MAD3003 FINAL YEAR PROJECT 1

SITUATION ANALYSIS REPORT

NAME : CHEE WAI YAEN STUDENT ID : 1142700928 MAJOR : ADVERTISING DESIGN LECTURERS : MDM ROSNANI BINTI ABDUL RAHMAN MR. FAUZAN BIN MUSTAFFA

1 Chapter 1 Introduction

2 Chapter 1: Introduction

1.1 Introduction

Islamic Arts Museum Malaysia officially opened on 12 December 1998. The museum is a 30,000 square metre building which is located amid the leafy environment of central Kuala Lumpur’s Lake Gardens. It is the largest Islamic arts museum in Southeast Asia.

The IAMM consists of 12 galleries and houses more than ten thousand artefacts. The museum puts emphasis of Islamic works from Asia instead of Persian and Middle Eastern countries. China and Southeast Asia are well represented.

Islamic Arts Museum Malaysia was founded by Syed Mohamad Albukhary and his brother, Syed Mokhtar Albukhary, the chairman of the Albukhary Foundation, helped to build and develop the museum.

The former Prime Minister, Tun Dato’ Seri Dr Mahathir bin Mohamad, suggested to hire craftsman from Uzbekistan and Iran, who are well known in the Islamic world for their rich artistic heritage and continued practice of traditional crafts. Forty skilled craftsmen from both countries came down to produce the museum building.

Islamic Arts Museum Malaysia became the custodians of the Islamic Centre (JAKIM) which was entrusted to them by the Malaysian Government at the official launch of the museum.

The museum opens every day from 10am to 6pm while the museum restaurant opens on Tuesdays to Sundays from 10am to 6pm.

3 1.2 Problem Statement and Issues

People are not aware of the fact that Islamic arts exists in the Islamic world as the perception of Islam is negative most of the time. Non-Muslims have very little knowledge of Islam and its culture compared to Muslims because they are exposed to the negative aspects of the religion more than the positive aspects.

1.3 Objectives and Aims

Objectives ● To raise awareness that Islamic Arts Museum Malaysia showcases the education of Islamic arts from all over Asia ● To educate people that Islam contains art that is just as beautiful as the religion

Aim ● To understand the culture and see how life was lived in the Islamic world

4 Chapter 2 Product

5 Chapter 2: Product

2.1 Museum Name

Islamic Arts Museum Malaysia

2.2 History of the Museum

It started when Syed Mohamad Albukhary, the director of Islamic Arts Museum Malaysia, was offered a collection of Islamic gold coins by an art dealer. He intended to present the coin collection to the Malaysian Government therefore he wrote to the Prime Minister’s office in 1996 and requested an appointment to see the Prime Minister. To his surprise, he received a letter requesting the reason for the meeting and another one confirming the date of the meeting. During the meeting, the Prime Minister commented that it would be a good idea for Malaysia to have the coin collection but the country needed to have an Islamic Museum first.

Later, Syed Mohamad met with his brother, Syed Mokhtar, chairman of the Albukhary Foundation, and discussed about his meeting with the Prime Minister. His brother immediately suggested that the Albukhary Foundation take the responsibility to build and develop museum for the government as a gift to Malaysians. Syed Mohamad then requested a meeting with the Prime Minister to give him the news. In the next few months, they looked for possible locations around Kuala Lumpur. Once identified, the location was proposed to the Malaysian Government

6 and it was approved on 16th May 1997. A ground-breaking ceremony was then officiated by the former Prime Minister, Tun Dato’ Seri Dr Mahathir bin Mohamad.

2.3 Product Characteristics

Islamic Arts Museum Malaysia charges the visitors with tickets before entering the museum’s galleries. Ticket prices varies on the age range of the visitors. Ticket price for adults is RM14, students (with ID) at RM7, senior citizens (Malaysian 55 and over) at RM7, and children (6 and under) are free of charge. Tickets are charged at RM12 and RM6 respectively when the Special Galleries are closed. Tickets are subject to 6% Goods and Services Tax (GST).

