SS-5205 PROJECT 2 2013
Acknowledgement
Firstly, I would like to dedicate my special thanks to Dr Arosa and Mr Owais for their supports in contributing ideas and comments. Many special thanks also dedicated to Staff Malay Technology Museum, Museum Brunei, Kampong Ayer Cultural and Tourism Gallery, Woven Cloth Workshop / Exhibition Gallery Brunei Art and Handcrafts Training Centre (BAHTC), Arkib Library Department, and Village peoples in Kg Lorong Sekuna, Kg Sungai Kebun, Kg Pekalong Muara , my beloved special friend and friends for their great contribution in giving cooperation and information. Without all their supports and cooperation, this will not led to the success of this project.
1 12M1602
SS-5205 PROJECT 2 2013
Table of Contents
No Sub - Heading Page
1 Acknowledgment 1
2 Time line 4 - 7
3 Abstract 8 - 9
Part 1– Background information and literature survey . 1.1 History of Kg Ayer 10 - 11 . 1.2 Early notes on Brunei dress 12 . 1.3 Daily Attire VS Ceremonial Attire 13 - 15 . 1.4 Ceremonial Attire 16 - 19 4 . 1.5 Wedding Attire 21 . 1.6 Waving Cloth . Types of cloth 21 - 23 . Petenunan 23 . 1.7 Evolution of Brunei Traditional Dress 24
5 Part 2 – Introduction and problem definition. . 2.1 Digital Museum 26 . 2.2 Background and related work . Text and still images 26 - 27 . Video and audio 27 . Interactive media 27 - 28 . 2.3 The Overview of ARCO System Architecture 28 . 2.4 Metadata Requirement 29 . 2.5 Problem Definition . 2.5.1 Malay Technology Brunei 30 - 32 . 2.6 Scope of the work 33 - 34
2 12M1602
SS-5205 PROJECT 2 2013
6 Part 3 – Design the Digital Museum . 3.1 System Design . User Interface layout 35 . Data Design 35 . Process Design 36 . 3.2 The Overview of System Architecture 36 . 3.3 Data Flow Diagram 36 - 37 . 3.4 Media 37 . 3.5 The ARCO data model 38 . 3.6 Software Requirement 39 - 40 . 3.7 Hardware Requirement 41
7 Part 4 – Implementation and Testing 4.1 Implementation Phase . Metadata management 42 . Metadata visualization interface 42 . Metadata in interface 43 4.2 Elements of the Virtual Gallery . Text and still Images 43 . Gallery 1 – Wedding Attire 44 – 45 . Gallery 2 – Ceremony Attire 46 – 47 . Gallery 3 – Casual Attire 48 – 49 . Gallery 4 – Woven cloth 50 - 51 . Audio and Video . Woven Cloth (Tenunan) short film video 52 - 60 . Kg Ayer short film video 61 – 70 . 4.2.1 Overview layout of Virtual Gallery 71 - 71 4.3 Elements of the Interactive Virtual Gallery . 4.3.1 Overview layout Interactive Virtual Gallery 72 - 82 4.4 MCQ mini quiz 83 - 85 4.5 Web search 85 4.6 Testing 86 - 88 8 Conclusion 88 - 90
9 References 90 - 91
3 12M1602
SS-5205 PROJECT 2 2013
Progression Work Timeline from January 2013 – April 2013
Month Week Progression Work
January 3 Briefly explained by Professor Dr Arosa regarding the assigned tasks to be done in Project 2 throughout semester 2.
4 Collecting data information & images on woven cloth. . Research information through books, magazines and journal. . Interview Dyg Masnah Amit, Researcher Officer Malay Technology Museum about the Woven Cloth (KainTenunan Brunei). She explained the types of woven cloths and short explanation on the process of woven cloth making. . Took photo images of woven cloth and Petenunan at Malay Technology Brunei (MTM) and Water Ayer Cultural & Tourism Gallery. Progression Report 1 submission
February 5 . Continued research information through books, magazines and journal . Interview Dyg Hajjah Markasum Binti Haji Umar, Instructor Woven Cloth Workshop Brunei Art and Handcrafts Training Centre (BAHTC). . Took photo images of „Petenunan‟ at Woven Cloth Workshop Brunei Art and Handcrafts Training Centre (BAHTC). Progression Report 2 submission
6 Video shooting on woven cloth making at Woven Cloth Workshop (Level 3), Brunei Art and Handcrafts Training Centre (BAHTC). . Sony DCR – SX20EK Handycam (Tripod is not available) Progression Report 3 submission
4 12M1602
SS-5205 PROJECT 2 2013
Month Week Progression Work
7 Created a new gallery namely gallery 5 – Woven Cloth in 3dmax . Develop a gallery and insert all the images and data about woven cloth Progression Report 4 submission
8 Editing and compile all the scenes in Pinnacle Studio 12 software. No Progression Report submission
March 9 Reshoot the whole scene video on woven cloth making at Woven Cloth Workshop (Level 3), Brunei Art and Handcrafts Training Centre (BAHTC). . Sony HDR-XR520 240GB High Definition Handycam 'PAL' Camcorder (Tripod is available) Progression Report 5 submission
10 Video shooting on : . The wearing of Kain Tenunan and types of Kain Tenunan at Exhibition Gallery (Ground floor), Brunei Art and Handcraft Training Centre (BAHTC). . Scene penetrating threads on SURI making at Woven Cloth Workshop (Level 3), Brunei Art and Handcrafts Training Centre (BAHTC). This scene was not available during week 9. Progression Report 6 submission
11 Video shooting on : . Kg Air Bolkiah A . Kg Air Lorong Sekuna . Infront of Yayasan Progression Report 7 submission
5 12M1602
SS-5205 PROJECT 2 2013
Month Week Progression Work
12 Shooting video on . Gallery Kebudayan dan Pelancongan Kg Air (Tourism & Culture Gallery Kg Air) Rebuilt a museum gallery building using Bryce 7.1 Software Built Gallery 1 in Bryce 2.1 Software Progression Report 8 submission
April 13 Video shoot on . Various activities in Kg Ayer Lorong Sekuna. . The making of boats in Kg Ayer Pekilong Muara. . School, Police Station, Fire Station, Mosque in Kg Ayer Sg Kebun. Design and tabulate the video storyboard (Video and Audio) of Kg Ayer. Editing the video of Kg Ayer by using the Pinnacle Studio 12. Built Gallery 2 in Bryce 7.1 Software. Design and construct a Digital Heritage Gallery frame in Adobe Flash . Construct Gallery 1 – Wedding Attire . Construct Gallery 2 – Ceremonial Attire Progression Report 9 submission
14 Design and tabulate the video storyboard (Video and Audio) of Woven Cloth. Editing the video of Woven Cloth (Tenunan) by using the Pinnacle Studio 12. Built Gallery 3 in Bryce 7.1 Software. Design and construct a Digital Heritage Gallery 2 frame in Adobe Flash . Construct Gallery 3 – Daily Attire Progression Report 10 submission
6 12M1602
SS-5205 PROJECT 2 2013
Month Week Progression Work
15 Construct Gallery 3 – Daily Attire Design Construct a Digital Heritage Gallery 2 frame in Adobe Flash Design a gallery for the Waving cloth video and Kg Ayer video Written a final report
16 Final report submission
7 12M1602
SS-5205 PROJECT 2 2013
Abstract
In designing the Digital Museum , Malay Technology Brunei (MTM) is used as the problem given for this project. Our lecturer, Professor Dr Arosa, has assigned each of us with different topic and as on my part, I was assigned topic on Malay Costume in Kampong Ayer by taking a consideration on Malay Technology Museum as reference.
This report is the integration of the work done in semester 1 and 2. In semester 1 the work done is the design and constructed of Digital Museum which consisted of three galleries namely Gallery 1 (Kg Ayer Short – film video), Gallery 2 (Wedding Attire), Gallery 3 (Ceremonial Attires), and Gallery 4 (Casual attire).
In semester 2 based on the objectives work given as which is actually more on improvising the previous work done in semester 1. The design and the constructed of the new Gallery namely Digital Heritage Gallery – Kg Ayer‟s Traditional Wears and Costumes which consisted of the Main lobby (Video 1 – Kg Ayer short film & Video 2 – Woven cloth (Tenuan) short film, Gallery 1 (Wedding Attire) , Gallery 2 (Ceremonial Attires), Gallery3 (Casual attire), Gallery 4 (Woven Cloth), Mini Quiz, and web search for user. The selection of high quality picture of costumes , decide galleries/categories of costumes to be displayed, choose appropriate background colors for the galleries based on the costumes is enhanced.
The initial part of the report is background information and literature survey about the history of Kampong Ayer and traces historical of Malay costume in Kampong Ayer (Water Village). There is very little has been written on Brunei costumes in any literature. It is not sufficient enough to gather information and description about the Malay costume in Kampong Ayer village at Malay Technology Museum (MTM) only therefore taking a consideration of limited info, the traces of tradition costumes extended on Museum Brunei, and Kampong Ayer Cultural and Tourism Gallery. In semester 2, my work further extended on the woven cloth and the making of woven cloth at Woven Cloth Workshop (Level 3), Brunei Art and Handcrafts Training Centre (BAHTC).
8 12M1602
SS-5205 PROJECT 2 2013
Malay Technology Museum Museum Brunei
Kampong Ayer Cultural and Tourism Gallery Brunei Art and Handcrafts Training Centre (BAHTC).
This second part will be regarding the today‟s digital museum in distribute image, text, sounds, videos and identify the requirement for the problem definition of Malay Technology Museum (MTM). A informal visit to the MTM and an interview has been conducted among few officers to outlines some their views and comments in regards to the existent gallery shows at Malay Technology Brunei (MTM).
The third stages is design the digital museum using necessary tools. The goal is to develop a digital museum system is that functions as “knowledge factory” to facilitate the generation of essential edutainment modules out of digital archives.
And the last stages is the implementation and testing the system which outlined in the second part that is problem definition. Further enhancements and modification is done as the work progress to achieve the final product.
9 12M1602
SS-5205 PROJECT 2 2013
1.0 Background information and literature survey
1.1 History of Kampong Ayer
Kampong Ayer means “Water village” is the oldest functional and the settlement area in the asian region and biggest settlement ever built on water in the country. All the building are built over the Brunei River, stands on stilts and connected by broadwalks (Jambatan)
Dubbed as “Venice of the East‟ or “Floating City” by Antonio Pigafetta , Kampong Ayer indeed display the unique historic and important role in shaping Brunei‟s history. Today Kampong Ayer is still standing firm and land mark for Brunei Darussalam.
The existence of Kampong Ayer has acknowledgement from the foreigner who came to visit Brunei starting with the Chinese in the 10th century and followed by the European in the 15th century.
Early description record from western writers:
Antonio Pigafetta in 1521 wrote:
“The city is built in salt water, except the houses of the King and certain chiefs. It contains 2,500 hearths (families).The houses are all constructed of wood and built up from the ground on tall pillars. When the tide is high, women go in boats through the settlements selling articles necessary to main life”.
