Visual Propaganda: A Symbolic Anti-thesis towards Japanese

Occupation in Malaya (1942-1945)

Saiful Akram Che Cob

Jabatan Senireka Grafik, Fakulti Seni Lukis & Seni Reka, Universiti Teknologi MARA, Malaysia

Keywords: Propaganda, Visual, New Order, Dai Nippon, Minshin Ha’aku, Senbu Kosaku.

Abstract: This paper aims to discuss an approach of propaganda used by the military regime of Japan (Dai Nippon),

during the liberation campaign of Greater East Asia in Malaya in the timespan of 1942 to 1945. The methods

used is through the impact and influence of visuals as a platform for effective indoctrination. The strategy is

known as Minchin Ha’aku (winning the hearts of the people) and Senbu Kosaku (indoctrination and subduing

of the people). The Japanese regime through the Department of Propaganda (Senden-Bu) is a unit that is

responsible for enforcing this program, through rigid censorships before it reaches the masses. Hence, this

paper systematically analyses the visuals as a propaganda entity that can persuade the people of Malaya to

support the New Order and its policies (Shin Chitsujo) promoted by the Japanese administration. The

manifestation of visual artworks in the form of propagandistic posters, pamphlets, illustration and editorial

cartoons filled the spaces of buildings, offices, schools and in prints such as newspapers and magazines. It is

clear that historical records tend to describe a negative tendency towards the Japanese occupation. Therefore

this paper gives a new and an alternative perspective which shows that there is support towards the occupation

and its policies whereby visuals becomes its pictorial narrative.

1 INTRODUCTION

The landing of the Japanese army in Malaya, on

December 8, 1941, in Kota Bharu, Kelantan recorded

another episode of the colonization of Malaya from

another foreign force. The power is coming from the

east, from Asia itself, which brings the slogan of 'Asia

for Asia', 'Hakko Ichiu' and the romantic doctrine of

the 'Co-Sphere Prosperity of the Greater East Asia'.

The surrender of the British government to the

Japanese, on February 15, 1942, in Singapore,

marked a new chapter to Malaya. During the three

years and eight months of the occupation forms the

wide notion of a fascist and autocratic rule of the

Japanese Military Administration (Dai Nippon).

However, despite the negative perception among the

people of Malaya, there appears to be support and

appreciation given, which assumed the Japanese as a

'great liberators' from the British colonial, which has

been in power for over 100 years. For example,

support is shown by the left political party, Kesatuan

Melayu Muda (KMM), through its progressive

organizer, Ibrahim bin Hj. Yaacob, has embraced the

presence of the Dai Nippon regime over Malaya.

The Dai Nippon efforts and policies have been

widely disseminated, through programs and

propaganda activities, among others, involving the

use of visuals, in addition to such media as radio

broadcasts, literature, news and theatre performances.

The Japanese, as it is known, also impose tight

controls on freedom of speech. The Propaganda

Department (Senden-Bu) established by the end of

1942, is generally responsible for the distribution of

information and propaganda to win the support of the

people (Md. Sidin Ahmad Ishak, 1998). Visual

propaganda that is broadcasted in mass media and

public place requires approval and be regulated by the

department, headquartered in Syonan-To

(Singapore). To achieve this goal, the Japanese have

adhered to two main principles: winning the hearts of

the people (Minchin Haku), and indoctrination and

subduing of the people (Senbu Kosaku). This

principle needs to be implemented and mobilize to the

masses, in order to gain support towards the ongoing

war campaign (Dai Toa Senso). Based on this

conviction, Malaya had to be brought to the Japanese

perspective, and therefore propaganda was conducted

to support the doctrine of the 'Co-Sphere Prosperity

of the Greater East Asia', 'Eight Continent under One

Cob, S.

Visual Propaganda: A Symbolic Anti-thesis towards Japanese Occupation in Malaya (1942-1945).

DOI: 10.5220/0008765103770381

In Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019), pages 377-381

ISBN: 978-989-758-450-3

377

Roof' (Hakko Ichiu) and various 'New Order'

campaigns (Kurasawa, 1987).