The museum also includes a museum shop that sells products ranging from Islamic crafts and artefacts to books and educational materials. Other products include stationeries, t-shirts, mugs, and more.

Islamic Arts Museum Malaysia also publish their own books. Some books are produced in conjunction with their current exhibitions as catalogues. The aim of this is to support the work of the museum and to improve the visitors’ enjoyment at all times. Below are some of the publications produced by the museum:

● Six Centuries of Islamic Art in China (2001) ● The Islamic Arts Museum Malaysia - Volume 1 (2002) ● Merdeka 50: A Celebration of Malaysian Art (2007) ● Divine Inspiration - Seven Principles of Islamic Architecture (2008) ● Islamic Arts Museum Malaysia - Vol II (2009) ● Formation of a Nation: A Photographic Flashback (2012) ● Islamic Bookbinding (2017)

Islamic Arts Museum Malaysia also showcases different types of exhibition from time to time. The most recent ones are the Islamic Bookbinding exhibition and a photography exhibition called “A Spiritual Journey: Islamic Culture and Heritage in Southeast Asia”.

7 2.4 Museum Content / Section

In the gallery section of Islamic Arts Museum Malaysia, the India, China, and Malay World gallery are in an exceptional category while the other parts of the collection go by type such as architecture, manuscripts, jewellery and so on. Below is a more specific description of all the galleries in the museum:

● Level 1 a. Architecture Gallery b. Quran and Manuscript Gallery c. India Gallery d. China Gallery e. Malay Gallery ● Level 2 a. Textile Gallery b. Jewellery Gallery c. Arms and Armour Gallery d. Coin Gallery e. Metal Gallery f. Wood Gallery g. Ceramics Gallery

The museum also consists of various facilities to enhance a visitor’s museum experience. The facilities range from entertainment and dining to seminars and workshops. These facilities include:

● Conservation and Research Centre ● Children’s Library ● Scholar’s Library ● Museum Shop ● Museum Restaurant

8 ● Exhibition Space ● Inverted Dome Pavilion ● Auditorium

2.5 Museum Life Cycle

Figure 2.1: Peak Hours of Visitors in Islamic Arts Museum Malaysia

9 2.6 Unique Selling Proposition

● Largest Islamic Arts Museum in Southeast Asia ● Inverted Dome Pavilion ○ Floor to ceiling windows that give a clear view of the grounds of the National Mosque with KL skyline ○ A vision of the treetops of the KL Bird Park ● A museum of immense value in the Asian world of art, especially the Malay world and China ● Virtual museum tour on website

2.7 Promotional History and Advertising Schedule

● Social media marketing ● Public relations ● Exhibitions ● Islamic Tourism Centre ● Travel agencies

2.8 Positioning Statement

Islamic Arts Museum Malaysia combines Western and Eastern artistic ideals to create displays and collection interpretations that they feel are best suited as wide an audience range as possible. The museum is an eye-opener to visitors who have minimal knowledge on Islamic arts. It is an institution that expresses the museum’s characteristics based on Islamic symbolisms and covers the entire Islamic World.

10 Chapter 3 Company

11 Chapter 3: Company

3.1 Company Overview The Albukhary Foundation is a non-profit charitable organisation that is spread internationally. It is located in Kuala Lumpur, Malaysia and it is founded in the Islamic values of Taqwa (Submission to God) and Ehsan (Compassion).

The founder of the Albukhary Foundation is Syed Mokhtar Albukhary, who is also the brother of Syed Mohamad Albukhary, the director of Islamic Arts Museum Malaysia.

The Albukhary Foundation was granted the privilege of being the executor and manager of Islamic Arts Museum Malaysia by the Government of Malaysia in October 1996.

