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BULETIN PESARA Suara Persatuan Pesara Universiti Kebangsaan Malaysia
1 BULETIN PESARA Suara Persatuan Pesara Universiti Kebangsaan Malaysia Bil. 10 (1), Mei 2020 No. Pendaftaran PPM 017-10-22092010 MINDA PENGERUSI Saudara/saudari yang dihormati. Bersyukur kita ke hadrat Allah SWT kerana dapat bertemu semula dalam Buletin Pesara keluaran ketiga sesi 2019/2020 ini. Semoga kita semua diberi kesihatan yang baik untuk meneruskan penghidupan kita dengan aktiviti yang bermakna. Kebetulan pada waktu ini negara kita telah diserang dengan wabak Covid-19 dan bermula 18 Mac 2020 sehingga 28 April 2020, negara kita menguatkuasakan PKP, yang melarang rakyat negara ini keluar rumah sekiranya tiada urusan yang amat penting. Serangan wabak Covid-19 ini telah menular seluruh dunia yang telah melibatkan ribuan kematian. Hanya Allah yang tahu di sebalik penularan yang dianggap luar biasa ini yang menyebabkan pakar-pakar perubatan seluruh dunia berusaha mencari vaksin yang boleh menyembuhkan penyakit ini. Justeru saya mengharapkan semua warga pesara UKM, bersabar dan mematuhi segala arahan yang disampaikan oleh pihak kerajaan. Semoga kita semua dilindungi Allah daripada jangkitan wabak ini. Kesan daripada penularan wabak ini dan dengan adanya Perintah Kawalan Pergerakan (PKP), Persatuan terpaksa membatalkan/menangguhkan beberapa aktivitinya seperti mesyuarat-mesyuarat dan juga Majlis Hari Raya 2020. Namun begitu, maklumat-maklumat dan berita-berita terkini terus disampaikan kepada ahli menerusi media maya dan media massa. Walau bagaimanapun dalam keadaan negara kita menghadapi kemelut Covid-19 ini, secara tidak disangka muncul seorang hero yang berusaha bertungkus lumus bersama pasukan kesihatannya dalam mengekang penularan wabak Covid-19 terus merebak. Tokoh yang dimaksudkan ialah YBhg. Datuk Dr. Noor Hisham Abdullah dan baru menyambut hari lahirnya yang ke 57 tahun pada 21 April 2020. -
Suhana Binti Sarkawi 27/12/2018
Bicara@Muzium National Textile Museum Presented and Prepared By: Suhana binti Sarkawi 27/12/2018 Disclaimer: These slides are to be used as research purposes only. Do include the content and photo credit to the presenter unless stated otherwise perphoto. Photo credit: Government of Sarawak Assalamualaikum wrt wbt.. I wish for peace be upon you Puan Suhana bt Sarkawi Kampung Datu, Sibu Freelance researcher on the Malays in Sarawak Culture - Keringkam, Songket Initiator and co-organiser of the keringkam, sulam cabut workshops, songket of Sarawak & Sambas Exhibitions since 2010 Researcher "Projek Inovasi Warisan Sarawak: Songket & Keringkam” for Unimas & Sarawak Government 2017-2018 "Travelog perempuan Pelayar: Tudung Manto Lingga" (2014) "Songket dan Keringkam: Warisan Melayu Sarawak" 2018 Contact: [email protected] Cape Town, Republik Afrika Selatan. Miedora Sanggau, Kalbar Sulam Kalengkang Sintang, Kalbar Sulam Kalengkang Rengat, Inderagiri Hulu Sulam Kalengkan Sumbawa Besar, Sumbawa Jet Tahan Uji Figure 1: Kelingkan Track-Mapping. (Suhana Sarkawi, 2018) Structure Introduction Context Objectives Terms of Reference Literature Review Methodology Analysis & findings Summary Photo credit: Government of Sarawak Introduction Trade from China and India since the early 10th century and the acceptance of Ottoman Turkish Empire's influence since the 13th century has enlivened Malay palaces in the Malay Archipelago with the inclusion of many of the world's finest raw materials of the day including domestic materials such as embroidery thread, flat gold and silver gilted strips (kelingkan) which are used on embroidered textile products such as garments and home decorations. These materials are used in embroidery to highlight the motifs and the special structures of the Malays veil which are then are translated into the embroidery masterpieces. -