Figure 1: Illustration of Tentyo Setsu Celebration in

Syonan, The Syonan Shimbun newspaper, 30th April 1943

Visual 1 captures the birthday celebration of

Emperor Tenno-Heika's birth, Hirohito or often

called 'Tentyo-Setsu', was published on April 30,

1943, by Malay propagandist, Abdullah Ariff. This

illustrates the symbolization of integration, support,

intimacy and cooperation between the Japanese and

the people of Malaya, especially among the Muslim

society. The visuals are subtle in attracting audience

and indoctrination, to support the Japanese

occupation. The images also illustrate the attitude of

the Japanese administration that respects local culture

and customs in its propaganda order. The people in

Malaya was portrayed freely practising their way of

life and culture, without any restrictions from the

government. An image featuring art activities

performed along the way highlights the enthusiasm

and excitement of the community celebrating the

government's event. There was no representation of

the conflict of war, other than images of the people

enjoying life in a safe period. Propaganda and its

motivation are further reinforced, by the image of the

Japanese flag (Hinomaru), symbolizing the

sovereignty and power of the ruling government

which has been legally administered throughout

Malaya.

Figure 2: Cartoon Malai-Go For Nippon-Jin-An Object

Lesson, Malai Sinpo newspaper, 24th April 1943

Visual 2 is a cartoon that was aired on Saturday,

April 24, 1943, by cartoonist Chan and Leong. Pro-

Japanese propaganda with the message of spreading

the usage of the Japanese language among the people

of Malaya is presented by the cartoonist, in support of

Japan's efforts and endeavours. The Japanese male

characters are manifested friendly with the kids who

do not mind being treated by them. The smiling and

expression-friendly face expresses the significance of

reinforcingthe relationship between the colonists and

the people. The Japanese man seems to be willing to

be held and pulled on their limbs by the three

children. It carries a very effective propaganda

message that penetrate the heart of the reader. The

colonized and the Japanese, are often referred to as

bad, violent and abusive elements, but the

cartoonsshow otherwise. The cartoonist tried to

soften the character of this Japanese man, depicting a

girl hugging him closely, while smiling. In a deeper

context, this means that the people of Malaya and the

security of the Malays are guaranteed by the

Japanese. This image also serves as a precursor, to the

Japanese call for liberation of Asia from the British

grip, with the slogan; 'East living in East, West living

in West, East increasingly prosperous, West

increasingly destitute'.

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

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Figure 3: Photography on the front page, Fajar Asia

magazine, 27th March 1943

Visual 3 is a photographic image that reflects the

spiritual activities of Muslims in the open space of a

mosque, linking it to the commemoration of the birth

of the Prophet Muhammad PBUH). The Japanese

wisely took the opportunity of this event and its

significance among the Muslims to be published on

the front page of the ‘Fajar Asia’ magazine. The

visual displays the headline ‘Peringatan Maulid Nabi’

and the phrase ‘Hidup Islam’ (long live Islam), shows

the efforts to illustrate a friendly attitude and not

prejudice to the Muslim community. Religious

sentiment has been manipulated by the Japanese, in

order to justify their stand, which recognizes religious

practices by the people of Malaya, without any

restrictions and rules. Indirectly, the Japanese

administration is seen as trying to attract the Malay

population, by which the majority of whom are

Muslims, to support and cooperate with them. As the

Prophet is regarded as a liberator by the Muslims, the

Japanese took this symbol to signify their liberation

acts for the people of Malaya. In this context, visuals

are used as a weapon in the media to

influencepeople's minds and support the Japanese

Government. This is furthered with the conception

and practice of 'Shintoism' that is less dogmatic,

allowing the Japanese to participate in this

celebration.

Figure 3: Poster ‘Belajarlah! Pakailah! Bahasa Nippon!’,

circa 1943

Visual 4 is a poster illustration that encourages

Malayan people to learn Japanese language (Nippon-

Go), by the artist Y.Kurakane (Yoshiyuki Kurakane).

The 48 cm x 71 cm poster is released around 1943,

that shows a serious effort by the Dai Nippon, to

introduce the Japanese language to the people of

Malaya. The Japanese intend to make Nippon-Go as

'lingua franca', capable of being a nation's medium of

speech, in a greater commonwealth that includes East

Asia. It was issued by Senden-Bu (Propaganda

Department), based in Singapore. Complementing

this pictorial poster, is the text in Malay (Rumi),

English and Japanese (katakana), to enable observers

to visualize the visual meaning.

