Jurnal Gendang Alam (GA)最新文献

{"title":"ARCA RAMLAN ABDULLAH: PELANCONGAN KESENIAN ARCA AWAM","authors":"Syed Alwi Syed Abu Bakar, Aznan Omar, Hilal Mazlan, Azian Tahir","doi":"10.51200/ga.v12i2.4294","DOIUrl":"https://doi.org/10.51200/ga.v12i2.4294","url":null,"abstract":"Pelancongan budaya membina hubungan erat antara seni dan masyarakat. Pengurusan yang baik dan mampan mampu merealisasikan sesuatu acara berjalan dengan baik. Pameran arca awam merupakan satu acara yang sangat istimewa dan merupakan pameran arca awam yang pertama diadakan di negeri Perak dan kedua di Malaysia selepas Kuala Lumpur. Acara ini penting menjadi sebahagian daripada ekonomi pelancongan negara. Penyelidikan ini menggunakan pendekatan kajian kes untuk menilai keberkesanan pameran arca awam Ramlan Abdullah di Laman Arca, Universiti Teknologi MARA (UiTM), Perak. Aktiviti utama dalam penyelidikan ini adalah pemerhatian terhadap keterlibatan pengunjung terhadap arca awam Ramlan Abdullah. Selain itu, data-data sedia ada juga dirujuk. Pameran ini boleh dianggap sebagai satu aktiviti baharu yang memberi inspirasi kepada aktiviti pelancongan negeri Perak. Pengunjung yang datang terdiri daripada pelbagai usia. Aktivi pameran arca awam ini meninggalkan pengalaman yang unik kepada pengunjung. Ia boleh dibawa ke lokasi lain untuk dihayati oleh masyarakat setempat. \u0000  \u0000Cultural tourism strengthens the connection between art and society. Good and sustainable management is able to ensure the success of an event. This is the first public sculpture exhibition held in the state of Perak and the second public sculpture exhibition held in Malaysia after Kuala Lumpur. This event is essential to the country's tourism industry. The effectiveness of Ramlan Abdullah's public sculpture display at Laman Arca, Universiti Teknologi MARA (UiTM), Perak is evaluated using a case study methodology. The primary objective of this study is to observe how visitors interact with Ramlan Abdullah's public sculpture. Furthermore, the facts that are present are also discussed. This exhibition might be viewed as a fresh endeavour that stimulates tourism in the state of Perak. There is a range of ages among visitors. This public sculpture show offers guests a one-of-a-kind experience. It can be transported to different sites so that the local population can experience it.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129262121","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"TINJAUAN TERHADAP UNSUR KO-KREASI DALAM PAMERAN PROJEK MONYET@USM","authors":"Mohamad Faizuan bin Mat, Hasnul Jamal Saidon","doi":"10.51200/ga.v12i2.4190","DOIUrl":"https://doi.org/10.51200/ga.v12i2.4190","url":null,"abstract":"Pameran Projek Monyet@USM julung kalinya diadakan di Muzium Galeri Tuanku Fauziah, Universiti Sains Malaysia (USM) pada 25 Oktober 2021 sehingga 15 Januari 2022. Pameran ini dikuratorkan oleh Hasnul Jamal Saidon dan Afzanizam M. Ali. Pameran ini tidak mengemukakan seniman terkemuka mahupun pengamal seni profesional. Sebaliknya, pameran ini menerapkan sebahagian unsur ko-kreasi dengan kerjasama daripada pelbagai pihak, terutamanya penglibatan orang ramai yang dijemput untuk menyumbangkan karya seni mereka berkaitan dengan subjek pameran. Penulisan ini akan mengulas lebih lanjut tentang kaedah ko-kreasi sebagai sebahagian daripada strategi kuratorial. \u0000  \u0000The Project Monyet@USM exhibition was held for the first time at the Muzium Galeri Tuanku Fauziah, Universiti Sains Malaysia (USM) from 25 October 2021 until 15 January 2022. The exhibition was curated by Hasnul Jamal Saidon and Afzanizam M. Ali. The exhibition does not feature leading artists or professional art practitioners. Instead, the exhibition incorporates some elements of co-creation with the cooperation of various parties. In particular, the involvement of the public members who were invited to contribute their artworks related to the exhibition's subject. This article discusses co-creation methods as part of its curatorial strategy.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131798269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"STRUCTURE AND DECORATION ART OF DOU-GONG BRACKET SETS AND ITS CULTURAL COMMUNICATION","authors":"Pang Sainan, Jasni Dolah","doi":"10.51200/ga.v12i2.4040","DOIUrl":"https://doi.org/10.51200/ga.v12i2.4040","url":null,"abstract":"A system of brackets inserted between the top of a column and a crossbeam (hereinafter referred to as Dou-Gong Bracket Sets) is a unique and important structural component in traditional Chinese architecture. It is used to represent the connotations of traditional Chinese culture. To begin, this paper discussed the meanings of Dou-Gong Brackets Sets and their various features at each stage. At the same time, it thoroughly examined the system's structure and decoration, as well as its changes over time. Second, this paper expanded on its connotations of traditional Chinese culture. Then, a Dou-Gong Brackets Sets is chosen to design a 3D digital simulation game, and the game interface and interactive module are created based on the game design's participation and dissemination. The interface design with Chinese charm, visual function, and simplicity is created using design psychology and emotional design principles. This study evaluates and tests the user experience as well as the effect of cultural and educational communication of the Dou-Gong game, and it confirms that digital communication means play an irreplaceable role and significance in Dou-Gong communication.