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Adventure Tourism in Selangor: Explore, Experience and Enjoy!
ADVENTURE TOURISM IN SELANGOR: EXPLORE, EXPERIENCE AND ENJOY! By Nurul Azlyna (CIFP,Bach. Of Acc (Hons), CMI) LET’S HIT THE ROAD Millions of people travel across the world every year and thus, making the tourism industry as a key role in the global economy. According to World Travel and Tourism Council (WTTC), the industry accounted for 10.4% of global GDP and 319 million jobs, or 10% of total employment in 2018. Travellers travel with different purposes where some people travel for leisure or business while some travel due to specific interest such as medical or religion. Given the different purposes, tourism industry has been classified into various types to cater to the needs and preferences of all types of tourists. The following are the categories of tourism1: a. Leisure Under this purpose, travellers simply want to enjoy new experience of a destination and devoting their holiday to rest and relaxation. These tourists prefer to stay in some quiet and relaxed destination preferably at a hill resort, beach resort or island resort. b. Business The travellers’ main motive for travel is for work purpose such as attending a business meeting, conferences, conventions selling products, meeting clients. Business tourism is popularly known as MICE (Meetings, incentives, conferences, and exhibitions) tourism. c. Special Interest Interestingly, some people travel for special reasons such as religions, medical, education, hobbies and cultural. Under medical tourism for example, travellers go to places such as recommended specialist centre seeking for medical treatment. Meanwhile, the adventurous groups usually travel to spots that are popular for adventure activities such as bungee jumping or whale- 1 National Institute of Open Schooling watch. -
Performance in Bali
Performance in Bali Performance in Bali brings to the attention of students and practitioners in the twenty-first century a dynamic performance tradition that has fasci- nated observers for generations. Leon Rubin and I Nyoman Sedana, both international theatre professionals as well as scholars, collaborate to give an understanding of performance culture in Bali from inside and out. The book describes four specific forms of contemporary performance that are unique to Bali: • Wayang shadow-puppet theatre • Sanghyang ritual trance performance • Gambuh classical dance-drama • the virtuoso art of Topeng masked theatre. The book is a guide to current practice, with detailed analyses of recent theatrical performances looking at all aspects of performance, production and reception. There is a focus on the examination and description of the actual techniques used in the training of performers, and how some of these techniques can be applied to Western training in drama and dance. The book also explores the relationship between improvisation and rigid dramatic structure, and the changing relationships between contemporary approaches to performance and traditional heritage. These culturally unique and beautiful theatrical events are contextualised within religious, intel- lectual and social backgrounds to give unparalleled insight into the mind and world of the Balinese performer. Leon Rubin is Director of East 15 Acting School, University of Essex. I Nyoman Sedana is Professor at the Indonesian Arts Institute (ISI) in Bali, Indonesia. Contents List -
Balinese Dances As a Means of Tourist Attraction
BALINESE DANCES AS A MEANS OF TOURIST ATTRACTION : AN ECONOMIC PERSPECTIVE By : Lie Liana Dosen Tetap Fakultas Teknologi Informasi Universitas Stikubank Semarang ABSTRACT Makalah ini menguraikan secara ringkas Tari Bali yang ditinjau dari perspekif ekonomi dengan memanfaatkan Bali yang terkenal sebagai salah satu daerah tujuan wisata di Indonesia. Keterkenalan Bali merupakan keuntungan tersendiri bagi pelaku bisnis khususnya bisnis pariwisata. Kedatangan wisatawan asing dengan membawa dolar telah meningkatkan ekonomi masyarakat Bali, yang berarti pula devisa bagi Indonesia. Bali terkenal karena kekayaannya dalam bidang kesenian, khususnya