Готові списки джерел за темами / Artists Malaysia

Добірка наукової літератури з теми "Artists Malaysia"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 29 січня 2023

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Статті в журналах з теми "Artists Malaysia"

1

Iwan Shahrom Shah, Muhamad Yusri Shah, Muhamad Khairi Shamsudin, Rahman Amin, and Mohd Farif Ab Jalil. "Influence of Intermedia in Development of Malaysian Art Scene." Environment-Behaviour Proceedings Journal 7, SI9 (October 10, 2022): 63–68. http://dx.doi.org/10.21834/ebpj.v7isi9.3940.

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Анотація:
Media art has evolved over time. Artists are developing intermedia in their art. It begins in 1950s NYC. The idea of Intermedia has since extended globally. Malaysia's media development is influenced by western Intermedia. Malaysian artists are intermedia experts. This research aims to determine why Malaysian artists use Intermedia and to classify its disciplines. This research was place in studio or online, depending on current conditions. Pandemic, artist demand. This research used library, catalogue, and web sources for data. The data will be analyzed to classify the artists' Intermedia use. Intermedia has diversified into numerous disciplines, and it's still growing. Keywords: Intermedia, Malaysian Art, New media eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3940
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2

Zakaria, Salehuddin, Rafeah Legino, and Mohammad Kamal Abdul Aziz. "The Concept of National Identity in the Artwork of Female Artists in Malaysia." Environment-Behaviour Proceedings Journal 7, SI8 (October 7, 2022): 81–85. http://dx.doi.org/10.21834/ebpj.v7isi8.3918.

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This study examines the national identity elements of the Fatimah Chik and Khatijah Sanusi artworks, which begins with the examination of relevant material, including examples of national identity-related works and visual data on the results of Malaysian female artists obtained through digital photographs and records. Identifying and recognising national identity in Malaysian female artists' works is categorised by the artwork's profile. The artwork's focus and criteria will be mapped with the inquiry of the National Cultural Congress's study (NCC). Women's attitudes in art production reflect national identity in female artists' artworks that emphasise culture, family, and accuracy. Keywords: Artworks, Female artist, National identity, Malaysia eISSN: 2398-4287 © 2019. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI8.3918
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3

Zanuar, Seri Nurul Syuhada, and Khairunnisa Diyana Md Noor. "Social Media's Effectiveness for Malaysia's Independent Artists." Environment-Behaviour Proceedings Journal 7, SI9 (October 9, 2022): 9–14. http://dx.doi.org/10.21834/ebpj.v7isi9.3928.

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Social media has played a crucial role for artists to market and promote their artwork. They have increasingly used Instagram, Facebook, YouTube, and Twitter. This study focuses on three elements which are to investigate which platform of social media that been used the most for the artists to market their products and service, to study impacts of the social media on their marketing strategies, and to find out how the artistes manage their social media and identifying on how the artistes maintain their fan interest towards their works. Keywords: social media, technology, internet, social networks eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3928
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4

Anak Michael, Valerie, Khairul Aidil Azlin Abd Rahman, Shureen Faris Abdul Shukor, and Noor Azizi Mohd Ali. "Artistic Knowledge and Practices of Hybrid Art based on the Analysis of Malaysian Artists’ Artworks." Environment-Behaviour Proceedings Journal 5, SI1 (June 1, 2020): 111–17. http://dx.doi.org/10.21834/ebpj.v5isi1.2305.

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Анотація:
The objective of this paper is to identify the artistic knowledge and practices of hybrid art among Malaysian artist’s artworks. The purpose is to analyze the artistic knowledge through Malaysian artist’s artworks. Ten selected artworks from the multidisciplinary artists had been choose. The researchers applied observation method to select the artworks that have the element of hybrid art and Kawakita Jiro method for the purpose of clustering the attributes for the artistic knowledge and practices of hybrid art. The finding shows that the advancement of technology, and freedom in exploring the material have affected the creation of hybrid artworks production. Keywords: Artists’ practices, Hybrid art practice, integration, cross disciplines. eISSN: 2398-4287 © 2020. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v5iSI1.2305
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5

Syed Ahmed Jalaluddin, Syed Zamzur Akasah, Mohd Suhaimi Tohid, Mohd Khairi Shamsudin, and Mohd Fazli Othman. "#CeritaKita: The splendour of Malaysia through mural painting on petronas gas station." Environment-Behaviour Proceedings Journal 7, SI8 (October 7, 2022): 105–9. http://dx.doi.org/10.21834/ebpj.v7isi8.3921.

