Journal articles on the topic 'Artists Malaysia'
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Iwan Shahrom Shah, Muhamad Yusri Shah, Muhamad Khairi Shamsudin, Rahman Amin, and Mohd Farif Ab Jalil. "Influence of Intermedia in Development of Malaysian Art Scene." Environment-Behaviour Proceedings Journal 7, SI9 (October 10, 2022): 63–68. http://dx.doi.org/10.21834/ebpj.v7isi9.3940.
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Media art has evolved over time. Artists are developing intermedia in their art. It begins in 1950s NYC. The idea of Intermedia has since extended globally. Malaysia's media development is influenced by western Intermedia. Malaysian artists are intermedia experts. This research aims to determine why Malaysian artists use Intermedia and to classify its disciplines. This research was place in studio or online, depending on current conditions. Pandemic, artist demand. This research used library, catalogue, and web sources for data. The data will be analyzed to classify the artists' Intermedia use. Intermedia has diversified into numerous disciplines, and it's still growing. Keywords: Intermedia, Malaysian Art, New media eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3940
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Zakaria, Salehuddin, Rafeah Legino, and Mohammad Kamal Abdul Aziz. "The Concept of National Identity in the Artwork of Female Artists in Malaysia." Environment-Behaviour Proceedings Journal 7, SI8 (October 7, 2022): 81–85. http://dx.doi.org/10.21834/ebpj.v7isi8.3918.
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This study examines the national identity elements of the Fatimah Chik and Khatijah Sanusi artworks, which begins with the examination of relevant material, including examples of national identity-related works and visual data on the results of Malaysian female artists obtained through digital photographs and records. Identifying and recognising national identity in Malaysian female artists' works is categorised by the artwork's profile. The artwork's focus and criteria will be mapped with the inquiry of the National Cultural Congress's study (NCC). Women's attitudes in art production reflect national identity in female artists' artworks that emphasise culture, family, and accuracy. Keywords: Artworks, Female artist, National identity, Malaysia eISSN: 2398-4287 © 2019. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI8.3918
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Zanuar, Seri Nurul Syuhada, and Khairunnisa Diyana Md Noor. "Social Media's Effectiveness for Malaysia's Independent Artists." Environment-Behaviour Proceedings Journal 7, SI9 (October 9, 2022): 9–14. http://dx.doi.org/10.21834/ebpj.v7isi9.3928.
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Social media has played a crucial role for artists to market and promote their artwork. They have increasingly used Instagram, Facebook, YouTube, and Twitter. This study focuses on three elements which are to investigate which platform of social media that been used the most for the artists to market their products and service, to study impacts of the social media on their marketing strategies, and to find out how the artistes manage their social media and identifying on how the artistes maintain their fan interest towards their works. Keywords: social media, technology, internet, social networks eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3928
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Anak Michael, Valerie, Khairul Aidil Azlin Abd Rahman, Shureen Faris Abdul Shukor, and Noor Azizi Mohd Ali. "Artistic Knowledge and Practices of Hybrid Art based on the Analysis of Malaysian Artists’ Artworks." Environment-Behaviour Proceedings Journal 5, SI1 (June 1, 2020): 111–17. http://dx.doi.org/10.21834/ebpj.v5isi1.2305.
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The objective of this paper is to identify the artistic knowledge and practices of hybrid art among Malaysian artist’s artworks. The purpose is to analyze the artistic knowledge through Malaysian artist’s artworks. Ten selected artworks from the multidisciplinary artists had been choose. The researchers applied observation method to select the artworks that have the element of hybrid art and Kawakita Jiro method for the purpose of clustering the attributes for the artistic knowledge and practices of hybrid art. The finding shows that the advancement of technology, and freedom in exploring the material have affected the creation of hybrid artworks production. Keywords: Artists’ practices, Hybrid art practice, integration, cross disciplines. eISSN: 2398-4287 © 2020. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v5iSI1.2305
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Syed Ahmed Jalaluddin, Syed Zamzur Akasah, Mohd Suhaimi Tohid, Mohd Khairi Shamsudin, and Mohd Fazli Othman. "#CeritaKita: The splendour of Malaysia through mural painting on petronas gas station." Environment-Behaviour Proceedings Journal 7, SI8 (October 7, 2022): 105–9. http://dx.doi.org/10.21834/ebpj.v7isi8.3921.
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Murals are works of public art that express ideas on a building's surface. The connections between how it's made, where it is, and what it represents have been demonstrated to be powerful visual communication tools for stimulating energy, activity, surroundings, social messages and patriotism spirit. Nowadays, companies like Petronas Dagangan Berhad support local artists to express their sense of local identity. By that, artists showcase their talents in a specific place, forming different styles and delivering the most imaginative affinities to the community. This activity gives hope to Malaysian artists and creatives in transforming local identity into a visual display. Keywords: The Splendour of Malaysia; Mural Painting; Petronas Gas Station eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI8.3921
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Anak Michael, Valerie, Khairul Aidil Azlin Abd Rahman, Shureen Faris Abdul Shukor, and Noor Azizi Mohd Ali. "An Analysis of Artistic Diversity in Hybrid Art Practice among Malaysian Artists." Environment-Behaviour Proceedings Journal 5, SI1 (June 1, 2020): 99–105. http://dx.doi.org/10.21834/ebpj.v5isi1.2307.
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This research objective is to analyze the artistic diversity in hybrid art practice among selected Malaysian artists. The paper examines the process of making hybrid artworks where focusing on media diversity and experiment activity. The researchers had used cluster sampling and twenty artists involved to answer the questionnaires. The researchers used bar graph and Principal Component Analysis to analyze the artistic diversity in Hybrid Art. The finding of media diversity shows that Malaysian artists are focusing on mixed media, strength and equipment. Besides, the artists are focusing on subject matter, experiment, influence and research for the finding of experiment activity. Keywords: Collaboration, experiment activity, media diversity, hybrid approach. eISSN: 2398-4287 © 2020. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v5iSI1.2307
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WAHED, WAN JULIANA EMEIH Juliana. "The MOTIVATIONAL IMPACT OF VISUAL ARTS EDUCATION THROUGH THE 'ARTISTS IN SCHOOLS' (AIS) COLLABORATION PROGRAM AMONG SECONDARY SCHOOL STUDENTS IN MALAYSIA." Asia Proceedings of Social Sciences 4, no. 1 (April 18, 2019): 94–97. http://dx.doi.org/10.31580/apss.v4i1.606.
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The aim of the paper is to highlight some of the findings on the study on the impact of the 'Artist in Schools' (AiS) collaboration on the motivation of students of selected secondary schools in Malaysia in visual art education. AiS is aimed at establishing a collaboration between the students of nine schools and nine Malaysian artists in order to share their experiences, skills, and knowledge consecutively. The research design of multi-case studies or multisite studies was selected and Keller’s ARCS Motivational Theory has been used for assessment purposes and as the main conceptual framework. The open-ended questionnaires were distributed to obtain the data of the students’ motivation, and the collaboration between the AiS program and the students.
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Wahida, Adam, and Muhammad Hendra Himawan. "Batik in Malaysia and Indonesia: A collaboration for reconciling issues of cultural heritage." International Journal of Education Through Art 18, no. 1 (March 1, 2022): 89–103. http://dx.doi.org/10.1386/eta_00084_1.
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Conflict claims for the cultural heritage of batik between Indonesia and Malaysia have created tensions between the people of these two countries. The Indonesian and Malaysian governments have never involved academics and arts education institutions in resolving such conflict claims, yet, these communities can play a significant role in post-conflict reconciliation efforts. This article describes a conflict reconciliation method initiated by academics, artists and art educators through a collaborative art project between art higher education institutions in Malaysia and Indonesia. Ways in which collaborations within and across the art and education communities may address the understanding and reconciliation of issues related to cultural heritage conflict are explored.
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Abdullah, Muhammad, Mohd Firdaus NAif Omran Zailuddin, Ahmad Khairul Azizi Ahmad, Mohd Nasiruddin Abdul Aziz, and Ashraf Abdul Rahman. "Characteristic and Categorization of Monoprint’s Among Local Artists in Malaysia." Idealogy Journal 5, no. 1 (April 9, 2020): 42–54. http://dx.doi.org/10.24191/idealogy.v5i1.188.
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Syed Alwi Syed Abu Bakar, Mohd Fawazie Arshad, Azian Tahir, Aznan Omar, and Noor Enfendi Desa. "SENIMAN VISUAL MALAYSIA: KEPUASAN KERJA, KOMITMEN DAN PRODUKTIVITI DALAM PROSES PENGHASILAN KARYA." Jurnal Gendang Alam (GA) 11, no. 2 (December 15, 2021): 33–48. http://dx.doi.org/10.51200/ga.v11i2.3574.
