This dissertation examines the trace of circumcision in modern Malay/sian art. The term ‘Malay/sian’ is used in this dissertation to refer to Malaysians of Malay descent with Islamic affiliation. This research is premised on the hypothesis that the cultural politics that defines the works produced by artists of Malay-Muslim affiliation is constituted by the discourse of the body. This research takes the task of locating this hypothesis in a selection of paintings by these artists. I argue that circumcision, which in Malaysia is understood as the obligatory and identifying mark of the Malay-Muslim (male and female, to varying degrees), is a significant trope underlying the themes of the graphic mark, the body and social power in the production of personal, ethno-religious and national identities.

This dissertation examines the trace of circumcision in modern Malay/sian art. The term ‘Malay/sian’ is used in this dissertation to refer to Malaysians of Malay descent with Islamic affiliation. This research is premised on the hypothesis that the cultural politics that defines the works produced by artists of Malay-Muslim affiliation is constituted by the discourse of the body. This research takes the task of locating this hypothesis in a selection of paintings by these artists. I argue that circumcision, which in Malaysia is understood as the obligatory and identifying mark of the Malay-Muslim (male and female, to varying degrees), is a significant trope underlying the themes of the graphic mark, the body and social power in the production of personal, ethno-religious and national identities.