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The following article was first published by Yayasan Kesenian Perak.
* cari makan means earning a living. Literally "looking for food".

The crises of cari makan* as artists in Malaysia.
By Tan Seihon

Yayasan Kesenian Perak’s ‘Ribut Akal’ saw a meeting of minds, of thinkers and practitioners (many whom are also academicians and educators) from different ‘denominations’ of the same faith, that is, the visual arts. Each with his or her versions of the truth, each prescription is valid at different context, each has it’s place. There is general agreement among those present that art serves some sort of a need (personal or political, psychological or sociological, cultural or spiritual etc) for expression that justifies our mortal existences. But one equally important but seldom highlighted issue, which is also a cause of concern for young artists today, is that age-old issue of ‘Cari makan’

Young artists have a hard time making ends meet today due to the rising costs of living, While a non existence of clear cut laws to protect the rights and the interests of the artists’ see many being exploited and cheated when and after providing their services. The lack of independent spaces to show case works of a more intimate and provocative nature along with new media based works of little or no commercial value, does not sustain alternative voices and encourages diverse art practices. Many have switched to practical and stable professions, forsaking the urgencies of youthful idealism to create freely and express passionately that led them to the arts in the first place.
As an educator, this is disheartening. What ever that’s noble, radical, sublime and all that is invigorating about the arts, once delivered to the students in safe and secure walls of the institution, becomes worthless or rather proves to be impractical in the ‘real’ world when they graduate.

What do we say when students asked, “what can I do for a living as a visual artists?” Do we offer general solutions like “stage or graphic designer, art teacher, curator, full time painter, craftsmen”, 9 to 6 jobs that compromises our potential to be autonomous and free or vague answers like “artists can do anything as freelancers”.

If we as artists/ educators wash our hands off this responsibility and suggests instead that the younger generation struggle and suffer to find their way just as our predecessors did, it is clear that we have not done a good job in providing and guiding our future generations. Practical and applicable solutions should have been discussed and explored in depth at such an important meeting. Many present are actually in a position to initiate actions that can improve the way artists live, work and think, at the same time steer the direction of local arts education towards a more idealistic and at the same time pragmatic direction.

Presented here are general observations commonly believed, contributes to so-called ‘crises of cari makan’ in the local visual arts scene, follow by a few basic suggestions on how to improve the situation. The suggestions offered here are not new (some have been applied but the numbers are insignificant), only presented again as a gentle reminder of the pressing responsibilities and duties that we as concerned artists and educators have temporary lost sight of. Obstacles to implementing these suggestions on a wider scale are many and discouraging, that is why they are proposed as alternatives to be initiated by individuals or collectives that are committed, willing and in a position to realized them.
 
 

Art Education
There is a decline of students pursuing the visual arts in art institutions around the country as many opt for design based or multimedia courses instead. This is seen as a realistic option for the artistic and creative towards financial security after graduation. Multimedia and design courses are appealing due to its perceived commercial and utilitarian nature that guarantees its wide acceptance in the world of commerce (Advertising, animation and film, web design and publishing, Corporate projects etc) as oppose to the visual arts.  Why?

There are few causes that contribute to this line of thinking.
 
 
 

1.Art education in Government Schools
One’s early acquaintance with art began from primary right up to secondary school education. 10 years or so of government funded education with a partial emphasis on observation and motor skills but not the concepts behind artmaking, conditions students to see art as a purely skill based field requiring little critical or no intellectual input. Many will grow to see art as a leisurely pursuit and entertainment with no real progressive value or radical function in contributing to better standards of living or different ways of thinking. Many unfortunately will readily agree that the arts appeal to the emotions more than to the intellect. Is art then the ejaculated results of careless masturbation of mindless emotions?
Art without critical and intelligent input cannot fuel the passion to create, only a mechanical obedience to make. This early and uninspiring introduction to visual art discourages students to view it, as stated by Brecth ‘a hammer from which to shape reality’. Art to students, play no relevant role in their everyday lives. Its function is tolerated only as minor irritations to be patronize in classrooms. Entry points are not provide to allow a smoother accessibility to ideas that drives the creation of many masterpieces and the art movements from which they sprang. Tools and techniques are taught but our art education system stops short of encouraging students to exploit it as a medium for personal expressions, inquiry and commentary. Rather it submits individual creativity to serve a safe and acceptable nationalistic agenda with themes like’ Bahasa Jiwa Bangsa’ Malaysia Boleh!’ Wawasan 2020, etc. This robs a sense of autonomy and the feeling of empowerment that comes from having tools extending the will and intentions of its users reaction to life and its various situations.

