Latest news with #PaletteAndPen
The Star
28-06-2025
- Entertainment
- The Star
Now 90, A Samad Said's appetite for the written word burns as brightly as ever
National Laureate Datuk Seri Dr Abdul Samad Mohamed Said – better known as A. Samad Said, or simply Pak Samad to the literary masses – remains a towering yet approachable figure in Malaysian culture. He was last seen on the big stage at the 2024 Merdeka Award ceremony in Kuala Lumpur last August, where he was among seven recipients honoured for exceptional contributions in their fields. But if Samad is not in the spotlight, you'll likely find him – accompanied by his wife Rashidah Md Dahan – among the crowd, meeting literary and art fans – like at the Palette And Pen exhibition launch at Bank Negara Malaysia Museum and Art Gallery in April, where he's exhibiting a striking ink-on-paper series. He also turned 90 in April, yet his passion for books and writing remains undimmed. With the help of his musician-writer son Az Abdul Samad, 44, he spoke to Bernama recently about his long career and enduring love for the written word. Samad has five children, 11 grandchildren and two great-grandchildren. Love for books, writing Born on April 9, 1935, in Kampung Belimbing Dalam, Durian Tunggal, Melaka, Samad was raised in Singapore and began his education at Kota Raja Malay School before continuing at Victoria Institution in Kuala Lumpur. One of his earliest short stories, Hari Ini Hari Gembira (October 1954), marked the start of a long literary journey – earning him recognition as a voice of the people's conscience and a symbol of the resilience of the national language. Over the years, he wrote under several pen names, including Hilmy Isa, Isa Dahmuri, Jamil Kelana, Manja, Mesra, and Shamsir. More than just a poet and novelist, Samad is seen as the voice of the people, a cultural force, and a symbol of the strength of the national language. Photo: Bernama After passing the Senior Cambridge Certificate in 1956, he worked as a clerk at Singapore General Hospital before joining the newspaper Fikiran Rakyat in Kuala Lumpur. He soon returned to Singapore to write for Utusan Zaman and Utusan Melayu, both under the Utusan Group, led by literary giant Usman Awang. When the company moved to Kuala Lumpur, Samad followed, later helping Usman Awang manage the magazine Mastika. He would go on to serve as Head of Literary Development at the New Straits Times. In 1987, he left his editorial post at Berita Harian to devote himself fully to writing, focusing on essays and poetry. 'No regrets' Reflecting on his seven-decade-long literary journey, filled with its fair share of ups and downs, Samad shared that he has always loved being a writer – even if the path has been far from financially secure. "One can't really rely on it for a steady monthly income ... it's unpredictable. Sometimes, you earn well and at other times, you get nothing at all. But because it's a path I chose from the beginning, I have no regrets,' he said. His achievements speak volumes about his literary stature, but he admitted he never expected to gain such widespread recognition, saying his success as a novelist still surprises him. "After receiving praise and material rewards, I felt like it was an unexpected gift for which I'm truly grateful. Every time I write something that receives a good response, I feel it's not only a personal gain but also benefits society. I believe it (such achievements) becomes part of the nation's treasure.' On receiving the 2024 Merdeka Award, Samad said, 'Honestly, I didn't expect it and I never imagined it. But of course, I'm happy.' This file photo from 1992 shows Samad at home in Ampang, Selangor surrounded by his books. Photo: The Star/Filepic He also revealed that one of the most cherished highlights of his career was writing Al-Amin, a poem chronicling the life of Prophet Muhammad. "I never thought I'd complete an entire Islamic poetry anthology. I'm proud of my other works too, but Al-Amin was the most challenging – it demanded my full sincerity, knowledge, and capability,' he said. Salina and beyond Samad became a household name with the 1961 publication of his novel Salina, which follows a woman's struggle to reclaim her dignity in post-World War II society. Once a mistress, Salina grapples with love, loss, and the weight of societal judgment in a world that has cast her aside. The novel explores themes of poverty, morality, redemption, and the clash between tradition and change – all through Salina's poignant journey. Though it only earned a consolation prize in a 1958 Dewan Bahasa Dan Pustaka competition, Salina went on to be hailed as the first major modern Bahasa Malay novel. It has since seen numerous reprints, including a 60th anniversary edition in 2021. With its poetic prose and bold realism, Salina remains a cornerstone of Bahasa Malaysia literature and essential reading for literary enthusiasts. His poetry collections, including 68 Soneta Pohon Gingko and Balada Hilang Peta, along with translated works, have extended his literary reach internationally – even to South Korea. At the 'Palette And Pen' exhibition at Bank Negara Malaysia Museum and Art Gallery in KL, Samad is exhibiting a striking ink-on-paper series. Photo: The Star/Faihan Ghani As a poet, Samad also revealed how he overcame his greatest challenge – stuttering. 