The passing of Malaysia’s fifth Prime Minister, Tun Abdullah Ahmad Badawi, marks not only the end of an era in Malaysian politics but also invites reflection on a lesser-discussed dimension of his leadership – his steady, values-driven support for Malaysia’s creative and cultural sectors.

While Tun Abdullah is often remembered for his soft-spoken demeanour and the Islam Hadhari framework, his impact on the nation’s artistic development and cultural policy deserves equal recognition.

Art and Culture in the Age of Islam Hadhari

At a time when discourse around art and religion was often seen as polarising, Tun Abdullah introduced a more inclusive and nuanced narrative. He strongly believed that Islam and the arts were not at odds, and that creative expression could co-exist with spiritual and moral values.

Under his leadership, there was a visible softening in state attitudes towards the arts. Creative practitioners were no longer seen as operating on the margins of society but as nation-builders with an important role to play in shaping Malaysia’s identity.

The arts, for Tun Abdullah, were not an indulgence, but a vital reflection of society’s conscience, soul, and spirit.

Malaysia Batik and the Legacy of Seri Endon

One of the most tangible contributions to the creative industry during Tun Abdullah’s tenure was the establishment of the ‘Malaysia Batik: Crafted for the World’ campaign, under the patronage of his late wife, Tun Endon Mahmood.

The programme – alongside the prestigious Piala Seri Endon batik design competition – not only revived public interest in Malaysia’s textile heritage, but also positioned batik as a contemporary global art form. It empowered local artisans, generated economic value, and added cultural prestige to Malaysia’s design scene.

It was also an early example of how cultural preservation could be integrated into national branding and soft power diplomacy.

Creating Space for Artistic Freedom

Although his leadership style was often described as cautious, Tun Abdullah was in many ways courageous in his cultural vision. He allowed more breathing room for film, music, literature and other art forms to explore complex themes, including spirituality, social inequality and personal identity.

During his administration, Malaysia saw a more dynamic and diversified creative output, with increasing recognition for independent filmmakers, theatre practitioners and musicians. This was made possible not just through policy, but through a change in tone from the top – one that prioritised understanding and dialogue over censorship.

Voices from the Arts Community

Tun Abdullah’s passing has triggered an outpouring of heartfelt tributes from Malaysia’s creative figures.

Dr Syamsul Hirdi, a singer and now senior lecturer at Universiti Utara Malaysia (UUM), described him as “a leader who genuinely understood the role of the arts in shaping national identity”.

Meanwhile, Dr Fitri Haris, Nasyeed singer and champion of Gema Gegar Vaganza (GGV) Season 2, expressed deep gratitude towards Pak Lah, saying he had “opened the door for more spiritually and humanitarian-themed performances that were once considered too sensitive for the public sphere”.

These voices reflect not only admiration but a deep sense of personal and professional loss felt across the artistic landscape.

Laying the Groundwork for Malaysia’s Creative Economy

Although the term “creative economy” had not yet entered mainstream policy vocabulary, Tun Abdullah intuitively understood its potential.

He supported initial steps towards building infrastructure and funding mechanisms for local content creators and encouraged early collaborations between public agencies and private creative entrepreneurs. Institutions like FINAS and JKKN found renewed relevance and direction under this climate of cautious openness.

His tenure laid the foundation for the economic formalisation of Malaysia’s creative industry, which today contributes significantly to employment, innovation and cultural tourism.

A Legacy Beyond Politics

Tun Abdullah Ahmad Badawi’s legacy in the creative sector may not be the most publicised, but it is deeply felt and remembered by those who shape and safeguard Malaysia’s cultural life.

His passing invites us to reflect not only on the policies he introduced, but on the values he espoused – compassion, inclusivity, respect for tradition, and the belief that culture, like leadership, is ultimately about service to humanity.

In remembering Pak Lah, we honour a man who led not through noise, but through quiet strength, thoughtful vision, and enduring cultural empathy.

-- BERNAMA

Assoc Prof Dr Syamsul Bahrin Zaibon (syamsulbahrin@uum.edu.my) is a Deputy Dean of Research and Innovation at the School of Creative Industry Management & Performing Arts, Universiti Utara Malaysia.