seni tari. Tari Bali lebih disukai karena lebih glamor, ekspresif dan dinamis. Oleh karena itu seni tari yang telah ada harus dilestarikan dan dikembangkan agar tidak punah, terutama dari perspektif ekonomi. Tari Bali terbukti memiliki nilai ekonomi yang tinggi terutama karena bisa ‘go international’ dan tentunya dapat meningkatkan pemasukan devisa negara melalui sektor pariwisata. Kata Kunci: Tari, ekonomi, pariwisata, A. INTRODUCTION It is commonly known that Bali is the largest foreign and domestic tourist destination in Indonesia and is renowned for its highly developed arts, including dances, sculptures, paintings, leather works, traditional music and metalworking. Meanwhile, in terms of history, Bali has been inhabited since early prehistoric times firstly by descendants of a prehistoric race who migrated through Asia mainland to the Indonesian archipelago, thought to have first settled in Bali around 3000 BC. Stone tools dating from this time have been found near the village of Cekik in the island's west. Most importantly, Balinese culture was strongly influenced by Indian, and particularly Sanskrit, culture, in a process beginning around the 1st century AD. The name Balidwipa has been discovered from various inscriptions. -
The Islamic Traditions of Cirebon
the islamic traditions of cirebon Ibadat and adat among javanese muslims A. G. Muhaimin Department of Anthropology Division of Society and Environment Research School of Pacific and Asian Studies July 1995 Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] Web: http://epress.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Muhaimin, Abdul Ghoffir. The Islamic traditions of Cirebon : ibadat and adat among Javanese muslims. Bibliography. ISBN 1 920942 30 0 (pbk.) ISBN 1 920942 31 9 (online) 1. Islam - Indonesia - Cirebon - Rituals. 2. Muslims - Indonesia - Cirebon. 3. Rites and ceremonies - Indonesia - Cirebon. I. Title. 297.5095982 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design by Teresa Prowse Printed by University Printing Services, ANU This edition © 2006 ANU E Press the islamic traditions of cirebon Ibadat and adat among javanese muslims Islam in Southeast Asia Series Theses at The Australian National University are assessed by external examiners and students are expected to take into account the advice of their examiners before they submit to the University Library the final versions of their theses. For this series, this final version of the thesis has been used as the basis for publication, taking into account other changes that the author may have decided to undertake. In some cases, a few minor editorial revisions have made to the work. The acknowledgements in each of these publications provide information on the supervisors of the thesis and those who contributed to its development. -
The Role of Institutions in the Malaysian Art Infrastructure: A
The Role of Institutions in the Malaysian Art Infrastructure: A Roundtable Session (Edited Transcript) of the visual arts in Malaysia while our institutions take a more peripheral Roundtable hosted and supported by Galeri PETRONAS, on 19 June 2013. Conversation in Malay translated by Teratak Nuromar. role. However, now more than ever, the institution must come into play to help shif the power away from the consumer to the producer. Tere is a need to balance public values and private interests, and recognise the fact that we need to support the artists working outside the conventions MODERATORS of the gallery system, support deeper critical engagement, and curatorial Suryani Senja Alias (Session 1; M1) frameworks, increased education and public programming. Kathy Rowland (Session 2; M2) Te artist should remain at the centre of art activities, and the role of the PARTICIPANTS institutions remains crucial if we are to continue to privilege the artist National Visual Arts Gallery and his work over the demands of the market. (Faizal Sidek, Prof Dr Ramlan Abdullah) Johor Art Gallery (Nor Alisa Abdul Rahman) Melaka Art Gallery & Galeri Seni Rakyat (Syahidah Abu Sah) Sabah Art Museum (Jennifer Linggi) Muzium dan Galeri Tuanku Fauziah, USM (Zolkurnain Hassan) University of Malaya Art Gallery (Abdul Aziz Abdul Rashid) Galeri PETRONAS (Badrolhisham Tahir, Erna Dyanty) CIMB (Iqbal Abdul Rahim) Alliance Française (Marine Moncaut) Badan Warisan Malaysia (Elizabeth Cardosa) Goethe-Institut (Rolf Stehle) The Japan Foundation Kuala Lumpur (Kyoko Kugai) 1Malaysia Contemporary Art Tourism (1MCAT) (Ramzi Abu Yazid) Five Arts Centre (Marion D’Cruz) Rimbun Dahan (Angela Hijjas) Soka Gakkai Malaysia (Katherine Chui, Chan Yin Kwan, Joanne Foo) Tamparuli Living Arts Centre (Yee I-Lann) GUESTS NMA PROJECT: Hasnul J. -
