ILEIID 2025 | International Journal of Research and Innovation in Social Science (IJRISS)
ISSN: 2454-6186 | DOI: 10.47772/IJRISS
Special Issue | Volume IX Issue XXIV October 2025
Page 969
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Satire, Malay Identity, and National Heritage in Lat’s Malaysian Cartoon
Stamps Postage, 2008
*1
Nor Arseha Karimon,
2
Dr Mastura Haji Mohd Jarit,
3
Dr Liza Marziana Mohammad Noh,
4
Fazlina
Mohd Radzi,
5
Shaliza Dasuki,
6
Norsharina Samsuri,
1 2 3 4 5 6
UiTM Melaka
*Corresponding Author
DOI: https://dx.doi.org/10.47772/IJRISS.2025.924ILEIID00109
Received: 23 September 2025; Accepted: 30 September 2025; Published: 01 November 2025
ABSTRACT
This paper presents the cultural significance of the Kartun Malaysia, Lat stamp series, which were released in
2008 by Pos Malaysia in celebration of the most popular cartoonist in the history of Malaysia Dato’ Lat. This
series is based on everyday life, humor, and light satire which are characteristic of Malaysian society as
opposed to the other traditional stamps which include legends, national heroes or historical events. Based on
the iconography methodology developed by Panofsky, the semiotics developed by Barthes, and the theory of
representation presented by Hall, the study will analyse the ways in which the stamps of Lat visually represent
the Malay cultural identity, their social values, and the role in the Malay visual heritage.
The results reveal that the stamps represent relevant cultural elements including kampung childhood games,
the authoritative schoolmaster, the rural to urban transition and the complications of the Malaysian everyday
living. Lat highlights such values as simplicity, creativity, discipline, respect, and multicultural unity with the
help of mild satire. His cartoon stamps are a written visual form of text that best entertains but also criticizes
modernization and social change. The study also proposes that the stamps that Lat creates transform popular
culture into a kind of national heritage that humor and satire can help retain the intangible cultural values and
make Malaysia more united.
This paper concludes that the Kartun Malaysia, Lat series plays a vital role in the protection of Malay identity
and culture memory and serves to popular cartoons as close to the national cultural heritage as possible. It
highlights the importance of perceiving stamps as cultural artefacts that may link tradition, modernity and
nationhood.
Keywords: Lat, satire, Malay identity, postage stamps, cultural heritage, Malaysian cartoons
INTRODUCTION
Postage stamps are not only the means of postal transactions, but they are the cultural artifacts containing
national narratives, heritage, and identity. The stamping in Malaysia has been long associated with the
milestones in politics, natural heritage, and traditional customs and as miniature ambassador of the image of
the country to the world. In that regard, the issue of the Malaysian Cartoon Stamps in 2008 by Lat was a
historic event in the history of philately. These stamps brought satire, humour, and depictions of daily
Malaysian life into an official state approved medium in contrast to the traditional designs which tended to be
rather formal and symbolic.
Lat, or Dato’ Mohd. Nor Khalid, was certainly considered to be the most iconic cartoonist in Malaysia. He has
used articles like the Kampung Boy (1970s) to satirically document his life, growing up in an orthodox Malay
village in the 1950s and 1960s. His cartoons reflect the Malay life of the countryside, where family life was
united, the elders were respected, in harmony with nature and the vibrancy of the kampung life. These stories
ILEIID 2025 | International Journal of Research and Innovation in Social Science (IJRISS)
ISSN: 2454-6186 | DOI: 10.47772/IJRISS
Special Issue | Volume IX Issue XXIV October 2025
Page 970
www.rsisinternational.org
are now converted into stamp form in the 2008 stamp series which includes images of mischievous school
children, strict teachers and kampung games. These funny, still, easy to identify with representations
emphasize the cultural composition of the Malay identity without excluding a broader audience as they make
people laugh.
Satire in the work of Lat serves not only as entertainment but also a veiled protest against modernization,
human conduct and cultural transformation. The use of this sort of satire in national stamps is of special
concern in terms of the ways in which identity and heritage are negotiated in visual culture. Although this
stamp issue has a rich cultural heritage, there is still limited scholarly research done on the contribution of
humor and satire to the Malaysian philately.
This paper therefore seeks to discuss the Lat cartoon stamps of 2008 as cultural texts that use satire to express
Malay identity and national heritage. It aims at discussing the modes through which humor, nostalgia, and
everyday life are portrayed and the ways the portrayals of these aspects have helped in preservation and
reinterpretation of Malaysia cultural values.