3.2 Business Description

• The Albukhary Foundation Although the Albukhary Foundation is founded in Islamic values, the foundation does not discriminate on the grounds of race, nationality, ethnic origin and religion. • Albukhary International University (AiU) The Albukhary International University was founded in 2010 and is located within the Sharifah Rokiah Centre of Excellence. The University is housed within a purpose-built campus and is spread over 30 hectares in Alor Setar. The Centre is named in honour of his mother. • Albukhary Scholarship Program Albukhary Scholarship Program offers scholarships to students who are underprivileged and disadvantaged regardless of race, nationality, religion and ethnicity. These scholarships are offered around the world to students so that they can pursue their studies in Albukhary International University in Kedah, Malaysia.

12 The Albukhary Foundation is currently giving support to the British Museum for a new gallery to re-display collections of the Islamic world. The Albukhary Foundation Gallery of the Islamic World will be open to the public in October 2018 at the British Museum.

3.3 Company History

Syed Mokhtar Albukhary was born on 12 December 1951, the third child of Syed Nor and Sharifah Rokiah in Kampung Hutan Keriang, Alor Setar Kedah. He moved to Johor Bahru in 1961 and he spent the next years there before returning to Alor Setar where he attended St. Michaels Institution. He was also involved in his father’s cattle business to help him while he was still schooling.

Not long after, a Foot and Mouth Disease outbreak collapsed his father’s cattle business. This led to Syed Mokhtar having to drop out of school as his family could not afford to pay for his examination fees anymore.

Syed Mokhtar decided to begin venturing into business on his own with the money saved from his involvement in his father’s cattle business.

3.4 Key People

• Executive Chairman Tan Sri Syed Mokhtar Albukhary • Director Syed Mohamad Albukhary • Finance and Administration Department Sarifah Majimah Albukhary • Operations Department Hamidah Non • Museum Director’s Office Rashidah Salim

13 • Security Department Choong Loy Fatt • Museum Shop Halawah Muhammad • Maintenance Department Halim Hafiz Abu • Museum Keepers Department Abd Rahman Mohd Kasim • Curatorial Affairs Department o Lucien de Guise o Ros Mahwati Ahmad Zakaria o Rekha Verma o Adline Abdul Ghan o Nurul Iman Rusli o Juliana Abdul Rahim o Muhamad Edzhar Muhamad Razali o Assim Zuhair Mahmood Qish • Display Unit o Md Rezad Adnan o Badly Shah Abu Bakar • Graphics and Photography Department o Alnurmarida Alias o Samsiah Awang o Mohd Azman Zainal o Mohd Faizal Zahari o Khairuddin Ahmad • Education Department o Noor Nizreen Osman o Firdahayu Md Nasir o Noor Intan Suraya Baharom o Khalid Apandi

14 • Conservation Centre o Josephine Atkinson o Hj Mohd Razali Mohd Zain o Fauziah Hashim o Rafidah Bahari o Siti Yuhainizar Mohd Ismail o Mukhtaruddin Musa o Lalitha a/p Thiagarajah o Husnaiza Firdaus Hamzah o Malia Musa o Mohd Nudman Ismail o Idries Trevathan o Hafizah Iryanti Mohamad Nasir o Sharul Anizah Mohamed Rais o Mohamed Zamir Kamaruzaman o Ahmad Zul Fahmi Mat Yusoff • Scholar’s Library o Azenita Abdullah o Nurulhuda Amiruddin o Yuharudin Mehat o Nor Amin Maidin o Razid Man • Marketing Department o Mohd Shaqirin Saadon o Siti Nor Hanani Mohamed Hamin o Nur Afni Halil

15 3.5 Location and Subsidiaries

The HQ’s address is Islamic Arts Museum Malaysia, Jalan Lembah Perdana, 50480 Kuala Lumpur. The building occupies 30,000 square metres, situated amid the leafy surroundings of central Kuala Lumpur’s Lake Gardens.

3.6 Brands, Major Products and Services

At this moment, Islamic Arts Museum Malaysia has twelve galleries as permanent galleries on Islamic arts. They also have two special galleries on temporary thematic exhibitions that change their theme every 3 to 6 months. On top of that, they have one open space gallery where they exhibit photography exhibitions. They also have a museum restaurant that offers Middle Eastern cuisine. They have a new programme called Understanding Artefacts, which is a more in-depth look at the objects, its meaning and history. The programme also includes a behind the scene visit to our Conservation Lab where expert conservators help preserve artefacts. This is a rare opportunity for visitors to experience the in-goings of a museum. And lastly, they have a museum souvenir shop plus an education centre that provides workshops, tours, talks, crafts to the public.