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Анотація:
Murals are works of public art that express ideas on a building's surface. The connections between how it's made, where it is, and what it represents have been demonstrated to be powerful visual communication tools for stimulating energy, activity, surroundings, social messages and patriotism spirit. Nowadays, companies like Petronas Dagangan Berhad support local artists to express their sense of local identity. By that, artists showcase their talents in a specific place, forming different styles and delivering the most imaginative affinities to the community. This activity gives hope to Malaysian artists and creatives in transforming local identity into a visual display. Keywords: The Splendour of Malaysia; Mural Painting; Petronas Gas Station eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI8.3921
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6

Anak Michael, Valerie, Khairul Aidil Azlin Abd Rahman, Shureen Faris Abdul Shukor, and Noor Azizi Mohd Ali. "An Analysis of Artistic Diversity in Hybrid Art Practice among Malaysian Artists." Environment-Behaviour Proceedings Journal 5, SI1 (June 1, 2020): 99–105. http://dx.doi.org/10.21834/ebpj.v5isi1.2307.

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Анотація:
This research objective is to analyze the artistic diversity in hybrid art practice among selected Malaysian artists. The paper examines the process of making hybrid artworks where focusing on media diversity and experiment activity. The researchers had used cluster sampling and twenty artists involved to answer the questionnaires. The researchers used bar graph and Principal Component Analysis to analyze the artistic diversity in Hybrid Art. The finding of media diversity shows that Malaysian artists are focusing on mixed media, strength and equipment. Besides, the artists are focusing on subject matter, experiment, influence and research for the finding of experiment activity. Keywords: Collaboration, experiment activity, media diversity, hybrid approach. eISSN: 2398-4287 © 2020. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v5iSI1.2307
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7

WAHED, WAN JULIANA EMEIH Juliana. "The MOTIVATIONAL IMPACT OF VISUAL ARTS EDUCATION THROUGH THE 'ARTISTS IN SCHOOLS' (AIS) COLLABORATION PROGRAM AMONG SECONDARY SCHOOL STUDENTS IN MALAYSIA." Asia Proceedings of Social Sciences 4, no. 1 (April 18, 2019): 94–97. http://dx.doi.org/10.31580/apss.v4i1.606.

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Анотація:
The aim of the paper is to highlight some of the findings on the study on the impact of the 'Artist in Schools' (AiS) collaboration on the motivation of students of selected secondary schools in Malaysia in visual art education. AiS is aimed at establishing a collaboration between the students of nine schools and nine Malaysian artists in order to share their experiences, skills, and knowledge consecutively. The research design of multi-case studies or multisite studies was selected and Keller’s ARCS Motivational Theory has been used for assessment purposes and as the main conceptual framework. The open-ended questionnaires were distributed to obtain the data of the students’ motivation, and the collaboration between the AiS program and the students.
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8

Wahida, Adam, and Muhammad Hendra Himawan. "Batik in Malaysia and Indonesia: A collaboration for reconciling issues of cultural heritage." International Journal of Education Through Art 18, no. 1 (March 1, 2022): 89–103. http://dx.doi.org/10.1386/eta_00084_1.

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Анотація:
Conflict claims for the cultural heritage of batik between Indonesia and Malaysia have created tensions between the people of these two countries. The Indonesian and Malaysian governments have never involved academics and arts education institutions in resolving such conflict claims, yet, these communities can play a significant role in post-conflict reconciliation efforts. This article describes a conflict reconciliation method initiated by academics, artists and art educators through a collaborative art project between art higher education institutions in Malaysia and Indonesia. Ways in which collaborations within and across the art and education communities may address the understanding and reconciliation of issues related to cultural heritage conflict are explored.
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9

Abdullah, Muhammad, Mohd Firdaus NAif Omran Zailuddin, Ahmad Khairul Azizi Ahmad, Mohd Nasiruddin Abdul Aziz, and Ashraf Abdul Rahman. "Characteristic and Categorization of Monoprint’s Among Local Artists in Malaysia." Idealogy Journal 5, no. 1 (April 9, 2020): 42–54. http://dx.doi.org/10.24191/idealogy.v5i1.188.

