DOCSLIB.ORG

B27 Pegawai Kebudayaan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
B27 Pegawai Kebudayaan B27-KT2 PP KJ KK JUM 1 - - 1 No. Kad Pengenalan: ____________________ PEPERIKSAAN PERKHIDMATAN PEGAWAI KEBUDAYAAN B27 KERTAS II Tarikh : 18 Disember 2013 (Rabu) Masa : 9.00 pagi – 10.30 pagi (1 ½ jam) Tempat : Kampus Induk ______________________________________________________________________________ ARAHAN KEPADA CALON Kertas ini mengandungi DUA (2) Bahagian seperti berikut: Bahagian A : EMPAT PULUH (40) soalan berbentuk objektif disediakan. Jawab SEMUA soalan. Setiap soalan membawa satu (2) markah. Bahagian A menyumbang 80 markah. Bulatkan jawapan anda di dalam kertas soalan dan kembalikan kepada Pengawas apabila tamat peperiksaan. Bahagian B : SATU (1) soalan berbentuk amali disediakan. Bahagian B menyumbang 20 markah. Calon TIDAK DIBENARKAN membawa keluar kertas soalan. Sila serahkan kertas soalan bersama-sama buku jawapan kepada Pengawas sebelum meninggalkan dewan. Kertas soalan ini mengandungi 11 muka surat termasuk muka hadapan. JANGAN BUKA KERTAS SOALAN SEBELUM DIARAHKAN 2 F29(PPTM)KT2(K) BAHAGIAN A 1. Kongres Kebudayaan Kebangsaan telah dirasmikan oleh Allahyarham Tun Abd Razak Perdana Menteri Malaysia kedua pada tahun ________ . A. 1970 B. 1971 C. 1972 D. 1973 2. Dasar Kebudayaan Kebangsaan yang sedang didukung oleh Kerajaan adalah suatu usaha tegas ke arah mewujudkan ____________ . i Perpaduan ii. Kejiwaan Kebangsaan iii. Melahirkan nilai-nilai dinamik dan progresif iv. Pertelingkahan kaum A. i dan ii B. ii dan iv C. i, ii dan iii D. Semua jawapan di atas 3. Apakah matlamat penting Dasar Kebudayaan Kebangsaan ? i. Mengukuhkan perpaduan bangsa dan negara ii. Memupuk dan memelihara keperibadian kebangsaan iii. Memporak peranda kebudayaan kaum-kaum lain iv. Memperkaya dan mempertingkatkan kualiti kehidupan kemanusiaan dan kerohanian yang seimbang dengan pembangunan sosio-ekonomi A. i, ii dan iii B. ii, iii dan iv C. i, ii dan iv D. Semua jawapan di atas 3 F29(PPTM)KT2(K) 4. Kongres Kebudayaan Kebangsaan 1971 telah menetapkan bahawa Dasar Kebudayaan Kebangsaan hendaklah berteraskan kepada tiga prinsip utama iaitu : i. Kebudayaan Kebangsaan hendaklah berteraskan kepada kebudayaan kaum masing-masing. ii Kebudayaan Kebangsaan hendaklah berteraskan kepada kebudayaan rakyat asal di rantau ini. iii. Unsur-unsur Kebudayaan lain yang sesuai dan wajar boleh diterima menjadi unsur-unsur Kebudayaan Kebangsaan. iv. Islam menjadi unsur yang penting dalam pembentukan Kebudayaan Kebangsaan itu. A. i, ii dan iii B. i, ii dan iv C. ii, iii dan iv D. Semua di atas 5. Tarian Ayam Didik dikatakan berasal dari negeri A. Kedah B. Perlis C. Perak D. Sarawak 6. Sebelum studio digunakan untuk latihan, perlu dipastikan A. Dalam keadaan bersih B. Dalam keadaan cantik C. Dalam keadaan selamat D. Dalam keadaan kering 7. Kesemua keterangan berikut adalah betul, KECUALI: A. Kuda kepang berasal dari Indonesia. B. Kuda kepang terdapat di Johor. C. Ia mempunyai alatan seperti gendang, gong, kenung, angkelung. D. Ia mempunyai alatan seperti angkelung, terumpet, cak lempung. 