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Menghasilkan karya seni adalah aktiviti utama seniman visual yang melibatkan budaya kerja seniman visual. Komitmen dan kepuasan kerja merupakan dua perkara yang mempengaruhi produktiviti seniman visual. Untuk meningkatkan produktiviti, seniman visual harus mempunyai perancangan yang baik dalam pengurusan sumber dan manusia. Walau bagaimanapun, adalah rumit bagi seniman visual kerana mereka tidak mengeluarkan hasil secara pukal, sebaliknya menghasilkan karya mengikut keperluan. Permasalahan utama kepada seniman visual adalah dari aspek pengurusan kerana mempengaruhi komitmen, kepuasan kerja dan produktiviti seniman visual. Oleh hal yang demikian, penyelidikan ini adalah untuk mengenal pasti komitmen dan kepuasan kerja seniman visual serta melihat hubungannya dengan produktiviti. Penyelidikan ini menggunakan kaedah penyelidikan temu bual, pemerhatian dan mengkaji dokuman-dokumen sedia ada. Dapatan menunjukkan seniman visual mempunyai komitmen dan kepuasan kerja yang tinggi namun kurang dari segi pengurusan yang mengakibatkan tahap produktiviti mereka manjadi kurang memuaskan. Justeru, seniman visual harus berani untuk berubah dan mengharungi cabaran yang lebih besar dengan menjadikan bidang seni visual ini sebagai satu industri yang mempunyai sistem pengurusan yang lebih efektif. Visual artists' principal activity is to create artwork, which is important to their work culture. Commitment and job satisfaction are two characteristics that influence the output of visual artists. Visual artists should have a well-planned strategy for resource and human resource management in order to maximise production. However, more difficult for visual artists, as they do not generate work in mass, preferring to work on individual projects. Management is the key concern for visual artists, as it affects their commitment, job satisfaction, and productivity. As such, the goal of this study is to evaluate the dedication and job satisfaction of visual artists, as well as their relationship to production. Interviewing, observation, and a review of existing materials are used as research methodologies in this study. The findings indicate that visual artists exhibit a high degree of commitment and job satisfaction but a poor level of management, resulting in a decline in their level of production. Thus, visual artists must be willing to evolve and confront greater difficult issues by establishing a more effective management structure for the visual arts field.
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Syed Abu Bakar, Syed Alwi, Azian Tahir, and Ishak Ramli. "The Ecological Model of Visual Artists in the Malaysian Contemporary Visual Arts Industry: A Framework Proposal." Idealogy Journal 3, no. 2 (September 7, 2018): 69–74. http://dx.doi.org/10.24191/idealogy.v3i2.71.
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The increasingly challenging and competitive artwork production environment has prompted visual artists to have an arrangement of state-of-the-art art production practices. Currently, the system of production and marketing of works does not have a clear guideline in the industry that can help in the survival of professional visual artists in Malaysia. Therefore, this study is designed to get clear feedback from those who are already active in this industry related to the challenges faced and the marketability of the works of visual artists to continue to compete in the local and international art production stage. This paper aims to identify the non -technical practices required for the successful implementation and marketing of works of art in Malaysia. The results of this study will provide a detailed study of the practices of visual artists in the implementation and marketing that need to be considered by those who will venture into the arena of professional production. Through this paper, a framework has been developed through a comprehensive review from the point of view of literature as well as practical practice. Keywords: Non -technical practice, production of works, visual artists, visuals, art work.
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Abdul Rahim, Rosliza, Mumtaz Mokhtar, Verly Veto Vermol, and Rafeah Legino. "Iconography Underpinning Malaysian Portrait Painting." Environment-Behaviour Proceedings Journal 6, SI5 (September 1, 2021): 119–24. http://dx.doi.org/10.21834/ebpj.v6isi5.2936.
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Malaysian portrait paintings were introduced in the 1930s where local artists started using the subject in their art-making. In art, portraits are generally known as the likeness of a person, especially a face and shoulders, but in fact, there are more ways to define portrait and painting. There is a lack of understanding and interpretation on the subject. Consequently, this study aims to trace the chronology of the development of Malaysian portrait paintings. The stylistic and contextual issues, including its formalistic format, media, themes and styles, and artists, are also examined in this study using a mixed-mode of research method. Keywords: Portraits; Painting; Iconography eISSN: 2398-4287 © 2021. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6iSI5.2936
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Benedict, Jessieca Joseph, Mohd Fazli Othman, Syed Zamzur Akasah Syed Ahmed Jalaluddin, and Rafeah Legino. "The Spirituality of Papar Landscape." Environment-Behaviour Proceedings Journal 7, SI9 (October 10, 2022): 75–79. http://dx.doi.org/10.21834/ebpj.v7isi9.3941.
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Art's function has allowed artists to express themselves for centuries. Art was once created solely for religious reasons, especially with the rise of the Catholic Church. The Industrial Revolution and the church's declining influence in the 19th century opened people's eyes to emotion and imagination, which Romanticists later portrayed artistically. This led to nature mysticism and landscape paintings. Similarly, St. Ignatius' Ignatian Spirituality corresponds to the divine yearning in nature. Spirituality and art can go hand in hand, say Jesuit priest-artists. Mystical landscapes reveal humanity's spiritual connection to nature. Artists explore emotion and spirituality through monochromatic art because it can provoke deeply personal experiences My art explores landscape's spirituality. I like how it evokes spirituality, longing, and comfort. Keywords: Spirituality; Papar Landscape eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3941
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Omran Zailuddin, Firdaus Naif, Muhammad Abdullah, Hawari Berahim, and Azharudin Mappon. "Interpretation of 9 Selected Visual Works of Contemporary Young Talent from the Context of the National Cultural Policy Core." Idealogy Journal 3, no. 2 (September 7, 2018): 43–60. http://dx.doi.org/10.24191/idealogy.v3i2.64.
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Contemporary Young Talent (CYT) is a visual arts competition organized by the National Visual Arts Gallery (NVAG) which is the most prestigious in Malaysia. Its 40 years of organization have successfully produced many renowned artists who are now pioneers in the Malaysian and regional visual arts arena. In line with the strength of CYT as a reflection of the future of Malaysian visual arts and the role of art as a cultural vehicle, the objective of the study is to analyze and further dismantle the latest visual art works of Malaysian artists from the perspective of national culture through the CYT platform from 2000 to 2013. This study aims to clearly understand the visual elements and features that are the cultural identity in the latest Malaysian visual arts. This objective was achieved through observation and reading of CYT catalog books published by NVAG, scholarly books, journals, and relevant previous studies as well as interviews on three artists and academics who won the CYT competition. This study uses a qualitative approach, guided by the 4 components of the theory of art criticism Feldman E.B. (1994) namely description, analysis, interpretation and evaluation. 9 works will be analyzed from the aspects of ‘form’ and ‘meaning’. The results of the work analysis will be compared with national cultural elements (data triangulation) and then justify and classify CYT visual art works based on the 3 cores of the National Cultural Policy, namely, the culture of the region's indigenous peoples, other appropriate cultures and Islamic culture through descriptive text.). This study is important to create awareness, deeper appreciation and provide knowledge to art admirers in understanding the meaning and approach and content in the latest visual artwork. The results of the study through descriptive texts explain the existence of national cultural elements and their relationship in selected contemporary works of CYT (2000-2013).
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NASIR, Suraya Binti Md. "Understanding Manga as a “Style” through Essay Manga’s Multimodal Literacies：And Its Relations to the Discourse on “local art style” in Malaysian Comics." Border Crossings: The Journal of Japanese-Language Literature Studies 13, no. 1 (December 30, 2021): 61–74. http://dx.doi.org/10.22628/bcjjl.2021.13.1.61.
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The trans-cultural consumption of Japanese Manga in Malaysia has prompted a significant amount of manga-influenced local works. As an outcome, traces of Japanese Manga can be found through its iconic art styles, storytelling and Japanese culture in these works. While fans show the positive response for these manga-influenced local works, the artists’ community shows the opposite response, in particular, related to the representation of the “typical Japanese manga-style”, resulting in the idea that these artists are turning away from the “local art style” which has been pioneered by the predecessors. The sentiment of Japanese Manga as a “single art style” contributed to this misconception on what constitutes a Japanese manga identity. In which the researcher proposes the introduction of ‘Essay Manga’ (コミックエッセイ or エッセイマンガ) as a way to divert the attention of Japanese Manga’s art style, by shifting to the other attributes of Japanese Manga which is the story. Essay Manga is a manga work that describes the events that happened around the manga artist but without any specifications towards manga visual conventions. To illustrate the importance of story versus art style in Essay Manga, the characteristics, forms, examples are sketched out trough the works of Hosokawa Tenten and Azuma Hideo. A section on Malaysia “local art style” is also discussed and ties in with the discussion of Manga. Eventually, the study argues that Japanese Manga is not limited to visual representation; instead, it is accommodated by its engaging storytelling, thus justifying Essay Manga’s potential as a multimodal literacy works.