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10

Syed Alwi Syed Abu Bakar, Mohd Fawazie Arshad, Azian Tahir, Aznan Omar, and Noor Enfendi Desa. "SENIMAN VISUAL MALAYSIA: KEPUASAN KERJA, KOMITMEN DAN PRODUKTIVITI DALAM PROSES PENGHASILAN KARYA." Jurnal Gendang Alam (GA) 11, no. 2 (December 15, 2021): 33–48. http://dx.doi.org/10.51200/ga.v11i2.3574.

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Анотація:
Menghasilkan karya seni adalah aktiviti utama seniman visual yang melibatkan budaya kerja seniman visual. Komitmen dan kepuasan kerja merupakan dua perkara yang mempengaruhi produktiviti seniman visual. Untuk meningkatkan produktiviti, seniman visual harus mempunyai perancangan yang baik dalam pengurusan sumber dan manusia. Walau bagaimanapun, adalah rumit bagi seniman visual kerana mereka tidak mengeluarkan hasil secara pukal, sebaliknya menghasilkan karya mengikut keperluan. Permasalahan utama kepada seniman visual adalah dari aspek pengurusan kerana mempengaruhi komitmen, kepuasan kerja dan produktiviti seniman visual. Oleh hal yang demikian, penyelidikan ini adalah untuk mengenal pasti komitmen dan kepuasan kerja seniman visual serta melihat hubungannya dengan produktiviti. Penyelidikan ini menggunakan kaedah penyelidikan temu bual, pemerhatian dan mengkaji dokuman-dokumen sedia ada. Dapatan menunjukkan seniman visual mempunyai komitmen dan kepuasan kerja yang tinggi namun kurang dari segi pengurusan yang mengakibatkan tahap produktiviti mereka manjadi kurang memuaskan. Justeru, seniman visual harus berani untuk berubah dan mengharungi cabaran yang lebih besar dengan menjadikan bidang seni visual ini sebagai satu industri yang mempunyai sistem pengurusan yang lebih efektif. Visual artists' principal activity is to create artwork, which is important to their work culture. Commitment and job satisfaction are two characteristics that influence the output of visual artists. Visual artists should have a well-planned strategy for resource and human resource management in order to maximise production. However, more difficult for visual artists, as they do not generate work in mass, preferring to work on individual projects. Management is the key concern for visual artists, as it affects their commitment, job satisfaction, and productivity. As such, the goal of this study is to evaluate the dedication and job satisfaction of visual artists, as well as their relationship to production. Interviewing, observation, and a review of existing materials are used as research methodologies in this study. The findings indicate that visual artists exhibit a high degree of commitment and job satisfaction but a poor level of management, resulting in a decline in their level of production. Thus, visual artists must be willing to evolve and confront greater difficult issues by establishing a more effective management structure for the visual arts field.
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Дисертації з теми "Artists Malaysia"

1

Erl, Hon Sher, and 潘雪兒. "The Phenomenon of Mandopop Lyrics Localization in Taiwan among Singaporean and Malaysian Chinese Artists (1981-2013) ---A Study of Music Lyrics Written by Artist Tanya Chua, Penny Tai and Yu Heng." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/k5c866.

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2

Low, Audrey. "Social fabric: Circulating pua kumbu textiles of the Indigenous Dayak Iban people in Sarawak, Malaysia." 2008. http://hdl.handle.net/2100/637.