Francisco de Sande in 1578 wrote:
“The city was big and rich, and was built over a broad and deep river and has the appearance of another Venice. The buildings were of wood, but the houses were excellently constructed, many of the gilded, especially the king’s place which was of huge size…”
Boxer Codex recorded in 1590-1593:
“About a league and half from Muara, on the banks of the Brunei Rivers is the ruler palace and main administration Sultan Brunei, inhabited by the 8,000 people, who live in house built on the water. The houses are made of wood and nipah roof. Almost all the house are built too close and therefore very easily caught on fire in the event of fire. To access to the city, transportation use is by using a small boat (bancas) which can be found many along the river…..”
10 12M1602
SS-5205 PROJECT 2 2013
In history of Brunei, the existent of Kampong Ayer is said to begin during the reign of the first ruler Awang Alak Betatar in the middle of 14th century. Initially Kampong Ayer is situated near river in front of Kota Batu as it is stated:
According to one legend, the first Kampong Ayer was supposed to be around the area in front of Kota Batu (Stone Fort). The later was built during the 15th century at the cress of Brunei greatness.1
Sultan Hashim Jalilul ‘Alam Aqamaddin , 25th Ruler (1885 – 1906), the last palace built at Kampong Ayer, before moving to land site. The Palace is also known as Kota Batu Palace.
Kampong Ayer has moves to a place that exist today during the reign of Sultan Abdul Kahar. The uniqueness of Kampong Ayer can only be compared to Venice city, a floating city in Italy which are very famous as stated by Adams to Brunei in the year 1843. Adam recorded include:
Brunei really truly a city that nurtured on the water, and although the city is not so precise similarities with Venice city, but it reminds us of a magnificent city on the water, because no trace of human neither human footprints to the door and down the fence.2
1 Haji Abdul Latif Haji Ibrahim1970. “Padian – its Market and Women Vendors”.The Brunei Museum Journal.Vol 2, No1 2 Sejarah Brunei Untuk Tingkatan Menengah Rendah 1978. Brunei : Dewan Bahasa dan Pustaka. p34 11 12M1602
SS-5205 PROJECT 2 2013
1.2 Early notes on Brunei dress.
There are few accounts that describe how early Bruneians were dressed. Perhaps the summary of available information as presented here will stimulate further research.
Chau Ju – Kua achieved many things about the life of local communities, including how to dress and body adornments. Their clothing is made from a plant called Ki – Pei. Threads of the plants are woven before made clothes. Cotton cloths are also used and for the rich, they use silk and golden-woven cloth. One of the women dress is called Sarong and for the rich they wear cotton sarong with variety of patterns and colors, as well as a silk sarong and golden woven fabric.
The first European report on Brunei dress was written by Ludovico Varthema of Bologna in 1505: “The People are Pagan and men of good will. Their color is whiter than of the other sorts (i.e the other natives). The dress is cotton shirt, though some go dressed in ciambelloto; some wear red hats” (Nicholl 1975).
For body jewelry, they use tools from a variety of materials, including gold, silver, copper, glass and beads. Gold jewelry used by the wealthy such as rings, earrings and bracelets. Gold ring plays important role in wedding ceremonies and as a wedding gift. For the less fortunate, they use jewelry made from brass, glass and beads. Chua Ju – Kua noted that traders from China sell various types and colors of beads at Brunei Port and a high demand from the local community.
(Refer to Figure 1.3b)
12 12M1602
SS-5205 PROJECT 2 2013
1.3 Daily Attire vs ceremonial attire
In any culture, the clothes worn can be grouped into two main categories: ceremonial and daily attire. Ceremonies requiring formal dress include state functions, weddings, and religious occasions.
1.3.1 Casual Attire
The men normally wore kain or ankle-length shorts with Baju Ambit or shirt of light material as their casual clothing. The reason for such wearing is because of the hot climate in Brunei. Sometimes a hat made of woven bamboo split called Seraong was used for outdoor activities. The women wore Baju Kebaya or Baju Buntak also known as Baju Potong as indoor clothing. Baju Pontong was a blouse with elbow-length sleeves with a round or high collar neck. It was worn over a floral or batik pattern sarung or kain pelikat. The baju were normally made by the family member, while the sarung or kain pelikat obtainable at local markets was said to have originated from a town in India called Pulicat (Edric Ong 1991)
(Refer to Figure 1.3a & b)
13 12M1602
SS-5205 PROJECT 2 2013
a) Padian b) Pengalu
Seraong Laki Seraong Bini
Figure 1.3a) Daily dress for Kampong Ayer People
[Photo: Daily dress for women, men and children (Source: Malay Technology Museum)]
14 12M1602
SS-5205 PROJECT 2 2013
Figure 1.3b) Body Jewelry
[Photo: Body Jewelry (Source: Kampong Ayer Cultural & Tourism Gallery)]
15 12M1602
SS-5205 PROJECT 2 2013
1.4 Ceremonial Attires
The most prominent costume is the “National Dress‟ (Baju Kebangsaan) called Baju Cara Melayu for men and Baju Kurung or Baju Kebaya for women.
1.4.1 Baju Cara Melayu
Baju Cara Melayu comprises a tunic or loose long sleeves shirt (baju), a pair of loose long pants or trousers (seluar), a samping or sinjang (a sarung worn around the waist over the shirts and pants), a kopiah or songkok (headgear) (Refer to Fig 1.4a). The Baju Cara Melayu is normally worn with a black velvet songkok. During an ordinary function, songkok can be either black or white. Black is the most common one worn by Bruneians, while white is exclusively worn by Tuan Haji, those who have gone on pilgrimage to Mecca. [2]
There are three types of Baju Cara Melayu, namely: Telok Belangah, Baju Cara Melayu Cekak Musang (Figure 1.4e) and Baju Cara Melayu Begulambir . There is only a slight.differences among the three, for example, Baju Cara Melayu Cekak Musang and Baju Cara Melayu Begulamir both are designed with a high round collar, while the Baju Cara Melayu Teluk Belanga has does not have a collar. The Baju Cara Melayu Begulambir has a square cloth-cum-handkershief attached onto the front neck which differentiates it from Baju Cara Melayu Cekak Musang. [2]
[Photos : Baju Cara Melayu wear during religion ceremony (Source : Brunei Museum)]
16 12M1602
SS-5205 PROJECT 2 2013
1.4.1.1 Baju Butang Lima
During the 1930‟s another garment called Baju Butang Lima was the most common dress worn by men when attending specific functions. This was a long-sleeved, hip-length blouse with an open from tunic fastened with five small buttons and worn with a pair of loose trouser and a sinjang. [2]
1.4.2 Baju Kurung
The Baju Kurong was introduces from Malaysia in the 1900s. It comprises of a long sleeved and knee- length blouse and an ankle-length skirt commonly called Batek sarung. For an ordinary function, Baju Kurung and tudung worn can be of any color, pattern or design (Refere to Figure 1.4i)
1.4.2.1 Baju Kebaya
It is believed that the word „Kebaya‟ is derived from the Arabic word „habaya‟, meaning a long tunic with a front opening. The Baju Kebaya is a long-sleeved blouse that is worn over an ankle-length skirt called Kain Lapas or Kain Sarung. There are four types of Kebaya worn by women, locally known as Kebaya Panjang, Kebaya Labuh, Kebaya Buntak/Pendek and Kebaya Bandung. [2]
Kebaya Panjang (Long Kebaya). The Kebaya Panjang is a knee - length , long-sleeved blouse, worn over a kain lapas or a kain sarung. The Kebaya blouse is often elaborately embroidered with floral designs on the cuffs and the front lapel. The neckline is usually „V‟ - shaped. The Kain lapas is an ankle length skirt made either cotton or silk, interwoven with metallic or gold threads, or of batik cloth. A kain sarung is a ankle-length tubula skirt tubical shaped that results from wrapping a cloth around the hips. It is either made form plain coloured cotton, silk , interwoven with metallic or gold threads or of patterned - batik. (Refer to figure 1.4g) [2]
Kebaya Labuh (Loose Kebaya). This Kebaya is a loose - sitting long blouse worn with the Baju Pontong as an undergarment. The blouse is designed with some small buttons as fasteners. Kebaya Panjang is normally worn by older women because it does not accentuate the shape of the body of the wearer as compared to the other Kebaya. (Refer to figure 1.4c) [2]
Kebaya Bandung. The Kebaya Bandung consists of a long – sleeve blouse that is hip – length, and usually made of cotton material and worn over an ankle – length kain kapas or sarung or patterned batik. The most peculiar feature about the Kebaya Bandung is that the edge of its bottom front blouse is cut into a „V‟ shape and this differentiates it from the Kebaya Buntak. (Refer to Figure 1.4) [2]
17 12M1602
SS-5205 PROJECT 2 2013
a) Songkok b) Salendang
c) Kebaya
Labuh d) Kebaya Bandung e) Baju Cara Melayu
f) Kebaya g) Kebaya h) Kebaya i) Baju Kurung Labuh Panjang Bermasuk Butang Lima Figure 1.4. Ceremonial Attire
18 12M1602
SS-5205 PROJECT 2 2013
[Photos : Type of Ceremonial Attire for Male & female (Source : Brunei Museum)]
During religious activities, such as the Maulud celebrations, Al- Quran recital competitions and Bertahlil ceremonies, the Malay men wear Baju Cara Melayu while the Malay women wear Baju Kurung or Kebaya and it is a must for the ladies to cover their heads with scarves (tudung)(fig 1.4b). In a more casual religious function such as Doa Selamat, it is common to see men wearing simple Gamis or Baju Cara Melayu with Kain Pelikat. [2]
1.5 Wedding Attires
In Malay wedding, it is a must to wear “Kain Jongsarat” a traditional cloth made of cotton threads interwoven with an intricate pattern of a gold or silver threads to produce strikingly beautiful patterns. For the bride, the cloth is made into Kebaya Panjang or Baju Kurung, embroidered with floral patterns. It is usually worn over a beautiful sarung with intricate edging. It comes with a matching salendang (a long scarf). The bride also wears a glittering veil with a tiara on top of her head. The cloth is made into a wedding suit for the bridegroom consisting of a shirt, trousers, a four inch wide waistband, a samping, (a knee- length sarung wrapped around the waist) and a dastar (headgear). (Refer to fig 1.5f & 1.5 g)
Another type of wedding attire for men is a knee- length jacket call Baju Jubah (Figure 1.5b), introduced to Brunei in the 1940‟s. The Jacket is worn over a long sleeved shirt and a pair of trousers or a Baju Cara Melayu. On some occasions, a long blouse (knee – length) called Baju Gamis (Figure 1.5a) was also worn as alternative. This costume was worn by the groom on the third day of the wedding ceremony, called „Muleh Tiga Hari‟(literally means the day when the bride and groom return back to the groom‟s family after a three days stay with the bride family).The Gamis (Figure 1.5a) was either made of Polyester or silk and normally white in colour, while the tengkolok was made of voile (kain kasa). (Refer to Figure 1.5g)
[Photos : Types of attires wear by a women and men wedding or religion ceremony (Source : Brunei Museum)]
19 12M1602
SS-5205 PROJECT 2 2013
a) Baju Jubah Berlapis b) Baju Jubah c) Kebaya Panjang d) Kebaya Gamis Buntak
e) Majlis Malam g) Dastar & Sarban Berdedak
f) Majlis Bersanding
Figure 1.5 Various of wedding attires, and Dastar
[Photos : Wedding Attire (Source : Brunei Museum)]
20 12M1602
SS-5205 PROJECT 2 2013
Another dress option for the bride is Baju Bermasuk Butang Lima (literally a blouse with five buttons) worn over a kain jong sarat, a traditional sarung, woven elaborately with intricate floral designs. It was secured at the waist with an ornate gilted silver belt or sometimes a gold one (for the wealthy). The Baju Bermasuk Butang Lima is a long sleeved collarless blouse of hip – length tunic either made of satin, cotton, polyester or silk. Similar to the groom‟s attire, the bride attire was also bright un colour preferably purple, red or green.(Refer to Figure 1.5c)
1.6 Waving Cloth
Cloth weaving is a cottage industry which has long existed in Brunei. It started since the Chinese travelers came to Brunei and brought with them gold, silver and silks in exchange for local goods such as camphor and spices.