4 F29(PPTM)KT2(K) 8. Semua keterangan berikut adalah betul, KECUALI: A. Hadrah mempunyai elemen nyanyian dan tarian B. Hadrah tidak mempunyai elemen nyanyian dan gendang. C. Hadrah terdapat di Kedah dan Perlis D. Hadrah yang awal hanya mempunyai nyanyian dan gendang sahaja 9. Tarian Ballet berasal dari A. Russia B. Perancis C. Jepun D. Itali 10. Berikut merupakan antara koreografer prolifik Malaysia, KECUALI : A. Janet Pillai B. Marion D Cruz C. Joseph Gonzalez D. Aida Redza 11. Di dalam First Aid Kit boleh ada ubatan dan peralatan berikut KECUALI: A. Iodin B. Pembalut C. Paracetamol D. Minyak buah pala 12. Seleksi tarian manakah yang PALING SESUAI untuk acara universiti? A. Joget, Foxtrot, Jazz, Ballet B. Inang, Tarian Kipas, Zapin, Kontemporari C. Kontemporari, Hip-hop, Inang, Ballet D. Zapin, Inang, Krump, Paso Doble 5 F29(PPTM)KT2(K) 13. Tarian apakah yang PALING SESUAI dipelajari oleh pelajar baru? A. Bharatanatyam B. Foxtrot C. Ballet D. Joget 14. Semua tarian ini harus ditarikan secara berpasangan KECUALI: A. Joget B. Tango C. Tap D. Waltz 15. Bagi meraikan rakan universiti dari IMT-GT, bentuk persembahan yang paling sesuai ialah : A. Tarian Saman, Rambong, Boria B. Menora, Tari Topeng Cirebon, Joget C. Tari Jaipongan, Sri nuan, Zapin D. Tari Kuda Lumping, King-Ka-La, Odissi 16. Apakah maksud terma muzik (musical terms) bagi ‘forte’? A. Mula dari awal (repeat from beginning) B. Agak Kuat (Quite loud) C. Sangat kuat (very loud) D. Kuat (loud) 17. Apakah maksud terma muzik (musical terms) bagi ‘accelerando (accel)’ ? A. Perlahan (slow) B. Kelajuan, masa (speed, time) C. Semakin lama semakin kuat (gradually getting faster) D. Semakin lama semakin perlahan (getting gradually slower) 6 F29(PPTM)KT2(K) 18. Peralatan muzik pergendangan tergolong dalam kumpulan peralatan jenis A. Membranofon B. Idiofon C. Kordofon D. Saksafon 19. Di dalam tarian Sewang, buluh yang digunakan dikenali dengan nama? A. Buluh Betong B. Buluh Cetong C. Buluh Kasap D. Buluh Perindu 20. Sekiranya penari anda terseliuh, yang perlu anda lakukan ialah A. Urut bahagian berkenaan B. Potong bahagian yang terseliuh C. Tekapkan dengan ais D. Tuam dengan tuala suam 21. Tarian Bharatanatyam mempunyai ENAM (6) peringkat KECUALI A. Alarippu B. Varnam C. Padam D. Chandra 22. Tarian Kathkali berasal dari A. Tamil Nadu B. Andra Pradesh C. Kerala D. Orissa 23. Berikut merupakan bentuk tarian tango KECUALI A. European Tango B. American Tango C. Argentinian Tango D. International Tango 7 F29(PPTM)KT2(K) 24. Di setiap program tarian, adalah penting individu ini bersiap sedia, KECUALI: A. Pegawai Perubatan B. Pegawai Keselamatan C. Pegawai Kebudayaan D. Pegawai Sukan 25. Alat muzik Saxophone tergolong dalam kumpulan A. Alat tali (strings) B. Alat tiup (woodwind) C. Alat bras (brass) D. Alat