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Анотація:
University of Technology, Sydney. Institute of International Studies.
Within Borneo, the indigenous Iban pua kumbu cloth, historically associated with headhunting, is steeped in spirituality and mythology. The cloth, the female counterpart of headhunting, was known as women’s war (Linggi, 1999). The process of mordanting yarns in preparation for tying and dyeing was seen as a way of managing the spiritual realm (Heppell, Melak, & Usen, 2006). It required of the ‘women warriors’ psychological courage equivalent to the men when decapitating enemies. Headhunting is no longer a relevant cultural practice. However, the cloth that incited headhunting continues to be invested with significance in the modern world, albeit in the absence of its association with headhunting. This thesis uses the pua kumbu as a lens through which to explore the changing dynamics of social and economic life with regard to men’s and women’s roles in society, issues of identity and nationalism, people’s relationship to their environment and the changing meanings and roles of the textiles themselves with global market forces. By addressing these issues I aim to capture the fluid expressions of new social dynamics using a pua kumbu in a very different way from previous studies. Using the scholarship grounded in art and material culture studies, and with particular reference to theories of ‘articulation’ (Clifford, 2001), ‘circulation’ (Graburn & Glass, 2004) and ‘art and agency’ (Gell, 1998; MacClancy, 1997a), I analyse how the Dayak Iban use the pua kumbu textile to renegotiate their periphery position within the nation of Malaysia (and within the bumiputera indigenous group) and to access more enabling social and economic opportunities. I also draw on the theoretical framework of ‘friction’ and ‘contact zones’ as outlined by Tsing (2005), Karp (2006) and Clifford (1997) to contextualize my discussion of the of the exhibition and representation of pua kumbu in museums. Each of these theoretical frameworks is applied to my data to situate and illustrate my arguments. Whereas in the past, it was the culture that required the object be made, now the object is made to do cultural work. The cloth, instead of revealing hidden symbols and meanings in its motifs, is now made to carry the culture, having itself become a symbol or marker for Iban people. Using an exploration of material culture to understand the complex, dynamic and flowing nature of the relationship between objects and the identities of the producers and consumer is the key contribution of this thesis.
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3

Low, A. "Social fabric : circulating Pua Kumbu textiles of the Indigenous Dayak Iban people in Sarawak, Malaysia." Thesis, 2008. http://hdl.handle.net/10453/20221.

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Анотація:
University of Technology, Sydney. Institute of International Studies.
Within Borneo, the indigenous Iban pua kumbu cloth, historically associated with headhunting, is steeped in spirituality and mythology. The cloth, the female counterpart of headhunting, was known as women’s war (Linggi, 1999). The process of mordanting yarns in preparation for tying and dyeing was seen as a way of managing the spiritual realm (Heppell, Melak, & Usen, 2006). It required of the ‘women warriors’ psychological courage equivalent to the men when decapitating enemies. Headhunting is no longer a relevant cultural practice. However, the cloth that incited headhunting continues to be invested with significance in the modern world, albeit in the absence of its association with headhunting. This thesis uses the pua kumbu as a lens through which to explore the changing dynamics of social and economic life with regard to men’s and women’s roles in society, issues of identity and nationalism, people’s relationship to their environment and the changing meanings and roles of the textiles themselves with global market forces. By addressing these issues I aim to capture the fluid expressions of new social dynamics using a pua kumbu in a very different way from previous studies. Using the scholarship grounded in art and material culture studies, and with particular reference to theories of ‘articulation’ (Clifford, 2001), ‘circulation’ (Graburn & Glass, 2004) and ‘art and agency’ (Gell, 1998; MacClancy, 1997a), I analyse how the Dayak Iban use the pua kumbu textile to renegotiate their periphery position within the nation of Malaysia (and within the bumiputera indigenous group) and to access more enabling social and economic opportunities. I also draw on the theoretical framework of ‘friction’ and ‘contact zones’ as outlined by Tsing (2005), Karp (2006) and Clifford (1997) to contextualize my discussion of the of the exhibition and representation of pua kumbu in museums. Each of these theoretical frameworks is applied to my data to situate and illustrate my arguments. Whereas in the past, it was the culture that required the object be made, now the object is made to do cultural work. The cloth, instead of revealing hidden symbols and meanings in its motifs, is now made to carry the culture, having itself become a symbol or marker for Iban people. Using an exploration of material culture to understand the complex, dynamic and flowing nature of the relationship between objects and the identities of the producers and consumer is the key contribution of this thesis.
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Книги з теми "Artists Malaysia"

1

Yeoh, Jin Leng. Persoalan seni rupa sezaman?: Cetusan rasa seniman Malaysia = Contemporary visual arts discourse : vignettes by Malaysian artists. Ipoh, Perak Darul Ridzuan, Malaysia: Yayasan Kesenian Perak, 2003.

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2

Khuan, Tan Chee. Penang artists, 1920 to 1990. Penang: Art Gallery, 1990.

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3

Ali, Zakaria. Northern vantage: 11 Malaysian artists. Pulau Pinang, Malaysia: ArtGrup Penang, 2004.