At present cloth weaving is still being carried own privately by some families in Kampong Ayer. They are the pride of Brunei Darussalam and the Kampong Ayer Communities in particular as they have inherited and preserved the industry. The woven cloth is usually worn during royal ceremonies, official state function, wedding ceremonies and religious functions. It is also given as souvenirs and wedding gifts.
1.6.1 Types of Woven Cloth
Woven cloth can be produced in various attractive patterns like Jongsarat, Kain bertabur, Sipugut, Sukma Indera, Silubang Bangsi and many more.[26]. Most of the woven motives are fashioned based on local plants and flowers that are transformed into geometrical forms of various attractive patterns that are distinctively identified by their given names such as jongsarat (“boat-full-passanger” woven cloth), kain bertabur (“brightly-scatted stars” woven cloth), sipuggut (“ruffian” woven cloth), sukmainder (“eye-of-the –soul” woven cloth), silubang bangsi (“hole-of-flute” woven cloth), and arap gagati (“slanting-cuts”woven cloth). {Fig 1.6] [Source : Tool Information at Gallery 2 Malay Technology Museum).
a) Kain Berbelitang b) Kain Silubang Bangsi Sutera Bepakan Thailand Capak Catur
21 12M1602
SS-5205 PROJECT 2 2013
c) Kain Silubang Bangsi d) Kain Jongsarat Biasa Punca Bepakan Bunga Cempaka Sari Diujung
e) Kain Jongsarat Bepakan g) Kain Silubang Bangsi (kain Pegawai) Bepakan Bejalur Pecah
h) Kain Silubang Bangsi i) Kain Sipugut Bepakan Bunga Cantik Biasa
22 12M1602
SS-5205 PROJECT 2 2013
j) Kain Silubang Bangsi k) Kain Silubang Bangsi
Bepakan Berjalur Pecah Berpakan Sutera Thailand
l) Kain Silubang Bangsi Pakan Selambar m) Kain Beragi Berbubut
n) Tampang Sirat Angkat o) Kain Silubang Bangsi Balang 2 Bepakan
[Photo: Kain Tenunan Brunei displayed at Gallery 2 Malay Technology Brunei (Source: Malay Technology Museum)]
Figure 1.6 Types of Woven Cloth
23 12M1602
SS-5205 PROJECT 2 2013
1.6.2 The ‘ Petenunan’ (Weaving Machine).
Cloth weaving was usually done by woman working labourously on the handloom, known as Petenuan (Fig 1.7), to produce intricate designs made with superior quality threads.
[Photo: The original „Petenunan‟ (Weaving Machine) [Photo: The „Petenunan‟ (Source: Malay Technology Museum)] (Source: Water Ayer Cultural & Tourism Gallery)]
Figure 1.7 Petenunan (Waving Machine)
24 12M1602
SS-5205 PROJECT 2 2013
1.7 Evolution of Brunei Traditional Dress.
The major evolution of Brunei traditions occurred much later with the arrival of Islam in the 14th Century. This was accelerated when its ruler, Maharajah Alak Betatar embraced Islam. During his reign Islamic influence increased significantly in Brunei and the country become a new centre of dissemination of Islam. This eventually led to the conversion of all the coastal population (B.Sellato 1989:16).Under the Islamic ruler, Brunei began to develop its administrative system based on Islamic teaching
From the 16th century onward, Europeans added to the mixture with the arrival of Portuguese, followed by the Spanish, Dutch and finally the British. In 1906 Brunei become a British protectorate, and was governed by the introduction of a residency system. The core of Brunei Tradition today is the doctrine knows as MIB (Melayu Islam Beraja or Malay Islamic Monarchy), a concept that integrates the language, culture and the Malay customs, teaching of Islamic Laws and values and the Monarchy System of Administration.
It would appear that the foreign influences in dress forms have had a greater impact on clothes worn for daily activities. Clothes worn for special cultural and religious occasions have changed very little.
25 12M1602
SS-5205 PROJECT 2 2013
2.0 Introduction and problem definition
2.1 Digital Museum
As defined by the UK Museum Organization in 1998. “Museums enable people to explore collections for the inspiration, learning and enjoyment. There are institutions that collect, safeguard and make accessible artifacts and specimens which they hold in trust for society.”[7]. Conventionally museum disseminate and communicate the meanings of cultural heritage and play a vital role in the advancement of human cultures. The essential activities of museums are naturally more multifaceted and include collections, preservation, research, exhibitions, education and entertainment.
The Development of Web and Multimedia technologies has significant changes the museum collection which now be digitized and disseminated using advanced media and network technologies. The transformation of physical museums into digital museums offers the possibility of having knowledge accessible to worldwide researchers as well as the general public. Moreover, the digital museum can now be within the reach of our educational, entertainment, or economic systems,
The Digital Museum is a computer aided museum. In contrast to the typical digital Museum, we can not only see many actual exhibits as the same as usual museums, but access multimedia databases to acquire more information with kiosk terminals. Its focus on conserving, cataloging, accessing and tracking the usage of digitized materials, and a digital museum is a virtual entity in which sets of museum artifacts and a variety of interactive edutainment activities connected by specific themes are placed in an integrated environment. The online activities provided greater public awareness of the collection deposited. There are several factors pertaining to the development of digital museum such as intellectual efforts, financial consideration, technological advancements, and overall design requirements for the museum‟s application point of view must be investigated.
2.2 Background and related work
Today‟s digital museums utilize a variety of media types in their online collections. Common media types range from simple test to interactive panoramic images. Using digital technologies, museums ca offer vast collections online for thousands of virtual visitors. This sections provided background on common media deployed in digital museums.
Text and still images
The core buildings in most online museums are composed of both textual description of artifacts and still digital images, captured with digital cameras or digitized from traditional photographs using scanners.
26 12M1602
SS-5205 PROJECT 2 2013
In recent years, museums have undertaken the arduous task of digitizing artifacts such as painting, sculptures, and documents. Using a variety of imaging techniques, these digitized artifacts are made available over the Internet for users to browser at their leisure. The emergence of digital image collections has been brought about through existing technologies (such as the World Wide Web, scanners, digital photography, and the JPEG image compression standard) and new techniques developed to simplify and manage the processes of digitalization, organization and distribution.
Video and audio
Several digital museums have film archives or short video clips as part of their collections. Using standardized video representation such as MPEG or AVI, museums can digitize artifacts in a way that offers a unique experience for visitors. One drawback of video collections is the added storage and communications cost. For large video filed the time required for a user to download an entire video clip can be excessive, even when using a broadband network connection. To overcome this limitation, video streaming technologies have been developed to stream data to the user, allowing them to process data as they arrive rather than waiting the for the entire datafile. Several commercial products are available for video streaming, including RealNetworks‟ Real Player and Microsoft‟s Windows Media Player.
In addition to video archives, many digital museum collections contain audio clips. Standardized audio format, such as MP3 or WAV, can be used to store audio files. Decoders for these formats are usually integrated into Web browsers for easy downloading and decoding by museum visitors. Like video, audio files can be large in size and streaming technologies have been developed to ease distribution. Again both Real Player and Windows Media Player support streamed audio.
[Photo: Video exhibits at Kampong Ayer Cultural & Tourism Gallery)]
MTM Gallery 1 Tour.m2ts
27 12M1602
SS-5205 PROJECT 2 2013
Interactive Media
More recently digital museums have begun to incorporate interactive media types into their collections. These media types can enhance the experience of digital museum visitors by allowing users to interact with digital artifacts. Java – based applets, Flash and Shockwaves files have been used to create dynamic online exhibits at a number of digital museums.
In an attempt to represent virtual places, many digital museums have incorporated interactive panoramic images that allow a user to look around a scene as if standing still and turning their head. This technology has developed Quicktime VR [8] and is now widely deployed using tools from companies such as IPIX [9].
Quicktime VR and its derivatives offer more interactivity than still images, but user still lack the ability to choose a path through the environment. The eyepoint is restricted to a single point in space, and the user has control over the gaze direction.
An example of interactive models is shown in video below. This video is taken at exhibition gallery ODGC Seria.
ODGC 1.MOV
ODGC 2.MOV
2.3 The Overview of ARCO System Architecture.
The goal of the Augmented Representation of Cultural Objects (ARCO) system [10] is to develop innovative technologies and expertise to help museums create, manipulate, manage and present small to medium artifacts in virtual exhibitions both internally within museum environments and over the Web.
Overview of ARCO System Architecture
28 12M1602
SS-5205 PROJECT 2 2013
2.4 Metadata Requirement
Metadata requirements as well as ARCO system have evolved the process of iterative refinement. In accessing the requirements, the following aspects were taken into account: user requirements, functional requirements, and interoperability and standards
User requirement
The several groups are identified as users the system [11]. Each of these groups has different metadata requirements.
. A Cataloguer
. A Photographer
. An Object modeler
. An Object refiner
. An Exhibition Designer
. The End User
Functional requirements
Functional requirements and technical constraints were investigated for individual parts of the system: artifact selection, digital acquisition, storage and management, model refinement , building exhibitions and visualization using a number of scenarios (remotely over the Web, touch- screen displays in-house within museum, and table – top AR environments).
Interoperability and standards
Interoperability mainly two levels: in terms of internal data exchange and in terms of the system in communication with other external systems. Data exchange in ARCO is based on the W3C Recommendations, XML and XML Schemes (XSD)[12]. ARCO specifies an internal format, the XML Data Exchange format (XDE), which is used within the system for interaction between the components.
Use standards is important for any standards is important for any system intending to operate in a context wider and in particular in the heterogeneous environment of the Web. ARCO makes uses of several different standards: Internet (HTML, HTTP); 3D graphic (X3D[13], VRML [14], OpenGL [15]; W3c Recommendations (XML,XSD); and meta standards and best practice (Dublin Core, SPECTRUM).
29 12M1602
SS-5205 PROJECT 2 2013
2.5 Problem Description.
The ultimate goal of our project is to enable to design a digital museum by reflecting Malay Technology Museum (MTM) as the consideration. Initially investigate with, by examine the scenario the exhibitions gallery and collection of data in the Museum.
2.4.1 Malay Technology Museum
Malay Technology Brunei has been opened since 1998. The buildings standing in front on the banks of the Brunei River below the Brunei Museum, it is situated at Kota Batu, 7 km from Bandar Seri Begawan, the capital of Brunei. The Malay Technology Museum represents certain aspects such appearances, culture, characteristics, custom, dialect, architecture, material culture of the ethnic Brunei Malay.