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Supriyono, Trihanawati, and Mohd Puad Bebit. "Process Creative: From four style of paintings in Sabah." Environment-Behaviour Proceedings Journal 5, SI3 (December 28, 2020): 117–22. http://dx.doi.org/10.21834/ebpj.v5isi3.2541.
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The creative process usually refers to the creation of something new and unique. This paper discussed the process creation of the four genres in painting that is applied by visual artists in Sabah. Researchers used the theoretical framework approach from the updated model of process creation in the visual art-making domain to explain the operation of producing intellectual property in visual art mainstream. This research involved interview process for 20 artists from Northern Borneo, Sabah. The outcome of this research explained the differentiation between four approaches of painting genre in the form of the creative process involved. Keywords: Process creative, the genre of painting, Sabah's painting eISSN: 2398-4287© 2020. The Authors. Published for AMER ABRA cE-Bsby e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v5iSI3.2541
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Price, Sally, and Sally Price. "Artists in and out of the Caribbean." New West Indian Guide / Nieuwe West-Indische Gids 73, no. 3-4 (January 1, 1999): 101–9. http://dx.doi.org/10.1163/13822373-90002581.
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[First paragraph]Caribbean Art. VEERLE POUPEYE. London: Thames and Hudson, 1998. 224 pp. (Paper US$ 14.95)Transforming the Crown: African, Asian and Caribbean Artists in Britain, 1966-1996. MORA J. BEAUCHAMP-BYRD & M. FRANKLIN SIRMANS (eds.). New York: Caribbean Cultural Center, 1998. 177 pp. (Paper US$ 39.95,£31.95)"Caribbean" (like "Black British") culture is (as a Dutch colleague once said of postmodernism) a bit of a slippery fish. One of the books under review here presents the eclectic artistic productions of professional artists with Caribbean identities of varying sorts - some of them lifelong residents of the region (defined broadly to stretch from Belize and the Bahamas to Curacao and Cayenne), some born in the Caribbean but living elsewhere, and others from far-away parts of the world who have lingered or settled in the Caribbean. The other focuses on artists who trace their cultural heritage variously to Lebanon, France, Malaysia, Spain, China, England, Guyana, India, the Caribbean, the Netherlands, the Philippines, and the whole range of societies in West, East, and Central Africa, all of whom meet under a single ethnic label in galleries in New York and London. Clearly, the principles that vertebrate Caribbean Art and Transforming the Crown are built on the backs of ambiguities, misperceptions, ironies, and ethnocentric logics (not to mention their stronger variants, such as racism). Yet far from invalidating the enterprise, they offer an enlightening inroad to the social, cultural, economic, and political workings of artworlds that reflect globally orchestrated pasts of enormous complexity.
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Razali, Rosmidahanim, Ruzamira Abdul Razak, Mohd Nafis Saad, Nizar Nazrin, and Ishak Ramli. "Understanding the Meaning and Symbols of Animals in Visual Artwork: A Case Study of Five Selected Works in the SI + SA 2020 Exhibition." Idealogy Journal 6, no. 2 (September 1, 2021): 78–90. http://dx.doi.org/10.24191/idealogy.v6i2.301.
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Visual artwork is a platform to convey the meaning of the theme chosen in producing the work. However, it is difficult to understand the meaning through the symbols highlighted by the artist. Based on that situation the objective of this study is to collect information on visual artworks that apply animal symbols in the SI + SA 2020 exhibition. Five artists have been identified using animal symbols in the production of their artwork. This study is based on qualitative research approach using four types of data; namely the study of literature that explains the meaning and symbol of animals from the point of view of previous scientific writing. The second method is based on information obtained from the artist statement in the SI + SA 2020 Exhibition catalogue. The third method, the researcher interviewed (partially structured) five artists who have been selected using animal symbols in their artwork. The fourth method is to use the theory of Edmund Burke Feldman (1994) which has four stages in the theory, namely description, analysis, interpretation and evaluation. Triangulation (qualitative) studies are conducted to obtain more data and the validity of the findings obtained. The result shows an understanding of the meaning and symbol varies according to the needs of the individual or society. Some artists associate symbols in the context of personal experiences or observations of an event. Symbols can also carry meaning in the context of social sciences. In the production of their artworks, the use of symbols is a method to convey a message and an easier way to communicate. Conclusion clearly shows that the meaning of these animal symbols depends on different personal perceptions - different from the references studied. It can reveal to the general public that the use of animal symbols applied in the work can carry various meanings. Researchers suggest for future studies to conduct comprehensive research on the use of symbols in contemporary visual arts Malaysia.
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Abdullah, Mohd Kamarulnizam, Abdul Rahim Anuar, and Abubakar Eby Hara. "CONTESTING AUTHORITY DISCOURSES IN DEFINING RELATIONS BETWEEN INDONESIA AND MALAYSIA." Journal of International Studies 18 (October 16, 2022): 191–217. http://dx.doi.org/10.32890/jis2022.18.7.
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This article discusses and analyses relations between Indonesia and Malaysia from the relational dynamism between people and the state. Theoretically, the relations can be narrated through identity formation approach in the context of ‘authoritative-defined social reality’ and ‘everyday-defined social reality’. The reality of Indonesia-Malaysia relations in the last twenty-five years was very much defined by authoritative or elitist views, which have dominated and controlled the everyday discourses. However, elitist groups’ reality-defined perspective does not paint the whole picture of relations. This article argues that it is crucial to analyse the relations in the context of ‘everyday-defined social reality’ especially from the common people’s perspective such as workers, traders, activists, novelists, religious groups, artists, and families, who experience the reality of the relations. This ‘social reality’ can be observed in the dynamism of cross border relation between people-to-people, as has been shown in our case studies, in the border areas of Kalimantan Barat and Sarawak as well as Kalimantan Utara-Sabah. It shows complex but generally positive pictures in understanding relations between two countries. It is therefore expected that the awareness and understanding of this ‘everyday-reality’ can contribute to a better understanding of relations between the two countries.
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Sabri, Nik Syahida, Mohd Jamil Mat Isa, Muhammad Sukor Romat, and Syed Zamzur Akasah Syed Ahmed Jalaluddin. "Potential of Jelly as a Matrix in Printmaking." Environment-Behaviour Proceedings Journal 7, SI7 (August 31, 2022): 297–301. http://dx.doi.org/10.21834/ebpj.v7isi7.3799.
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Natural fiber waste is an issue where the whole globe always talks about this waste to be utilized. Printmaking is one fine art discipline in which the work will transfer images from one matrix's surface to another's surface. Various techniques and methods in producing this printmaking work and artists always do various experiments and explorations that each look to significant output printmaking itself. This paper aims to explore the potential of natural fiber wastage as a substance to develop a matrix for printmaking in artistic practice. This research will be conducted in a semi-scientific laboratory and studio. Keywords: Printmaking, Fine Art, Natural Fiber Waste, Printmaking Matrix eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI7%20(Special%20Issue).3799
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Abdullah, Khairul Zikri, Mohd Fuad Md Arif, Wan Samiati Wan Mohamad Daud, and Mansur Ahmad. "Potential of Waste Natural Fiber Composite for Printmaking Matrix in Artistic Practice." Environment-Behaviour Proceedings Journal 7, SI7 (August 31, 2022): 297–301. http://dx.doi.org/10.21834/ebpj.v7isi7.3772.
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Natural fiber waste is an issue where the whole globe always talks about this waste to be utilized. Printmaking is one fine art discipline in which the work will transfer images from one matrix's surface to another's surface. Various techniques and methods in producing this printmaking work and artists always do various experiments and explorations that each look to significant output printmaking itself. This paper aims to explore the potential of natural fiber wastage as a substance to develop a matrix for printmaking in artistic practice. This research will be conducted in a semi-scientific laboratory and studio. Keywords: Printmaking, Fine Art, Natural Fiber Waste, Printmaking Matrix eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI7%20(Special%20Issue).3799
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A, Ramesh. "Community Street - Social Thoughts and Art World Thoughts." International Research Journal of Tamil 4, S-7 (July 30, 2022): 379–84. http://dx.doi.org/10.34256/irjt22s759.