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4

Tahir, Badrolhisham Mohamad. Young Malaysian artists: New object(ion). Kuala Lumpur: Galeri Petronas, 2010.

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5

The journey of IWS, Indonesian Watercolour Society: Mutual support among Asian artists : China, Hong Kong China, Indonesia, Japan, Korea, Malaysia, Myanmar, Philippines, Singapore, Taiwan, Thailand. Jakarta, Indonesia: Indonesian Watercolour Society, 2012.

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6

Tan, Chee Khuan. Lukisan pelukis-pelukis perintis daripada koleksi persendirian =: Paintings of pioneer artists from private collections. Leboh Farquhar, Pulau Pinang, Malaysia: Lembaga Muzium Negeri, 1992.

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7

Aliya and Farouk Khan Collection (Publisher). Malaysian contemporary art. Kuala Lumpur?: Aliya and Farouk Khan Collection, 2010.

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8

Tan, Chee Khuan. Eight pioneers of Malaysian art. [Singapore]: Marshall Cavendish Editions, 2014.

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9

Ch'ng, Huck Theng. Top 50 Malaysian artists in auctions heading into 2014/2015. Penang, Malaysia: One East Museum & Art Sdn. Bhd., 2014.

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10

Ooi, Adeline. Today and tomorrow: Emerging practices in Malaysian art. Kuala Lumpur: Adaptus Design System Sdn Bhd, 2013.

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Частини книг з теми "Artists Malaysia"

1

Bongsu, Muhammad Aiman Che, and Rafeah Legino. "Culture and Identity: A Comparison Study of Malaysian Artists." In Proceedings of the Art and Design International Conference (AnDIC 2016), 475–78. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0487-3_52.

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2

Mokhtar, Umairah Arina, Juliana Manan, and Rafeah Legino. "Women Artist in Malaysian Visual Art History and Development." In Proceedings of the 2nd International Colloquium of Art and Design Education Research (i-CADER 2015), 421–28. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-0237-3_42.

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3

Noor, Rosiah Md, Mohd Azhar Abd Manan, and Mohd Zahuri Khairani. "A Conceptual Framework Study on Fringe Printmaking Among Malaysian Contemporary Visual Artists." In Proceedings of the Art and Design International Conference (AnDIC 2016), 237–45. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0487-3_26.

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4

Lee, Kai-Sean. "Contemporary Malaysian Pâtisserie: Tales of Asian Creativity Confined by Western Traditions." In Contemporary Asian Artistic Expressions and Tourism, 249–69. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4335-7_12.

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5

Blankenship, Sherry Fresia, and Keith Kay Hin Tan. "The Survival of Cultural Patterns in Malaysia’s Contemporary Visual Landscape." In Contemporary Asian Artistic Expressions and Tourism, 147–67. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4335-7_7.

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6

Noor, Rosiah Md, and Mohd Azhar Abd Manan. "The Application of Printmaking Medium in Producing Artwork Among Malaysian Visual Artist." In Regional Conference on Science, Technology and Social Sciences (RCSTSS 2014), 101–8. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-1458-1_10.

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7

Zeng, Qilin. "Becoming a Nanyang-Style Artist in Postwar Singapore and Malaya: Georgette Chen’s Drawing and Her Construction of Asian Themes." In Contesting Chineseness, 201–19. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6096-9_11.

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8

Sullivan, Michael. "Chinese Artists in Singapore and Malaysia." In Intersections, Innovations, Institutions, 194–99. WORLD SCIENTIFIC, 2022. http://dx.doi.org/10.1142/9789811261206_0011.

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9

Barendregt, Bart. "Princess Siti and the Particularities of Post-Islamist Pop." In Vamping the Stage. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824869861.003.0010.

