean artist with more

landscapes, street scenes, portraits and still life. His landscapes of old Singapore are especially important as they serve as a visual time teaching art at Apad Art Class since 1964.

Pasir Ris Park 2003, Watercolour 48cm x 34cm Abdul Rahman Rais Collection

Still Life 1965, Watercolour 45cm x 31cm

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Buyong A 2012 22cm (Ă&#x2DC;) x 24cm (H)

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Iskandar Jalil b 1940

the Colombo Plan Scholarship in 1972. A highly regarded and ceramics for more than 40 years. He taught at Baharuddin in 1999. He has also done large murals such as the monumental

Airport, Singapore. His pieces is greatly sought after by collectors and sold off at every show. A disciplined artist, he is known to the Cultural Medallion in 1988.

Buyong B 2011 16cm (Ă&#x2DC;) x 25cm (H)

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Untitled 2000, Mixed media, 62cm x 50cm Sarah Hj Abdul Manan (Mdm) Collection

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Jaafar Latiff d 1937 - 2007

Jaafar Latiff was a self-taught artist. He began with batik painting also explores the relationship between batik and acrylic colour the images he had used in batik to his new medium. He was also known to transcribe his emotions directly onto the canvas making the viewers feeling behold in its rawness and formative states. Aside from painting, Jaafar was also an art educator at the

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Square, Top Leather Strap #5 Black/Silver Handmade, teak wood, recycled materials 15cm x 15cm x 5cm Maya Gallery Collection

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(Pak Karto) b 1946

Karto, or Khamis Ariffin, is known for his handmade pinhole camera, a craft only a rare few can boast to possess.

These collectorsâ&#x20AC;&#x2122; cameras are not only well sought after by local students, but also foreign photography enthusiasts. A self-taught photographer, Khamis even stayed in the United States for a few years to further pursue his interest and hone his skills in photography. What started as a hobby has turned into a career for Khamis, who was commissioned companies. With more than 40 years in the industry, Khamis has also been imparting his knowledge to students keen to improve their skills to the next level.

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Wanita Dengan Payong (Lady With Umbrella) Undated, Oil 61cm x 92cm Khairul Bariyah Rashid (Mdm) Collection

Pemandangan Malam (Night Scenery) Undated, Oil 92cm x 61cm Khairul Bariyah Rashid (Mdm) Collection

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M. Sawoot A. Rahman (Pak Sawoot) d 1906 - 1972

disciplinary artist, he was an active member when the Society of Malay Artists, Malaya (Persekutuan Pelukis Melayu Malaya) was formed in 1949. Upon his retirement from the Government Printing also set up his own advertising shop called â&#x20AC;&#x153;Mulia Co.â&#x20AC;? and taught several drawing classes at the Kampong Ubi Community Centre.

Pemandangan Tepi Sungei (Scenery by the Rover) 1972, Oil 45cm x 60cm Hashim Muhamad Collection

Penjual Satay (The Satay Seller) 1950s, Oil 68cm x 46cm Khairul Bariyah Rashid (Mdm) Collection

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Untitled 1999, Acrylic 129cm x 83cm Maizatunisa Mohamed (Mdm) Collection

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Mohamed Abdul Kadir (S. Mohdir) d 1936 - 2010

started painting at an early age. He grew up in Kampong Wak

Sedikit Saja Ruang Kosong 2004, Oil 74cm x 85cm Maizatunisa Mohamed (Mdm) Collection

Sengketa Sesama Sendiri 2008, Acrylic 157cm x 157cm Maizatunisa Mohamed (Mdm) Collection

USA from 1953 to 1956. S. Mohdir credited Yusof Abdullah, a Malaysian art dealer and artist, who became his tutor and mentor.

He became a teacher in 1960. His medium of painting is mostly in acrylic and watercolour. Apart from inspirational abstract

batik painting instructor to many schools in Singapore. He was also one of Apadâ&#x20AC;&#x2122;s founding members and contributed immensely to the society as Honorary Secretary before assuming the post of its second President from 1984 to 1991.

Mandi Safar (Ceremonial Cleansing) 1959, Oil 52cm x 41cm Datin Hajjah Kamisah Haji Othman Collection

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Kucing, 1977, Oil, 72cm x 92cm Hamidah Jalil Collection

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Mohammad Din Mohammad d 1955 - 2007

Mohammad Din Mohammad was known to be a practitioner in rare coins, historical textiles and extensive keris collection. Born in Malacca and received art training at the Nanyang Academy of Fine Arts (NAFA), graduating in 1976. Over the span of a professional artistic career than lasted four decades, Mohammad Din works have been well received by many art collectors. He had participated in more than 100 group exhibitions in China,

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Iris Rhapsody 2000, Watercolour 100cm x 81cm

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Rosma Mahyudin Guha b 1932

taught artist and is a member of the Singapore Watercolour Society, Singapore Art Society and Apad. She has participated in numerous art exhibitions, including two Presidentâ&#x20AC;&#x2122;s Charity by the Singapore Maritime Port Authority to create a painting raising auction. Rosma has donated several works to various organisations for the elderly, and most recently in 2011, to the Parkinsonâ&#x20AC;&#x2122;s Disease Society Singapore for their fund-raising auction. At eighty, Rosma continues with her lifetime passion of watercolour painting and always encourages younger artists to give their best and tap the immense talent hidden within.