perkusi (percussion) 26. Beliau merupakan koreografer bertaraf antarabangsa A. Aris A. Kadir B. Saroj Khan C. Pina Bausch D. Mary Murphy 27. Tarian berikut adalah dalam satu genre yang sama KECUALI A. Burlesque B. Jive C. Quick step D. Paso Doble 28. Tarian Menora merupakan persembahan tradisional yang popular di kalangan etnik A. Jawi Peranakan B. Baba & Nyonya C. Siam D. Jawa 8 F29(PPTM)KT2(K) 29. Yang manakah alat berikut BUKAN alat kibod A. Xylophone B. Harpsichord C. Clavichord D. Piano 30. Tarian Rodat popular di negeri A. Pahang B. Terengganu C. Johor D. Kedah 31. Tarian Kuda Kepang diharamkan di Johor kerana A. Elemen mabuk B. Elemen bahaya C. Elemen Transcendence D. Elemen dramatik 32. Tarian Ulek Mayang merupakan A. Tarian istana B. Ritual memuja semangat pantai C. Ritual merawat pesakit D. Ritual memuja semangat padi 33. Berikut merupakan tarian Gamelan KECUALI A. Lambang Sari B. Timang Burung C. Ayak-ayak D. Gambang Semarang 9 F29(PPTM)KT2(K) 34. Ketam Bawa Anak dan Dewa Raja merupakan repertoire tarian A. Asyik B. Terinai C. Layang Mas D. Mengadap Rebab 35. Tarikh-tarikh untuk Zaman Barok adalah A. 1700-1850 B. 1600-1750 C. 1500-1650 D. 1300-1500 36. Tarian Limbai merupakan tarian etnik A. Kadazan-Dusun B. Bajau C. Melanau D. Iban 37. Tarian boria memerlukan A. Lagu melankolik B. Awak-awak C. Seorang tukang karut D. Lagu keluar dan masuk 38. Tarian yang memakai topeng seperti persembahan Mek Mulung dan Awang Batil A. Barongan B. Saba C. Balai D. Datun Julud 10 F29(PPTM)KT2(K) 39. Tarian kontemporari mengikut konsep Cunningham adalah seperti berikut KECUALI A. Tidak menolak teknik kaki tarian ballet klasik B. Mengekalkan simetri mengikut perspektif ballet klasik C. Kebebasan kreativiti D. Aksi yang pelbagai dan serentak 40. Tarian moden mementingkan tekanan pada A. Torso B. Pinggang C. Medula oblongata D. Leher oooo0oooo 11 F29(PPTM)KT2(K) BAHAGIAN B Anda diminta untuk melaksanakan rekabentuk tari yang diarahkan. i. 1 Tarian Tradisional ii. 1 Tarian Moden/Kontemporari iii. 1 Tarian Fusion Tradisional/Moden/Kontemporari .
Load more

Recommended publications
  • Budaya, Seni & Warisan
    Budaya, Seni & Warisan Selain tarikan-tarikan pelancongan yang menakjubkan, Terengganu mempunyai personaliti budaya tersendiri dan kelestarian tradisi kesenian, kebudayaan dan warisan negeri yang mempesona. Terengganu masih mengekalkan kesebatian cara hidup yang masih menonjolkan keaslian seni, budaya dan warisan. Terengganu juga kaya dengan kepelbagaian adat resam dan tradisi yang masih menyerlah dalam cara hidup, kehalusan seni kraf, di dalam masakan dan makanan tradisionalnya, persembahan tarian yang mengasyikkan serta permainan-permainan tradisional yang menerujakan. Di sini, selain pengalaman menerokai semarak keunikan alam semulajadi, kepelbagaian tradisi dan kepersonaan warisan menjadi antara tarikan unik. Negeri Cantik, Budaya Menarik Persembahan Kebudayaan Kraftangan Permainan Tradisional Pelbagai Makanan