Geographical Codes Countries of the World & Unique Locations
BELLCORE PRACTICE BR 751-401-180 ISSUE 16, FEBRUARY 1999 COMMON LANGUAGE® Geographical Codes Countries of the World & Unique Locations BELLCORE PROPRIETARY - INTERNAL USE ONLY This document contains proprietary information that shall be distributed, routed or made available only within Bellcore, except with written permission of Bellcore. LICENSED MATERIAL - PROPERTY OF BELLCORE Possession and/or use of this material is subject to the provisions of a written license agreement with Bellcore. Geographical Codes Countries of the World & Unique Locations BR 751-401-180 Copyright Page Issue 16, February 1999 Prepared for Bellcore by: R. Keller For further information, please contact: R. Keller (732) 699-5330 To obtain copies of this document, Regional Company/BCC personnel should contact their company’s document coordinator; Bellcore personnel should call (732) 699-5802. Copyright 1999 Bellcore. All rights reserved. Project funding year: 1999. BELLCORE PROPRIETARY - INTERNAL USE ONLY See proprietary restrictions on title page. ii LICENSED MATERIAL - PROPERTY OF BELLCORE BR 751-401-180 Geographical Codes Countries of the World & Unique Locations Issue 16, February 1999 Trademark Acknowledgements Trademark Acknowledgements COMMON LANGUAGE is a registered trademark and CLLI is a trademark of Bellcore. BELLCORE PROPRIETARY - INTERNAL USE ONLY See proprietary restrictions on title page. LICENSED MATERIAL - PROPERTY OF BELLCORE iii Geographical Codes Countries of the World & Unique Locations BR 751-401-180 Trademark Acknowledgements Issue 16, February 1999 BELLCORE PROPRIETARY - INTERNAL USE ONLY See proprietary restrictions on title page. iv LICENSED MATERIAL - PROPERTY OF BELLCORE BR 751-401-180 Geographical Codes Countries of the World & Unique Locations Issue 16, February 1999 Table of Contents COMMON LANGUAGE Geographic Codes Countries of the World & Unique Locations Table of Contents 1. -
1 Chapter 1 Introduction As a Chinese Buddhist in Malaysia, I Have Been
Chapter 1 Introduction As a Chinese Buddhist in Malaysia, I have been unconsciously entangled in a historical process of the making of modern Buddhism. There was a Chinese temple beside my house in Penang, Malaysia. The main deity was likely a deified imperial court officer, though no historical record documented his origin. A mosque serenely resided along the main street approximately 50 meters from my house. At the end of the street was a Hindu temple decorated with colorful statues. Less than five minutes’ walk from my house was a Buddhist association in a two-storey terrace. During my childhood, the Chinese temple was a playground. My friends and I respected the deities worshipped there but sometimes innocently stole sweets and fruits donated by worshippers as offerings. Each year, three major religious events were organized by the temple committee: the end of the first lunar month marked the spring celebration of a deity in the temple; the seventh lunar month was the Hungry Ghost Festival; and the eighth month honored, She Fu Da Ren, the temple deity’s birthday. The temple was busy throughout the year. Neighbors gathered there to chat about national politics and local gossip. The traditional Chinese temple was thus deeply rooted in the community. In terms of religious intimacy with different nearby temples, the Chinese temple ranked first, followed by the Hindu temple and finally, the mosque, which had a psychological distant demarcated by racial boundaries. I accompanied my mother several times to the Hindu temple. Once, I asked her why she prayed to a Hindu deity. -