Questions:
· How can the visual arts be made relevant to students in general?

Suggestions:
All if not most art that was and still is produced independently, serves as an outlet for its creator’s expression of psychological longings, political leanings and spiritual convictions. Therefore the visual arts should be promoted as serving these functions in the interests of its creator and society in general. They are:

· Art as therapy-functions as some form of release of personal fears and hurt that leads to a more balance individual. It can also be used as a form of self-actualization and character building.
· Art as activism- functions by promoting awareness on certain issues or causes and social commentary. It can serve as a potential tool to bring about social change.
· Art as creative problem solving- creative thinking and problem solving through visual thinking

Ideas above can be aimed at students through seminars, publications (magazine, textbooks etc) workshops and art camps. The activities above can be conducted on a weekly or monthly basis (especially during term breaks), in cooperation with schools, the national art gallery and the ministry of education.

2. Private art institutions
Private institution exists to make profit through its services. The service provided promises to ‘arm’ and ‘prepare’ its clients for the uncertainties of the working world.  But unprepared for the challenges faced today, the visual arts department in private art institutions struggles to keep afloat due to its pathetically small intake of students. This is a result of the department’s stubborn clinging to outmoded thinking and romantic attachments to systems and ideas of art propagated by grand narratives of both traditional Eastern and Western art history. While settling on acquiring styles through traditional techniques, and a tunnel vision focusing on problems of a more formalistic nature, it has not taken into account students and their parent’s expectation from investing in an arts education and it’s practical outcome. Those expectations include a wider selection of not only tools or facilities at their disposal (which will ‘arm’ them well when they graduate) but also a progressive approach in education. (Which will ‘prepare’ them intellectually and psychologically to face the uncertainties of the working world)

The demands of today’s generation are more sophisticated, liberal and realistic. Brought about by constant exposure to new information through telecommunications technology, it unleashes mass optimism of its endless potentiality especially with regards to the field of the arts.  That is why many students persist in exploring non traditional alternatives such as digital media, installations, performance art etc. to just traditional media even though discouraged to do so. This due to their ability and the interests in crossing into previously exclusive disciplines, breaking boundaries in the process that opens up relevant discourses on the nature and role of art that not only enriches but also liberates. Students have a wider option of jobs to choose from too.
But many times, unprogressive educators forces students to fit into a mold designed after their own image (the most common complaint of students are, the lack of ‘space’ for them to express themselves and for them to ‘be’) thereby producing clones, imitators of famous artists and trend followers. The fact that many visual arts department in private art schools are not ‘doing well’ at the same time the high rate of art graduates changing to more practical professions should serve as a wake up call to action in rectifying these causes before it is too late.

Questions:
· What must private art institutions do to attract more students to its visual arts course, instead of closing it down?

Suggestions:
· An integrated approach in private arts education whereby students are provided a wider exposure to the different branches of the arts which includes Multimedia (not just software driven and mindless techno-philia), performance art, installations (not just the idea of backdrops or props) to other non-traditional alternatives.
· Critical look at Art history and (anti) Aesthetics with its applications and contexts allow student to think undogmatically and be open to different interpretations that questions the role and the function of art today. Students will not lose out by being stuck in dated and impractical ideas or practices that limit their potential to develop and grow.
· The business aspects of the arts are important too. Students should be taught basic skills of documenting (video, slides, recording etc) conservation (packing, proper use of materials for protecting artworks, insurance etc) along with methods of marketing their work (including letters of application, writing short statements of artworks, promotional kits, press releases, to preparing resumes and project proposals) Especially for artists to organized shows and exhibitions.
· Presenting oneself as an independent professional through confidence building exercises (public speaking, presentations of artworks and ideas, sales pitch and strategies etc.)