The Malay Technology Museum has three main exhibition gallery namely:-
Gallery 1 – Water Village Traditional Houses This gallery exhibits architectural structure of houses in the water village in the 19th century up to mid 20th century that has evolved over the last 150 years. There are six models of traditional house displays in the show gallery namely: Belah Bubung House, Loteng House, Belah Bubung Berserambi House, Potong Limas House, Belanggar House and Tungkup House. (Source : Malay Technology Museum info)
Gallery 2 – Water Village Traditional Technologies This gallery display several types fishing traps and traditional cottage industries practice by the people of kampong ayer such as cloth – weaving, both making, gold, iron and silver smithing as well as brass – making. (Source : Malay Technology Museum Info)
30 12M1602
SS-5205 PROJECT 2 2013
Gallery 3 – Traditional Technologies of Other Indigenous Ethnic Groups
This gallery shows the indigenous technologies of the inland people such as method of sago, brown sugar processing, hunting and handicrafts are also exhibited.
It also shows models of the Kedayan, Dusun and Murut house and a Punan hut.
(Info : Malay Technology Museum source)
Malay Technology Museum (MTM) offers exhibits its gallery showcase in a traditional style where offers a centralized location for access to these materials, making information more accessible to visitors. The use of video movies about the history of cannon, shows a progression towards implementation digital museum.
Here are some outlines views from museum officers.
The first critical limitation of Malay Technology Brunei is restricted exhibition space. The museum has only a small percentage of their collections on display at any given time. The majority of museum‟s holding are often held in storage, hidden from visitors and available only for special exhibits. Geography. A physical building can only be at one place at a time. This makes any given collection inaccessible to the great majority of the world‟s population simply because it is located in a remote location.
From the information gathered from the ICT section, at the present the production of virtual gallery of Malay Technology Museum (MTM) is still in progress and yet it is going to be launch to be public soon.
Virtual Gallery1.m2ts
Some comments regarding the exhibitions gallery in Malay Technology Museum (MTM)
Audio - Video
31 12M1602
SS-5205 PROJECT 2 2013
It should display documentation film of the past history so the visitor can view & feel the real situation rather than a stand still dummy to act a characters showing the techniques used by the indigenous tribes of the interior for food gathering, agriculture and hunting.
All of the collection artifacts item displays on the showroom are static. No interactive multimedia exhibits within the museum for visitors . It should consider methods of increasing visitor interaction such as integrating audio and digital video elements into existing displays to provide feedbacks to visitors. Virtual Graphic can be used to enhance the object observation display with 3D dimension view representation and 3600 view position for every side of angle.
Static Tool‟s Information
The Panel Board use to display the information text. Create the tool‟s information or Panel board by create interactive and entertaining interface.
Collection Catalogue Still using a manual database to store the catalogue collection Utilize digital museum software for efficient recording and managing collection of data. i.e Adlib Museum software .
Due to the limitation in Museum Technology Brunei (MTM), the significant of the problem definition is to solve by transforming the MTM to Digital Museum.
2.6 Scope of Work
32 12M1602
SS-5205 PROJECT 2 2013
The objective of the work will be focusing on Kg Ayer Malay costume. Planning of work task carried out are:
. Collecting any information (text, image) regarding the Kg Ayer costume. . Develop a video and audio. . Develop interactive media.
Therefore to accomplish the work, some software requirement and hardware requirement which is the significant part in developing the digital media. As progression work goes along, refined and modification will be made.
Software used:
. Adlib Museum of Digital Media
A unique virtual space designed to showcase and preserve groundbreaking digital work and to present expert commentary on how digital media influences culture and society.
Adlib software provides managing features record collection‟s catalogue Museum information data in form of text and image. It is has features easy to use, user – friendly interface, good workflow management, wide collection management /museum and expansion possibilities (e.g internet access, mobile access, API – Application Programming Interface).
The application has a clear screen layout, instinctive interfaces context – related help files, extensive validation files and standard spell checker (Thesaurus).
The record has fields logically grouped under a series of screen tabs (forms) for easy navigation. Users can used to link an existing image to an object record i.e Word document, Excel spreadsheets and PDF files.
33 12M1602
SS-5205 PROJECT 2 2013
. 3d max 7.0 Autodesk® 3ds Max® and Autodesk® 3ds Max® Design software provide powerful, integrated 3D modeling, animation, and rendering tools that enable artists and designers to focus more energy on creative, rather than technical challenges. The products share core technology, but offer specialized toolsets for game developers, visual effects artists, and motion graphics artists along with other creative professionals working in the media design industry on one hand; and architects, designers, engineers, and visualization specialists on the other.
. Bryce 7.1 Software
Bryce is a feature-packed 3D modeling and animation package designed to allow new users to quickly create and render stunning 3D environments. Bryce combines exceptional power with an innovative interface for incredible ease of use. Add wildlife, people, props and more to your scenes via the DAZ Studio character plug-in in addition to terrain, water, sky, rocks, clouds, fog, vegetation, and architecture for which Bryce has long been the standard.
. Adobe flash CS4 and Adobe Flash CS5
Adobe Flash (formerly Macromedia Flash) is a multimedia platform used to add animation, video, and interactivity to web pages. Flash is frequently used for advertisements, games and flash animations for broadcast. More recently, it has been positioned as a tool for "Rich Internet Applications" ("RIAs").[14]
Flash manipulates vector and raster graphics to provide animation of text, drawings, and still images. It supports bidirectional streaming of audio and video, and it can capture user input via mouse, keyboard, microphone, and camera. Flash contains an object-oriented language called ActionScript and supports automation via the JavaScript Flash language (JSFL).
34 12M1602
SS-5205 PROJECT 2 2013
3. 0 Design the Digital Museum
3.1 System Design
The goal to develop a digital museum system is that functions as “knowledge factory” to facilitate the generation of essential edutainment modules out of digital archives.
Systems design is the process of defining the architecture, components, modules, interfaces, and data for a system to satisfy specified requirements. One could see it as the application of systems theory to product development. There is some overlap with the disciplines of systems analysis, systems architecture and systems engineering.[16]17]
The physical portion of systems design can generally be broken down into three sub-tasks:
1. User Interface Design 2. Data Design 3. Process Design
User Interface Design User Interface Design is concerned with how users add information to the system nd with how the system presents information back to them. According to studies by User Interface Engineering, using a search mechanism leads users to information of interest les frequently than links (1997). That facts places an ongoing premium on the ability to carefully structure and chunks information for user.
Data Design Data Design is concerned with how the data is represented and stored within the system. With easily available computer storage and increasingly sophisticated search mechanisms, communicators have little technical incentive to limit information.
In presenting the data, it is learned that readers do not prefer to read a long passages of text on a computer screen, electronically distributed books not understanding (March 1997).Simulation can be used recreate the environments for users. Layers Interfaces to match user‟s experience levels and layers help systems to match users‟ appetite for information (Wilson 1994).
35 12M1602
SS-5205 PROJECT 2 2013
Process Design Process Design is concerned with how data moves through the system, and with how and where it is validated, secured and/or transformed as it flows into, through and out of the system.
3.2 Overview of System Architecture.
The architecture of the ARCO system is component base. The goal of the Augmented Representation of Cultural (ARCO) system [10] is to develop innovative technology and expertise to help museum to create, manipulated, manage and present small to medium artefacts in virtual exhibitions both internally within museum environment.
Designing Virtual Exhibitions
CONTENT PRODUCTION
Acquisition
CONTENT CONTENT Modeling MANAGEMENT VISUALIZATION
SOFTWARE DATABASE Presentation Refinement
Fig 3.1 Component Based System Architecture
3.3 Data Flow Diagram.
As indicated in Sec 3.2 , the process of creating virtual environments can be broken down into a pipeline of discrete and independent process. Hence each individual parts of the system: artifact selection, digital acquisition, storage and management, model refinement, building exhibitions and visualization using a number of scenarios (e.g touch – screen display in-house within a
36 12M1602
SS-5205 PROJECT 2 2013
museum and table - top AR (Augmented Representation) environments.
Curator Curator Photographer Catalogue Modeller Exhibition End User Designer
Artefact Digital Data Model Building Visualisation Selection Acquistion Management Refinement Exhibitions
Create and Create and Select objects, Browse, search Browse and Describe describe a digital describe a digital metadat, set and display search objects catalogue and surrogate of an surrogate of an visualization objects and and metadata group objects artefact artefact properties metadata
SOFTWARE DATABASE
Fig 3.2 ARCO Processes and related metadata operations
3.4 Media
The digital museums utilize a variety of media types in their online collections. Common media types range from simple test to interactive panoramic images.
Text and still images All the digital image collection will be as JPEG image standard to simplify and manage the processes of digitalization organization.
37 12M1602
SS-5205 PROJECT 2 2013
Video and audio Using standardized video representation such as MPEG or AVI, museums can digitize artifacts in a way that offers a unique experience for visitors. One drawback of video collections is the added storage and communications cost. For large video filed the time required for a user to download an entire video clip can be excessive, even when using a broadband network connection.
Interactive Media These media types can enhance the experience of digital museum visitors by allowing users to interact with digital artifacts. Java – based applets, Flash and Shockwaves files will be used to create dynamic online exhibits at a number of digital museums.
3.5 The ARCO data model
This is the sample model describes the entities, as well as the describes the entitles, as well as their relationships, which are involved in transforming a physical artifacts into digital form. By define a class, Cultural Object (CO), as an abstract representation of a physical artifacts.
This data model loosely conforms to the definitions provided in the IFLA Functional Requirements for Bibliographic Records [18], in particular the products of intellectual or artistic endeavour, i.e work, expression, manifestation and item. In ARCO, the physical object is the product of intellectual or artistic effort corresponding to a manifestation or item (denoted by curatorial metadata),whilst its digital representation (the AO) and any modification to this (RO) can be regarded as derivative expression in the FRBR sense.
Fig 3.3 ARCO Data Model
38 12M1602
SS-5205 PROJECT 2 2013
Table 1 provides the names of the metadata terms used in the AMS; a full specification can be referenced in the ARCO website [19]. The main categories of metadata include : curatorial, technical, resource discovery, thematic grouping, presentation and administrative; as they are discussed below.
Types of metadata AMS vocabulary terms
Administrative Creator, Date Created, Date Modified Source, name(title) alternative, Creator, Contributor, object production date, object production place, type, description, rights, completeness, condition, production period, Cultural Object production technique, material, dimension, components, owner, acquisition source, accession date, field collection date, field collection method, field collection place, field collector, current location. Identifier, name, creator, contributor, publisher, date created, Acquired Object description, rights, format, format extent. Refined Object Relation is version of Name, type, subject, description, date created, technique, Media Object creator, format extent, rights, skill level, person effort. Simple Image Image size, resolution, compression method, compression factorm colour depth. Description Length, character set Media Type Specific 3d max Project Software version, required extension VRML Model VRML version, number of textures, composite, animated Panorama image Number of images, step angle Multiresolution image Resolutions, software algorithms Presentation (examples) Caption text, transform, quiz question, quiz anwer
Table 1. AMS vocabulary terms associated with data model entities
3.5 Software Requirement
For initially trial design work, following software is to be used. Refined and modification will be made accordance as the work progress.