Tradisional Terengganu Monumen dan Tempat Bersejarah 4 BUDAYA, SENI & WARISAN TARIAN ULEK MAYANG Tarian lemah gemalai ini adalah paling popular di Negeri Terengganu. Menurut lagenda, sekumpulan nelayan telah dirempuh badai ketika berada di tengah laut. Salah seorang daripada nelayan telah dirasuk dan dibawa ke daratan. Bomoh dipanggil untuk memulihkan kembali semangat rakan dan mengembalikan roh jahat ke laut. Dengan nyanyian dan tarian tujuh puteri diiringi oleh 10 - 15 penari dan irama muzik tradisional, ianya berjaya memulihkan semangat rakannya. PERSEMBAHAN KEBUDAYAAN 5 TARIAN GAMELAN Tarian Gamelan Terengganu masih terpelihara hasil daripada rasa kecintaan dan usaha pasangan DiRaja Almarhum Sultan Sulaiman Badrul Alam Syah
    [Show full text]
  • Teater ‘Uraong Ulu WARGA MOTAC Hatinya Luke Lagih’ Oleh Kumpulan Kesenian Uraong Ulu (Keulu) Telah I Memenangi Tempat Ketiga Dalam Festival Teater Malaysia 2006
    3 FESTIVAL OF ASEAN CULTURAL EXPRESSIONS Festival Kesenian 2015 Orang Asli dan Peribumi Antarabangsa 2015 JKKN MENERAJUI HARI SUKAN NEGARA Teater ‘Uraong Ulu WARGA MOTAC Hatinya Luke Lagih’ Oleh Kumpulan Kesenian Uraong Ulu (Keulu) Telah i Memenangi Tempat Ketiga Dalam Festival Teater Malaysia 2006. Sudut Berita JKKN SEKILAS TINTA EDITOR YBhg. Datuk Norliza Rofli Ketua Pengarah YBrs. En. Mohamad Razy Mohd Nor Timbalan Ketua Pengarah (Sektor Dasar dan Perancangan) YBrs. Tn. Hj. Mesran Mohd Yusop Timbalan Ketua Pengarah (Sektor Kebudayaan dan Kesenian) Editor Assalamualaikum dan Salam 1Malaysia. Mohd Zin Mohd Sahid Penolong Editor Seni Budaya Malaysia semakin mengalami ketirisan. Membina masyarakat Zuriah Mohamad yang berbudaya dan berkeperibadian tinggi adalah menjadi tanggungjawab SIDANG EDITORIAL setiap rakyat Malaysia kerana setiap kita adalah pemimpin diperingkat sidang redaksi Penulis masing-masing. Peristiwa-peristiwa negatif yang pernah berlaku akibat • Mohd Zin Mohd Sahid kebiadaban segelintir rakyat yang tidak bertanggungjawab, seharusnya • Zuriah Mohamad • Muhammad Haqkam Hariri dijadikan iktibar agar tidak berulang dan menjadi gejala yang memusnahkan • Ismarizal Zulamran bangsa Malaysia. Kebiadaban tersebut seharusnya dibendung supaya ia • Muhammad Faizal Ruslee tidak menjadi gejala kepada masyarakat keseluruhannya. Hanya dengan • Siti Anisah Abdul Rahman • Fauziah Ahmad disiplin, kesedaran dan keimanan yang jitu pada setiap insan sahaja yang akan dapat mengatasinya. Pereka Grafik/Kreatif Bafti Hera Abu Bakar Sama-samalah kita menjadikan iktibar dan pengajaran bahawa salah Jurufoto Zaman Sulieman satu sebab kejatuhan kerajaan Melayu Melaka pada tahun 1511 ialah ‘angkara sikitul yang menjual maklumat kepada portugis’ ketika itu. Jika SIDANG REDAKSI kita sama-sama berpegang teguh kepada rukun negara dan disiplin • Unit Komunikasi Korporat diri, InshaAllah seni budaya Malaysia akan terus relevan selaras dengan • Bahagian Khidmat Pengurusan ungkapan ‘Tidak akan Melayu hilang di dunia’.