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Community Street, this novel highlights the social issues faced by youth and artists who seek out big cities like Chennai. The film captures the challenges of artists facing every day as they seek opportunities to showcase their talents. The film portrays the social problems, sexual harassment and life problems faced by a female prospector. The great feelings and sufferings of a woman in the art world when she falls in love are shown in this novel. Art should be for art's sake. Beyond the two arguments that art should be for life, the essay on the way of creation explains that art and artists have changed for entertainment. Without complete antipathy, without losing the flavor of novelty, without missing society, it finishes with excitement and anticipation, and completes the reader. Only a limited number of narrators appear in this novel. Muthukumaran, whose name is Muthukumaraswamy Bawalar, Gopal, whose name is Gopalswami, Madhavi, Nair boy, Jiljil, Penang merchant Abdullah, Udaya Rekha, Rudrapati Reddy. Subjective Mandars Drama Mandars "The Love of a Cootie" The drama "The Love of a Cootie" created by a playwright named Muthikumaran, staged and performed at various venues in Malaysia. Interwoven between these events is the protagonist Muthukumaran- heroine Madhavi's love art, should it be for art? should it be for life? Art and life are entwined. Without complete opposite character, without losing the flavor of the novel, without missing the society, this novel completes with excitement and anticipation, and makes the reader satisfied.
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Wahed, Wan Juria Emeih, Abdul Halim bin Husain, Wan Juliana Emeih Wahed, and Patricia Pawa Pitil. "The Influence of Artist in Schools (AiS) Program and the ARCS Motivational Model on Students’ Creativity and Motivation in Visual Art." International Journal of Emerging Technologies in Learning (iJET) 14, no. 20 (October 18, 2019): 149. http://dx.doi.org/10.3991/ijet.v14i20.11464.
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The word ‘education’ comes from the Greek word ‘educare’ which means carrying out the potentials stored in the children's psyche to be guided in order for them to grow. It involves the dissemination of information or knowledge to, and acceptance by, a student which results in the receiver’s behavioral changes. The “Artist in Schools” (AiS) program was initiated by the researchers and became the platform for the collaboration between schools and artists aimed at increasing the students’ motivation in arts education. It encompasses the sharing of knowledge and experiences between the two groups. This paper is aimed at analyzing the students’ creativity and motivation in visual art by using the ARCS Motivational Model. Using the multi-case studies, nine secondary schools from Peninsular Malaysia were selected as the sample of the study. In-depth interviews, observation, and analysis of related documents were applied. The data were presented narratively. The result revealed that AiS was significantly functional and instrumental in enhancing and encouraging the level of creativity and motivation of the students in visual arts. This study may give a great impact on the students’ development specifically in the learning of visual arts.
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Tamuri, Ab Halim, and Ahmad Munawar Ismail. "Faktor-Faktor Sosial dan Amalan Akhlak Dalam Kalangan Murid-Murid Sekolah-Sekolah Menengah Di Malaysia." e-Jurnal Penyelidikan dan Inovasi 8, no. 1 (April 29, 2021): 87–111. http://dx.doi.org/10.53840/ejpi.v8i1.4.
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The main objective of this study was to examine the students’ perception on the effect of social factors on students’ akhlak practices. This survey was a quantitative research and employed a set of questionnaire to collect data from the samples. The samples were form four and lower six students who were sellected from several secondary schools in Malaysia using the multi stage cluster sampling method. 3,262 students were involved in this study. The data were analysed using SPSS software. From this study, we may conclude that the students’ perception on the social factors that contributed towards akhlak practices was positive and the total overall mean was high i.e. 3.83. It also showed that parent and Islamic education factors were two main factors that contributed towards students’ akhlak practices. These were followed by community, law enforcement and school environment factors. Two other weakest factors i.e. artists and peers were only at moderate level and it seems that these two factors less contributed to the students’ akhlak practices.
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Noordin, Siti Noor Azila, Rusmadiah Anwar, and Nor Nazida Awang. "Positioning Ceramic Design Practices into Gallery-Based Creative Industries." Environment-Behaviour Proceedings Journal 7, SI7 (August 31, 2022): 283–88. http://dx.doi.org/10.21834/ebpj.v7isi7.3794.
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Cognizant of the nature and need of a creative industries market. In ceramic, the diversity can be seen in the types of production and the scale of manufacture - from 'one-offs' to industrial manufacture. The scope and nature of arts incubators encompass the business-related knowledge, skills, and orientation needed by artists. The established methodologies for practice-based ceramic design research have led to the development of a realistic approach within this work which is both holistic and emergent. As result, a link between a practical philosophy of 'craft' practice and new approaches to the design highlighted a perception of the validity of 'craft' as a contemporary skill. Keywords: Ceramics; Design Practice; Creative Industries; Incubator. eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI7%20(Special%20Issue).3794
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MUSTAPHA, AZWADY, and NUR IZZATY MOHD ROSLAN. "PERSPEKTIF PERSONALITI DAN PSIKOLOGI TERHADAP DENIM JEANS LELAKI DALAM MUZIK DAN FESYEN DI ERA REVOLUSI PERINDUSTRIAN KE-4." International Journal of Creative Future and Heritage (TENIAT) 9, no. 1 (March 31, 2021): 30–51. http://dx.doi.org/10.47252/teniat.v9i1.397.
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Abstrak Sifat psikologi menerangkan cara di mana setiap orang berbeza antara satu sama lain. Ini merupakan konsep Maslow dan keperluan psikologi. Sehubungan itu, ramai artis Malaysia menggemari seluar jeans semasa membuat tayangan pentas, penggambaran drama atau filem dan kehidupan seharian. Sebagai contoh, artis dan muzik yang dipersembahkan memainkan peranan besar ke arah fesyen. 40 responden lelaki dipilih secara rawak berumur antara 23 hingga 30 tahun berhampiran Kuala Lumpur. Objektifnya adalah bagi memahami gaya pemotongan yang sesuai dengan dapat membezakan pelbagai gaya yang sedia ada dan melambangkan keperibadian lelaki terhadap penggayaan seluar jeans. Kajian ini menekankan kepada pelbagai penggayaan seluar jeans dalam mencerminkan keperibadian lelaki. Data dianalisis menggunakan kaedah kualitatif. Kajian ini diharap dapat memberi kefahaman tentang keperibadian terhadap refleksi identiti diri lelaki di Kuala Lumpur menggunakan kaedah Pakej Statistik Sains Sosial (SPSS). Abstract Psychological trait describes ways in which people are different from each other. This follows Maslow concepts and psychological needs. In relation, many Malaysian artists favour jeans wearing during stage show, drama shooting or film and daily life. For instance, both the artist and the music they sing can play a huge role in which direction the fashion industry moves. 40 male respondents are randomly selected, aged from 23 to 30 years old near Kuala Lumpur. The objectives are to understand the cutting styles that fits the person by being able to differentiate various styles available reflecting men’s personality towards jeans styles. By undertaking a quantitative method, the study was able to provide an insight into the personality of self-identity reflection towards men in Kuala Lumpur using Statistical Package for the Social Sciences (SPSS). The study emphasizes on whether men’s personality was reflected by different styles of denim jeans
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Hannah Kong Nyuk Fun, Hannah Kong Nyuk Fun, Imelda Ann Achin, and Addley Bromeo Bianus. "THE INTERPRETATION OF SIGNS ON PROJECTION ART OF VEIL OF AN ARTIST AND A FICTIONAL DIALOGUE." Jurnal Gendang Alam (GA) 12, no. 1 (June 30, 2022): 131–46. http://dx.doi.org/10.51200/ga.v12i1.3833.
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The form of communication of new media art serves as a vital link between the world of art and the society. The scenario for the advancements of new media art in our country is inadequate in respect of the intellectualism aspects of studies and the knowledge of projection art. As part of this study, projection art in Malaysia will be analysed to see how artists employ technology and visual art semiotics to convey their ideas to audiences effectively. This paper discusses the projection artworks produced by Hasnul Jamal Saidon titled Veil of an Artist and A Fictional Dialogue. The semiotics approaches which involve in constructing the content analysis semiology and in-depth interviews were utilised to analyse the projection artwork by Hasnul Jamal Saidon. Furthermore, this study aims to discover the value of message that embedded in the projection artworks of Hasnul as well as to interpret the signs and meanings included in each piece of art. According to the research, projection artwork of Hasnul demonstrates the new media and its always changing, intricate ways in which individuals express and interpret in different perspective of the value of the subject, and ideologies of nature, as well as social morality, and conventional standards. Study finding shows that artworks may effectively transmit the intended messages of the artist as well as themes and issues that they addressed regardless of the date or place in which they were produced.
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Kudus, Nazima Versay, and Noor Azli Affendy Lee. "The Portrayals of State Machinery Figures in Combating COVID-19 in Malaysia: A Study on Ernest Ng’s CovidBall Z." Jurnal Komunikasi: Malaysian Journal of Communication 38, no. 2 (June 29, 2022): 251–64. http://dx.doi.org/10.17576/jkmjc-2022-3802-15.