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June 2012 saw the release of the song You came to Me, performed by ‘Islam’s Biggest Rock Star’, Sami Yusuf and Malaysian media darling Dato’ Siti Nurhaliza Tarudin, The song, - previously released on one of Yusuf’s solo albums and recorded in the nasheed idiom - was now repackaged for the Southeast Asian market and sung in English, Arab as well as Malay. The choice to perform in Malay is not surprising considering that Malaysia for decades has been known as the home of contemporary nasheed, with many global Muslim pop stars today enjoying most of their fame here rather than in their countries of origin. Also the nasheed idiom, being the most ‘modern’, global and commercial of Islamist genres, does not wholly come as a surprise. However, the male / female duet did stir considerable debate on how Muslim artists are to abide to ever changing rules of modest behavior and moral virtue. Popular culture increasingly seems to be become one of the main arenas in which such values are reframed and put to test, as especially Siti did experience. This contribution considers how modernity is musically articulated in a Muslim Southeast Asian context.
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Phillips, Victoria. "“The New Home of Men”." In Martha Graham's Cold War, 77–102. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190610364.003.0004.

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While Eisenhower had called Japan the “mega-domino” in his domino theory, Graham’s tour locations also addressed concerns about the Bandung Conference in Indonesia that brought together nonaligned nations in Asia and the Middle East, and rejected Israel. As US government officials watched the planning of the Bandung Conference in 1954, Graham was being considered as an export to the region. Graham would land in Korea, as well as the Philippines, Thailand, Malaysia, Indonesia, Singapore, Malaya, Burma, India, Ceylon, Pakistan, and Iran. In addition, under private funding Graham could continue to Israel, which was not allowed to join the conference, and was very much on the geopolitical radar. While in Asia, Graham used her “orientalist” techniques to promote the idea of “cultural convergences” for diplomatic purposes. She brought religion and Americana to promote the American message to newly decolonizing nations. In Israel, the tour concluded with her announcement that “faith means repetition, repetition and again repetition, crushing obstacles; it means also faith in having a vision and will.” In many nations, Graham’s modernism again displaced the interwar German “free dance” that had been used in leftist practices, and local folk traditions modernized American folk. Artistic modernism supported ideas of modernization and the fruits of democracy; all cities closed with Appalachian Spring.
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Тези доповідей конференцій з теми "Artists Malaysia"

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Bakar, Syed Alwi Syed Abu, Mohd Fawazie Arshad, Azian Tahir, Aznan Omar, and Ameruddin Ahmad. "Art Making Process: Job Satisfaction, Commitment and Visual Artists’ Productivity in Malaysia." In International Conference of Innovation in Media and Visual Design (IMDES 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201202.074.

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Muhammad, Syafril Amir, Mumtaz Mokhtar, Mohd Jamil Mat Isa, and Nurul Huda Mohd Din. "Artistic Style Collection and Distribution of Urban Artworks in Malaysia." In Proceedings of the 2nd International Conference on Design Industries & Creative Culture, DESIGN DECODED 2021, 24-25 August 2021, Kedah, Malaysia. EAI, 2022. http://dx.doi.org/10.4108/eai.24-8-2021.2315172.

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3

Anak Michael, Valerie, and Khairul Aidil Azlin Abd Rahman. "The Hybrid Knowledge Between Artist and Curator in Developing the Hybrid Art Practices." In Proceedings of the 2nd International Conference on Design Industries & Creative Culture, DESIGN DECODED 2021, 24-25 August 2021, Kedah, Malaysia. EAI, 2022. http://dx.doi.org/10.4108/eai.24-8-2021.2315232.

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Tahir, Azian, Zarlina Mohd Zamari, Nur Adibah Nadiah Mohd Aripin, Noor Enfendi Desa, Syed Alwi Syed Abu Bakar, Faridah Hanim Abdul Wahab, and Arba’iyah Mohd Noor. "Contribution of Artists Through Printing as Visual Communication Medium Among Colonies During the British Era in Malaya." In International Conference of Innovation in Media and Visual Design (IMDES 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201202.078.

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5

Berahim, Hawari, Arif Datoem, and Nasirin Abdillah. "The Collective Artistic Identity Of Sebiji Padi Art Group Through Its Artworks." In Proceedings of the 2nd International Conference on Design Industries & Creative Culture, DESIGN DECODED 2021, 24-25 August 2021, Kedah, Malaysia. EAI, 2022. http://dx.doi.org/10.4108/eai.24-8-2021.2315176.

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6

"The Assessment of Young Generation Understanding and Awareness toward Artistic Ornamental of Taoist Chinese temple from 1800-1900AD in Klang Valley, Malaysia." In International Social Science, Humanity and Education Research Congress. Eminent Association of Pioneers, 2016. http://dx.doi.org/10.17758/eap.eph716006.

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