Jejak Sulaman Kelingkan Di Malaysia Dan Indonesia1
JEJAK SULAMAN KELINGKAN DI MALAYSIA DAN INDONESIA1 KELINGKAN EMBROIDERY TRACK-MAPPING IN MALAYSIA AND INDONESIA Suhana bt Sarkawi Fakulti Pendidikan [email protected] Norhayati bt Ab. Rahman (PhD) Akademi Pengajian Melayu [email protected] Abstrak Penggunaan benang pipih saduran emas dan perak atau kelingkan sebagai fokus dalam sulaman tudung wanita dalam pakaian Melayu khususnya daripada golongan diraja dan bangsawan telah tercatat dalam sejarah sejak wujudnya perdagangan antara Alam Melayu dengan pedagang dari benua India dan China seawal kurun ke 10. Pengaruh kerajaan Turki Uthmaniyah pula mulai menyebar dalam kurun ke 16. Setakat ini belum ada pemetaan lokasi pemakaian tudung berbenang emas dan perak pipih yang dinamakan kelingkan ini direkodkan secara berpusat dalam satu literatur. Kajian ini bertujuan menjejaki lokasi keberadaan dan penghasilan tudung kelingkan di Malaysia dan Indonesia. Selain itu, kajian ini berusaha mengenal pasti sebaran tudung kelingkan di kedua-dua wilayah dan memperlihatkan kewujudan jenis sulaman tel müşabak, tel kilma dan tel sarma dari Semenanjung Anatolia pada sulaman tudung kelingkan di Malaysia dan Indonesia. Bentuk kemasan hujung renda tudung kelingkan (oyah) juga dianalisis satu persatu. Untuk itu, kajian ini menggunakan kaedah kajian lapangan, kepustakaan dan temu bual pakar bagi mendapatkan data. Data dianalisis dengan menggunakan analisis kandungan. Dapatan kajian menunjukkan bahawa lokasi keberadaan sulaman kelingkan pada kain tudung di Malaysia adalah di negeri Sarawak, Selangor, Kelantan, Terengganu dan 1 Artikel ini telah diubah suai daripada Pembentangan Poster dalam Simposium Pengetahuan Pribumi pada 15 April 2015 anjuran Pusat Kajian Kecemerlangan Melayu di Akademi Pengajian Melayu, Universiti Malaya, Kuala Lumpur. Jurnal Pengajian Melayu, Jilid 27, 2016 Negeri Sembilan. -
Tudung Keringkam
The Sarawakiana Series Malay Culture Tudung Keringkam The Sarawakiana Series Tudung Keringkam Kamil Salem Pustaka Negeri Sarawak Kuching 2006 Foreword 'Keringkam Sarawak' is an extraordinary intricate handicraft of Sarawak Malays that combines beautiful patterns into informative culture presentation. This publication hopes to draw attention of everyone, from school children to researchers, likewise, to an almost forgotten, yet, precious handicraft. Culture grows on the shoulders of the community. Its development and sustainability is not a placid travel but an awesome awakening that endures millenniums. Pustaka will continue to collaborate with our partners in the documentation of local and indigenous knowledge as one of the ways to preserve our culture and heritage for future generations. Rashidah Haji Bolhassan Chief Executive Officer Pustaka Negeri Sarawak Introduction 'Tudung Keringkam' is a traditional headscarf One may also wonder whether there is a of Sarawak, and is widely worn by the local possibility of the word 'keringkam' originating Malay women. Handcrafted with fine from the combination of two words, namely, embroidery work, using gold and silver- 'keling' and 'torn'. 'Keling' is a widely-used term coloured coarse threads, tudung keringkam' to describe Indians who originally came from can be classified into two types: 'selayah' (veil) southern India (Kamus Dewan). They came as and 'selendang' (shawl). traders and settled down in South East Asian countries such as Malaysia, Brunei Darussalam 'Selayah Keringkam' is generally worn as a and Indonesia. veil which covers the head right down to the shoulder. Although serving the same function The term 'keling' has been used by the Malays as the former, 'Selendang Keringkam' is (Star 2006) for a long time, even before the relatively longer and is worn right to the waist arrival of the Portuguese, Dutch ana British in level. -