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In this time of pandemic, people engage with diverse narratives of infographics to make sense of their experiences. Scholars agreed that comics are graphic mediums and cultural artefacts that significantly contribute to the visual community of the COVID-19 pandemic. One of the comic artists in Malaysia, Ernest Ng, initially published his comics online and later converted them into three volumes of comic books entitled CovidBall Z Volume 1 (2020a), 2 (2020b) and 3 (2021). The objective of this paper is to undertake a content analysis of the portrayals of the various state machinery figures both from the government and opposition sides (i.e., ministers, politicians and government officers) in their roles in combating COVID-19. Additionally, the analysis wishes to uncover contemporary attitudes Ng uses such as symbolism, exaggeration and irony, among others, to convey his views on the current issue in obvious and subtle ways. In analysing the data, this study employed data analysis techniques in the form of descriptive content analysis. It was found that the social commentaries presented in Ng’s comics via the plot depict the existence of sexism, unfair treatment, and prejudice by several characters which lead to bully culture in the midst of the political metaphorical depiction of war and heroism among Malaysian state machinery figures. The images in his comics help people analyse, reflect on, and interpret our experiences by informing, providing meaning, and illustrating the COVID-19 outbreak narrative. Keywords: Comics, content analysis, CovidBall Z, Ernest Ng, Covid-19.
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Sedana, I. Nyoman. "Directing Cymbeline: Leon activated attributes of God for the 38th Bali Arts Festival 2016." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 2, no. 1 (July 30, 2019): 12–33. http://dx.doi.org/10.31091/lekesan.v2i1.749.
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Applying the theory of Bali Creative Art, this paper looks at the theatre directing elements, concept, and method applied by Leon Rubin when he directed Shakespeare’s Cymbeline. Invited by the Head of the Bali Province Cultural Directorate to showcase a cross-cultural theatrical production, Leon selected and integrated twenty-five artists (actors/actresses, costume and lighting designers) from Bali, Indonesia; Malaysia, Mexico, Brazil, China, and England in a new work for the 38th Bali Arts Festival in 2016. Most of the actors were able to stay in Bali for three weeks to rehearse; the piece was also shown in limited seating venues in the villages of Ubud and Abian Semal for three nights in a row from 25 to 27 June 2016. Despite the great challenge for the non-Indonesian actors and director, all were finally able to collaborate under Leon’s direction and perform the Indonesian language translation of the original Shakespearian text. Although the local artists informed Leon that the Cymbeline play would be competing with sounds from loud speakers in several nearby performance venues and the stage crew offered the actors microphones—Leon did not allow sound amplification of the actors, musicians, narrator, or the singer. Surprising yet amusing local audiences with several uncommon features, the Cymbeline show was considered to be the best collaborative production among the nearly 350 performances presented during the month-long festival.
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Aragon, Lorraine V. "Copyrighting Culture for the Nation? Intangible Property Nationalism and the Regional Arts of Indonesia." International Journal of Cultural Property 19, no. 3 (August 2012): 269–312. http://dx.doi.org/10.1017/s0940739112000203.
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AbstractThis article analyzes how intangible cultural expressions are re-scripted as national intellectual and cultural property in postcolonial nations such as Indonesia. The mixing of intellectual and cultural property paradigms to frame folkloric art practices as national possessions, termed “intangible property nationalism,” is assessed through consideration of Indonesia's 2002 copyright law, UNESCO heritage discourse, and the tutoring of ASEAN officials to use intellectual and cultural property rhetoric to defend national cultural resources. The article considers how legal assumptions are rebuffed by Indonesian regional artists and artisans who do not view their local knowledge and practices as property subject to exclusive claims by individuals or corporate groups, including the state. Producers' limited claims on authority over cultural expressions such as music, drama, puppetry, mythology, dance, and textiles contrast with Indonesian officials' anxieties over cultural theft by foreigners, especially in Malaysia. The case suggests new nationalist uses for heritage claims in postcolonial states.
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Wong, Neng Lee. "THE SIGNIFICANCE OF A PUBLIC ART GALLERY AS AN EDUCATION CENTRE IN KUCHING, SARAWAK." International Journal of Applied and Creative Arts 1, no. 1 (June 29, 2018): 42–56. http://dx.doi.org/10.33736/ijaca.839.2018.
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Building a Public Art Gallery is a dream of many individuals in Kuching, Sarawak. Kuching possesses colourful multicultural identities and has been producing different types of art that reflect the uniqueness of these identities. However, until now no public art gallery serves as a platform for Sarawakian artists, particularly in Kuching, to display their artworks and crafts and at the same time educate the community. This paper compiles the literature review on the importance of a public art gallery as an education centre for the society. The data was collected using the qualitative method, focusing on in-depth interviews to identify and analyse why a public art gallery is vital in Kuching, Sarawak, like a lot of other states in Malaysia. The informants were selected by purposive sampling and then analysed using Data Analysis Lamnek. This paper analyses the informants’ perceptions. It concludes with a suggestion of a temporary public art gallery in Kuching, Sarawak and some future studies.
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Hashim, Hasrul. "Techno-Creativity: The Implementation of DVFx as Creative Support Tools Among Filmmakers in Malaysia, India & Australia." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 1 (March 31, 2021): 196–208. http://dx.doi.org/10.17576/jkmjc-2021-3701-11.
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Previously, the use of digital visual effects (DVFx) only serves merely to fix or modify the damage or harmful elements in the post-production. Still, there are differences between improving the work and the creative effects in work. Subtracting part of the image can often be seen as a form of creativity in generating new image elements. DVFx is also seen as a form of creative effects. It is a fascinating field of study on 'adverse impact' or 'creative impact' in film production. Creative impact in the production process of film is likely to lead to a new assessment on the aspects of 'creativity.' The occurrence of technological changes that involve creative work will undoubtedly lead to a shift in creativity. Technology and creativity or techno-creativity are likely to represent a new creative possibility and measurement in film production using creative software as a support tool. This paper discusses the findings derived from in-depth interviews conducted with filmmakers, visual effects artists and supervisors from Malaysia, India, and Australia on implementing DVFx as creative support tools. The finding shows that DVFx functions as a techno-creative device in two main areas: ideation and implementation. These two aspects involve using DVFx as a tool for transforming the ideas and the imagination of a filmmaker into a reality on the screen. In other words, DVFx has acted as creative support tools (CST) to increase techno-creativity, especially in the area of visual presentation. Keywords: Creativity, digital visual effects, creative support tools, media technology, globalization.
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Dhamija, Jasleen, Manjari Nirula, and Edric Ong. "The ‘Tree of Life’ or Pohon-Budi: An International Exhibition Celebrates a Global Heritage." Journal of Heritage Management 6, no. 2 (November 8, 2021): 156–72. http://dx.doi.org/10.1177/24559296211050976.
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This article by a team of scholars, activists and a designer describes an effort to understand a heritage shared across many cultures—the Tree of Life is a symbol that appears in the myths, crafts and arts of civilizations on every continent—and to bring that heritage alive through exhibits featuring present-day artisans and artists. After overcoming major administrative barriers, an exhibition on this sacred theme premiered in Kuala Lumpur in 2015, curated by a Malaysian–Indian team. Expressions brought together from 35 countries blended natural and cultural ecologies with the sensitivity of each creator, working with a range of materials. After Malaysia, the exhibition travelled to India, the USA, Canada, Taiwan and Thailand. It is expected to move to Bhutan, China, the UK and elsewhere once the pandemic condition allows. Meanwhile, documentation and publication have helped share a breathtaking resource of knowledge and design. Described as ‘a thread that links the world’, this Tree of Life celebration demonstrates the importance of investing in research to build a foundation of scholarship upon which heritage can be brought to life for new generations. Here, the creativity and innovation of those who are repositories of ancient wisdom make tradition relevant to new times, revealing heritage as a timeless process that can be managed and shared by bringing old and contemporary disciplines together in new and uniting partnerships that extend far beyond political borders. New opportunities have opened for participants, inspiring other efforts. Here, heritage not only identifies the identity of each participating culture. These identities also combine as a shared heritage of all humankind, with the Tree of Life as a symbol of caring for the earth and for each other.
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Izwanna, Nazzatul, Rafeah Legino, Jebakumari, and Noorziah Mohd Salleh. "An Element of Culture on Printmaking Artworks." Environment-Behaviour Proceedings Journal 5, SI1 (June 1, 2020): 107–10. http://dx.doi.org/10.21834/ebpj.v5isi1.2306.
