In engaging towards the provenance of national identity, establishing the shape and structure of society is a fundamental operation in the context of cultural studies. In the same vein, essence and presence of culture constitutes as the building blocks for society. Sociologist distinguishes societies into the five (5) following types; Hunting-and-Gathering, Horticultural and Pastoral, Agricultural, Industrial, and Postindustrial (Nolan & Lenski, 2009)
Furthermore, within its etymology, the word 'Culture' derives from the latin word 'Cultus' and also 'Colere', which means to care or cultivate. More than that, it remarks the essential process of culture; create, develop, and cultivate. Apart from that, the only Monism which unites humans other than what Thales of Miletus perceived (Water), is culture by its own nature. Nevertheless, anthropologist divides culture into two (2) categories which represents the elements or components of an existing culture; respectively the 'Material' (object/artefact) and 'Non-Material' culture (symbol/language/value) (Berger, 2000).
Above and beyond, culture is formed from the 'Biological Imperative', defined as the human biological nature within fulfilling basic needs in everyday life; biological desired needs for food/drink, cloth, shelter, and sexual reproduction. However, the tendency to fulfil these needs are conditioned by the four (4) superseding factors, which is the geographical climate, topographical environment, historical background, and religion or beliefs which governs a particular culture. On the other hand, these contributing factors shapes the material and non-material structural aspects of a particular culture and society. (Fiske, Kitayama, Markus, & Nisbett, 1998; Matsumoto, 2001)
Moreover, the evolution process of society from a previous egalitarianism (collective-ownership) hunting-and-gathering society, into becoming an industrial/postindustrial society fuelled by capitalism (individual-ownership), upon dominance of 'Power' and 'Wealth' is a long disputed paradoxical discourse between the success and failures of society. As what the Genevan philosopher Rousseau remarked; the invention of property (private ownership) constitutes humanity's 'fall from grace' out of the state of Nature.
The transitions of societies, by time, marked relative shifts on the importance of psychological needs over basic physiological needs, as justified by the American psychologist Abraham Maslow, upon his published work "A theory of Human Motivation (1943)". In addition to the above, the significance of a psychological needs in society, started to prevailed in consequence of extra (surplus) amount of needs consumed, which then contributed to the concept of extra (leisure) time for oneself.
In conjunction to this phenomenon, gradually it was clear that the 'interdependence' society was surpass by an 'independent' society in favour of psychological and self-fulfilment needs demonstrated by "Maslow's Hierarchy of Needs".
On the same point, empirical evidence supported that some African tribes produce 'warrior mask' with various elements and principles of Art, with each still pertaining the central values and beliefs of the whole culture they share. For what matters, it is an evident of creative expressions beyond psychological needs, and still confined by the aesthetic beauty of their culture, experience as self-fulfilment needs by Maslow, and credited by Hauser as a cultural product of Art (Public Art). Correspondingly, culture is subjected to 'changes', which is known as; static and dynamic changes, in the result of 'Acculturation' and 'Assimilation'.
Over the course of time, Art Historians deliberately takes the product of Material Culture as their point of departure in an analytical or synthetical approach. As the famous Hungarian-German Art Historian, Arnold Hauser remarks in The Philosophy of Art History (1959), 'We are living in the day of sociological interpretation of cultural achievements. This day will not last forever, and it will not have the last word'. Which in respect, Hauser denotes the fundamental value of culture and society upon its significant Zeitgeist (Heyday), as in the favour of the Principles of Causality, where every event has a caused, and conversely, every cause has an event.
The Malaysian identity remains subjective in perspective approach of the Relativist. On this account, the belief (Relativism) through its provenance, championed by Protagoras of Abdera, warrants that "Man is the Measure of All Things". Respectively, such particular maxim seeks path to no 'Objective Truth', where reality is perceived on the opposite, subjectively and relatively towards the experience of the viewer. On the upper hand, this statement is to describe the perception without apperception to what Immanuel Kant addressed pleasure without purpose, of the radicals who ridiculed (defy) the 'National Cultural Policy (1970)'. Such accusation is in the logic of the NCP (1970), accused in favour of ethnic, religious, or both supremacy.
Over and above that, the formulation of the national cultural policy is based on several elements and three principles determined by the government as the National Cultural Policy; 1) The national culture must be based on the indigenous culture of this region (Malay Archipelago), 2) Suitable elements from the other culture may be accepted as part of the national culture, 3) Islam in an important component in the formulation of the national culture. Sympathetically, albeit the assimilation and acculturation in accordance upon the Malaysian Constitution, it appears the NCP (1970) formulation is as hard as it gets if viewed within the opposite point-of-interest. This situation is seen as a counterculture, which appears out of context and self-centred. Ethnocentrism is the superiority of one ethnic on another which is opposed to the principles of 1 and 2 of NCP (1970), whereas 'Relativism' appears significant in the principle 2 mentioning without no prohibitions of ethnic and religion which complies according to the constitution.