LITERATURE REVIEW
Historians often describe postage stamps as miniature posters curated by the state, carrying with them political
ideals, cultural memory, and national identity. In almost every context, philatelic design serves three main
purposes: to celebrate milestones, to represent heritage symbols, and to act as a form of soft power through its
everyday circulation (Suaib et al., 2020). In Southeast Asia, stamps often condense folklore, traditional crafts,
and national heroes into brief visual codes, turning them into pocket-sized museums that preserve cultural
narratives and collective memory (Muhammad, 2019). In Malaysia, this practice positions stamps as cultural
texts that are carefully authorized by institutions such as postal authorities, ministries, and design committees.
Yet, much of the focus in the literature has been on commemorative or formal symbols, leaving little space to
explore humor or satire within state media. This creates a clear gap that Lat’s 2008 cartoon stamps can help to
fill.
The Lat Cartoon Stamps' reception
Significant public excitement and extensive media coverage greeted the 2008 introduction of the Kartun
Malaysia: Lat and Gang stamp series. According to a Bernama report, Lat expressed his joy when his
caricature work was chosen as the first stamp collection of its kind in Malaysia. The Head of the Philatelic
Unit of Pos Besar Malaysia, Yasmin Ramli, also targeted sales of 1.1 million for the first edition of the
collection, showing confidence in its cultural and commercial value.
The presence of veteran stamp collectors such as Zakaria Mohd., who were excited to own the collection,
reflected the nostalgic appeal and sentimental value of the images of the village and school days. This positive
reception demonstrated cultural resonance, namely the ability of Lat's humorous and village images to build
emotional connections between the community and the national cultural narrative.These stamps were hailed
for their relatability and capacity to elicit smiles from viewers, in contrast to traditional commemorative issues
that placed an emphasis on formality. (Bernama, 2008)
This opinion was supported by philatelic blogs and collector forums, which praised the series as "refreshing"
and "different from the usual serious stamps." Many remarked on how Lat's images reminded Malaysians of
their kampung upbringing and inspired feelings of pride in their country. This favourable reaction
demonstrates how the public may accept satire as a uniting cultural symbol when it is supported by official
institutions.
Educators also saw these stamps' instructional potential. Compared to sombre memorial issues, their whimsical
artwork was seen to be more approachable for use in the classroom (Dawson, n.d.)In this way, the way Lat's
cartoon stamps are received demonstrates their relevance beyond philately: they are valued as cultural
pedagogical tools, national memory tools, and emblems that connect humour and tradition.
ILEIID 2025 | International Journal of Research and Innovation in Social Science (IJRISS)
ISSN: 2454-6186 | DOI: 10.47772/IJRISS
Special Issue | Volume IX Issue XXIV October 2025
Page 971
www.rsisinternational.org
Visual Heritage and Malay Philately
Studies on Malaysian stamps have highlighted recurring themes: colonial symbols, post-Merdeka nationhood,
technological progress, multicultural harmony, and heritage preservation. Common motifs such as batik, flora
and fauna, architecture, and festivals are repeatedly emphasized, and the role of stamps as tools of education,
tourism, and public display is often acknowledged. However, most of these studies lean toward solemn, formal
representations (Muhammad Takari & Fadlin, 2019). Popular culture and humor, though abundant in
Malaysian society, are rarely given attention in philatelic studies. And when they do appear, discussions tend
to remain descriptive, focusing on details like dates, values, or designers rather than interpretive, exploring
meaning, reception, or pedagogy. This is why the 2008 Lat stamps are important: they can be treated not just
as collectible objects but as cultural texts that invite deeper reflection.
The Malay Imaginary, Lat, and Satire
Lat (Dato’ Mohd. Nor Khalid) is more than a cartoonist, he is a storyteller of Malaysia. His works have long
been celebrated for capturing kampung childhood, urbanization, ethnic coexistence, and the texture of
everyday life. Scholars have pointed out how his drawings through their lines, composition, and narrative
rhythm, offer affectionate critique: strict teachers, restless children, kampung games, and the pasar all become
funny yet insightful commentaries on society. The Kampung Boy has become a cultural landmark, reflecting
Malay ethics such as gotong-royong, filial piety, decency, and harmony with nature, while also charting the
journey from rural to urban modernity (Abd Hadi et al., 2023). What remains underexplored, however, is how
these same visual languages and cultural codes shift when brought into the official, state-sanctioned world of
philately, where audiences are broader, and institutional authority is more pronounced.