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This paper examines the elements of culture in printmaking artworks. The objective of this study will analyse artworks that will show the stimuli of culture in artworks. Therefore, as to enhance this study, selected artworks were identified, analysed and determine their formulation of artworks. The process of categorization was based on the culture elements through the observation of the artwork. The outcome of this study showed that the artworks significantly illustrates how an artist appreciates the cultural aspects through the printmaking artworks. Most artworks raised the aesthetic appreciation for this country and shared the uniqueness of Malaysia’s culture into artwork. Keywords: Artworks, Culture, Printmaking, Malaysia. eISSN: 2398-4287 © 2020. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v5iSI1.2306
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Ross, Lawrence. "The Rong Ngeng of the Andaman Coast: History, Ecology, and the Preservation of a Traditional Performing Art." Manusya: Journal of Humanities 23, no. 3 (December 23, 2020): 389–406. http://dx.doi.org/10.1163/26659077-02303008.
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Abstract This article examines recent grassroots strategies for preserving traditional performing arts along southern Thailand’s Andaman Sea Coast, focusing on rong ngeng, an idiomatic form of social dance and music, widely popular there in the post-World War Two years. Between 1935 and 1960 a small, mixed cohort of rural performing artists created networks of communities, scattered on Thai-Andaman, with a distinctive regional culture based in the shared repertoire of songs and dances they adapted, created an innovative lyrical style called phleng tanyong (Tanyong song), and a star system that turned village performers into local celebrities (Ross 2017, 68). More than a mere vibrant, short-lived micro-tradition which declined in the wake of a growing, hegemonic pan-Thai performing arts culture, however, rong ngeng has, since the 2000s, experienced a revival. The new incarnation was tied to economics, nostalgia, and a reawakening of local identity. Using a broadly cultural ecology approach which draws on more than a decade of fieldwork in the Thailand-Malaysia border region, oral accounts of rong ngeng performers, past and present, and comparisons with performance practices across the regions, this paper argues that efforts toward revival and sustainability have seen their greatest success among communities that possess several characteristics, including strong historical and genealogical links to erstwhile cultural practices, participatory forms of entertainment, and the ability among its members to articulate the relevance of performing arts to the society-at-large.
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Abdul Jabbar, Habibah, Siti Nor Diana Shafai, and Muhammad Ismail Ab Kadir. "Eco – colourants and Collage: Exploring natural colours extracted from ketapang leaves." Environment-Behaviour Proceedings Journal 7, SI9 (October 10, 2022): 109–14. http://dx.doi.org/10.21834/ebpj.v7isi9.3947.
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The application of synthetic colorants in visual arts can cause substantial risks to the health and well-being of artists. The hazardous compounds in some paintings, whether they are acrylics, oils or watercolors, can cause negative health and environmental consequences. This study aimed to produce artworks with eco-colourants extracted from ketapang leaves using the boiling water extraction method. The extraction was performed at a boil for 30 minutes in distilled water keeping the liquor ratio at 1:20. The pre-mordanted, as well as meta-mordanted cotton, linen, viscose and satin silk fabrics with 5 – 10% (owf) of alum and tunjung, were dipped in the eco-colourants extract solution for 30 minutes to complete the dyeing cycle. The liquor ratio used in dyeing procedures was 1:20 and 1:40. The dyed fabrics were then evaluated visually in terms of shades obtained and the applicability toward the production of collages. The interesting aspect of this study was that the application of different mordants gave a variety of hues, even though the extracted eco-colourants come from the same source. Generally, pre-treated fabrics with tunjung produced darker shades in comparison with alum. The collected information was analysed and successfully executed to produce final collage artworks. However, the effectiveness might depend on the skills, abilities, and knowledge to produce collage artwork products using dyed fabric with extracted eco-colourants from ketapang leaves. This study gives preliminary evidence that plant-derived eco-colourants can be used in the visual arts and that they should be investigated more in the future. Keywords: ketapang leaves, eco-colorant, extraction, mordant, collage eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3947
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Muhamad, Noor A'yunni, Azian Tahir, and Noor Enfendi Desa. "Art Appreciation: The Expression of Etching in Printmaking through Mohd Fawazzie Arshad’s Artwork." Idealogy Journal of Arts and Social Science 6, no. 1 (April 28, 2021): 35–42. http://dx.doi.org/10.24191/idealogy.v6i1.252.
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In art world, Intaglio is one of the printmaking techniques that focuses on incising metal surfaces such as copper, steel or zinc plate. By using intaglio technique in producing printmaking artworks, that includes etching, drypoint or even mezzotint approach, the only thing that matters is the development of form through the understanding of lights and dark which leads to the exploration of value in art and design. On 14th September 2020, an artwork exhibition titled SI+SA was held at Galeri Shah Alam, with the aim of this exhibition is celebrating art from the different backgrounds of artistes during Covid-19 pandemic phenomenon. Mohd Fawazzie Arshad is one of the featuring artistes who participated in this exhibition and presented his remarkable intaglio artwork which emphasises the value of element and principle in arts. In this writing, the author was granted with the opportunity to conduct an interview with Mohd Fawazie Arshad to discuss the insight in his artworks and how does his artwork embark a different perspective in intaglio printmaking. This interview scrutinised on what are the elements that inspired the artist to produce his artwork and what are the references that artist has used in terms of developing idea and style in his artwork making. In this writing also, Mohd Fawazie Arshad will also explain the process of his artwork making based on his studio practises. It is important to understand the artist’s studio environment in order to explore the techniques and medium which has been practised by the artist in his artwork making. Findings from this research will produce a complete exclusive write up about Mohd Fawazie Arshad past and present artwork. It will enliven the art industry and academic writing especially in the field of Malaysian Printmaking art scene.
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Tengku Sabri, Tengku Intan Maimunah. "Filming Visual Artist Biopic: Reflections on the Making of Short Documentary Dark Drawings Unpacked." International Journal of Creative Multimedia 1, no. 1 (May 18, 2020): 51–64. http://dx.doi.org/10.33093/ijcm.2020.1.1.7.
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This article reflects on my experience in making the short documentary Dark Drawings Unpacked (2019). The documentary explores the life of a Malaysian artist, Tengku Sabri Tengku Ibrahim after a stroke attack. Essentially an artist biopic, the documentary traces the various implications of stroke pertaining to the artist’s life and work, including immobility and post-stroke depression. The documentary also unpacks the underlying themes of the artworks Dark Drawings as well as advances understanding on the artist’s struggles with stroke, sanity, and God. Finally, the documentary emphasizes the importance of art as an effective medium of expression for the chaotic and creative minds. This paper further attempts to reflect on the ways in which me as the director tackled challenges such as the artist’s personality representation, visualization of the artistic creation process, the relation between the style of the documentary and that of the artist portrayed, and the challenges of audio narration and editing. Finally, the article concludes that the documentary serves as a cinematic history of the artist, captures the universality of his experiences, and illustrates the many ways in which art was, and remains, a powerful medium for healing and expression
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Md Isa @ Yusuff, Yusramizza, Samihah Khalil @ Halim, and Rozita Abdul Mutalib. "THE WOMEN’S EXPERIENCE OF USING SLIMMING PRODUCTS MIXED WITH PROHIBITED SUBSTANCES." International Journal of Entrepreneurship and Management Practices 3, no. 9 (March 15, 2020): 31–41. http://dx.doi.org/10.35631/ijemp.39003.
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Increasing demand from consumers especially among women has led to an increase in the diversity of slimming products in the market. Slimming products are often advertised in the media. Women's tendency to obtain slimming products is driven by their desire to look slim and beautiful. However, not all slimming products in the market are safe to be taken. In Malaysia, there are slimming products that are mixed with illicit substances including the poisons listed in the Poison Act 1952 and the dangerous drugs listed in the Dangerous Drugs Act 1952. The use of slimming products hence has the potential to result in negative implications for the health of consumers. This study aimed to explore the effects of slimming products containing prohibited substances experienced by female consumers who involved in the industries demanding their attractive and slim look. A total of 14 respondents, including models, flight attendants, and artists, were interviewed to get a picture of the slimming product using trend. The findings show that all respondents achieved the desired weight loss after taking slimming products. However, the achieved weight loss did not prolong due to an unbalanced diet practice. In addition, the study found that respondents also suffered from physical and emotional disorders as a result of the use of slimming products containing illicit substances. Based on the findings, a number of suggestions have been submitted, namely, a review of occupational policies and guidelines that make size and weight as a job specification and an enhancement of education methods for consumers to increase their legal knowledge and consumerism.
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Abd Rahman, Khairul Aidil Azlin. "A Study of Hybrid Art Practices Among the Artworks of Selected Malaysian Artists." INTERNATIONAL JOURNAL OF ART AND DESIGN 5, no. 2 (October 7, 2021): 13–23. http://dx.doi.org/10.24191/ijad.v5i2.2.