3.7 Corporate Vision

• To establish a museum of international standards that would achieve worldwide recognition • To collect, preserve, display, and educate others on Islamic art and civilization

3.8 Corporate Mission

• To be a custodian, preserver, and educator • To display the broadest selection of art from the Islamic world

16 3.9 Company’s Current Promotional Strategy

Because Islamic Arts Museum Malaysia is a non-profit organisation, they rely on their media friends to promote & advertise should they have new attractions. The Islamic Tourism Centre helps them a lot in marketing especially when they participate in other international exhibitions. IAMM provides them their collaterals and marketing material and they help market it on international fairs and exhibition platforms. As for travel agents, IAMM hopes that they can have more collaboration as they can work actively with them. Currently, if they have groups coming to the museum then they will contact IAMM and the museum will give them a special price. IAMM works together with them in training their tour guides as well with regards to the museum and facilities. This is because some tour groups require languages other than English, Bahasa Malaysia and Arabic to be spoken. Therefore, the museum gives the tour guides a little training so they are able to translate the museum facilities and offerings to their tourist groups.

3.10 Current Marketing Objective

The museum’s objective is to be the custodian, the educator and preserver of Islamic Arts so they plan to widen their information and contents for the visitors of all age groups.

3.11 Media Expenditure

Islamic Arts Museum Malaysia heavily utilises their social media platforms plus their website. Through the website, visitors can access and subscribe to the museum’s newsletter which they disseminate every three months. Through this, it will enhance a sense of awareness towards their target market to learn & love Islamic arts at the museum.

17 Chapter 4 Consumers and Stakeholders

18 Chapter 4: Consumers and Stakeholders

4.1 Consumer’s Characteristics

4.1.1 Current Consumers’ Characteristics

• Age : All ages • Gender : Male and female • Education : Wide range of educational levels • Occupation : Students, white collar workers, professors • Income/Allowance : RM200 – RM2000 • Race and ethnicity : All races and ethnicities • Geographical location : Worldwide

4.1.2 Psychographics

• Locals and tourists who are interested in Islamic arts • Families, friends, couples, backpackers • Wanting to learn more • Urban lifestyles • Enjoy taking pictures of the architecture designs of the museum • Appreciate aesthetic artworks

19 Chapter 5 Industry and the Market Place

20 Chapter 5: Industry and the Market Place

5.1 The Industry

5.1.1 Definition of the Industry

Malaysia has plenty to offer tourists – whether it is about exploring the Mulu Caves in Sarawak, diving off Pulau Tioman, shopping at the Pavilion, attending a literary festival in the quaint streets of Georgetown, Penang or just soaking up the sun in Pulau Langkawi. Boasting a wide-range of attractions, it is easy to deduce that Malaysia’s tourism industry can thrive despite the occasional global socio-economic challenges.

As part of Malaysia’s growth plan towards high income status, tourism was selected as one of the National Key Economic Areas (NKEA) under the National Transformation Programme (NTP) in 2010. It was envisaged to be a quick win in terms of drawing in tourist spending.

The tourism industry is expanding at a tremendous pace. In 2015, tourism was the second highest private investment contributor at RM24.5 billion and the third largest GNI contributor at RM67.1 billion.

21 5.1.2 Shape of the Industry

The tourism industry as a whole has been robust going through the global economic uncertainty in recent years. Malaysia itself has been very aggressive in capturing more tourists.

Image source: http://www.tourism.gov.my/statistics

22 5.1.3 Development of the Industry

The development allocation for this industry has been increasing over the years. It has been increased from Ringgit Malaysia (RM) 605.5 million in the 7th Malaysian plan to RM1009 million in the 8th Malaysian plan period. In the 9th Malaysian plan period, the allocation reached to RM1367 million.