The 1980S As (An Attempt In) the Decolonialization of Malaysian Art
The 1980s as (an Attempt in) the Decolonialization of Malaysian Art Sarena Abdullah Southeast of Now: Directions in Contemporary and Modern Art in Asia, Volume 4, Number 1, March 2020, pp. 3-29 (Article) Published by NUS Press Pte Ltd DOI: https://doi.org/10.1353/sen.2020.0002 For additional information about this article https://muse.jhu.edu/article/752969 [ Access provided at 27 Sep 2021 18:07 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. ARTICLES The 1980s as (an Attempt in) the Decolonialization of Malaysian Art SARENA ABDULLAH Abstract In Malaysia, the implementation of the National Culture Policy in the early 1970s reiterated the ethnic preference policy of the National Economic Policy (NEP). As a result, the subsequent 1971 National Culture Congress (NCC) and the Islamization Policy undertaken by the government in the late 1970s had great influence on art practices in Malaysia, especially during the 1980s. These policies could be seen as an official attempt to shape the Malaysian identity, especially in terms of visual art in post-Independence Malaysia. The first part of this article will discuss the indirect consequences of the 1971 National Culture Policy and several Islam-centred policies since the late 1970s and how several assertions were made through a few writings about Malaysian art: that only certain modern art forms, aligned with the rhetoric of national agendas, were produced and exhibited in the late 1970s until the mid- 1990s. This paper will problematize the assertion by discussing some disjuncture and inconsistencies in relation to this narrative of Malaysian art. -
Reviewing the Short Story Anthologies of Zurinah Hassan: Convention Versus Innovation
MALAY LITERATURE REVIEWING THE SHORT STORY ANTHOLOGIES OF ZURINAH HASSAN: CONVENTION VERSUS INNOVATION By Siti Hajar Che Man ([email protected]) School of Humanities, Universiti Sains Malaysia. Abstract This discussion will focus on two anthologies produced by Zurinah Hassan entitled Meneruskan Perjalanan (The Continuation of the Journey) (1987) and Menjelang Pemilihan (As the Selection Dawns) (2004). The study will examine the issues of convention and invention that are evident in her short stories. The discussion will thus be divided into two parts. The first relates to convention in terms of the parallelism and acquiescence or obedience of Zurinah Hassan in cultivating issues or conflicts that can be extracted from short stories in both anthologies. The second relates to the context of invention and refers to the discoveries in her written work which have escaped or become free from conventional characteristics. In other words, her creativity has achieved a new level and is not tied down to conventional rules. The results of this study will assess Zurinah Hassan’s development and the transformation of her talent of authorship that is evident from its creativity, imagination, illusion and fantasy. The existence of improvisation or growth in knowledge, discipline and knowledge of assistance and her experiences in cultivating current issues are also evident. 70 4.Siti Hajar.indd 70 6/2/11 3:46:13 PM SITI HAJAR CHE MAN Furthermore, women’s issues are highlighted through the short story genre to be shared especially with other women and with readers in general. Keywords: Conventional laws, creativity, invention, imagination, illusion, fantasy and genre. -
The Art of Kelingkan Embroidery As a Catalyst for the Development of the Creative Industry