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The revolution in art practices has led Malaysian artists to discover greater possibilities in art, especially in terms of media exploration. In this paper, the researchers conducted a study of hybrid art practices among the artworks of selected Malaysian artists. The research objective of this paper is to identify and trace, among the selected artworks, hybrid art practices as a way of creating hybrid artworks. The researchers applied direct observation and extracted the artists’ statements for documentation. The results show that most of the artworks applied modern technology and have an element of interaction with the audience. In addition, media exploration has expanded to technological and scientific knowledge. In conclusion, the diversity of media and the discipline have enabled artists to explore more media when producing creative artworks. These collaborations have expanded to produce new findings and allow new perspectives on disciplines in art.
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Abdullah, Ahmad Hakim, and Nasirin Abdillah. "The Malay Socio-Cultural Elements in Selected Malaysian Paintings of the Hashim Hassan." Environment-Behaviour Proceedings Journal 6, no. 18 (December 30, 2021): 37–45. http://dx.doi.org/10.21834/ebpj.v6i18.3061.
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This study focuses on the works of Hashim Hassan paintings. The artist is known for showcasing the essence of the Malay socio-cultural and philosophy that is in-depth within the community. This research method emphasises qualitative methods such as in-depth interviews, observations, voice recordings and data transcripts. The findings depict the philosophical and Malay socio-cultural meaning of Wau Bulan Terbang Malam (2007); the painting resonates with the classic Malay song by Tan Sri. P. Ramlee. The painting is also an inspiration for the Malay banknotes and coins, the graphic design logo of Malaysia Airlines Berhad and Wau Bulan Monuments. Keywords: Hashim Hassan; Malaysian; Malay Socio-Cultural Elements; Paintings eISSN 2398-4287 © 2021. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., U.K. This is an open-access publication under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. Doi: https://doi.org/10.21834/ebpj.v6i18.3061
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Abu Kassim, K. A. "Seatbelt Reminder & Anti-Seatbelt Reminder Device: “Antara Dua Darjat”." Journal of the Society of Automotive Engineers Malaysia 4, no. 1 (April 24, 2021): 2–4. http://dx.doi.org/10.56381/jsaem.v4i1.44.
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“Antara Dua Darjat” is a classic Malay movie written, directed, and acted by Malaysia’s legendary artist Tan Sri P. Ramlee. Loosely translated into English as “Between Two Classes”, this 1960 film chronicles the social class differences between two families; hence leading to endless misery. The author does not intend to elaborate on the two ‘social classes’ as depicted in the film, and would rather discuss ‘the two classes’ in the vehicle safety scenario in Malaysia; so that the latter can be deliberated and resolved in the best manner.
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Alfan, Syafiq Faliq. "Sustaining Mak Yong – Main Puteri in Raman: A Discussion of its Existence in Cultural Evolutionary Thread." Jurai Sembah 1, no. 2 (November 30, 2020): 1–13. http://dx.doi.org/10.37134/juraisembah.vol1.2.1.2020.
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Mak Yong, a traditional Malay dance-theatre recognised by UNESCO as one of the intangible cultural heritage of Malaysia has indeed seen its progress since its revival in the 1970s by some of its prominent artists such as Khatijah Awang of the Sri Temenggung troupe fame. Sadly, although Mak Yong belongs to the region of Kelantan-Pattani of the Malay Peninsula, the art form has seen its greater decline in its southern Thailand counterpart. This could be as a result of the political climate aside from the inclination of the local towards Sunni Islamic values that forbid some of its ritualistic elements. This is apparent especially in the neighbouring state of Kelantan where Mak Yong has already been banned to be performed in public since the early 1990s unless it adheres to the Syariah law. However, in the context of the forms' existence in Pattani, despite its resilience towards the test of time, it has not gained as much attention compared to the Kelantan counterpart. Most extensive case studies in the past were based on the Kelantanese group (Sheppard, 1974; Yousof, 1976 & 1992; Nasuruddin, 1995). To extend our understanding of the study of Mak Yong of the Malay world, this paper aims to discuss the forms existence in Southern Thailand, particularly in the district of Raman, Yala Province. Special focus on its discussion will centre around the question of sustaining the tradition in the region through the relationship with Main Puteri, another ritualistic dance-theatre closely related to Mak Yong. Through the epistemological approach of Cultural Evolution, this paper intends to preliminarily explore the importance of this relationship in the bigger picture of Mak Yong as part of the cultural evolution in the Malay world. By identifying its natural phenomena, it is hoped that more exploration can be done in the future on the realm of Southeast Asian traditional performing arts.
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Mokhtar, Mumtaz, Samiati Andriana WMD, and Rosliza Abd Rahim. "Art throughout the Industrial Revolution and Art Framework for the Industrial Revolution 4.0." Environment-Behaviour Proceedings Journal 7, SI7 (August 31, 2022): 149–54. http://dx.doi.org/10.21834/ebpj.v7isi7.3776.
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This review paper presents the scenario of the revolution in Malaysia. The industrial revolution has changed from Industrial Revolution 1.0 to Industrial Revolution 2.0, Industrial Revolution 3.0 and now its culmination of the Industrial Revolution 4.0. Several documents were reviewed to identify the dynamic framework of art within Industrial Revolution 4.0. With the art framework related is detailed with a component of the artist as co-creator, hybrid types of production and the attribute of a super bright society. Creative humans should refer to several key points to be more prepared, equipped and, realistic, coherent with society 5.0. Keywords: art framework, Industrial Revolution 4.0, society 5.0 eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI7%20(Special%20Issue).3776
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Azman, Mohammad Firdaus. "The Role of Art Elements in the Translation of Photographic Works." Idealogy Journal 3, no. 2 (September 7, 2018): 241–44. http://dx.doi.org/10.24191/idealogy.v3i2.70.
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The presence of photography around the 1890s when Malaya (now Malaysia) which was still under British rule was not an obstacle for the field of photography to grow to this day. Photography is a medium that can be used to produce creative works that have their own artistic elements (Sabki Md. Noh, M. Shariful Hafizal, 2017). The production of the work is produced according to technical procedures that require repeated experimentation to get the best results. Emphasizing the element or line element in the production of a work is none other than to show the relevance of the art element in photography, but also to focus on the use of pattern elements. In the form of social relationships, the artist tries to convey that when filming, visuals should always be taken with care so that every art element that is blended in the production of the work is not overwhelmed or runs away from the original concept. For the artist, this visual is a conversation about what is done as well as what can be conveyed, in addition to aiming to make the audience aware of the artist’s creative process while creating, which illustrates the meaning of the artist’s work which usually describes literary language in visual form. With the role of photography that also gives awareness of the importance of understanding the adaptation of visual art elements Keywords: Photography, artistic elements, art work, consciousness
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Ismail, Ahmad Munawar, and Wan Kamal Mujani. "The Impact of Beta (ß) Value in Measuring Social Learning Influence on The Behaviour of Muslim Adolescents." Akademika 92, no. 3 (October 28, 2022): 149–57. http://dx.doi.org/10.17576/akad-2022-9203-11.
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Social learning factor is a reflection of the numerous existing social environment factors. It exists in the environment together with human’s internal natural process and it may significantly affect human’s behavioural development. The impact can occur directly or indirectly. A human being will be found different based on the environment in which he or she is. Whoever finds himself in an environment and education that helps him towards goodness, then he is more likely to be a good group and vice versa. Therefore, a good environment is necessary to produce good morals. Now the development of the industrial revolution 4.0 dominates everything and also affects Muslim children in their social environment. This study focuses on the dominant factors in social learning which influence the behaviour of Malaysian adolescents. Five social environment factors are identified as being significant in the development of the adolescents’ behaviour; they are: parents, peers, teachers, artistes and school culture. This study which employs both quantitative method and survey involves 16-year-old respondents totalling 1504 from all over peninsula Malaysia. Data from this study are analysed both descriptively and statistically with the mean, standard deviation and double regression at (p<0.05). Results from the double regression analysis showed that the most dominant factor in moulding the behaviour of the adolescents is peers followed by school culture, parents, teachers and artistes. Even though the artistes’ factor is the least dominant, based on the Beta value, it may negatively affect the behavioural development compared to other social environment factors. Keywords: Beta value; social learning; Islamic education; behaviour; Muslim adolescents
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Supartono, Alexander, and Alexandra Moschovi. "Contesting colonial (hi)stories: (Post)colonial imaginings of Southeast Asia." Journal of Southeast Asian Studies 51, no. 3 (September 2020): 343–71. http://dx.doi.org/10.1017/s0022463420000508.