    [Show full text]
  • Musical Practice of Keronchong
    ARTICLE Musical practice of Keronchong Keronchong is believed to have originated in 16 th century Portuguese music of the Portuguese colonies in the Moluccas and Batavia while in Malaysia (and Malaya) keronchong is mainly associated with practice in Malacca. Malaysian keronchong is thought to be derived from Javanese keronchong. Chopyak 1 informs us it is not so much a musical form as it is a style of performance. Therefore he points out that an asli langgam song becomes a keronchong langgam song when performed in a keronchong style on keronchong instruments. This is evident in Ernst Heins’ entry on keroncong in Groves where typical instrumentation of the ensemble would comprise two kroncong (small guitars), among other instruments. Craig Lockard goes on to describe how keroncong orchestras and recordings attracted both Malay and Chinese communities with a sensuous Portuguese-Indonesian musical blend originating in Java while dondang sayang either produced or consumed in some popularity in Melaka and western Johor seemed to bear resemblance to kroncong. In contradistinction however, Dondang Sayang , according to Philip L. Thomas,2 combined the verbal art of complex poetry or pantun as it was known locally, with orchestral accompaniment. The pantuns were highly stylised repartee and required considerable effort to excel in. Lockard also referred to Popular Malay ensembles known as orkes melayu which he argues as being heavily influenced by Middle Eastern and Indian musical styles were seen to be popular on the West coast while ghazal was
    [Show full text]
  • Preserving the Diversity of Traditional Dances in Malaysia Through Appreciation of the Art of Early Childhood Education
    SHOW UP & BE SEEN: A STUDY TOWARDS QUANTUM LEADERSHIP IN QUANTUM ERA PJAEE, 17 (6) (2020) PRESERVING THE DIVERSITY OF TRADITIONAL DANCES IN MALAYSIA THROUGH APPRECIATION OF THE ART OF EARLY CHILDHOOD EDUCATION Sri Watini1, Qurotul Aini2, Marviola Hardini3, Untung Rahardja4, Ankur Singh Bist5 STKIP Panca Sakti Bekasi1, Universitas Raharja2,3,4, Graphic Era Hill University Bhimtal Campus5 [email protected], [email protected], [email protected], [email protected], [email protected] Sri Watini, Qurotul Aini, Marviola Hardini, Untung Rahardja, Ankur Singh Bist: Preserving The Diversity Of Traditional Dances In Malaysia Through Appreciation Of The Art Of Early Childhood Education-- Palarch’s Journal Of Archaeology Of Egypt/Egyptology 17(4), 1-14. ISSN 1567-214x Keywords: Citizen's awareness; Traditional dances; Malay ABSTRACT The Malay is one of the Austronesian ethnic groups which has maintained its Austronesian heritage until now. Austronesian cultures between these regions have in common. Through the results of this study, it aims to describe the variant of traditional Malay dances in Malaysia, by increasing awareness in preserving culture, in accordance with the traditions and special local characteristics of the Malay state. Education for the younger generation of Malays teaches that cultural diversity must be recognized as a valuable treasure, and the culture of their country needs to be preserved. This is a qualitative ethnographic study, where ethnographic studies are usually about social communities, beliefs, religions, and traditions, including traditional dances. This research was conducted in Shah Alam, Malaysia. The research data were collected using field observations as one of the methods, then open and in-depth interviews were also conducted with direct interaction with the community concerned.
    [Show full text]
  • Jurnal Seni Tari
    ISSN: 1858-3989 VOLUME: 3 NO.: 1 MEI 2012 JURNAL SENI TARI ISSN: 1858-3989 VOLUME: 3 NO.: 1 MEI 2012 JURNAL SENI TARI Jurnal Joged merangkai beberapa topik kesenian yang terkait dengan fenomena, gagasan konsepsi perancangan karya seni maupun kajian. Joged merupakan media komunikasi, informasi, dan sosialisasi antar insan seni perguruan tinggi ke masyarakat luas. Redaktur menerima sumbangan tulisan yang belum pernah diterbitkan dalam media lain, format penulisan berada di halaman belakang. Naskah yang masuk akan disunting format, istilah dan tata cara lainnya. Pemimpin Umum: Ketua Jurusan Tari (ex-officio) Pemimpin Redaksi: Dr. Sumaryono, MA. Wakil Pemimpin Redaksi: Dr. Hendro Martono, M.Sn. Sekretaris Redaksi: Dra. Supriyanti, M. Hum. Staf Redaksi: 1. Drs. Raja Alfirafindra, M.Hum. 2. Bekti Budi Hastuti, SST., M. Sn. Anggota Redaksi: 1. Prof. Dr. Y. Sumandiyo Hadi. SST. SU. 2. Dr. Hersapandi, SST., M.S. 3. Dr. Rina Martiara, M. Hum. 4. Dra. M. Heni Winahyuningsih, M. Hum. 5. Dra. Daruni, M.Hum. 6. Dra. Budi Astuti, M.Hum. 7. Dra. Siti Sularini Desain Sampul: Dr. Hendro Martono, M.Sn. Alamat Redaksi dan Penerbit: Jurusan Tari Fak. Seni Pertunjukan ISI Yogyakarta, Jl. Parangtritis km 6,5 Yogyakarta 55188 Telp. 08121561257 Naskah dapat dikirim melalui salah satu alamat email di bawah ini: Email: [email protected], [email protected], [email protected] Dicetak oleh: Multi Grafindo, Ruko Perumahan Candi Gebang Permai I/4 Sleman Yogyakarta 55584, Telp. (0274) 7499863, Fax.( 0274)888027 Email: [email protected] Apabila mengutip atau menyalin naskah yang terdapat dalam jurnal ini, maka harus ada ijin dari penulis langsung atau mencantumkan dalam referensi sesuai dengan tata tulis akademis yang berlaku.