2012 Swinburne Foundation, Diploma
SARAWAK, MALAYSIA SWINBURNE FOUNDATION, DIPLOMA, UNDERGRADUATE AND POSTGRADUATE PROGRAMS 2012 swinburne.edu.my CONTENTS Welcome to Swinburne Sarawak 1 Why Swinburne Sarawak? 2 About Kuching 3 Swinburne Sarawak difference 4 Swinburne Sarawak pathways 6 English language programs 8 Study abroad and exchange programs 11 Campus life 12 Accommodation 13 Program listing 14 Program information Commerce / Business 16 Design 20 Engineering 22 ICT 27 Science 29 Postgraduate by Coursework 30 Postgraduate by Research 32 How to apply 33 Application form 35 Welcome to Swinburne Sarawak FROM ITS BEGINNINGS MORE THAN 100 YEARS AGO, SWINBURNE HAS GROWN TO BE ONE OF AUSTRALIA’s leading TEACHING AND RESEARCH UNIVERSITIES. Swinburne has been providing real life At the same time we are developing education and research programs for 104 years. undergraduate and postgraduate experiences, The University has now also been doing that job including research, development, and project at the Sarawak campus for 11 years. work that links to the rich culture and economic promise of Sarawak and the region. Swinburne Sarawak is one of eight elite universities that have been awarded self- This program/course guide has been designed accrediting status by the Malaysian to assist you in finding details about the Qualifications Agency, giving full recognition of programs available at the Sarawak branch the University’s programs. The 2009 MQA campus that include Diploma, Foundation, Rating System for Malaysian Higher Education Degree, Masters and Doctoral/PhD programs. Institutions (SETARA ’09) also placed the We offer you a choice of either completing your University in its Tier 5: Excellent status category. program locally with us at the Sarawak campus Globally, Swinburne University of Technology or at one of the campuses in Melbourne, has risen in the Shanghai Jiao Tong register of Australia. -
Artist Biography
Artist John CLANG Born 1973, Singapore Works USA Artist Biography __________________ ___________________________________________________________________________________ Year Education 2014 - 2015 Master of Arts Fine Arts, LASALLE College of the Arts, Singapore – Goldsmiths University of London, UK __________________ ___________________________________________________________________________________ Year Selected Exhibitions 2017 In Praise of Shadows, ADM Gallery 1 and 2, Nanyang Technological University, School of Art, Design and Media, Singapore Art Stage Singapore with FOST Gallery, Singapore 2016 The World Surrounding an Indoor Plant, FOST Gallery, Singapore* 2015 Echoes of Anticipation, FOST Gallery, Singapore Urban-ness: encountering the city, DUCTAC, Mall of the Emirates, Dubai, UAE I wasn’t everything, Institute of Contemporary Arts Singapore, Singapore 2014 (Re)Contextualizing My Mind, Pekin Fine Arts, Hong Kong, China* Asuntos domesticos, Diputación de Huesca, Huesca, Spain Southeast Asia & Diaspora: Breaking and Reconstructing the Circle, Gallery 8, London, UK MIA&D Fair with 2902 Gallery, Singapore Afterimage, Singapore Art Museum, Singapore Idreamofmona, Institute of Contemporary Arts Singapore, Singapore War Room, Pekin Fine Arts, Hong Kong, China Anthropos New York, Sundaram Tagore Gallery, New York, USA Photo Shanghai with Pekin Fine Arts, Shanghai Exhibition Center, Shanghai, China Bazaar Art Jakarta with 2902 Gallery, Pacific Place, Jakarta, Indonesia Family Matters, Centre for Contemporary Culture at Palazzo Strozzi, -
18@8 Heirlooms
, Chin Kong Ye eng e, C ei M ho W ng n jinder Singh, R K e , Ra uzze i h uik ki m C l K Ha C re rr . st is h g in , S ie u w in M n L , , id K C e a a e S n h i g o B r a J y u h y u e C a J , h Y , W i u , d o n g a n n H g W i e C d e i M h i , m e e a H 18@8 e e H a M h , i m e e C n i d g W g i , n n H Y u o a a h HEIRLOOMS u d W C B i , y , e o e e J h y u L J C h i n , a g g w . r n e i i a h S C C K a h i m e d n i n K u , W g M S n e o i , h M i n C s e , i n e s r g e , Y r C t g h n i n o K r a e H l i K k u e i k z , z u R R a j , i n h d g e n i r S Wei-LingGallery 1 18@8 HEIRLOOMS Chen Wei Meng Chin Kong Yee Chong Kim Chiew Choy Chun Wei Hamidi Hadi Juhari Said Minstrel Kuik Rajinder Singh Ruzzeki Harris Sun Kang Jye Wong Chee Meng Yau Bee Ling 2 3 18@8 – A tradition of capturing today for tomorrow Tradition A way of thinking, behaving, or doing something that has been used by the people in a particular group, family, society, etc., for a long time. -