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This article seeks to explore the impact of digital technologies upon the material, conceptual and ideological premises of the colonial archive in the digital era. This analysis is pursued though a discussion of creative work produced during an international, multidisciplinary artist workshop in Yogyakarta, Indonesia, that used digital material from colonial photographic archives in the Netherlands to critically investigate the ways national, transnational and personal (hi)stories in the former colonies in Southeast Asia have been informed and shaped by their colonial past. The analysis focuses on how the artists’ use of digital media contests and reconfigures the use, truth value and power of the colonial archive as an entity and institution. Case studies include: Thai photographer Dow Wasiksiri, who questions the archive's mnemonic function by substituting early twentieth-century handcrafted association techniques with digital manipulation; Malaysian artist Yee I-Lann, who compresses onto the same picture plane different historical moments and colonial narratives; and Indonesian photographer Agan Harahap, who recomposes archival photographs into unlikely juxtapositions disseminated through social media. By repurposing colonial archival material and circulating their work online such a re-imag(in)ing of Southeast Asia not only challenges the notions of originality, authenticity, ownership and control associated with such archives, but also reclaims colonial-era (hi)stories, making them part of a democratic, expanding, postcolonial archive.
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Esa, Sulaiman. "Islam as the source of inspiration for my art." Art Libraries Journal 44, no. 3 (June 12, 2019): 108–18. http://dx.doi.org/10.1017/alj.2019.15.
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After six years of formal art training in Europe, I returned home in the late 1960s very much influenced by modern western art and its secular utopian worldview. However, when viewed from a religious perspective, modern art evidenced the process of secularization and humanization. Local scholars lamented such art could led to the gradual loss of the nation's tradition which is steeped in spirituality. To them, Western-trained Malaysian artists’ works are a reflection of a captive mentality glorifying art that is spiritually debilitating, sociologically alienating and psychologically corrupting. Concerned with such phenomenon in Malaysia's post-Independence period, the government convened the National Cultural Congress (1971), to harness the cultural power in fostering unity in her multicultural society. Among the three resolutions recommended, one was Islam, as Malaysia's official religion, it would play a vital role in the formulation of a national cultural identity. In view of this historic event, I made a u-turn denouncing modern art, ingrained in me for decades, and made Islam as the raison d‘être of my art by responding to the challenges of NCC. This paper therefore, will extrapolate my five-decade artistic trajectory from Western-centric art period to Malay-Islamic art from 1970s -2018.
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Omar, Aznan, and Junidsyazji Basharuddin. "'Digital Lifestyle': Idea and Creation of Public Statue in the 'Publikart' Project in Iskandar Puteri, Johor Baharu, Johor." Idealogy Journal 4, no. 1 (April 19, 2019): 3–12. http://dx.doi.org/10.24191/idealogy.v4i1.146.
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'PublikART' is a public statue construction project carried out in Iskandar Puteri, Johor Baharu, Johor. This project was held in conjunction with Iskandar Malaysia's tenth anniversary. The objective of this project is to create an art space that is part of the way people experience the public spaces and express their Malaysian cultural identity, especially in Johor Baharu. This project involves the method of investigating the art of studio practice. It refers to Critical Self-Reflection approach and the collaboration between the statue artists and a group of project organisers such as Khazanah Nasional Berhad (KNB), UEM Land Berhad (UEML) and Creative Direction & Lead Consultant (labDNA). The main objective is that Publikart can help create better sites by making them unique and interesting. Public art indirectly involves the appreciation of the local community to attract interest and tell local stories about the place and become a joint venture to establish the spirit of brotherhood (ukhuwah) among new residents. Public Art also helps to liven up public spaces by becoming a foundation that can create spaces for interaction and social gatherings. The current phenomenon, namely the 'Digital Lifestyle', became the theme in the process of making this Public Statue.
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Sri Ningsih Sukirman and Patricia Jipoh. "RESILIEN DAN ADAPTASI 2 PENGGIAT SENI DALAM MEMBUDAYAKAN 3 PERSEMBAHAN SENI SECARA TALIAN (DIGITAL) SEBAGAI 4 NORMAL BAHARU PASCA COVID-19." Jurnal Gendang Alam (GA) 11, no. 2 (December 15, 2021): 145–60. http://dx.doi.org/10.51200/ga.v11i2.3582.
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Penularan pandemik COVID-19 di Malaysia yang mula dikesan pada akhir bulan Januari 2020 lalu telah memaksa kerajaan melaksanakan Perintah Kawalan Pergerakan (PKP) yang seterusnya dilanjutkan kepada Perintah Kawalan Pergerakan Bersyarat (PKPB) dan disusuli dengan Perintah Kawalan Pergerakan Pemulihan (PKPP) mulai 18 Mac 2020. Bukan itu sahaja, Perintah Kawalan Pergerakan Diperketatkan (PKPD) di beberapa kawasan juga dilaksanakan. Memandangkan pengalaman PKP ini adalah pertama kali bagi kebanyakan penduduk dan tempohnya yang panjang sehingga memberikan impak terhadap pelbagai sektor ekonomi negara. Salah satu sektor berkenaan ialah industri media, seni dan hiburan. Penularan pandemik COVID-19 dan pelaksanaan PKP didapati memberikan kesan yang mendalam terutamanya terhadap penggiat seni (profesional dan tidak formal) di negeri Sabah. Asas permasalahan kajian ini didasarkan pada dua isu, iaitu (i) bagaimanakah tahap dan ciri-ciri resilien penggiat seni (profesional dan tidak formal) sepanjang PKP (termasuk PKPB, PKPP dan PKPD) yang berlangsung? dan (ii) bagaimanakah mereka mengadaptasi pendekatan persembahan (seni tari, seni teater dan seni muzik) dari normal biasa bersifat fizikal ke normal baharu, iaitu ‘pentas’ digital dan cabaran yang terpaksa dihadapi dalam tempoh PKP, PKPB, PKPP, PKPD dan pasca COVID-19 nanti? Oleh itu, objektif kajian ini adalah (i) mengenal pasti tahap dan ciri-ciri resilien (daya tahan) penggiat seni sepanjang tempoh PKP termasuk PKPB, PKPP dan PKPD yang dikaji di negeri Sabah (ii) meneliti kepelbagaian strategi adaptasi yang dilakukan oleh pengiat seni persembahan dalam tempoh PKP (termasuk PKPB, PKPD dan PKPP) dalam konteks perubahan daripada amalan normal biasa kepada amalan normal baharu yang dilakukan oleh penggiat seni persembahan di negeri ini (iii) mencadangkan strategi semerta, jangka pendek, jangka sederhana dan jangka panjang yang boleh dilaksanakan dalam memperkasa penggiat seni persembahan dengan mengambil kira perubahan kepada amalan normal baharu dan budaya aplikasi digital pasca COVID-19. Kajian ini menggunakan pendekatan kuantitatif yang disokong oleh kaedah kualitatif. Kaedah kuantitatif melibatkan temu bual penggiat seni tari menggunakan borang soal selidik. Kajian fundamental ini dijangka dapat menyumbang dalam penyediaan pelan pengurusan risiko dan krisis penularan pandemik dan pembuatan polisis berkaitan dengan bidang seni tari.
The COVID-19 pandemic in Malaysia which was first detected at the end of January 2020 has forced the government to implement the Movement Control Order (MCO) which was subsequently extended to conditional Movement Control Order (CMCO) and followed by the Recovery Movement Control Order (RMCO) starting 18 March 2020. Not only that, but the Enhanced Movement Control Order (EMCO) in some areas was also implemented. Considering that the experience of MCO is the first time for most residents and its long duration until it is found to have an impact on various sectors of the country’s economy. One of these sectors is the media, arts and entertainment industries. The COVID-19 pandemic and the implementation of the MCO have had a profound effectespecially on arts players (professional and informal) in Sabah. The basis of the problem is based on two issues, namely (i) how is the level and characteristics of resilience of art players (professional and informal) during the MCO (including CMCO, RMCO and EMCO) held? and (ii) how do they adapt their performance approach (dance, theatrical arts and musical arts) from normal physical to new normal, namely the digital ‘stage’ and the challenges faced during the MCO, CMCO, RMCO, EMCO and post-COVID-19 period? Therefore, the objectives of this study are (i) identify the level and characteristicsof resilience (resilience) of art players during the MCO including CMCO, and EMCO studied in Sabah (ii) examine the various adaptation strategies performed by performing arts players during the MCO period (including CMCO, RMCO and EMCO) in the context of changes from normal practices to new normal practices performed by performing arts players in the state (iii) propose a strategy as bright, short-term, medium and long term as feasible in empowering performing arts players taking into account changes to new normal practices and post-COVID-19 digital application culture. The study used a quantitative approach supported by qualitative methods. Quantitative methods involve interviewing dance artists using questionnaires. This fundamental study is expected to contribute to the preparation of risk management plans and pandemic contagion crises and policy making related to the field of dance arts.