    [Show full text]
  • Mapping the History of Malaysian Theatre: an Interview with Ghulam-Sarwar Yousof
    ASIATIC, VOLUME 4, NUMBER 2, DECEMBER 2010 Mapping the History of Malaysian Theatre: An Interview with Ghulam-Sarwar Yousof Madiha Ramlan & M.A. Quayum1 International Islamic University Malaysia It seems that a rich variety of traditional theatre forms existed and perhaps continues to exist in Malaysia. Could you provide some elucidation on this? If you are looking for any kind of history or tradition of theatre in Malaysia you won’t get it, because of its relative antiquity and the lack of records. Indirect sources such as hikayat literature fail to mention anything. Hikayat Raja-Raja Pasai mentions Javanese wayang kulit, and Hikayat Patani mentions various music and dance forms, most of which cannot be precisely identified, but there is no mention of theatre. The reason is clear enough. The hikayat generally focuses on events in royal court, while most traditional theatre developed as folk art, with what is known as popular theatre coming in at the end of the 19th century. There has never been any court tradition of theatre in the Malay sultanates. In approaching traditional theatre, my own way has been to first look at the proto- theatre or elementary forms before going on to the more advanced ones. This is a scheme I worked out for traditional Southeast Asian theatre. Could you elaborate on this? Almost all theatre activity in Southeast Asia fits into four categories as follows: Proto-Theatre, Puppet Theatre, Dance Theatre and Opera. In the case of the Philippines, one could identify a separate category for Christian theatre forms. Such forms don’t exist in the rest of the region.
    [Show full text]
  • Mak Yong, a UNESCO “Masterpiece” Negotiating the Intangibles of Cultural Heritage and Politicized Islam
    Patricia Ann Hardwick Sultan Idris Education University, Malaysia Mak Yong, a UNESCO “Masterpiece” Negotiating the Intangibles of Cultural Heritage and Politicized Islam Mak yong is a Malay dance drama once performed for entertainment and heal- ing ceremonies by itinerant theater troupes that traveled throughout northern Malaysia, southern Thailand, and the Riau archipelago of Indonesia. Incorpo- rated into national displays of Malaysian cultural heritage since the mid-1970s, mak yong was declared a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO in 2005. The UNESCO intangible cultural heritage (ICH) designation for mak yong was filed and accepted while mak yong was officially banned in its home state of Kelantan. The validity of mak yong as a symbol of Malay culture, and its ban in Kelantan for religious reasons, are frequently debated in Malaysia. Malaysian mak yong provides a case study of the divergent ways in which administrative and local communities of prac- tice implement the ICH concept of “safeguarding” in a highly charged polit- ical-religious field. International UNESCO designation, ICH safeguarding, and international human rights discourses have to contend with Malay ethnic nationalism and political Islamic movements that have alternatively sought to eradicate the art through bans or remake mak yong in their own image. Keywords: Intangible cultural heritage—UNESCO Masterpiece—Islam— politics—nationalism—communities of practice—safeguarding Asian Ethnology Volume 79, Number 1 • 2020, 67–90 © Nanzan University Anthropological Institute ak yong, a form of Malay theater, was proclaimed a Masterpiece of the Oral Mand Intangible Heritage of Humanity by UNESCO in 2005 and incorpo- rated into the Representative List of the Intangible Cultural Heritage of Humanity in 2008.
