BICULTURALISM'S INFLUENCE ON THE VISUAL CULTURE OF SOUTHEAST
Biculturalism is an integral part in analyzing the contemporary and modern artwork of Southeast Asia. Regardless of the country, every part of Southeast Asia has its own history with a complex timeline of western influences that have an impact on the style of each country's art. This essay will focus mainly on Bali in looking specifically at how western influences have shaped the visual style that has since become identifiably specific to Southeast Asian artists in these two countries. There are several various ways that the National identity of these countries in relation to its historical colonial origin have, throughout history, influenced artists in both the content and style of their art but this essay will be focusing on three specific categories of influence: visiting western mentors of the visual arts, the consumer tourist market and its demand on specific pieces of art in Southeast Asia, as well as specific artists and their struggle for their own national identity. Looking at art in Southeast Asia in the twentieth century, one begins to notice a development of technique and style, specifically in Bali, around the nineteen thirties. This has been attributed to the influence of visiting artists, namely Walter Spies a
Art that sells in Bali, with few exceptions, generally depict romanticized Balinese landscapes and other visual aspects specific to Balinese land while leaving Balinese men and women devoid of character in the paintings. The tourist purchase the art they want and are looking for and the artists get money they need to survive, it is a fair trade with both parties leaving happy. Still passionate about his concerns, Ngendon used the "depiction of story episodes he could hint at the depths and complexities of communal, religious, and perhaps even personal concerns" (ibid, 19). In fact, "Bonnet, who deemed these subjects and styles 'unBalinese' and 'inauthentic' [had] rejected them" (ibid). Although the exact influences of any countries art, let alone world region such as Southeast Asia, will never be fully understood it is crucial to try to gather information that allows one to understand the art from the perspective of the artist in regards to both the history and the cultural aspects that have made an impression in their art. This can be looked at as a retardation of progression in Southeast Asian art but should not be confused or associated with the victimization of artists in Southeast Asia. There are three reasons why Balinese painters continued to paint black and white pieces regardless of their natural inclination to express themselves with vibrant color: the pressure from Bonnet and Spies to practice their art in black and white as a means of foundation in composition and other artistic elements, the lack of availability of color for financial reasons in the nineteen thirties, and finally because these black and white paintings sold to western tourists and provided income for artists. But even though the Balinese artists may have been attracted to these aspects of Balinese life, circumstances made it difficult, if not impossible, to express these interests. The only victim, if any, is the progression of Southeast Asian art, but that is beyond the scope of this essay. Where Spies and Bonnet did not influence Balinese painters of this time is in their taste for color, clothing, and landscape which was all part of Balinese culture found in other areas such as dramatic dance costumes and performances, religious and cultural rituals, and the natural surroundings of the country. There is no differentiation between foreground and background; all the figures are on one plane" whereas the paintings made in Bali in the nineteen thirties "have agile figures moving about in naturalistic settings" (ibid) with a greater understanding and appreciation for perspective and the illusion of a three dimensional planer aesthetic. Some categories of content for Balinese paintings other than romanticized landscapes include the glamorized portrayal of half naked women working in the field - no doubt an indigenous sex symbol to a westerner constantly covered in clothing, or folktales told with symbolic figures reminiscent of the black and white paintings mentioned earlier. As Americans one has to suspend the idea of an American art world, with all of its galleries, publications, museums and other such high art establishments, existing in Southeast Asia. In fact, the main outlet for Balinese artists to sell their works remains the tourist market.
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Acceptance Essays