Hence, Islam is positioned as the official religion by the constitution since the Reid Commission Report, this is a meticulous evident in the four (4) factors which formulate the national culture; two of them are historical background of Malaya, and the religion hegemony and beliefs since the early Melaka sultanates. here, it is noteworthy to mention the details of the National Cultural Policy (1970) Principles as follow.
First Principle NCP, The national culture must be based on the indigenous culture of this region (Malay Archipelago); The region involved covers Malaysia, Indonesia, Philippines, Singapore, Brunei, Thailand, and Cambodia, as well as the South Pacific islands (Polynesia, Melanesia, Oceania) and Malagasy. This whole region has been an important part of Malay Civilisation and Culture. During the height of the Malay Civilisation Era based in Melaka. the Malay language has been used as an international language in trade relations (lingua franca). The culture of this region showed several similarities, in the language used, which was basically the Malay Language- Austronesia, the geographical location, historical experience, natural resources, arts and moral values. The Malay Culture today is a way of life and symbol of identity of more than 200 million people who speak the same language. As such, the culture of the indigenous people from this region, which, in a wider or narrower sense, refers to the Malay culture, forms the basis of the National Cultural Policy.
First Principle NCP, The national culture must be based on the indigenous culture of this region (Malay Archipelago); The region involved covers Malaysia, Indonesia, Philippines, Singapore, Brunei, Thailand, and Cambodia, as well as the South Pacific islands (Polynesia, Melanesia, Oceania) and Malagasy. This whole region has been an important part of Malay Civilisation and Culture. During the height of the Malay Civilisation Era based in Melaka. the Malay language has been used as an international language in trade relations (lingua franca). The culture of this region showed several similarities, in the language used, which was basically the Malay Language- Austronesia, the geographical location, historical experience, natural resources, arts and moral values. The Malay Culture today is a way of life and symbol of identity of more than 200 million people who speak the same language. As such, the culture of the indigenous people from this region, which, in a wider or narrower sense, refers to the Malay culture, forms the basis of the National Cultural Policy.
Second Principle NCP, Suitable elements from the other culture may be accepted as part of the national culture; Culture is a dynamic phenomenon, always changing through the on-going process of adaptation and assimilation. This principle takes on consideration the multi-cultural aspects in a multi-racial society. Hence, cultural elements of the Chinese, Indians, Arabs, Westeners and others which are considered suitable and acceptable are included in the national culture. Such acceptance must be in accordance with the provisions in the constitution and the principle of Rukun Negara, as well as national interest, moral values and the position of Islam as the official religion of the country.
Third Principle NCP, Islam is an important component in the formulation of the national culture; Religion or the belief in God is important in the development process of a country and also in the personal development of her people. Islam provides guidance to mankind and fulfills the physical and emotional needs. Hence Islam should be an important element in formulating the National Culture Policy based on its position as the official religion of the country.
Further comprising, these three principles have been accepted by the National Culture Congress in 1971. A great example of a 'Public Art' which enculturated the Malaysian Identity apart from National Cultural Policy was the artwork 'Puncak Purnama (1986)' (Lunar Peaks), built by the late National Laureate Datuk Syed Ahmad Jamal (1929-2011). The sculpture was commisioned by United Malayan Banking Coorperation Finance. Remarkably the material used were advance ceramic glass developed by National Aeronautics and Space Administration (NASA) in collaboration with Malaysia Ministry of Foreign Affairs. The artwork is a triangular shaped which captures the principles of unity between the sky, earth, and water. The principle of design demonstrates a contrapuntal rhythm based on the mythical of Gunung Ledang (Mount Ophir) located in the southern region of Malaysian Peninsular.
The essence and presence of the Malaysian Identity is captured upon the majestic artwork 'Puncak Purnama (1986)' (Lunar Peaks), which eventually was demolished by the Authorities due to safety concerns. However the concept it portrayed remained imbued in the core of its significant identity, thus its 'significant form' became the logo type of the research interest group from UiTM Melaka; Public Art Creative Aesthetic Quality (PACAQ)
Thank You
MUSADDIQ MOHAMAD KHALIL
Department of Liberal Studies
UiTM Alor Gajah
PACAQ- UITM RIG 2020
Reference:
Berger, A. A. (200). The Meanings of Culture: Its Many Meanings. M/C Journal, 3(2)
Nolan, P., & Lenski, G. (2009). Human societies: An introduction to macrosociology (11th ed.). Boulder, CO: Paradigm.
Matsumoto, D. (Ed.). (2001). The handbook of culture and psychology. New York, NY: Oxford University Press.
Retrieved December (2020), https://www.pmo.gov.my/2019/07/national-culture-policy/
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