    [Show full text]
  • Tajuk Perkara Malaysia: Perluasan Library of Congress Subject Headings
    Tajuk Perkara Malaysia: Perluasan Library of Congress Subject Headings TAJUK PERKARA MALAYSIA: PERLUASAN LIBRARY OF CONGRESS SUBJECT HEADINGS EDISI KEDUA TAJUK PERKARA MALAYSIA: PERLUASAN LIBRARY OF CONGRESS SUBJECT HEADINGS EDISI KEDUA Perpustakaan Negara Malaysia Kuala Lumpur 2020 © Perpustakaan Negara Malaysia 2020 Hak cipta terpelihara. Tiada bahagian terbitan ini boleh diterbitkan semula atau ditukar dalam apa jua bentuk dan dengan apa jua sama ada elektronik, mekanikal, fotokopi, rakaman dan sebagainya sebelum mendapat kebenaran bertulis daripada Ketua Pengarah Perpustakaan Negara Malaysia. Diterbitkan oleh: Perpustakaan Negara Malaysia 232, Jalan Tun Razak 50572 Kuala Lumpur Tel: 03-2687 1700 Faks: 03-2694 2490 www.pnm.gov.my www.facebook.com/PerpustakaanNegaraMalaysia blogpnm.pnm.gov.my twitter.com/PNM_sosial Perpustakaan Negara Malaysia Data Pengkatalogan-dalam-Penerbitan TAJUK PERKARA MALAYSIA : PERLUASAN LIBRARY OF CONGRESS SUBJECT HEADINGS. – EDISI KEDUA. Mode of access: Internet eISBN 978-967-931-359-8 1. Subject headings--Malaysia. 2. Subject headings, Malay. 3. Government publications--Malaysia. 4. Electronic books. I. Perpustakaan Negara Malaysia. 025.47 KANDUNGAN Sekapur Sirih Ketua Pengarah Perpustakaan Negara Malaysia i Prakata Pengenalan ii Objektif iii Format iv-v Skop vi-viii Senarai Ahli Jawatankuasa Tajuk Perkara Malaysia: Perluasan Library of Congress Subject Headings ix Senarai Tajuk Perkara Malaysia: Perluasan Library of Congress Subject Headings Tajuk Perkara Topikal (Tag 650) 1-152 Tajuk Perkara Geografik (Tag 651) 153-181 Bibliografi 183-188 Tajuk Perkara Malaysia: Perluasan Library of Congress Subject Headings Sekapur Sirih Ketua Pengarah Perpustakaan Negara Malaysia Syukur Alhamdulillah dipanjatkan dengan penuh kesyukuran kerana dengan izin- Nya Perpustakaan Negara Malaysia telah berjaya menerbitkan buku Tajuk Perkara Malaysia: Perluasan Library of Congress Subject Headings Edisi Kedua ini.
    [Show full text]
  • The Identity of Showmanship in Malay Musical Theatres
    International Journal of Academic Research in Business and Social Sciences Vol. 9 , No. 11, November, 2019, E-ISSN: 2222-6990 © 2019 HRMARS The Identity of Showmanship in Malay Musical Theatres Muhammad Faisal, Syarul Azlina, Mardiana To Link this Article: http://dx.doi.org/10.6007/IJARBSS/v9-i11/6638 DOI: 10.6007/IJARBSS/v9-i11/6638 Received: 12 November 2019, Revised: 25 November 2019, Accepted: 30 November 2019 Published Online: 03 December 2019 In-Text Citation: (Faisal, Azlina, & Mardiana, 2019) To Cite this Article: Faisal, M., Azlina, S., & Mardiana. (2019). The Identity of Showmanship in Malay Musical Theatres. International Journal of Academic Research in Business and Social Sciences, 9(11), 1094–1104. Copyright: © 2019 The Author(s) Published by Human Resource Management Academic Research Society (www.hrmars.com) This article is published under the Creative Commons Attribution (CC BY 4.0) license. Anyone may reproduce, distribute, translate and create derivative works of this article (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this license may be seen at: http://creativecommons.org/licences/by/4.0/legalcode Vol. 9, No. 11, 2019, Pg. 1094 - 1104 http://hrmars.com/index.php/pages/detail/IJARBSS JOURNAL HOMEPAGE Full Terms & Conditions of access and use can be found at http://hrmars.com/index.php/pages/detail/publication-ethics 1094 International Journal of Academic Research in Business and Social Sciences Vol. 9 , No. 11, November, 2019, E-ISSN: 2222-6990 © 2019 HRMARS The Identity of Showmanship in Malay Musical Theatres Muhammad Faisal, Syarul Azlina, Mardiana Faculty of Music and Performing Arts, Sultan Idris Education University, Malaysia Abstract The touch of magic in performances is one of the observable ‘wow-factor’ elements through musical theatres.