'My biggest challenge has been my stutter. From the beginning, I dreamed of becoming a great orator. So I would go to the seashore, wait for the big waves to crash, and try to shout louder than the waves hitting the shore or rocks,' he said. Other notable works by Samad include Hujan Pagi, a psychological novel about a pre-war journalist grappling with the changing landscape of modern journalism. His novels such as Daerah Zeni, Sungai Mengalir Lesu, Di Hadapan Pulau, and Keledang explore societal struggles from diverse perspectives. Travel was also a key source of inspiration. His 1965 trip to India led to Bulan Tak Bermadu di Fatehpur Sikri, while his 1989 journey through Europe inspired Cinta Fansuri and Warkah Eropah – works that reflect his fascination with other cultures and his talent for turning personal encounters into universal narratives. On the theatre front, Samad also left his mark in drama with Lantai T. Pinkie, staged 17 times up to 2023. Reading, a constant companion For someone who has blurred the lines between career and personal life, Samad offered a thoughtful reflection. "I honestly can't separate the two. To me, every passing moment is meaningful. Reading is my only pastime ... I feel at ease when I have a book on my right and left," he said. Samad at a poetry and music recital in George Town, Penang in November 2016, accompanied by his son Az on guitar. Photo: The Star/Filepic These days, he finds comfort in revisiting classic literature – books he never had the time to finish earlier in life. "Now, I spend more time reading the classics I once left unfinished. I enjoy works by Fyodor Dostoevsky, Leo Tolstoy, and Ernest Hemingway ... I didn't complete their books in the past, but now I'm taking my time, savouring each moment and 'gathering' wisdom,' he shared. Reflecting on his life philosophy, he added that he often reminds others that simply having the chance to live is a gift – not everyone gets that opportunity. "But I did and I am grateful for it. Each person interprets life in their own way, but it is something that must be cherished. As a writer, I try to do the best I can.' Having endured many difficult phases in life, he said his religious beliefs have grown even more meaningful with time. "Whenever I feel anxious, I find comfort in reading the Quran,' he said, adding he considers his success at overcoming his stutter an "extraordinary achievement'. "I hope I made meaningful contributions to my people and my country through my presence in this world. And if this has happened, I am content," he concluded. – Bernama
The Star
29-04-2025
- Entertainment
- The Star
The 'Palette And Pen' exhibition celebrates voices from art and literary worlds
National Laureate Datuk Seri A. Samad Said, with his signature long white beard and quiet presence, seemed to roll back the years as he wandered through the recent launch of Palette And Pen at Bank Negara Malaysia Museum and Art Gallery (BNM MAG) in Kuala Lumpur. The exhibition, inspired by Asean connections, brings poetry, art, and literature into conversation. It celebrates how words and images shape, reflect, and inspire each other across generations and borders. At 90, A. Samad – whose vast contributions to Malay literature span novels, poetry, essays, drama, and the performing arts – is showcasing a series of ink-on-paper drawings (from 2006) at Palette And Pen. Each of his works is rich with poetic nuance and lyrical intimacy. As a young man, A. Samad learned art under one of Indonesia's most celebrated 20th century painters, an experience that gave him a distinctly regional sensibility and deepened his appreciation for South-East Asia's cultural dialogues. A visitor walks past 'Dun Dun Chak' (acrylic on canvas, 1974) by Malaysian artist Abdul Ghafar Ibrahim at the 'Palette And Pen' exhibition. Photo: The Star/Faihan Ghani 'In the beginning I was already an artist. I studied with artists Affendi from Indonesia, and C. Mahat from Malaysia,' he says. A. Samad also has his literary works featured at the exhibition, which runs through Oct 12. He sees art and writing as intertwined reflections of the human condition, shaped by time and memory. 'I feel that writing is more from and to the heart. Art is a deformed heart that is sincere and loyal. We hide the inner turmoil we experience,' he adds. In many ways, Palette And Pen is an exhibition with ambitious reach, arriving at just the right moment – when audiences are craving thoughtful museum offerings. It presents a rare opportunity to explore folklore and histories, local and regional, through the eyes of artists and poets. Carry on the legacy This multi-generational show, coinciding with Malaysia's role as Asean chair this year, offers numerous highlights for art lovers drawn to regional art connections, while providing poets and the literary crowd plenty to explore. A showcase of classic Malaysian literary works, featuring poetry and anthologies. Photo: The Star/Faihan Ghani Beyond the regional, BNM MAG curator Siti Melorinda (Melor) Khuzaina Sakdudin, with Amira Salleh and Aishah Wahab, highlights the value of local historical works in preserving Malaysia's rich cultural heritage. 'This isn't the first interdisciplinary exhibition of its kind. In 1970 and 1971, Manifestasi Dua Seni I and II were showcased by Dewan Bahasa dan Pustaka. "Given the success of that exhibition (series) and the recent revival of 1970s culture in other galleries in KL, we felt it was the right time to showcase works from that era,' says Melor in an interview. 