Adlib Museum
Adlib software provides managing features record collection‟s catalogue Museum information data in form of text and image. It is has features easy to use, user – friendly interface, good workflow management, wide collection management /museum and expansion possibilities (e.g internet access, mobile access, API – Application Programming Interface).
39 12M1602
SS-5205 PROJECT 2 2013
The Adlib applications consist of databases and user interfaces (tab sheets with fields, for instance) – really only a collection of data – of which the software creates a usable program. The application has a clear screen layout, instinctive interfaces context – related help files, extensive validation files and standard spell checker (Thesaurus).
Fig 3.4 Data store in Adlib Museum
The record has fields logically grouped under a series of screen tabs (forms) for easy navigation. Users can used to link an existing image to an object record i.e Word document, Excel spreadsheets and PDF files.
. 3d max 7.0 Autodesk® 3ds Max® and Autodesk® 3ds Max® Design software provide powerful, integrated 3D modeling, animation, and rendering tools that enable artists and designers to focus more energy on creative, rather than technical challenges.
. Bryce 7.1 Software
Bryce is a feature-packed 3D modeling and animation package designed to allow new users to quickly create and render stunning 3D environments. Bryce combines exceptional power with an innovative interface for incredible ease of use.
Adobe Flash CS4 and Adobe Flash CS4
Adobe Flash (formerly Macromedia Flash) is a multimedia platform used to add animation, video, and interactivity to web pages. Flash is frequently used for advertisements, games and flash animations for broadcast. More recently, it has been positioned as a tool for "Rich Internet Applications" ("RIAs").[20]
40 12M1602
SS-5205 PROJECT 2 2013
3.6 Hardware Requirement Computer with minimum specification
OPERATING SYSTEM: Genuine Windows 7 Professional APPLICATION SOFTWARE: Microsoft® Office Suite, One Note ANTI VIRUS SOFTWARE: McAfee® Anti Virus PROCESSOR: Intel® Core™ i5-520M MEMORY: 4GB 1333 MHz DDR# SDRAM (2D) HARD DRIVE: 160 GB 5400RPM SATA 1.8-inch Hard Drive OPTICAL DRIVE: Expansion base with DVD/RW EXTERNAL PORTS: (4) USB 2.0, IEEE 1394 (FireWire), VGA SCREEN: 12.1-inch WXGA UWVA anti-glare VIDEO: Intel 4 series Express chipset / 1 GB KEYBOARD AND MOUSE: Full-Sized Keyboard Dual Point BATTERY: Lithium ion 6-cell battery with AC pack MODEM: Integrated V.92 56K Modem NETWORK ADAPTER: Integrated Intel® 10/100/1000 Ethernet Adapter WIRELESS NETWORK ADAPTER: Integrated 802.11 b/g wireless
Wireless Projector for Presentation slide
Aspect Ratio 16:9 (Native) 4:3 Brightness (ANSI Lumens) 18000 ANSI Lumens Contrast Ratio 2000:1 Display Type 1.55" SXRD x 3 Resolution (Native / Max) 4K HD (4096 x 2160)
41 12M1602
SS-5205 PROJECT 2 2013
4 Implementation and Testing
4.1 Implementation Phase
It is a broad phase that contains many diverse tasks and process considerations. The implementation phase are be broken down into three sub-tasks:
Metadata management Management of museum collections, whether physical or digital, relies on the integrity of associated metadata. In addition, proliferation of digital resources has led the digital resources has led the digital library community to raise various concerns with the regard to upholding the quantity of metadata [21}[22]. Adlib Museum provides comprehensive facilities to make the metadata management as simple, easy and consistent as possible.
Fig 3.5
Metadata in visualisation interfaces
. Metadata in virtual gallery interface Virtual exhibitions can also be visualized as 3D galleries. Users can browse objects simply by walking along the exhibitions and can retrieve more detailed information using interaction elements integrated into objects stand.
42 12M1602
SS-5205 PROJECT 2 2013
. Metadata in interactive scenarios Metadata can include not only information associated directly with objects, but also information that is necessary for presenting the objects to user. This is particularly important in presentations taking the form of interactive scenarios, when users can utilize the system not only by browsing objects but also by interacting with the contents. Adobe Flash CS4 Version 10.0 will be use to create dynamic online exhibits at a number of digital museums. Flash manipulates vector and raster graphics to provide animation of text, drawings, and still images. It supports bidirectional streaming of audio and video, and it can capture user input via mouse, keyboard, microphone, and camera. Flash contains an object- oriented language called ActionScript and supports automation via the JavaScript Flash language (JSFL).
4.2 Elements in the Virtual Gallery Interface Media deployed in the virtual gallery are :
Text and still images The core buildings in most online museums are composed of both textual description of artifacts and still digital images, captured with digital cameras or digitized from traditional photographs using scanners. JPEG image compression standard is used.
43 12M1602
SS-5205 PROJECT 2 2013
GALLERY 1 – WEDDING
DRESS DESCRIPTION
Baju Jubah Berlapis Gamis
On some occasions, a long blouse (knee – length) called Baju Gamis was also worn as alternative. This costume was worn by the groom on the third day of the wedding ceremony, called „Muleh Tiga Hari‟(literally means the day when the bride and groom return back to the groom‟s family after a three days stay with the bride family).The Gamis was either made of Polyester or silk and normally white in colour, while the tengkolok was made of voile (kain kasa)
Baju Jubah
Baju Jubah, introduced to Brunei in the 1940‟s. The Jacket is worn over a long sleeved shirt and a pair of trousers or a Baju Cara Melayu
Majls Bersanding.
For the bride, the cloth is made into Kebaya Panjang or Baju Kurung, embroidered with floral patterns. It is usually worn over a beautiful sarung with intricate edging. It comes with a matching salendang (a long scarf). The bride also wears a glittering veil with a tiara on top of her head. The cloth is made into a wedding suit for the bridegroom consisting of a shirt, trousers, a four inch wide waistband, a samping, (a knee- length sarung wrapped around the waist) and a dastar (headgear).
44 12M1602
SS-5205 PROJECT 2 2013
DRESS DESCRIPTION
Majlis Malam Bebedak
Man worn Puntu, Azimat/Gimat, Sarbang, Gagatar,Kanching,Mudapun, Panding, Kuas, Keris, Kopiah Berpisnin, Gelang Garoncong, Gelang Pengaluan and Sigup Bebujung.
Woman worn Tajuk, Ayam-Ayam Bernaga, Karang Tembusa, Sisir, Bunga Goyang, Kanching and Panding
Kebaya Buntak
Kebaya Buntak consists of a figure – hugging blouse and is made to emphasize the shape of the body, and popular among the young women.
Kebaya Panjang or Baju Kurong
For the bride, the cloth is made into Kebaya Panjang or Baju Kurong, embroidered with floral patterns. The “Kain Jongsarat” a traditional cloth made of cotton threads interwoven with an intricate pattern of a gold or silver threads to produce strikingly beautiful patterns. It is usually worn over a beautiful sarung with intricate edging. It comes with a matching salendang (a long scarf). The bride also wears a glittering veil with a tiara on top of her head.
45 12M1602
SS-5205 PROJECT 2 2013
GALLERY 2 – CEREMONIAL ATTIRE
DRESS DESCRIPTION
Selendang
A long scarf worn can be of any colour, pattern or design.
Kebaya Labuh
This Kebaya is a loose - sitting long blouse worn with the Baju Pontong as an undergarment. The blouse is designed with some small buttons as fasteners. Kebaya Panjang is normally worn by older women because it does not accentuate the shape of the body of the wearer as compared to the other Kebaya.
Baju Cara Melayu
Baju Cara Melayu comprises a tunic or loose long sleeves shirt (baju), a pair of loose long pants or trousers (seluar) or kain, a samping or sinjang (a sarung worn around the waist over the shirts and pants), a kopiah or songkok. The Baju Cara Melayu is normally worn with a black velvet songkok. During an ordinary function, songkok can be either black or white. Black is the most common one worn by
46 12M1602
SS-5205 PROJECT 2 2013
Bruneians, while white is exclusively worn by Tuan Haji, those who have gone on pilgrimage to Mecca.
Baju Kurong
Baju Kurong comprises of a long sleeved and knee – length blouse or short – length blouse and an ankle length skirt commonly called sarung.
Kebaya Bandung
The Kebaya Bandung consists of a long – sleeve blouse that is hip – length, and usually made of cotton material and worn over an ankle – length kain kapas or sarung or patterned batik. The most peculiar feature about the Kebaya Bandung is that the edge of its bottom front blouse is cut into a „V‟ shape and this differentiates it from the Kebaya Buntak.
47 12M1602
SS-5205 PROJECT 2 2013
GALLERY 3 – CASUAL ATTIRE
DRESS DESCRIPTION
Braclet or Ear Weight Originated from Southeast Asian or Chinese and dated 10th to 13th Centuries A.D. Normally used by local indigenous group as part of the body decorations.
Stone Braclet A stone braclet with rounded shape. Local original and dated in the 10th to 13th century A.D. Body decorations.
The youngsters normally wore ankle-length shorts as their casual clothing.
The men normally wore kain or ankle-length shorts with Baju Ambit or shirt of light material and white songkok (Kopiah for the Haj) or black songkok as their casual clothing. The reason for such wearing is because of the hot climate in Brunei.
48 12M1602
SS-5205 PROJECT 2 2013
DRESS DESCRIPTION
The men normally wore ankle-length shorts with Baju Ambit or shirt of light material and white songkok (Kopiah for the Haj) or black songkok as their casual clothing.
The women wore Baju Kebaya or Baju Buntak also known as Baju Potong as indoor clothing. Baju Pontong was a blouse with elbow-length sleeves with a round or high collar neck. It was worn over a floral or batik pattern sarung or kain pelikat. The baju were normally made by the family member, while the sarung or kain pelikat obtainable at local markets was said to have originated from a town in India called Pulicat. A hat made of woven bamboo split called Seraong Bini was used for outdoor activities
For outdoor activities, the men normally wore long-length shorts with Baju Ambit or shirt of light material as their casual clothing. A hat made of woven bamboo split called Seraong Laki was used for outdoor activities
49 12M1602
SS-5205 PROJECT 2 2013
IMPROVISED DONE
The design of a new gallery for woven cloth is constructed.
GALLERY 4 – WOVEN CLOTH
ITEMS DESCRIPTION
Most of the woven motives are fashioned based on local plants and flowers that are transformed into geometrical forms of various attractive patterns that are distinctively identified by their a) b) given names such as jongsarat , Kain Betabur, sipuggut, sukamaindera , silubang bangsi and arap gagati.
a) Kain Sepugut
b) Kain Jongsarat Bepekan (Kain Pegawai) c) d) c) Kain Sukmaindera Bepekan d) Kain Silubang Bangsi Bepekan
The woven cloth is usually worn during royal ceremonies, official state functions, wedding ceremonies and religious function.
Man wear „baju melayu„ and „dastar‟ means Malay and Brunei „sinjang‟ of woven fabric that is specially designed.
For the representation of women was their „baju kurung‟ or „kebaya‟ wearing and woven fabric Brunei nipped from the same pattern. Beside from being used as a dress, it is also used as ornaments and gifts as souvenirs.
50 12M1602
SS-5205 PROJECT 2 2013
„Melawaie‟ work means assembling the thread to make „Benang Karap‟ by using „lawaian‟ tool.