Satire as Cultural Pedagogy
Satire has always carried a double role: to entertain and to gently correct. It does this through exaggeration,
irony, and incongruity. In Asian visual culture, scholars have noted that humor is often used to soften critique,
making it acceptable in societies that value harmony and respect (Fazlina Mohd Radzi, 2019). When satire is
placed in public or educational contexts, it sparks cultural literacy by inviting recognition (“that is us!”) and
reinforcing shared norms such as respect for teachers, the importance of play, and community bonds. In this
way, Lat’s stamps do more than make people laugh, they also teach. They remind Malaysians of their values,
turning humor into a vehicle of cultural belonging(Dasuki et al., 2014).
Visual-Semiotic and Iconological Systems
When it comes to interpreting cultural visuals, two main approaches dominate. Semiotics, following Barthes,
works through three layers: denotation (what is seen), connotation (the cultural meanings attached), and myth
(the broader ideology that becomes naturalized). In Lat’s stamps, denotation points to recognizable figures
such as the strict teacher, naughty children, or kampung games. Connotation highlights values like discipline,
joy, community, and resilience. Myth connects these visuals to national narratives, seeing the kampung as the
moral root, modernity as something balanced with tradition, and multiculturalism as harmonious.
Meanwhile, Panofsky’s iconography/iconology offers another lens: starting with simple description, moving to
identification of motifs (like the songkok, blackboard, kampung house, or tarik tali), and finally, interpretation
of worldviews. This shows how stamps reflect bigger cultural associations, such as education as social
mobility, kampung as a space of nilai budi, and schools as sites of citizenship training. Together, semiotics and
iconology complement each other: one explains how the signs work, the other grounds them in history and
culture.
Malay Identity, Heritage, and Everyday Life
Malay identity is often described through values like adat, budi bahasa, seniority, reciprocity, and attachment
to place (Abdul Wahab, 2012). Heritage studies also remind us that everyday heritage, schooling, games,
ILEIID 2025 | International Journal of Research and Innovation in Social Science (IJRISS)
ISSN: 2454-6186 | DOI: 10.47772/IJRISS
Special Issue | Volume IX Issue XXIV October 2025
Page 972
www.rsisinternational.org
market life, is just as significant as monuments or grand architecture. Visual culture research suggests that
these small, familiar scenes often carry values more effectively than formal symbols because they are
grounded in lived experience (Muhammad Takari & Fadlin, 2019). Lat’s universe reflects this well: humorous
yet affectionate, his 2008 stamps present a condensed lesson in Malay lifeworlds and values.
Language and Education Linkages
There is a strong body of educational research supporting the use of culturally familiar visuals in teaching
values, citizenship, and language (Youpika, 2024). Stamps, for example, can be used in classrooms through
exhibitions, first-day cover anecdotes, or philatelic week projects, helping students build vocabulary, cultural
knowledge, and identity. Humor plays a particularly powerful role, as it makes learning memorable and lowers
emotional barriers. In this sense, Lat’s stamps are not only cultural objects but also tools of pedagogy, blending
humor with cultural education (Andreou, 2018).
METHODOLOGY
The Research Design of This Study is a Qualitative One That is Based on Visual Culture. It Pays Attention to
The 2008 Cartoon Stamp Series by Lat as A Cultural Text And The Stamps, Miniature Sheets, And First-Day
Covers are Taken as Primary Sources. The Study is Achieved by Incorporating Semiotic Analysis (Roland
Barthes) and Iconological Analysis (Erwin Panofsky) to Analyse The Superficiality of The Images as Well as
The Underlying Culture Implied in The Designs.
The sources of data for this study were drawn primarily from official philatelic publications. These included
the Malaysian Cartoon Stamps Booklet (Lat and Gang) issued in 2008, the individual stamp issues of 30 sen
and 50 sen denominations, and the RM5 miniature sheet. In addition, the study examined the accompanying
first-day covers as well as explanatory notes and descriptions provided by Pos Malaysia. These materials
served as the main corpus for analyzing the visual content, cultural values, and satirical elements embedded in
Lat’s stamp designs.
Analytical Techniques
The study employed two main analytical approaches, namely semiotic analysis based on Roland Barthes and
iconological analysis following Erwin Panofsky.