My Traditional Heritage 1989, Watercolour 94cm x 74cm

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Bayi Dalam Kandongan #2 1974, Ink On Paper 46cm x 34cm

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Said Mohamed Ali b 1941

enthusiasts with his Chinese brush paintings, improvised to incorporate Jawi (Arabic-style) inscriptions at the bottom in the form of pantun or poetry. Said serves as a Treasurer in Apad for Rahimabi Kebun Limau Mosque.

Bayi Dalam Kandongan #1 1974, Ink On Paper 46cm x 34cm

Bayi Dalam Kandongan #3 1974, Ink On Paper, 46cm x 34cm

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Transformasi 2007, Mized Media 97cm x 118cm

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Sarkasi Said (Tzee) b 1940

be a full-time artist when he was still schooling. The Botanic Garden and MacRitchie Reservoir was his after-school classroom available. He is a well-known batik painter and many of his works are in the public and private collections all over the world.

A season traveler, he gathers his inspirations from his adventures

to execute highly commendable works using mixed media and black and white sketches.

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Neighbours 1978, Batik Mixed Media 106cm X 80cm

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Sujak Rahman b 1949

Symphony 1990, Batik 99cm x 99cm

Mother and Child 2006, Batik 103cm x 128cm

by his stay in Sapporo, Japan in the 80’s. He is also a sought after art teacher and has taught in various schools, LaSalle College of the Arts and Japanese Club. Aside from teaching, he has organised a number of art exhibitions. One of the most successful exhibitions was ‘Expression 92’ by 14 Japanese housewives. He has participated in many group exhibitions held in Singapore, Japan, Moscow, Taiwan, Saudi Arabia and United Arab Emirates.

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Assolatu Khairumminannaum 2000, Oil Mixed 63cm x 78cm Hajjah Mardiah Ahmad (Mdm) Collection

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Sulaiman Haji Suhaimi d 1922 - 2008

Islam Teras Kebudayaan 1989, Oil Mixed 108cm x 73cm Hajjah Mardiah Ahmad (Mdm) Collection

teachers in 1947 organised by the Education Department. Better known as Cikgu (Malay for ‘teacher’), Sulaiman was among the pioneer modern and batik artists of Singapore. Cikgu Sulaiman went to pursue his education at Tanglin Besar Malay School,

1978 when he visited Jordan while on his way to perform the

Cikgu Sulaiman exhibited his works in the path of charity. The Andrew’s Mission Hospital, Darul Arqam, National Kidney Foundation, Jamiyah and various mosques in Singapore.

Tukang Kasut Undated, Batik (Wax & Dye) 63cm x 90cm Hajjah Mardiah Ahmad (Mdm) Collection

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Mount Merapi 1997, Watercolour 51cm x 35cm Maya Gallery Collection

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Wandly Yazid d 1925 - 2005

Gurindam Jiwa (Sonnet of the Soul), and for composing the well-loved theme song of the same name.

Born in Sumatra, Wandly was the musical director of Cathy Keris Film Company in the 60â&#x20AC;&#x2122;s, where he composed music for

Sandowners (Sunny Bala), and Jeffrey Din (Siglap Five). He was a member of the Singapore Symphony Orchestra (SSO) and Singapore Broadcasting Orchestra, and performed regularly on television and radio, made solo performances and also with his 1992, he continued to perform and taught music to young students.

Simfoni Layar Perak, produced by renowned composers and arrangers who contributed to the

Mount Singalang 1997, Watercolour 52cm x356cm Maya Gallery Collection

was trained under West Sumatran artist Wakidi. Painting mostly landscapes of his West Sumatran hometown in watercolour, his works were shown at a number of exhibitions in Singapore.

Acknowledgement Angkatan Pelukis Aneka Daya - 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 Mr Ong Yew Huat National Heritage Board Sponsors National Arts Council Lee Foundation Hong Leong Foundation Yayasan Mendaki The Singapore Arts Federation Chinese Calligraphy Society of Singapore Curatorial Committee Mr Abdul Rahman Rais Mr Suhaimi Sukiyar

Family of Late Artists Mdm Nona Asiah Aman Mdm Khairul Bariyah Rashid Mr Hashim Muhamad

Mdm Hamidah Jalil

Private Collection Mdm Maswati A. Ghani Mr Abdul Halim Aliman Maya Gallery All participants, individuals and organisations who have supported and helped the association in one way or another.

Exhibition Venue Singapore Calligraphy Centre Exhibition Hall 48 Waterloo Street Singapore 187952

Date & Time 2 March 2013 (Saturday) 2.30pm

Exhibition Duration 2 â&#x20AC;&#x201C; 6 March 2013 11am to 6pm

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