During the period of 1970s, government efforts to develop tourism was set off to several development objectives such as, increasing foreign exchange earnings, increasing employment, and income levels, fostering regional development, diversifying the economic base, and increasing government revenue. The concentrated effort was given to the development of basic infrastructure for tourism in that period. Tourism industry accrued higher priority from the government in 1980s.

The tourism industry growth rate is dependent on the growth rate of the overall national economy and the hotel industry growth rate, in turn, is dependent, to some extent, on the growth of the tourism industry. Past statistics have indicated that the hotel sales volume represents approximately 36% of the total receipts from tourism. This fact should hold true when the economy remains stable.

The performance of the hotel sector is also influenced by the volatility of changes in the external and international environment. An economic upswing or downturn will have an almost immediate impact on its performance. In recent years, the Malaysian hotel industry has seen drastic changes in its external environment, largely as a result of the greater extent of volatility in the environment and the increasing level of uncertainties in the world’s economy. On a macro level, the hotel industry in Malaysia is quite vulnerable to foreign and international competition.

The industry is now more interconnected than ever with attractions, hotels and transportation services collaborating together to create competitive packages.

23 5.2 The Market Place

5.2.1 Current Condition of the Market Place

Museums have a long history going back to the 3rd century B.C., when the first known museum was opened in the University of Alexandria in Egypt. Since then, the museum culture has spread across the world sharing how humanity has survived in its environment over centuries.

Museums house hundreds of centuries’ worth of material that is of cultural, religious, political and historical importance. So, it is no wonder that some museums are turning to digitization to help them manage their collection and promote its value to visitors.

This digital transformation can take many forms, from enabling museum visitors to use smartphones or tablets throughout the site to enhance their experience, to digitizing the collection and making it available online, to engaging with people before or after their visits via online channels.

5.2.2 Current Condition of the Market Needs

Selection – A wide range of Islamic art coming from different regions Accessibility – Various types of facilities for visitors to explore Customer Service – Visitors can ask for assistance at the museum shop should they have any inquiries and the staff will help them as much as they can Competitive pricing – Students only have to pay half the price of an adult ticket

24 5.2.3 Changes in Market Place

Islamic Arts Museum Malaysia is on the rise on their social media platforms. Usually tourists will browse the website via Google or TripAdvisor to check the reviews of the museum. Over the years, the numbers of reviews on IAMM have increased heavily digitally. A lot of potential visitors are also going online. This is an opportunity for the museum to reach out to their market.

25 Chapter 6 Competitive Situation

26 Chapter 6: Competitive Situation

6.1 Direct Competitors

Museum of Asian Arts

The collection of the Museum of Asian Art has a long history, having been built up over a period of almost 50 years. The first item on record is a bronze Buddha head from Chiengsen period (1400-1550 AD), Thailand, given to the museum by Kun Krassri Nimanamhasminda in 1954. This contribution marked the beginning of the University of Malaya Art Museum at that time based in the university’s campus in Singapore. The Buddha head was thus acquired several years before the University of Malaya campus was established in Kuala Lumpur in 1962. At that time a section of the university library was used to display the artifacts. The museum’s present home was built to accommodate the increasing new acquisition. In Jun 1980, the new building was built in the scenic area between the Faculty of Economics and the Law Faculty (currently occupied by the Business and accounting Faculty). Within its three floors of exhibition space, the museum represents three civilizations; the Indian, The Chinese and the Islamic (Malay culture).

University of Malaya's Museum of Asian Art is an outstanding education-oriented museum. Located in the main campus of the university it aims to promote Asian art among multicultural Malaysians. The Museum holds nearly 7,000 treasures, representing cultures from throughout Asia, and spanning 4,000 years of Asian history. Featuring 1,500 squares feet of gallery space, the museum showcases the unique material aesthetic, and intellectual achievements of Asian art and culture, including Chinese pottery Hindu statuary, textiles from the Malay Archipelago, and sacred masks of Orang Asli communities.