Two pieces of „Lidi‟ are inserted within the assembled threads with the aim to determine the position of the thread so that the thread is organized and not to be tangled.
Cloth Weaving was usually done by women working laboriously on the handloom, known as „Petenunan‟, to produce intricate designs made with superior quality threads.
When all the preparations and compiler tools are available, „inanai‟ is then raised to „petenunan‟ to start weaving. Before the weaving begins, the design of the pattern of the fabric must be prepared in advance on a graph paper to give earlier picture as guide to the weavers and to detect if there is a occurrence of any error in patterning the fabric. Both hands and feet play a vital role in moving and shaping the fabric pattern.
Meliring thread is a process of winding the thread into „buluh lakan„ by using „liring’ and ‘undar – andir’ tool.
„Undar – andir’ is used for storing yarn to be wound up while „liringan’ serves as a tool for winding yarn to spin the yarn into ‘buluh lakan „ so that the yarn did not tangled. The „liringan‟ and „Undar – andir‟ rotate in the same position.
51 12M1602
SS-5205 PROJECT 2 2013
Video and Audio
The short – film video
. Woven – cloth (Tenunan) . Kg Ayer
Woven – cloth (Tenunan) short film
Sony DCR – SX20EK Handycam specification used:
1/8 CCD with Advanced HAD Technology Sony 50x Optical Zoom Lens SteadyShot Face Detection Technology 2.7 (6.9 cm) Clear Photo LCD with wide viewing angle 4GB Memory Stick PRO Duo included
Tripod is not available.
Notes :
The video shoot on Woven Cloth (Tenunan) was taken in Week 6 , March by using the above Sony handcam specification.
Comment :
• The camera angle marks the specific location at which a video camera is placed to take a shot. Previous video shoot , the scene shoot is only in neutral view camera angle. Therefore improvised the scene shot from several camera angles.
Fig 3.6 Movement of the camera angle within 180 degree
The video end up looking shaky, because the camera is not mounting on a tripod.
52 12M1602
SS-5205 PROJECT 2 2013
• Adding some scene examples scene 5 – Placing the threads in Karap (I managed to take the shoot as at the time one of the instructor are working on initial stage of the waving)
Notes :
The reshoot video on Woven Cloth (Tenunan) is taken in Week 9, March by using the below Sony handcam specification.
Sony HDR-XR520 240GB High Definition Handycam 'PAL' Camcorder
1920 x 1080 HD 12.1 MP still image capture 240GB HDD 1/2.88" Exmor R CMOS 37mm G-Lens 12x Optical Zoom 3.2" Wide Xtra Fine LCD Optical SteadyShot 0.27" Viewfinder Face Detection & Smile Shutter
Tripod is available.
• Shoot video of Woven Cloth Video Structure : . Venue – Woven Cloth Workshop / Exhibition Gallery Brunei Art and Handcrafts Training Centre (BAHTC) . Play Duration – 4 Minutes and 36 seconds . Shooting Video - 200 Shots . Editing - 36 Shots . Voice over . Music Background – Rilex Instrumental Music . Standard Video Format - fvi . Video Streaming - RealNetworks‟ Real Player / Microsoft‟s Windows Media Player. Contents Elements: 1. The Woven cloth. 2. The making of woven cloth activity. 3. The wearing of woven cloth.
53 12M1602
SS-5205 PROJECT 2 2013
Video Storyboard - Woven Cloth (Kain Tenunan)
NO VIDEO AUDIO
(Music swells) 1 Instrument Music
(Instrumental Music background is heard).
Female presenter voice – over:
2 Handicraft enterprises woven fabric is a tradition that has existed since several centuries ago and is still operated by the Brunei Malay society.
54 12M1602
SS-5205 PROJECT 2 2013
NO VIDEO AUDIO
(Instrumental Music background is heard).
Female presenter voice – over:
Weaving work as a whole is done by women because it requires patience, 3 concentration and care in producing attractive and perfect weaving.
Before weaving works begins, preparation will be done in stages from initial preparation to raise „inanai‟ to „Petenunan‟.
(Instrumental Music background is heard).
Female presenter voice – over: Initial process for waving cloth is preparing the „Benang Karap‟ (Karap Treads) 4 „Melawaie‟ work means assembling the thread to make „Benang Karap‟ by using „lawaian‟ tool.
Two pieces of ‘Lidi’ are inserted within the assembled threads with the aim to determine the position of the thread
55 12M1602
SS-5205 PROJECT 2 2013
NO VIDEO AUDIO
(Instrumental Music background is heard).
Female presenter voice – over:
„Meliring‟ thread is a process of winding 5 the thread into „buluh lakan„ by using „liring’ and ‘undar – andir’ tool.
„Undar – andir’ is used for storing yarn to be wound up while „liringan’ serves as a tool for winding yarn to spin the yarn into ‘buluh lakan.
(Instrumental Music background is heard).
Female presenter voice – over:
All the ten rolled threads in „buluh lakan’ is than arranged on the „anian‟
„Anian‟ is used to measure how many woven fabric to be woven and to calculate the amount of yarn needed.
6 The thread are then arranged alternately according to the wood stand on the ‘anian’.
Each flow of threads is then to be marked by using one ‘Lidi’ as a guide to calculate the size and the number of yarn arrangement.
At the beginning and the end of „anian‟ , the yarn are arranged in an alternate order to determine the position of the „Lidi‟ and „Papan Penggulung‟
56 12M1602
SS-5205 PROJECT 2 2013
NO VIDEO AUDIO
(Instrumental Music background is heard).
Female presenter voice – over:
After going through the process of „mengani‟, yarn for ‘inanai’ will be 7 rolled into the „papan penggulung’.
This process is called ‘menyisir’ where the thread will be straightened by using a comb to the position so that the thread organized and not tangled when they are on rolls.
(Instrumental Music background is heard).
Female presenter voice – over:
The straighten threads is now put into a 8 „karap‟ one after another.
„Karap‟ is made of a coarse thread immersed with starch and sago until it become thick and then stich organizely into „cucuk karap’.
(Instrumental Music background is heard).
Female presenter voice – over:
9 „Suri‟ is long and thin shaped structured which have teeth amounted between 1,000 to 1,800.
Each threads is penetrated through “gigi suri’ followed by a thin bamboo called 'penjawat – jawat’.
57 12M1602
SS-5205 PROJECT 2 2013
NO VIDEO AUDIO
(Instrumental Music background is heard).
Female presenter voice – over:
When all the preparations and compiler tools are available, „inanai‟ is then raised to „petenunan‟ to start weaving.
10 Before the weaving begins, the design of the pattern of the fabric must be prepared in advance on a graph paper to give earlier picture as guide to the weavers and to detect if there is a occurrence of any error in patterning the fabric.
Both hands and feet play a vital role in moving and shaping the fabric pattern.
(Instrumental Music background is heard).
Female presenter voice – over:
Brunei woven not only popular among local consumers but it is kind of in love with tourists from overseas or booker. 11 Woven fabric is expensive textile art and high value.
Most of the woven motives are fashioned based on local plants and flowers that are transformed into geometrical forms of various attractive patterns that are distinctively identified by their given names such as jongsarat , Kain Betabur, sipuggut, sukamaindera , silubang bangsi and arap gagati.
58 12M1602
SS-5205 PROJECT 2 2013
NO VIDEO AUDIO
(Instrumental Music background is heard).
Female presenter voice – over:
The woven cloth is usually worn during royal ceremonies, official state functions, 12 wedding ceremonies and religious function.
Man wear „baju melayu„ and ‘dastar’ means Malay and Brunei „sinjang‟ of woven fabric that is specially designed.
(Instrumental Music background is heard).
Female presenter voice – over:
For the representation of women was their
„baju kurung‟ or „kebaya‟ wearing and 13 woven fabric Brunei nipped from the same pattern.
Beside from being used as a dress, it is also used as ornaments and gifts as souvenirs.
59 12M1602
SS-5205 PROJECT 2 2013
NO VIDEO AUDIO
(Music swells) 14 Instrument Music
1. [Narrative , Source : Brunei Art and Handcrafts Training Centre (BAHTC) and Masnah Amit (1989). „Perusahaan Tenunan Di Brunei‟ Berita Muzium.Jabatan Muzium – Muzium Vol 11 No: 1. Akbar Publisher.]
60 12M1602
SS-5205 PROJECT 2 2013
This Kg Ayer short- film video is done during semester 1.
Sony Digital Camera Specification : 1. 18.3 mega pixels, CMOS Sensor “Exmor R” 2. 5x Optical Zoom up to 10X clear image zoom 3. 3.3 Xtra Fine OLED (1229K dots equivalent) 4. Full HD Movie (1920 x 1080.50p), (1920 x 1080 /50i)
Process :- . Venue – Kg Ayer . Play Duration – 3 Minutes . Shooting Video - 37 Shots . Editing - 12 Shots . Music Background – Kg Ayer . Standard Video Format - avi . Video Streaming - RealNetworks‟ Real Player / Microsoft‟s Windows Media Player.
Contents Elements: 1. House/School/Mosque/Clinic/Polis Station/ Fire Bridger 2. New Housing Development /Kg Ayer Cultural & Tourism Gallery 3. People Activity. 5. Fishing 6. * Wedding Ceremony , etc (Not yet gathered for the time being),
61 12M1602
SS-5205 PROJECT 2 2013
SCENE NO SHOOT SCENE TIME DURATION ACTION PLAY 00:00 – 00:44 / 00:00 – Mother with 5 children 1 Scene 3 /5 00:57 taking a boat ride Overview long distance 2 Scene 11 00:00 – 00:24 of Kg Ayer 3 Scene 12 00:00 – 00:19 Begin tour by boat
4 Scene 19 00:00 – 00:12 Fishing
5 Scene 23 00:00 – 00:21 School
6 Scene 24 00:08 – 00:10 Clinic 00:00 – 00:15 , 00:54 – 7 Scene 25/26 Bridge/Mosque 1:06/ 00:00 – 00:26 7 Scene 27 00:04 – 00:07 Fire Brigade
8 Scene 28 00:00 – 00:14 Housing Kg Ayer Cultural & 9 Scene 34 00:00 -00:11 Tourism Gallery New Housing 10 Scene 37 00:00 – 00:11 Development Bandar Seri Begawan 11 Scene 32 00:00 – 00:10 View
Software Used:
Pinnacle Studio Ultimate 12. This software is used for video editing application. Studio allows users to author video content, create VCD/DVD, Blu – ray as well as AVCHD disks in its latest release, v15, all with menus and burn them without the need for any additional software.
Outcomes Video
IMPROVISED DONE
Reshoot video of Kg Ayer.
62 12M1602
SS-5205 PROJECT 2 2013
Video Structure :- . Venue – Kg Ayer Lorong Sekuna, Kg Ayer Bolkiah A, Infront of Yayasan, Kg Pekilong Muara,, Kg Sungai Kebun. . Play Duration – 5 Minutes 39 Seconds . Shooting Video - 359 Shots . Editing - 48 Shots . Music Background – Kg Ayer . Standard Video Format - fvi . Video Streaming - RealNetworks‟ Real Player / Microsoft‟s Windows Media Player.