International Journal of Civil Engineering and Technology (IJCIET) Volume 9, Issue 5, May 2018, pp. 25–30, Article ID: IJCIET_09_05_004 Available online at http://iaeme.com/Home/issue/IJCIET?Volume=9&Issue=5 ISSN Print: 0976-6308 and ISSN Online: 0976-6316 © IAEME Publication Scopus Indexed THE ART OF KELINGKAN EMBROIDERY AS A CATALYST FOR THE DEVELOPMENT OF THE CREATIVE INDUSTRY Norhasliyana Hazlin Zainal Amri (Corresponding Author) Universiti Malaysia Kelantan, Kampus Bachok, Beg berkunci No. 01, 16300 Bachok, Kelantan, Malaysia Hamdzun Haron Pusat Citra Universiti, Universiti Kebangsaan Malaysia, 43600 UKM Bangi, Selangor, Malaysia Abdul Latif Samian Institut Alam dan Tamadun Melayu (ATMA), Universiti Kebangsaan Malaysia, 43600 UKM Bangi Selangor ABSTRACT Kelingkan is a unique handicraft that uses metal strips gilt with gold or silver that is embroidered onto the surface of a soft fabric. The intricacy of this type of embroidery requires a high degree of detail and expertise. In Malaysia, kelingkan embroidery is practised on a small scale and sold for a high sum. However, how far is kelingkan embroidery known today and can it become a catalyst for the development of the creative industry? This study is conducted in the descriptive qualitative method via field work, namely observational interviews with embroiderers and studies of collections. As a result, this study has found that there are 3 states with active embroiderers that are still able to sell their kelingkan shawls or selayah for more than RM1000 per piece. In addition, the beauty and creativity of kelingkan embroidery has continued to attract even more members of the community to purchase kelingkan items, as they are used in important official ceremonies. -
Sarawak Malay Material Culture and Their Weltanschauung : Some Preliminary Research Themes and Findings
Sarawak Malay Material Culture and their Weltanschauung : Some Preliminary Research Themes and Findings Awang Azman Awang Pawi, Ph.D Malay Studies Universiti Malaysia Sarawak ABSTRACT This article analyses the concept of material culture and its relevance to the Malay material culture in Sarawak. The Malay material culture in Sarawak is considered new as not much research has been done on that subject matter in Malaysia and needs to be studied because of the stark difference between the local knowledge and heritage in Peninsular Malaysia and Sarawak. In the broad perspective of the nusantara world, the Malay material culture is under the Malay Archipelago diaspora but different in terms of creativity, innovativeness, thinking and values of the creator. This article argues that the material culture among the Sarawak Malays has its own uniqueness and relevance to the culture, community value and plays a significant role both among the traditional Malays and the modern urban Malay populace. This research has a significant contribution towards understanding the transformation in the projection of their identity and culture, and the social change associated with the preservation and commercialization of parts of the material culture in the zeitgeist of globalization. Key words: Sarawak Malay Material Culture, Weltanschauung, Heritage, Local Knowledge The 2 nd International Conference on Humanities and Social Sciences 1 April 10 th , 2010 Faculty of Liberal Arts, Prince of Songkla University Identity – Culture – Communities_002 INTRODUCTION Research on material culture is often associated with artifact which often involved in beliefs, value, idea and the characteristics of a community. Observations on material culture also includes observations on culture and part of it of the historical aspect of culture and cultural anthropology. -
The Traditional Pelangi Cloth of Malay Peninsula - a Study of Design and Identity