27 Sarawak National History Museum

This building was built in 1908. Once used as administrative offices, it now displays a natural history collection. Among the items on the display are special collections found in Borneo such as skeletons of mammals, invertebrates, reptiles, birds, inserts, fishes and shells which have all been conserved. The opportunity to view species that may be extinct or near extinction at this museum will be an unforgettable experience.

Royal Malaysian Police Museum

The Royal Malaysian Police Museum contains a fascinating collection of artefacts and exhibits detailing the role and history of the RMP from its inception up to the present day.

Since 1997, the RMP Museum has been housed at No.5 Jalan Perdana (formerly Jalan Venning) in a building which used to be the Senior Police Officers’ Mess.

6.2 Indirect Competitors

National Museum

National Museum is located near the southern tip of the Lake Gardens, past the National Art Gallery. An excellent introduction to Malaysia’s history, economy, geography, arts, crafts and culture, it overlooks Jalan Damansara and was built in 1963 with its displays spread out onto three floors.

The building has a sweeping, traditional Minangkabau-style roof and a main entrance flanked by two large murals of Italian glass mosaic that portray the country’s major historical events and cultural activities. A couple of years ago the National Museum underwent an extensive renovation that had an all-new gallery added to its complex.

28 Petrosains Science Discovery Centre

Petrosains Sdn. Bhd. is a wholly owned subsidiary of PETRONAS two distinctive institutions in the nation – Petrosains, The Science Discovery Centre and the world-renowned PETRONAS Twin Towers. Petrosains Sdn. Bhd.’s corporate office is housed in the PETRONAS Twin Towers, Kuala Lumpur, occupying Levels 4 and 5 of both Tower 1 and Tower 2 of the Twin Towers. Petrosains, The Discovery Centre is a not-for-profit set up extending PETRONAS’ commitment as a socially responsible corporate citizen in providing a rich and stimulating environment aimed to enhanced science literacy and passion for acquiring scientific knowledge; while the iconic PETRONAS Twin Towers provides the world with a unique view of Malaysia through the vantage point of tourism.

29 Chapter 7 Research

30 Chapter 7: Research

7.1 Marketplace Research

When Syed Mokhtar Albukhary first embarked on this project, his knowledge of Islamic Art was rather limited, but as he gained more exposure in this art form, he was astounded by how far reaching its influence has been and the contribution it has made towards the civilization of the world as a whole.

Islamic Arts Museum Malaysia makes sure that their visitors have a comfortable time in the museum. The museum has a vast space of white interiors that makes a person feel calm and peaceful. There is also a wide opportunity of education and learning in the topic of Islamic arts.

31

32

33 7.2 Market Observation

Visitors and tourists from all around the world would be seen in Islamic Arts Museum Malaysia. Visitors would tend to stay at an artefact for a while to observe the artefact. Friends who come in groups would tend to take pictures of each other with the displays or take pictures of the display.

The museum has the most visitors during the weekends and also on Wednesdays. Their peak hours are usually around 2 to 3pm.

7.3 Online Survey

An online survey was conducted. This survey aims to investigate whether people are aware of the existence of Islamic arts.

34

35

36

37

7.4 Interview

An interview was conducted with the people in the education department of Islamic Arts Museum Malaysia by emailing a document of questions to the people in the education department.

7.5 Others

The Children’s Library of Islamic Arts Museum Malaysia required information about the museum.

38 Chapter 8 SWOT Analysis

39 Chapter 8: SWOT Analysis

8.1 Strengths

• Global ambassador of Islamic art • Spacious and informational galleries • Website is always up to date • Educational facilities • Helpful staff

8.2 Weaknesses

• Confusing upon entering the museum as there are two entrances • Lack of security guards looking after the museum • Lack of social media engagement • Visitors are confused on dress code

8.3 Opportunities

• International recognition • Recognition on travel guide platforms (TripAdvisor) • Partnership with local and international organizations

8.4 Threats

• Other museums nearby • Other museums with better and more interesting attraction

40 Chapter 9 Strategic Target Audience

41 Chapter 9: Strategic Target Audience

9.1 Proposed Primary Target Audience

Demographics • Age : 16 – 25 years old • Gender : Male and female • Education : Secondary and higher • Occupation : Students, working young adults, white collar workers • Income/Allowance : RM200 – RM2000 • Race and ethnicity : All races and ethnicities, mainly non-Muslims • Geographical location : Local

Psychographic • Enjoy and appreciate art in every form • Looking out for trendy aesthetics • Urban lifestyles • Enjoy gaining new knowledge

9.2 Proposed Creative Proposition

People are not aware of the existence of Islamic arts as they do not fully understand Islam and Islamic culture.