'Through the resurgence of (Malay literary forms) sajak, syair, hikayat, and folktales, these artworks and writings can inspire the new generation of artists to carry on the legacy,' she adds. The exhibition showcases 159 artworks and over 50 books by 38 local artists and 14 regional contributors. An oil on cardboard painting 'Abstractions (Birds)' from 1951 by Filipino artist Hernando R. Ocampo. Photo: BNM MAG With homegrown names like Latiff Mohidin, Syed Thajudeen, Jaafar Taib, Jalaini Abu Hassan, Ahmad Fuad Osman, Yee I-Lann, and Samsudin Wahab, alongside regional figures such as Arahmaiani (Indonesia), Aung Myat Htay (Myanmar), and Fyerool Darma (Singapore), the gallery's entire third floor feels like a space to absorb layered histories, cultural memory, and artistic dialogue across borders. Plenty to discover Local works date back to the 1960s, and there's plenty to engage with. And no regional exhibition feels complete without Latiff's iconic Pago Pago series woven into the narrative. For art pieces rooted in Malaysian literature, legendary artists Syed Ahmad Jamal (1929-2011), Ismail Zain (1930-1991), and Ibrahim Hussein (1936-2009) have left behind a rich trove waiting to be revisited in this exhibition. Meanwhile, Syed Thajudeen's oil painting The Eternal Love Between Puteri Gunung Ledang And Hang Tuah (2013) reflects the enriched storytelling that unfolds when visual art draws from written myth. Syed Thajudeen discusses regional storytelling and myths next to his oil painting 'The Eternal Love Between Puteri Gunung Ledang And Hang Tuah' (2013). Photo: The Star/Faihan Ghani His large-scale work offers a vivid portrayal of these iconic Malaysian folklore figures, adorned with floral motifs and animal imagery. 'It's no secret that Western folktales and myths are more widely popularised through television and film. However, I believe this artwork allows me to highlight the mystical elements of Malaysian, and by extension, South-East Asian, mythology,' says Syed. In addition to spotlighting pioneering voices, the exhibition also explores how cultural heritage is reinterpreted in contemporary contexts. Artist, academic, and writer Jalaini Abu Hassan exemplifies this with his painting Jebat Pulang Bersyarat, accompanied by his debut poetry collection, Catan Sopan. 'I imagined what it would be like if Jebat returned to modern-day Melaka – wearing a Prada suit and shoes, wandering through old alleyways,' says Jalaini. Indonesian painter S. Sudjojono's 1959 oil on hardboard artwork titled 'Jalan Di Muka Rumah Kami' is one of the Asean highlights. Photo: BNM MAG 'If you look closely, he's holding a pen behind his back instead of a keris. This emphasises the proverb: the pen is mightier than the sword.' Datuk Dr Siti Zainon Ismail, Malaysia's 14th National Laureate, is also a rare figure who excels in both art and literature, making an exhibition like Palette And Pen a perfect showcase of her unique dual talent. She began painting and writing poetry in her teens, selling her first artwork and publishing books by the age of 16. Her acrylic paintings, paired with literary works, reflect her belief that language and image belong together. 'Art has always been a way to express what cannot be said in words. Conversely, poetry and rhythm can spark visual imagination. A dedication to both crafts allows an artist to express themselves in ways they might not expect,' says Siti Zainon. Regional connections In the Scrolls From Asean section, artworks extend beyond Malaysia, showcasing diverse regional interpretations and shifting influences over time. A standout piece is I Love You – After Joseph Beuys Social Sculpture (2009) by Indonesian artist and poet Arahmaiani, who had her works shown at the Tate Modern in London late last year. Siti Zainon stands by her 1980 acrylic on canvas artwork 'Seri Trolak' at the 'Palette And Pen' exhibition. Photo: The Star/M Irsyad The Bandung-born artist, known for her bold, taboo-breaking art, is a striking choice for the exhibition, given her tumultuous relationship with her homeland. 'This artwork exemplifies the blending of modern Western art with local culture, particularly with the use of Jawi script in a soft sculpture medium,' says lead curator Melor. She also highlights Singaporean artist Abdul Ghani Hamid (1933-2014), a self-taught painter, poet, and art critic, who played a key role in nurturing Malay artists in Singapore through the Angkatan Pelukis Aneka Daya collective. 'For the younger generation, it's hard to grasp the impact of Singapore's separation from Malaysia in 1965, but it was a watershed moment for many creatives. Abdul Ghani, who remained in Singapore, helped lay the foundation for future generations of artists, including pioneering modernist Latiff Mohidin,' says Melor. An oil on wood painting from 1992 tilted 'Lalang Dan Api' by Singaporean artist Abdul Ghani Hamid. Photo: BNM MAG From these Asean exhibits – ranging from Indonesia's S. Sudjojono's 1959 oil painting Jalan Di Muka Rumah Kam i to Filipino artists Hernando R. Campo's 1951 Abstraction (Birds) and Ramon Peralta's 1905 Courtship In An Azotea – visitors are offered a rare chance to trace the evolution of regional expression. These classics serve as historical anchors, inviting meaningful comparison with more recent works. 'South-East Asia's art and literary history is relatively young compared to our Western counterparts. "That's why it's vital to support and nurture future collaborations between neighbouring countries – especially when you consider that, long ago, these borders didn't exist and we shared the region as a collective space,' concludes Melor. Palette And Pen at Bank Negara Malaysia Museum and Art Gallery, KL, runs until Oct 12 with workshops, artist talks, and sharing sessions throughout. More info here.