These are services that can be offered to students through workshops conducted either by professionals, educators and practitioners or as part of the curriculum of art schools. This though, would require negotiations among the management and other departments of art within the private institution. They have nothing to loose if suggestions above are implemented. This will only make the visual arts program more attractive and practical.

3. Art galleries.

Traditionally when students’ graduate the first step towards gaining recognition and financial independence is by submitting works to competitions and art galleries for exhibitions. Currently most art competitions are organized by national and private institutions that serve the agendas of either the establishment or the interests of local and multinational companies that sponsors it. Because there are no other open opportunities that allows the artists total freedom to create and be paid for it, artists who usually participate compromises their autonomy and creativity by following a set of guidelines and themes (and clever guesswork) that allows it to be accepted into competitions. Furthermore, many of the competitions, for convenience sake, also limit the form and media that it will admit. This automatically excludes those who work in unconventional and non-traditional methods.

Government galleries
It would be quite misleading to claim that non-traditional approaches to art are not recognized and accepted by national galleries. This I believe is due not to the liberal acceptance on the part of the establishment, but rather the active promotion by certain quarters and its ubiquitous praxis by the younger generation. Consequently, the galleries would have to ‘absorb’ this art to avoid and soften criticism against its conservative and narrow criteria of collecting, promoting and showcasing local art works and artists. But still, it is done so without compromising its national agenda. Notice all the works in its collection fits comfortably within the ‘Bangsa, Agama, Negara’ category. And once a while themes like ‘Flora dan Fauna’, ‘Warna Warna Malaysiana’ comes in handy as some politician’s PR tool or as tourists drawers.

Private galleries
They are first and foremost, business entities. They are run by businessmen and functions as any business would. The artworks are commodities that are sold and promoted as ‘status’ indicators. A signature and the reputation that comes with it are considered to be a brand worthy of ‘investment’. The problem with private galleries is, it does not encourage artists to grow and develop. A change of style, artistic direction, unconventional themes and media, are not warmly welcome, unless it ‘fits’ the taste buds of its clients. By relying on private galleries in the long run, artists (especially young artists) will have their integrity compromised, their creativity curtailed and their labor of love commodified.

Questions:
· What can be done for artists to continue working according to their own personal aims and vision, which does not concur with the agendas of national and private galleries, AND get paid at the same time?

Suggestions:
If art is as great and worthy as preach by its practitioners, its patrons and its promoters, then it is high time that such proclamation be backed by actions. Below are a few suggestions offered to the ‘champions of the arts’.  These are perfectly reasonable suggestions that serve as an alternative to the narrow agendas of governmental and private galleries on which many artists unfortunately have to rely on in order to ‘survive’

· Grants- many artists oversea actually survive on grants alone that allow them to produce work without interruptions. Artists are autonomous and free in deciding the direction of their artistic vision.
· Alternative spaces- It functions as catalyst to broaden cultural discourses and promote diverse art practices. Because it does not serve the agendas as mentioned above, it will be able to show case works of independent and ‘radical’artists. Not only does it serve as an ‘eye opener’ to audiences that have their concept of art was ‘regulated’ or ‘castrated’, it is a center to promote and sell unconventional art works.
· Residencies- Art residency programs should be encouraged to mushroom regardless of whether it is maintain privately or professionally. It is among a handful of ‘refuge’ where artists can create with monthly allowances and all other expenses paid for.
· Arts council- an independent center to channel funds, scholarships and other financial assistance towards developing the local arts scene. Fund can be used to run courses, forum, workshops, research, publications, community projects, events, and other worthwhile pursuits spearheaded by artists in serving society in particular and the arts in general.