Contents Elements: 1. Houses / Ext & Int. School/ Ext.. & Int. Mosque /Clinic/Polis Station/ Fire Bridger 2. New Housing Development Kg Bolkiah A & Kg Lorong Sekuna /Ext. & Int..Kg Ayer Cultural & Tourism Gallery 3. Vocal speech by Kg Village Head/Presenter/ Handcraft maker and Voice - over 4. People Activity. a. Fishing b. Tradition Music (Bermukun) c. Boat maker (Pemburis Perahu)
Pinnacle Studio Ultimate 12 is used for editing the short – film video.
63 12M1602
SS-5205 PROJECT 2 2013
The video storyboard (Video and Audio) of the Kg Ayer
NO VIDEO AUDIO
(Music swells) 1 Kg Ayer Instrument Music
(Kg Ayer Instrumental Music background is heard).
Male Presenter voice over : 2
Kampong Ayer is the world‟s biggest settlement on stilts and has been existence for more than a thousand years.
(Kg Ayer Instrumental Music background is heard).
Male Presenter voice over: Kampong Ayer was mentioned by the foreign visitors as the “Venice of the East” or 3 “Floating City”. Kampong Ayer now serves as a landmark of Brunei Darussalam. The distinctiveness of Kampong Ayer become mesmerizes Brunei‟s foreign visitors and the settlement has become one of the country‟s major tourist attractions.
64 12M1602
SS-5205 PROJECT 2 2013
NO VIDEO AUDIO
(Kg Ayer Instrumental Music background is heard).
Male Presenter voice over: 4
And now Kg Ayer is equipped with basic yet modem infra – structure. Each house is supplied with electricity and telephone lines.
(Kg Ayer Instrumental Music background is heard).
Male Presenter voice over
5 Due to its status as a national landmark, it receives a substantial annual budget from the government. Police stations, a fire station, clinics as well as primary, secondary and religious schools have been built.
(Kg Ayer Instrumental Music background is heard).
Male Presenter voice over: 6
Mosques are also build for the residents to perform their religious obligations and provide a place for relevant social activities.
65 12M1602
SS-5205 PROJECT 2 2013
NO VIDEO AUDIO
(Kg Ayer Instrumental Music background is heard).
Male Presenter voice over:
7 The river is an important mode of communication for the Kg Ayer community Wooden or concrete bridges link the houses and the community also uses boats for transport.
(Kg Ayer Instrumental Music background is heard).
Male Presenter voice over: 8
Economic activities in Kg Ayer, mainly focused on fishing and the production of handicrafts, have created job specialisation in the different villages.
(Machine sound is heard).
(Kg Ayer Instrumental Music background is 9 heard).
(Male Presenter voice over)
Boat making is still carried out on a smaller scale for the repair of fishing boats and water taxis. Boats with motorized engines are now used as water taxis.
66 12M1602
SS-5205 PROJECT 2 2013
NO VIDEO AUDIO
(Kg Ayer Instrumental Music background is heard).
Male Presenter voice over:
10 Houses were physically unique with their simple yet well - made structures. Modernisation has caused major changed as older materials were replaced with modern ones.
NARRATIVE (Kg Ayer Instrumental Music background is heard). My name is Haji Ahmad Bin Haji Bujang, Village Head of Kg Lorong Sekuna. I Haji Ahmad Bin Haji Bujang, Village Head have lived in Housing scheme upgrading voice : Kg Ayer since November 28, 2012 where there are about 65 Houses, that is 49 units Saya Hj Ahmad bin Hj Bujang, Ketua of double storey and 16 units of bangloo Kampong Lorong Sikuna.Pada masa ini saya type house. It was financed by His tinggal di perumahan skim penaikan taraf Kg Ayer, Kg Lorong Sikuna, iaitu semenjak 11 Majesty The Sultan which cost about 30 millions dollars. tahun lepas iaitu 28hb November 2012, yangmana perumahan ini sebanyak 65 buah. 2
tingkat 49 unit dan setingkat 16 unit.Ini adalah atas inisiatif Kebawah Duli Yang Maha Mulia sendiri yangmana baginda telah mengeluarkan duitnya sendiri sebanyak 30 juta.
(Dialogue in Brunei Malay Language)
67 12M1602
SS-5205 PROJECT 2 2013
NO VIDEO AUDIO
(Traditional Music played in the background 12 is heard).
(Traditional Music played in the background is heard).
Hj Salleh, the handicraft maker voice:
NARRATIVE Ane namanya Cerangin, ia jua namanya 13 This game is called “Cerangin” or paning – paningan. Yang bermain ane bukan “Paning- Paningan. It is played by jua kanak – kanak basar, umur 6, 7 taun jua ne. Dulu bukan ada mainan macam karang children aged 6 and 7 years olds. During ane, pemainan apa ada di kadai. Paksa di that times, there is not Toy store, so the buatkan oleh bapa mamanya atau datu nini Parent and Grandparent had to make one nya. for their children. (Dialogue in Brunei Malay Language)
(Traditional Music played in the background 14 is heard
(Traditional Music played and a woman /man singing in the background is heard
Male Presenter voice over: 15 Traditional musical instruments have been played through the generations.These instruments can be played either individually or in groups during music performance called bergambus or bermukun
68 12M1602
SS-5205 PROJECT 2 2013
NO VIDEO AUDIO
(Music swells) 16 Kg Ayer Instrument Music
(Music swells) 17 Kg Ayer Instrument Music
(Music swells) 18 Kg Ayer Instrument Music
(Kg Ayer Instrumental Music background is heard).
Male Presenter Voice over :
This exhibition displays the different facets of 19 Kg Ayer, beginning from the 10th century A.D until the present day. Some of the exhibits include extracts of local and foreign records, archaeological findings, items from contemporary culture, pictures, maps and photographs.
69 12M1602
SS-5205 PROJECT 2 2013
NO VIDEO AUDIO
(Male Presenter Voice over)
There are five gallery exhibits in the Kg Ayer Cultural and Tourism Gallery. Gallery 1 : Kg Ayer in the 10th – 13th century A.D Gallery 2 : Kg Ayer in the 14th – 16th century 20 A.D th Gallery 3 : Kg Ayer during the late 19 – early 20th century A.D Gallery 4 : Contemporary Kg Ayer – Economic Development Gallery 5 : Contemporary Kg Ayer – Social Development
(Music swells.) 21 Kg Ayer Instrument Music
(Music swells.) 22 Kg Ayer Instrument Music
{Narrative , Source : Kg Ayer Museum]
70 12M1602
SS-5205 PROJECT 2 2013
4.2.1 Overview Layout Virtual Gallery
Design and construct the Malay Technology Museum Building in 3d max.
Notes : This work is done during semester 1
Process:- Construct the Malay Technology Museum Building consist the four galleries, dom and path Insert the images in each gallery. Capture the appropriate image by using camera features. Light is significant in capture the images. Rendering. Convert into avi.file
Software Used:
Autodesk® 3ds Max® and Autodesk® 3ds Max® Design software provide powerful, integrated 3D modeling, animation, and rendering tools that enable artists and designers to focus more energy on creative, rather than technical challenges.
Galley Overview
The Malay Technology Museum Building.
`
The Video Show Gallery
71 12M1602
SS-5205 PROJECT 2 2013
Galley Overview
72 12M1602
SS-5205 PROJECT 2 2013
4.3 Elements in the Interactive Virtual Gallery
Concept : Toward an integrated digital museum system
Process:
Frame layout in the Adobe Flash
Created the layers for :- Background Gallery Pages Content Videos Banners Button Actions
Background layer.
73 12M1602
SS-5205 PROJECT 2 2013
4.3.1 Overview Layout Interactive Virtual Gallery
Software Used:
Adobe Flash CS4 (formerly Macromedia Flash) is a multimedia platform used to add animation, video, and interactivity to web pages.
Galley Overview
74 12M1602
SS-5205 PROJECT 2 2013
Galley Overview
75 12M1602
SS-5205 PROJECT 2 2013
IMPROVISED DONE
Design and constructed a new Gallery namely Digital Heritage Gallery – Kg Ayer‟s Traditional Wears and Costumes
4.3.2 Overview Layout Virtual Gallery
Software Used:
Bryce 7.1 Software Adobe Flash CS
76 12M1602
SS-5205 PROJECT 2 2013
i. Frame Gallery
Digital Heritage Gallery Kg Ayer’s Traditional Wear and Customes
Web Search
Gallery 1 - Gallery 2 - Gallery 3 - Gallery 4 - Main Lobby Mini Quiz Wedding Attire Ceremonial Attire Casual Attire Woven Cloth
Video 1
Kg Ayer 7 MCQ short film video MALE MALE MALE MALE - Wedding - Baju Ambit or - Baju Cara Melayu - Baju Ambit Attire - Baju Cara Melayu Short of light with Sinjang and or Short of - Ceremonial - Telok Belanga Materials Dastar (headgear) light terials Attire - Baju Cara Melayu - Kain or Angle – - Baju Gubah or Baju - Kain or - Casual Attire Video 2 Cekak Musang length short Gamis with - Baju Cara Melayu Angle – - Woven Cloth Tengkolok or - Kupiah or Black Woven Cloth Bergalambir length short Sarban (head cloth) Songkok short film video - White Songkok - Kupiah or (Kupiah) or Black Black Songkok and Songkok Samping
FEMALE
FEMALE FEMALE - Baju Kebaya or Baju Buntak or - Kebaya Panjang - Kebaya Panjang Baju Potong or Baju Kurong Butang Lima or - Batik Sarung or glittering veil with Kebaya Panjang Kain elikat tiara or Baju Bermasuk - Kain Selendang - Baju Bermasuk Butang Lima or Baju Butang Lima worn Kurung or Kebaya over a kain Jong Bandung Sarat (sarung) - Scarves (Tudong) or Kain Selendang
BODY JEWLERY FEMALE BODY JEWLERY - Gelang or MALE Pemberat Telinga - Keris (Braclet or Ear - Puntu, Azimat/ Weight) Gimat,Sarbang, Gagatar, kanching, Muapun, Panding, Kuas, Kopiah Berpisnin, Gelang Garoncing, Gelang Pengalunan, Sigup Berbujang.
FEMALE - Tajuk, Ayam – ayam Bernaga, Karang Tembusa, Sisir, Bunga Goyang, Kanching, Panding.