    [Show full text]
  • Mak Yong: the Ancient Malay Dance-Theatre
    MAK YONG: THE ANCIENT MALAY DANCE-THEATRE GHULAM-SARWAR YousoF M ak Y ong is an ancient Malay dance-theatre form incorporating the elements of ritual, stylized dance and acting, vocal and instru­ mental music, story, song, formal as well as improvised spoken text. It is principally performed in the two provinces of Patani in southern Thailand and Kelantan, Malaysia, on the east coast of the Malay peninsula. 1 To a lesser extent Mak Yong also flourishes in the Rhiau Islands of Indonesia. Two other places associated with Mak Y ong performances are Kedah on the west coast of the Malay peninsula and northern Sumatra, particularly Serdang, to which Malaysian troupes arc reputed to have once travelled and even for a duration estab­ lished Mak Yong under royal patronage::~ History Myths and legends still current in Kelantanese villages suppot1 a strong belief that Mak Yong, like many other theatre genres of the of the region, had divine origination or inspiration. The ancient Java­ nese deity, Semar and his son, Turas, are credited with being its first my1hical founders and performers. Other theories link Mak Yong with Mak Hiang, the spirit of the rice, semangat padi, identified with Dewi Sri, the Hindu-Javanese harvest goddess.3 Mak Yong is thus regarded as a celebration of nature and natural phenomena, an idea eloquently expressed in the lyrics of Lagu Menghadap Rebab, the dance with which all Mak Yong performances commence.4 Yet again, to give it an Islamic colouring, Mak Y ong is often­ times described as having derived directly from Adam (Nabi Adam), the primeval human progenitor, through a host of spirits and mythical 1 The exact status of Mak Yang in the Pat ani area is not yet clear as no research has been done in that area up to the present.
    [Show full text]
  • Intercultural Theatre Praxis: Traditional Malay Theatre Meets Shakespeare's the Tempest
    University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2017 Intercultural theatre praxis: traditional Malay theatre meets Shakespeare's The Tempest Norzizi Zulkafli University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Zulkafli, Norzizi, Intercultural theatre praxis: traditional Malay theatre meets Shakespeare's The Tempest, Doctor of Philosophy thesis, School of the Arts, English and Media, University of Wollongong, 2017.
    [Show full text]
  • Culture, Arts & Heritage
    Culture, Arts & Heritage Terengganu has a distinct cultural personality and is blessed with some of Malaysia’s most wondrous attractions, making it a leading tourism destination in the country. Visitors are enthralled by it’s wealth of traditional arts, culture and rich Malay heritage. Terengganu is where people come to experience the authentic way of life in the East Coast of Malaysia, expressed through life in the laidback towns and fishing villages and to feast their senses on artistic pursuits of traditional cultural performances which have been lovingly preserved. It is also rich with a myriad of customs and traditions, upheld through generations and visible in its way of life, its arts and handicrafts, its traditional culinary style together with heritage. Terengganu is in a league of its own as a vibrant tourist destination. Be enthralled by the flock of dancers that evoke spirits, be entertained by traditional games that spin fun and excitement because it is truly a tropical gateway where you will definitely revitalize your senses in discovering the splendours of nature, the diversity of tradition and the fascinating Heritage. Beautiful State, Beautiful Culture Cultural Performance Handicraft Traditional Games Diverse Traditional Cuisine of Terengganu Monuments and Historical Sites 4 CULTURE, ARTS & HERITAGE ULEK MAYANG DANCE This graceful dance of worship is the most popular in Terengganu. According to the legend, a group of fishermen encountered a freak storm in the middle of the sea. One of them was possessed by the evil sea spirit. He was then taken ashore where a medium was called to revive the possessed fisherman and to entice the spirit to return to the sea.
    [Show full text]