5. Art criticism and publications

Writings and reviews of the visual arts in mainstream magazines and newspapers are conservative in its taste and evaluation, sometimes polemically ridden but mostly downright uninspiring. Many ‘art critics’ either obscures the intentions of the artists with their partial interpretations and difficult writings or plain unimaginative dry description of artworks and its properties, (everything else that the eye can see).
What exactly are the functions and role art critics/ reviewers play?

Mediators between people and art, especially in communicating the ‘truth’ of art and its potential to be in opening new experiences along ways of seeing and thinking.

This is important also from a business point of view, as it will encourage the patrons, lovers and supporters of the arts to be adventurous in purchasing, showcasing and promoting especially non-traditional media and unconventional themes. Good critics not only inspire, they also educate the readers on the importance the questions a work of art pose or the reaction it provokes.
The biggest shortcoming many local art critics faced is their lack of empathy with the struggles that young artists go through to produce art. Many local critics or reviewers hide behind a badge of objectivity or impartiality, which they claim is due to their non-arts background. But it is precisely this non-art background that ‘cripples’ their understanding of the fluid nature of art, which flows deeper beyond painted surfaces and pretty images. Many claims to know and judge works of art based on high standards of concepts of beauty. But in actuality, their ignorance of paradigm shifts and taste in the arts on a grassroots or international level divorces them from comprehending the struggles of young artists. They comfortably make time to align themselves with mainstream galleries and established artists, while those that needs their support most, they politely decline with the oft repeated mantra “ I’m very busy”. With no coverage or review of exhibitions, there isn’t any exposure. With no exposure, there is no audience. Without any audience, a learning experience that comes from the interaction between artists and audience cannot take place. If no learning takes place, how can there ever be a hope that audiences will one day ‘support’ this young artists.

Questions:
· How to promote a broader understanding of the arts to the general public?

Suggestions:
· Workshops or courses on art appreciation and art criticism-To provide tools for patrons and the general public in evaluating and appreciating both traditional and non-traditional art. To provide tools for reviewing and writing artworks, exhibition etc.for young artists themselves.
· Encourage or demand that magazines and newspapers publish more articles on the regional and international arts events so as to expose the public to current and wider art developments around the world.
· Start a journal, fanzine, or a Website to promote art.
 

Young artists of Malaysia unite!
Empowerment comes from understanding clearly the causes of the problems and having at hand or making the tools to deal with it.

Questions:
· What can artists do to protect their interests, rights and promote their causes? What can be done so those young artists today can ‘cari makan’ as artists?

· Do it yourself (D.I.Y)- write to apply to as many foreign organizations and patron that are genuine supporters of the arts for sponsorships, grants or residency programs.
· Collectives- form or join collectives. Run workshops and other art activities that can generate income and provide mutual aid. At the same time, provide assistance and mutual support to other struggling artists with the same objectives.
· Networks and support systems-  solidarity and mutual support by providing assistance be it in the form of money, time, collaborations in running events, promotion or material. Extensions of friendship with like minded regional and international collectives or groups will strengthen solidarity even more.
· Unionize! – form a union to protect rights and promote interests from being exploited by companies, galleries, patrons and institutions. Demand for minimum wage and contributions to EPF or Socso. Other privileges or affirmative actions should serve to benefit full time artists and their families. Demand that contracts be drawn out so as to honor the agreements made for the services procured.
· Activism- Boycott galleries, institutions, corporations and publications that exploit the arts and artists. Spread the word and teach others how to do the same. Inspire and educate people to support and to respect artists as important cultural workers and thinkers.
· Legislation- push for enactment of laws that will protect artists from exploitation, unfair terms and ambiguous wages for freelancers, use and abuse of artists’ work other than what it was intended for or in ways that compromises the artists integrity. Etc.

If we all work to together to protect and promote the rights and interests of artists, the ‘crises of cari makan’ as artists in Malaysia can be promptly resolve, and a vibrant and exciting art scene will emerge.