복 식 문 화 연 구 The Research Journal of the Costume Culture 제 20 권 제 2 호, (2012. 4), pp.263~271 The Traditional Pelangi Cloth of Malay Peninsula - A Study of Design and Identity - Mohd. Azhar Bin Samin† PhD, Graduate Studies, Department of Design Technology, Faculty of Applied and Creative Arts Universiti Malaysia Sarawak* Textile Design Senior Lecturer - Textile Design Department, Faculty of Art and Design Universiti Teknologi MARA, Shah Alam, Selangor* (2012. 1. 26. 접수일 : 2012. 3. 30. 수정완료일 : 2012. 4. 2. 게재확정일) Abstract Cultural products reflect a living culture and evolve despite being based on traditional forms only. It is known as traditional cultural expression that portray certain culture groups, materials, spiritual and creativity inspired from their living environment that characterize a society. The old Malay community had a close relationship with their surrounding and environment. Sensitivity towards the nature and surrounding environment moved them into creative people. In designing the local traditional textile, role of the motifs, design and product design play an important element in Malay cultural values. This reflects the symbols and philosophy of the arts and culture and thus becomes the identity of the Malay community, which in general practice their culture and tradition based on Islamic culture and religion. Kelantan and Terengganu are the pioneer states for most producers of Malay traditional textiles. In these states the Pelangi cloths, is one of the unique textiles use and inherited by the Malay communities. Base on history, the Malay rulers and Malay nobility used Pelangi cloth as complementing clothing and ornament in attending various ceremonies and customs in their daily life. -
Application of the Kelingkan Embroidery Process in Malaysia
International Journal of Mechanical Engineering and Technology (IJMET) Volume 9, Issue 5, May 2018, pp. 524–530, Article ID: IJMET_09_05_057 Available online at http://iaeme.com/Home/issue/IJMET?Volume=9&Issue=5 ISSN Print: 0976-6340 and ISSN Online: 0976-6359 © IAEME Publication Scopus Indexed APPLICATION OF THE KELINGKAN EMBROIDERY PROCESS IN MALAYSIA Norhasliyana Hazlin Zainal Amri (Corresponding Author) Universiti Malaysia Kelantan, Kampus Bachok, Beg berkunci No. 01, 16300 Bachok, Kelantan, Malaysia Hamdzun Haron Pusat Citra Universiti, Universiti Kebangsaan Malaysia, 43600 UKM Bangi, Selangor, Malaysia Abdul Latif Samian Institut Alam dan Tamadun Melayu (ATMA), Universiti Kebangsaan Malaysia, 43600 UKM Bangi Selangor ABSTRACT Kelingkan is a unique Malay handicraft and artistic heritage. The refinement and detail required in the production of kelingkan demands that the embroiderer possesses a high degree of skill. In the past, kelingkan was largely produced by the Malays, especially Malay women, using metal strips coated in gold or silver, which is then embroidered onto the surface of soft cloth. In accordance to the changing times, new materials have emerged in the form of colourful metal strips, which are now available on the market. Kelingkan embroidery belongs to a group of embroidery that is used to decorate cloth. There are various unique kelingkan products that are still made to this day, but the most popular are women's shawls, which can be divided into two types, the selayah and selendang. Only 3 states still have active embroiderers, namely Sarawak, Selangor and Kelantan, but each state has a different process to reflect its own identity. To formulate the problem, two questions have arisen: (1) What is the kelingkan embroidery process in each of the three states? (2) What factors cause them to use a different process, as to reflect the identity of each state? Therefore, a study that uses the qualitative approach through field work such as observational interviews with embroiderers and collection studies. -
Bibliography on Sailing to Suvarnabhumi Country: Brunei