77 12M1602
SS-5205 PROJECT 2 2013
Galley Overview in Byrce
Digital Heritage Gallery Building Entrance to Heritage Gallery Building
`
78 12M1602
SS-5205 PROJECT 2 2013
Galley Overview
79 12M1602
SS-5205 PROJECT 2 2013
Galley Overview in Adobe Flash
Refresh Button Main Lobby
Video 1 – Kg Ayer
Video 2 – Woven Cloth
80 12M1602
SS-5205 PROJECT 2 2013
Galley Overview in Adobe Flash
Gallery 1 – Wedding Attire
Gallery 2 – Ceremonial Attire
Gallery 3 - Casual Attire
81 12M1602
SS-5205 PROJECT 2 2013
Galley Overview in Adobe Flash
Gallery 4 – Woven Cloth
Mini Quiz
Web Search
82 12M1602
SS-5205 PROJECT 2 2013
4.4 MCQ Mini Quiz
1. What is a salendang ? . A long scarf . A Knee – length sarung wrapped around the west . A long trouser
Answer: A long scarf
2. What is a samping ? . A long scarf . A knee-length sarung wrapped around the west . A long trouser
Answer: A knee-length sarung wrapped around the west
3. Baju Gamis is worn by the broom on the third day of the wedding call
. Muleh Enam Hari . Muleh Sepuluh Hari . Muleh Tiga Hari
Answer: Muleh Enam Hari
83 12M1602
SS-5205 PROJECT 2 2013
4. In Fig the hat made of woven bamboo xplit called ______was used for outdoor activities
. Saraong Laki . Seraong Bini . Seraong Anak
Answer: Saraong Laki
5. What is the mens traditiona malay attries worn suring various malay and religious ceremony called
. Baju Melayu . Baju Kurong . Baju Cara Meleyu
Answer: Baju Melayu
6. What is the two tools used in Meliring thread process . Penjawat – jawat and Liringan . Undar – andir and Liringan . Benang Karap and Lawaian
Answer: Undar – andir and Liringan
84 12M1602
SS-5205 PROJECT 2 2013
7. For the bride the cloth wear is Kebaya Panjang or Baju Kurong embroldered with ______pattern.
. Landscape . Floral . Abstracy
Answer: Floral
4.5 Web Search
Web search can be a tool for visitor whose primary function is providing a search engine for gathering and reporting information available on the Internet or a portion of the Internet.
85 12M1602
SS-5205 PROJECT 2 2013
4.6 Testing Evaluation
Resource: Functional Test Questionnaire Directions: Use the following as a key to complete the information in the Results box.
Questionnaire Key The courseware completed the requested action (e.g., Performed as keyboard input, mouse click, played video and/or audio Expected clip, etc.) properly and as expected. The courseware completed the requested action, but did not return an expected result (e.g., showed only a partial Unexpected screen, went to an incorrect screen, scored a Result question/test incorrectly, performed some action other than what the Instructional Development Team expected). Did Not Function The courseware did not respond to the input. The screen displayed an error message after receiving the input. Please transcribe the error message as fully as Error the Instructional Development Team can onto the Exception Form. This courseware does not include this functionality (e.g., Not Applicable no video or audio). Correct There are no errors in the items described. There are errors in the items described (detail items on Incorrect the Exception form).
86 12M1602
SS-5205 PROJECT 2 2013
Table Test : Graphics and Animations
Item(s) to be Tested Results Are the animations smooth? Performed as Expected Unexpected Result Did Not Function Error Not Applicable Do the animations run at an appropriate speed? Performed as Expected Unexpected Result Did Not Function Error Not Applicable Do the graphics and animations load (start) relatively Performed as Expected quickly? Unexpected Result Did Not Function Error Not Applicable Are the graphics/animations clean and clear? Performed as Expected Unexpected Result Did Not Function Error Not Applicable Do graphics and animations appear in the Performed as Expected appropriate place on the screen? Unexpected Result Did Not Function Error Not Applicable Are the graphics and animations of the correct size Performed as Expected and proportion? Unexpected Result Did Not Function Error Not Applicable Are the colors of the graphics and animations Performed as Expected appropriate? Unexpected Result Did Not Function Error Not Applicable Is the intricacy of the graphics and animations Performed as Expected consistent? (There should be similar levels of detail Unexpected Result for similar types of graphics or animations.) Did Not Function Error Not Applicable
87 12M1602
SS-5205 PROJECT 2 2013
Table Test : Video and Audio
Item(s) to be Tested Results Are the audio and video presentations smooth Performed as Expected (correct audio with video, no audio skips, pops, or Unexpected Result background noise, no video shifts or jitters)? Did Not Function Error Not Applicable Do the audio and video controls function correctly? Performed as Expected Unexpected Result Did Not Function Error Not Applicable Are the audio and video clips relevant to the lesson Performed as Expected in which they are presented? Unexpected Result Did Not Function Error Not Applicable Do audio clips have equivalent level, tone, and Performed as Expected background? Unexpected Result Did Not Function Error Not Applicable Do video and audio clips play completely and without Performed as Expected interruption? Unexpected Result Did Not Function Error Not Applicable Is the audio clearly understandable, with word Performed as Expected pronunciation and text remaining consistent Unexpected Result throughout? Did Not Function Error Not Applicable Is the video easy to see? Performed as Expected Unexpected Result Did Not Function Error Not Applicable Are the video effects (fades, cuts, etc.) appropriate Performed as Expected and easy to follow? Unexpected Result Did Not Function Error Not Applicable
88 12M1602
SS-5205 PROJECT 2 2013
Conclusion
As technological advances are opening up the ways in which museums share information about the objects in their collections, the means by which museums create, handle, process, and transmit knowledge has become more transparent. At the core of the new museology is an assumption that the museum is neither a center of research nor primarily a collecting institution, but it is in fact an educational instrument. The goal of the new museology was, and largely still is, the transformation of social practices through the transformation of the museum from a collection of singular expert accounts to a site of different educational engagements. [33}
This report have described the analysis and development of metadata required system that caters for the whole pipeline of processes from digital acquisition of cultural artefacts to design and display the virtual reality environments. The system can be used to serve a didactic function and is well suited to enhancing the experience of cultural artefacts through interaction. The metadata required of digital representation of objects differ from those of physical artefacts in that great deal of technical information is required to maintain and preserve them.
Multimedia production is a complicated process, that can be categorized broadly into the following different stages:-
Planning and costing: The needs of a project are analyzed by outlining its message and objectives. A plan that outlines the required multimedia expertise is prepared. A graphic template, the structure, and navigational system are developed. A time estimate and a budget are prepared. A short prototype or proof-of-concept is prepared.
Design and production -The planned task are performed to create a finished product. The product is revised, based on the continuous feedback received from the client.
Research and Analysis – At this stage, we should find out as much as possible about the audience, their education, technology skill level, needs and so on. We also gather information on the content to be presented and the system on which the multimedia product will be used.
Scripting/Flowchart – Scripting (or flowchart) involves structure of the multimedia project. This is done by placing the various segments of the project in order, using arrows reflect flow and interactive decision making. A flowchart has information about the major headings/option given the user, what comes in the menu of the program, and subsequent branching when the user takes an action. For example, if we were designing our home pages with information about our education, our interests, and our favorites sites as subpages, we would draw a flowchart, starting with the main screen and indicate the other screens and how they are linked together.
Storyboarding – The storyboard is a detailed design plan that the design plan that the designer creates, indicating what each screen look like, which media elements are used in the screen, and all the
89 12M1602
SS-5205 PROJECT 2 2013 specifications of the media elements.
Construction/Collection of media elements – Usually after the storyboard, a prototype is made and tested, and the design is reviewed.
Testing – The final production stage is the testing phase. It determines that everything works on the system it is supposed to work on and also whether typical users will find the design enough.
Finally and perhaps most important, the true value of delivering digitized spaces as part of a virtual museum can be fully understood only with the deployment of a fully functional prototype in a working virtual museum. Once the remaining roadblocks have been solved, thorough evaluation of a widely deployed prototype and a realistic, museum quality dataset is essential. [25]
References
1. Haji Abdul Latif Bin Haji Ibrahim. (1996). Kampong Ayer : Warisan, Cabaran dan Masa Depan . Akademik Pengajian Brunei, UBD.
2. Brunei Museum Journal Brunei Dress: Tradition and adaption.(1995).pp 1-14.Brunei Museum Ministry of Culture, Youth & Sports. 3. Yunos, (2009). The Golden Warisan Brunei Darussalam – Volume 1. Dewan Bahasa dan Pustaka Brunei. 4. Brown D.E.1974. Antonio Pigafetta’s Account in Brunei in 1521. The Brunei Museum Journal Vol.No.3:pp171-129. Bandar Seri Begawan. 5. Ong E.1991. Sarawak Costumes. In Sarawak Cultural Legacy A Living Tradition: pp 107-117. Society Atelier, Sarawak. 6. Nicholl R.1975. European Source for the History of the Sultanate of Brunei in Sixteenth Century. Muzium Brunei, Bandar Seri Begawan. 7. Brusilovsky P (199) Adaptive and intelligent technologies for Web – based education. In L Rollinger C, Peylo c (eds) Kunstliche 4:19-25 8. Shenceng EC (1995) Quicktime VR – an image – based approach to virtual environment navagiation. In : Proc.ACM SIGGRAPH, pp 29-38. 9. Internet Pictures Corporation. IPIX http://www/ipix/com/ 10. ARCO: Augmented Representation of Cultural Objects. http://www/arco-web.org 11. ARCO Deliverables. User requirements specifications, prototypes I –IV, Oct 2001 – Oct 2003 12. W3C Recommendations. XML Schema. http://www.w3.org/XML/Schema 13. Extensible 3D Graphic, X3D Consortium. http://www.web3d.org/x3d 14. Virtual Reality Modelling Language, VRML97. http://www.web3d.org/x3d/specification/vrml/index.html
90 12M1602
SS-5205 PROJECT 2 2013
15. OpenGL. http://www.opemg1.org/about/overview.html 16. Internet definitions 17. Interactive System Design by Chris Johnson, 1993 18. IFLA, Functional Requirements for Bibliographic Records. http:‟‟www.ifla.org/VII/s12/frbr.pdf 1. ARCO Data Model and Element Set 19. http://www//arco-web.org/ams/ 20. ^ "Rich Internet applications". Adobe. http://www.adobe.com/resources/business/rich_internet_apps/. Retrieved April 10, 2012. 21. Barton, J, Currier D, Hey (2003)Building quality assurance into metadata creation; an analysis based on learning objects and e – prints communities of practices. In: Proceedings of the Dublin Core Conference, Seattle. 22. Dushay N, HillmanD (2003), Anlayzing metadata for effective use and reuse. In: Proceedings of the Dublin Core Conference, Seattle. http://www.sideream.com/dc2003/501_paper24.pdf. 23. ARCO Consortium (2001) ARCO Delivereable D3. User requirement and specifications. 24. Jen – Shin, Bai – Hsuan Chen, Sheng – Hao Hung, Jieh Hsiang (2005), Toward an Integrated Digital Musuem system – the Chi Nan Experiences, 231-251 25. David Gots (2005). A Framework for scable delivery of digitized spaces.205-218 26. Masnah Amit (1989). „Perusahaan Tenunan Di Brunei’ Berita Muzium.Jabatan Muzium – Muzium Vol 11 No: 1. Akbar Publisher. 27. Hajjah Dayang Kadariah (2003). „Collection of Brunei Traditional Woven Cloth‟ . Jabatan Percetakan Kerajaan Brunei. 28. Traditional Handcrafts of Brunei Darussalam (1994). The information Department, Prime Minister‟s Office Brunei Darussalam. 29. Perkakas – Pekakas Tenunan. Pusat Latihan Kesenian dan Pertukngan Tangan Brunei 30. Budaya Bangsa (1988). Jabatan Muzium Brunei. 31. Rajko Grlic , How to make your movies (2003). http://www/howtomaleyourmovies.com 32. Camera Angles/Movements/Shots. http://revision4gcses.wordpress.com/media-studies/camera- anglesmovementshots/ 33. Ramesh Srinivasan Robin Boast Jonathan Furner and Katherin M. Becvar, Digtal Museums and Diverse Cultural Knowledges :Moving past the traditional Catalog , c Taylor & Francis Group, LLC.
91 12M1602