Figure 4: Leaflet ‘Make Fortune by Co-Operating

With Japan’, circa 1943

Visual 4 is a leaflet entitled "Make Fortune by Co-

Operating with Japan", circulated in 1943, that

encourage the people Malaya to work with Japan

Visual Propaganda: A Symbolic Anti-thesis towards Japanese Occupation in Malaya (1942-1945)

379

through business and trade activities. Images of a

group of people, who stormed Japanese-owned

business premises, can be identified, through the

visual of the Hinomaru flag as an entity, or a symbol

of the owner of the premises. The katakana-written

texts on the signage of the shop read 'Japanese Store'

and 'Japanese Goods'. The activities of buying daily

necessities brings the meaning of purchasing power

among the consumer society to boost economic

activity during the occupation period. In the top

corner of the leaflet, exposed a figure of an English

man, with his depressing face expression, lifting his

chin with his hand that aims to describe the British,

who is facing bankruptcy. The closure of a British

store is symbolically related to the embarrassing

British defeat in the campaign of the Great Eastern

Asia Great War (Dai Toa Senso).

Figure 5: Poster Hiduplah Malai Baru, February 1944

Visual 5 is a poster dated on February 15, 1944,

marks the second anniversary of Dai-Nippon's

success in liberating Malaya and Singapore (Syonan

To) from the British. The image of a man working on

paddy fields brings meaning to the community's

support to agrarian campaigns and policies. The

strong and stout figure envisions the indispensable

workforce of youth that contributes to the reform and

transformation efforts, organized by the Japanese

Government. Healthy and energetic youth is an

important asset to the government, as a frontline to

defend its rule in all aspects. The 'New Malai' (New

Malaya) doctrine, sparked by the Japanese,

encouraged agricultural activities (cultivation),

cultural transformation and a new educational system.

Japan's systematic and state-of-the-art doctrine were

designed to replace the old order and systems adopted

from Europe. The Japanese Army administration

encouraged Malaya to cultivate, more than what the

British had endeavoured.

Figure 6: Cartoon Freedom, Liberty & Co-Prosperity

Via Nippon, Syonan Shimbun Fortnightly

newspaper, 6 Jun 1945

Visual 6 is a visual propaganda cartoon using the

title Freedom, Liberty & Co-Prosperity Via Nippon

(Freedom, Independence & Commonwealth Together

with Japan) that is circulated during the edges of the

Second World War. The cartoon is broadcasted two

months before the giant explosion in Hiroshima,

which serves as a strategy in the last minute, to

mobilize the masses, to stay together and support the

Japanese side. The notion of the end of the war that is

not infavour of Japan is still manipulated by visual

images, reflecting the unwavering support of the

Asian people to them. Westerners, such as the United

States and the British, are manifested as barbarians,

ferocious animals, but frustrated and hungry,

resulting in a fatal war. This can be noted in the image

of skulls and bones, which bears the effects of greed

and humanitarian conflicts with the damaging effects,

devastates and injures the western-occupied countries

such as Nanking, India, Africa, France, Canada and

Australia. A manufacturing consent, which uses

visual as a powerful entity, is perceived to be

effective to impact the audience.

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2 CONCLUSIONS

Visual is a ‘non-military’ weapon of the Japanese

Military Administration which has its appeal in

conceptualizing the understanding and acceptance of

its observers. The Japanese propaganda attacked

Malaya, through the Asian slogans of Asian

liberation, the 'Co-Sphere Prosperity of the Greater

East Asia', New Order era of 'Dai Toa Senso', and also

the 'Hakkoichiu' conception (Eight World Angles

Under One Roof). This means that the Japanese claim

that their actions in Asia are a form of liberation, and

not an occupation. The Japanese shouted that the

Asian country had been successfully released from

the grips of the Imperialistic powers of the West.

Accordingly, departments and units of Senden-Bu

(Propaganda), are believed to have been the most

important indoctrination unit of the Japanese by

organizing propaganda programs throughout Malaya,

from 1942 to 1945. One of its approaches was to use

powerful visuals to attract support, attention and

sympathy among the masses, along with other

mediums such as literature, radio and propaganda

film. Understandably, visual has become an effective

tool for attracting attention, persuasive power and

useful sources of indoctrination. This is closely

related to the changing viewpoints and mass reaction

from the people of Malaya to the political, social,

economic and religious issues. Indirectly, if it is

refined from different points of view, the occupation

advocates the spirit of independent nationalism for

the multiracial people across the region. The appeal

of liberation, opposition and echoes of anti-colonial

nationalism, invokes a call upon the wind of

independence and self-governing system by

combating the powers of Western imperialism. As we

can see in the historical memoirs, after the defeat of

the Dai Nippon, together with the end of the Second

World War episode, several countries in the Asian

continent, have gained and enjoyed independence.

The Republic of Indonesia declared its independence

on 17 August 1945, followed by India on August 17,

1947, Burma asserted its independence, on 4 January

1948 and subsequently Malaya, declared

'MERDEKA' from the British Empire, on August 31,

1957.

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