Bibliography on Sailing to Suvarnabhumi Country: Brunei Darusalam Prof. Himanshu Prabha Ray & Dr Susan Mishra Brunei Darussalam Traditional Navigation and Boat Building ‘Boats of Brunei’ http://bruneiresources.blogspot.in/2006/12/boats-of-brunei.html (accessed on 5 April 2018) ‘Cabaran’ http://komuniti2011.blogspot.in/p/cabaran.html (accessed on 12 April 2018) Chua, Thia-Eng , Chou, L. M. , Sadorra ,Marie Sol M., (eds.), The Coastal Environmental Profile of Brunei Darussalam: Resource Assessment and Management Issues, Brunei Darussalam: Fisheries Department, Ministry of Development, 1987. Ibrahim Shahminan, ‘Brunei's Beautiful Miniature Boats’ , Brunei Resources, November 23, 2014 . http://bruneiresources.blogspot.in/2014/11/bruneis-beautiful-miniature-boats.html ‘Jenis Perahu’ http://komuniti2011.blogspot.in/p/jenis-perahu.html (accessed on 12 April 2018) ‘Pengenalan ‘http://komuniti2011.blogspot.in/p/pengenalan-kampung-ayer-adalah-salah.html (accessed on 12 April 2018) Pham, Charlotte Minh-Hà L., Asian Shipbuilding Technology, Bangkok: UNESCO,2012. http://www.unesco.org/new/fileadmin/MULTIMEDIA/HQ/CLT/images/630X300/UNIT14.pdf (accessed on 4 April 2018) Rozan, Y. and Bandar, S., ‘History of Brunei’s Boatbuilding Industry’, The Brunei Times, 21 April 2010. Siti, Zainon Ismail, Rekabentuk Kraftangan Melayu Tradisi, Kuala Lumpur: Dewan Bahasa dan Pustaka,1990. Warren, Jim, ‘The Prahus of the Sulu Zone’, Brunei Museum Journal, 6(1):42–53. http://researchrepository.murdoch.edu.au/id/eprint/18216/1/prahus.pdf (accessed on 6 April 2018) Yahya, Matzin bin Haji, The Boats of Brunei Darussalam, Bandar Seri Begawan : Brunei Museums Dept., 2005. ‘The Role of "Pengalu" in Brunei History’, http://bruneiresources.blogspot.in/2007/07/role-of- pengalu-in-brunei-history.html (accessed on 5 April 2018) Boat Remains and Shipwrecks Green, Jeremy and Kimura, Jun, Preliminary Report on Maritime Archaeological Survey in Brunei Darussalam, Report—Department of Maritime Archaeology, Western Australian 1 Museum, No. -
Prof Siti Zainon Ismail
14 Rencana Utusan Kampus Sesi 2014/2015 Utusan Kampus Sesi 2014/2015 Rencana 15 Seni Itu Indah, Bukan Sekadar Mainan Senggang Oleh : Siti Nur Hidayah Binti Mohd Ali Nafiah 15 Mei 2015 - Prof Siti Zainon Ismail Siapa tak kenal Prof Dr Siti Zainon, penggiat seni dan sastera Antara puisi-puisi yang dihasilkan oleh pengkarya 1 yang tersohor di Malaysia. tersohor ini ialah Nyanyian Malam, Perkasihan Subuh, Kau Nyalakan Lilin, Bunga-Bunga Bulan, The Moon Dr. Siti Zainon Ismail dilahirkan pada 18 Disember 1949 di Is A Candle, Taman-taman Kejadian, Kampung Paya Gombak, Kuala Lumpur, Malaysia. Beliau mendapat Kami, Witir Sela Merapi, Gelora Air Geulumbang pendidikan awal di Sekolah Rendah Setapak, Kuala Lumpur Rayeuk Aceh, Kasih Bonda Kampung Paya Kami dan Sekolah Rendah Langgar, Kota Bharu, Kelantan dari dan Surat Dari Awan. tahun 1957 hingga 1961. Seterusnya beliau menyambung pelajaran di Sekolah Menengah Aminudin Baki, Kuala Lumpur Beliau juga sering mengandaikan dirinya adalah Siti dari tahun 1962 hingga 1968. Kecil yang kadangkala terkeluar sifat kanak-kanak yang ingin diberi perhatian. Situasi ini yang menyebabkan Disebabkan oleh minatnya yang mendalam dalam bidang beliau menghasilkan puisi khas untuk kanak-kanak di seni lukis, beliau telah melanjutkan pelajaran dalam bidang mana puisi ini terdapat dalam buku Bijak Si Katak Bijak lukisan di Institut Seni Indonesia (ASRI) dalam jurusan seni lukis dan Anggota Istana Si Jambul. bermula dari tahun 1970 hingga 1973. Selain puisi minatnya juga terserlah dalam bidang cer- Sewaktu menuntut di ASRI, beliau sering memenangi pen dan novel apabila menghasilkan cerpen seperti Anugerah Sketsa Kartini. Apabila beliau kembali ke tanah air, Seri Padma, Dongeng Si Siti Kecil, Attar Lembah beliau telah menjadi jurulatih seni lukis di Kementerian Mawar, Bunga Putik Putih, Nyayian Orang Laut, Kebudayaan Belia dan Sukan sejak tahun 1974 hingga Jurai Palma dan Rindu Pala Muda.