Through semiotic analysis, the process began with denotation, which involved identifying the visual objects
such as characters, items, and actions depicted on the stamps. This was followed by connotation, which
examined the cultural values represented, including Malay traditions, kampung life, education, and humor.
Finally, the analysis moved to the level of myth, which interpreted how these visuals reinforced broader
national ideologies such as Malay identity, social harmony, and the preservation of cultural heritage.
Meanwhile, iconological analysis proceeded through three stages. The first stage, pre-iconographic description,
focused on recognizing observable motifs such as the kampung house, strict teacher, or musical instruments.
The second stage, iconographic analysis, explored how these motifs related to cultural themes such as
discipline, play, and modernization. The final stage, iconological interpretation, sought to reveal deeper
worldviews reflected in the stamps, including Malay heritage as a moral foundation and the role of humor as a
form of cultural critique.
RESULTS AND DISCUSSION
In this chapter, the study findings are provided by analyzing the 2008 Cartoon Stamps of Lat based in
Malaysia. The semiotic and iconological theory informs the analysis to uncover how satire works as a cultural
conduit of embodying the Malay identity and the act of conserving national heritage. Visual elements are
found and the cultural values are interpreted and linked to larger stories of heritage and learning in each stamp.
ILEIID 2025 | International Journal of Research and Innovation in Social Science (IJRISS)
ISSN: 2454-6186 | DOI: 10.47772/IJRISS
Special Issue | Volume IX Issue XXIV October 2025
Page 973
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Figure 1 Stamp booklet Lat and Gang, issued by Pos Malaysia in 2008 to commemorate Malaysian cartoons.
The design features Lat’s iconic Kampung Boy character and highlights rural childhood life, humor, and
Malay cultural values
Figure 2 First Day Cover of the Lat and Gang stamp series, issued by Pos Malaysia in 2008. The cover
features Lat’s iconic Kampung Boy illustrations, with stamps depicting themes of education, kampung games,
music, and everyday humor, highlighting Malay cultural values through satire
Analysis of Stamp Designs
The 30 sen stamp, “The Strict Teacher (Cikgu Garang),” depicts a teacher with exaggerated facial
expressions rebuking mischievous schoolboys. This imagery connotes discipline, authority, and respect within
Malay education, while the humor emerges from exaggerated features such as large glasses and a stern face. At
a deeper level, the school is presented as a miniature of nation-building, where teachers symbolize order and
children embody youthful energy. The satire softens criticism of strict discipline by reminding viewers of the
Malay value of respecting teachers as moral guides.
ILEIID 2025 | International Journal of Research and Innovation in Social Science (IJRISS)
ISSN: 2454-6186 | DOI: 10.47772/IJRISS
Special Issue | Volume IX Issue XXIV October 2025
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The 50 sen stamp, “Childhood Games (Permainan Kampung),” shows children engaged in traditional
kampung games such as tarik tali and layang-layang. This scene evokes nostalgia for a less digital age marked
by communal childhoods. At the mythic level, play represents harmony, cooperation (gotong-royong), and
resilience. By foregrounding these activities, the stamp contributes to the conservation of intangible cultural
heritage, emphasizing traditional games as transmitters of social values. The cultural values embedded here
highlight community, teamwork, and the joy of childhood rooted in heritage.
The RM5 miniature sheet, “The Kampung Boy Scene,” presents Lat’s Kampung Boy character within a
rural village, set against the backdrop of family and neighbors. This representation connotes Malay village life,
family bonds, and a harmonious relationship with nature. Iconologically, the kampung becomes an enduring
symbol of Malay identity and a moral compass for contemporary Malaysia, echoing the myth of the kampung
as the pure root of Malay culture in national consciousness. The cultural values illustrated include family unity,
respect for tradition, and living in balance with the environment.
The stamp booklet illustrations, “Mischief and Everyday Life,” feature sketches of children teasing friends,
playing music, and being mischievous. These images reflect everyday humor as a mirror of real Malaysian
society. At a deeper interpretive level, satire is employed as an affectionate critique, acknowledging mischief
as a natural part of growing up while affirming forgiveness, resilience, and moral guidance. The cultural value
emphasized here is humor as a survival mechanism, serving as a social bond that strengthens community ties.
Table 1 Analysis of Stamp Designs
Stamp Design
Denotation
Connotation
Myth / Iconological
Meaning
30 sen – The Strict
Teacher (Cikgu
Garang)
A teacher with
exaggerated
expressions rebuking
mischievous
schoolboys.