9.3 Proposed Marketing Strategy

• Offer educational information about Islamic arts • Give the audience a chance to explore different types of mosques from other countries • Hold a competition for the audience to compete

42 Chapter 10 Precedent Studies

43 Chapter 10: Precedent Studies

10.1 Examples of Advertising Strategy

10.1.1 Six Centuries of Islamic Art in China

The exhibition “Six Centuries of Islamic Art in China” offers a glimpse into the long history of the development of Islam in the Far East and introduces the ten ethnic Muslims minorities of China and material aspects of their culture. The introduction of Islam in China occurred as early as the 7th century CE and developed through trade, travel and territorial expansion. Although never subjected to the rule of a Muslim empire, various Chinese emperors played a part in either directly or indirectly influencing the development of Islam in China.

As time went on, Muslim communities were established that either assimilated with the native population or continued a lifestyle true to their original nomadic or tribal heritage. There are 10 Muslim Chinese Minorities in China: the Hui, Uyghur, Salar, Dongxiang, Kazakh, Kirghiz, uzbek, bao’an, tajik and Tatar. Each minority has a distinct identity; their own spoken, and for some, written language; their own legends, cultural practices and traditional costumes; and they all are strong believers in their faith. Craft items, utilitarian objects, costumes and more serve to illustrate the life and cultural heritage of these intriguing peoples.

44 From an art historical perspective, the exchanges between East and West Asia resulted in significant developments in both techniques of production, as well as decorative motifs and design. Chinese Islamic ware fused both traditional Chinese and Islamic techniques and decorative styles to create utilitarian objects and object d’art that became distinctive of Muslim China. This can be seen in such objects as metal ware, ceramics and calligraphic works.

10.2 Precedent Studies

45 Chapter 11 References

46 Chapter 11: References

Online 1. http://www.iamm.org.my/ 2. http://www.aiu.edu.my/discover-aiu/albukhary-foundation/ 3. http://www.afterschoolafrica.com/3537/albukhary-foundation-scholarships-developing- countries-malaysia/ 4. https://www.youtube.com/watch?v=EFE1MrWHshg 5. https://sclrship.com/2017/01/22/albukhary-foundation-scholarship-programme-2017/ 6. http://www.thestar.com.my/news/nation/2015/03/26/albukhary-foundation-new-gallery- at-british-museum/ 7. https://www.forbes.com/profile/syed-mokhtar-albukhary/ 8. https://www.pemandu.gov.my/transformation-unplugged-tourism-a-key-economic- sector/ 9. http://www.tourism.gov.my/statistics 10. http://www.tradechakra.com/economy/malaysia/tourism-in-malaysia-213.php 11. http://alm.axiell.com/digital-transformation-museum-industry/ 12. http://alm.axiell.com/wp-content/uploads/2016/07/Axiell-ALM-Digitise-Museums- Report.pdf 13. https://museum.um.edu.my/introduction 14. http://www.museum.sarawak.gov.my/modules/web/pages.php?mod=webpage&sub=page &id=93&menu_id=0&sub_id=122 15. http://www.malaysia-traveller.com/royal-malaysian-police-museum.html 16. http://www.kuala-lumpur.ws/attractions/national-museum.htm 17. http://www.petrosains.com.my/about/

Books 1. The Islamic Arts Museum Malaysia – Volume 1 2. Islamic Arts Museum Malaysia – Volume 2 3. Syed Mokhtar Albukhary: A Biography

47 Chapter 12 Appendices

48