Representation of Dayak Culture in Sarawak’S Modern Paintings
REPRESENTATION OF DAYAK CULTURE IN SARAWAK’S MODERN PAINTINGS NATASHA BINTI RUSDY WONG Malaya of CULTURAL CENTRE UNIVERSITY OF MALAYA KUALA LUMPUR University 2018 REPRESENTATION OF DAYAK CULTURE IN SARAWAK’S MODERN PAINTINGS NATASHA BINTI RUSDY WONG Malaya DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIRofEMENT S FOR THE DEGREE OF MASTER OF ARTS CULTURAL CENTRE UNIVERSITY OF MALAYA KUALA LUMPUR 2018 University UNIVERSITY OF MALAYA ORIGINAL LITERARY WORK DECLARATION Name of Candidate: Natasha Binti Rusdy Wong Matric No: RGB 140006 Name of Degree: Master of Arts Title of Project Paper/Research Report/Dissertation/Thesis (“this Work”): “REPRESENTATION OF DAYAK CULTURE IN SARAWAK’S MODERN PAINTINGS” Field of Study: Visual Arts I do solemnly and sincerely declare that: (1) I am the sole author/writer of this Work; (2) This Work is original; (3) Any use of any work in which copyright exists was done by way of fair dealing and for permitted purposes and any excerpt or extract from, or reference to or reproduction of any copyrightMalaya work has been disclosed expressly and sufficiently and the title of the Work and its authorship have been acknowledged in this Work; (4) I do not have any actual knowledgeof nor do I ought reasonably to know that the making of this work constitutes an infringement of any copyright work; (5) I hereby assign all and every rights in the copyright to this Work to the University of Malaya (“UM”), who henceforth shall be owner of the copyright in this Work and that any reproduction or use in any form or by any means whatsoever is prohibited without the written consent of UM having been first had and obtained; (6) I am fully aware that if in the course of making this Work I have infringed any copyright whether intentionally or otherwise, I may be subject to legal action or any other action as may be determined by UM. -
Representation of Dayak Culture in Sarawak's
REPRESENTATION OF DAYAK CULTURE IN SARAWAK’S MODERN PAINTINGS NATASHA BINTI RUSDY WONG CULTURAL CENTRE UNIVERSITY OF MALAYA KUALA LUMPUR 2018 REPRESENTATION OF DAYAK CULTURE IN SARAWAK’S MODERN PAINTINGS NATASHA BINTI RUSDY WONG DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS CULTURAL CENTRE UNIVERSITY OF MALAYA KUALA LUMPUR 2018 UNIVERSITY OF MALAYA ORIGINAL LITERARY WORK DECLARATION Name of Candidate: Natasha Binti Rusdy Wong (I.C/Passport No: 880616-52-5250) Matric No: RGB 140006 Name of Degree: Master of Arts Title of Project Paper/Research Report/Dissertation/Thesis (“this Work”): “REPRESENTATION OF DAYAK CULTURE IN SARAWAK’S MODERN PAINTINGS” Field of Study: Visual Arts I do solemnly and sincerely declare that: (1) I am the sole author/writer of this Work; (2) This Work is original; (3) Any use of any work in which copyright exists was done by way of fair dealing and for permitted purposes and any excerpt or extract from, or reference to or reproduction of any copyright work has been disclosed expressly and sufficiently and the title of the Work and its authorship have been acknowledged in this Work; (4) I do not have any actual knowledge nor do I ought reasonably to know that the making of this work constitutes an infringement of any copyright work; (5) I hereby assign all and every rights in the copyright to this Work to the University of Malaya (“UM”), who henceforth shall be owner of the copyright in this Work and that any reproduction or use in any form or by any means whatsoever is prohibited without the written consent of UM having been first had and obtained; (6) I am fully aware that if in the course of making this Work I have infringed any copyright whether intentionally or otherwise, I may be subject to legal action or any other action as may be determined by UM.