Symbol of discipline,
authority, and respect in
Malay education; humor
created through
exaggerated features
(large glasses, stern
face).
School as a miniature of
nation-building; teachers
represent order, while
children embody
youthful energy. Satire
softens critique by
affirming respect for
teachers as a Malay
value.
50 sen – Childhood
Games (Permainan
Kampung)
Children playing
traditional kampung
games such as tarik tali
and layang-layang.
Nostalgia for a less
digital age and more
communal childhoods.
Play symbolizes
harmony, cooperation
(gotong-royong), and
resilience. The stamp
conserves intangible
heritage by highlighting
traditional games as
cultural transmitters.
RM5 Miniature Sheet
– The Kampung Boy
Scene
Lat’s Kampung Boy
character in a village
scene with family and
neighbors.
Represents Malay
village life, family
relationships, and
admiration for nature.
The kampung as an
eternal symbol of Malay
identity, serving as a
moral compass for
contemporary Malaysia;
echoes myth of kampung
as authentic Malay root.
Stamp Booklet
Illustrations –
Mischief & Everyday
Life
Sketches of children
teasing, playing music,
or being mischievous.
Everyday humor
reflecting the realities of
Malaysian society.
Satire as affectionate
critique—recognizing
mischief as part of
maturation while
affirming forgiveness,
resilience, and moral
guidance.
ILEIID 2025 | International Journal of Research and Innovation in Social Science (IJRISS)
ISSN: 2454-6186 | DOI: 10.47772/IJRISS
Special Issue | Volume IX Issue XXIV October 2025
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Table 2 Analysis of Cross-Stamp Synthesis
Stamp Design
Malay Cultural Values
Satirical Element
Heritage Contribution
Strict Teacher (30 sen)
Respect for authority,
discipline
Exaggerated angry teacher,
cheeky boys
Preserves memory of
traditional education culture
Childhood Games (50
sen)
Teamwork, community
spirit
Exaggeration of playful
energy
Safeguards intangible heritage
of kampung games
Kampung Boy
(Miniature Sheet)
Family unity, rural
traditions
Humor in everyday kampung
life
Reinforces kampung as
symbolic root of Malay
identity
Mischief Scenes
(Booklet)
Humor, resilience, moral
lessons
Everyday teasing and
mischief
Highlights humor as a national
cultural trait
CONCLUSION
The results have shown that satire is a means of bridging the culture in the stamps of Lat. Humor is depicted as
existing side by side with the state-approved heritage and instead of downplaying the gravitas of cultural
representation, humor makes Malay cultural values more accessible and easier to recall by the masses.
It can also be understood through the analysis that the Malay identity is based on the daily heritage. The
stamps of Lat confirm that this identity is not just presented in the grand monuments or even the national
festivals alone but through simple things like schooling, playing among children and even the kampung life.
Such a point of view is very close to the idea of everyday heritage, which emphasizes the cultural importance
of everyday lived experience.
The educational implication of the humor and relatability that is integrated into the stamps of Lat has a high
pedagogical potential. They can be readily incorporated into the classes in the form of visual instructional tools
to foster cultural literacy, citizenship, and moral values in an exciting and pleasant manner. Satire makes the
stamps more memorable and thought-provoking, which makes them a good educative instrument among
younger generations.
Hereditarily, the stamps serve as mnemonics that can be used to feel nostalgic and retain traditions, which
cannot be enshrined. They embody a cultural transition moment and balance between modernity and tradition
and make sure that the memories on kampung life and its values are held in the Malaysian collective
consciousness.
There are three implications of this study. First, as far as cultural studies are concerned, it makes satire one of
the valid and helpful forms of heritage representation. Second, in terms of education it promotes the
application of visual satire in class rooms to teach values and cultural literacy. Lastly, in the case of philatelic
heritage, it broadens the interpretation of stamps beyond their decorative and commemorative functions,
demonstrating that stamps may also convey funny and more mundane elements of the national identity.
ACKNOWLEDGEMENTS
The author would like to express sincere gratitude to Dr. Mastura Haji Mohd Jarit and Dr. Liza Marziana
Mohammad Noh for their invaluable guidance, constructive feedback, and continuous encouragement
throughout the development of this manuscript.
ILEIID 2025 | International Journal of Research and Innovation in Social Science (IJRISS)
ISSN: 2454-6186 | DOI: 10.47772/IJRISS
Special Issue | Volume IX Issue XXIV October 2025
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