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126590070","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"CIRI DAN FUNGSI LAGU DALAM MEMBENTUK STRUKTUR PLOT FILEM MUZIKAL MAGIKA (2010)","authors":"Faezahnor Saddi, Zairul Anuar Md. Dawam, Fazmi Hisham","doi":"10.51200/ga.v12i1.532","DOIUrl":"https://doi.org/10.51200/ga.v12i1.532","url":null,"abstract":"Kajian ini menganalisis ciri dan fungsi lagu dalam membentuk struktur plot dan naratif filem muzikal Magika (2010). Teori Conceptual Integration Network oleh Fauconnier dan Turner (1998) digunakan untuk menganalisis ciri dan fungsi lagu seperti makna lirik, melodi dan nyanyian watak kepada keseluruhan naratif filem meliputi tema, watak perwatakan dan plot (sebab dan akibat) filem tersebut. Kajian ini memfokuskan elemen beat dalam struktur plot yang diperkenalkan oleh Syd Field (2005) dan Blake Snyder (2005) pada babak 2 iaitu Midpoint, B Story dan The bad guys close in. Pemilihan babak 2 ini dilakukan kerana ia merupakan durasi paling panjang dalam sesebuah filem yang memerlukan elemen beat yang kuat untuk memastikan audiens tidak bosan dan terus menonton filem.  Kajian ini mendapati ciri dan fungsi lagu dalam babak dua, iaitu lagu ‘Kehilangan’ dan ‘Rahsia Awet Muda’ sesuai dianalisis dan mempunyai hubung kait dengan elemen beat pada babak 2 iaitu Midpoint yang diperkenalkan oleh Syd Field (2005); B story dan The bad guys close in oleh Blake Snyder (2005). Kesannya, penggunaan lagu dalam filem muzikal Magika (2010) ini memberi kesan kepada struktur plot pada babak 2 meliputi elemen naratif seperti tema, watak perwatakan dan plot (sebab dan akibat), sekali gus memberi keterujaan kepada audiens untuk menonton filem tersebut.\u0000 \u0000This study analyzes the characteristics and functions of songs in shaping the plot and narrative structure of the musical film Magika (2010). The ‘Conceptual Integration Network’ theory by Fauconnier and Turner (1998) is used to analyze song characteristics and functions such as lyrical meaning, melody and character singing to the entire film narrative covering the theme, characterization and plot (cause and effect) of the film. This study focuses on the beat element in the plot structure introduced by Syd Field (2005) and Blake Snyder (2005) in Episode 2 namely Mid Point, B Story and The Bad Guys Close In. Episode 2 was selected because it is the longest duration in a film that requires a strong beat element to ensure the audience does not get bored and continue watching the film. This study found that the characteristics and functions of the songs in the second half, which are Kehilangan and Rahsia Awet Muda were appropriate and has a relationship with the beat element in the second half which is Mid Point introduced by Syd Field (2005); B Story and The Bad Guys Close In by Snyder (2005). The use of songs in the musical film Magika (2010) do affects the plot structure in Episode 2 covering the narrative elements of the theme, characters and plot (cause and effect), consequently generating excitement to the audience watching the film.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125456600","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ATTRACTIVENESS' FACTOR IN FOOD BASED LOGO DESIGN","authors":"Teddy Marius Soikun","doi":"10.51200/ga.v12i1.3835","DOIUrl":"https://doi.org/10.51200/ga.v12i1.3835","url":null,"abstract":"This research aims to understand the factors of 'attractiveness\" food-based in logo design. Based on an in-depth literature review, the research includes one design dimension, 'attractiveness.' \"Attractiveness\" is investigated on its influences on emotive consumer response. To reach the understanding of 'attractiveness,' one of the methods used is the Viewer's Impression Words (V.I.W.), a modification of Kansei Words (K.W.) usually found in Kansei Engineering.This method combines formalistic and visual semiotic analysis theory to achieve the Viewer's Impression Words (V.I.W.). Emotion Engineering presents a combination of quantitative and qualitative methodologies and is used to achieve loose principles to help designers understand the factors of an 'attractive' logo. This method is suggested as a new technique to improve the process of Emotion Engineering through understanding the factors of attractiveness in logo design and thus offer loose principles to help in 'problem-solving usually found in graphic design. 50 logos was selected as a design stimuli. These logos were then classified according to their domain which is food companies. Results showed that attractiveness is an important part of a food-based logo design from the suggested method. From the V.I.W, selected words suggested by participants (consumer), it can be transformed into loose principles to help new designers to design based on consumers' preferences. The findings also suggest that it may help designers reach 'attractiveness' in their logo by getting the idea of what is preferred in food logo design.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"239 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115760710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"THE WAYANG AND ITS ENCHANTING LITTLE PUPPETEERS: EXPLORING COGNITIVE ABILITIES OF CEREBRAL PALSY CHILDREN THROUGH PERFORMANCE","authors":"Mumtaz Begum Aboo Backer, Pravina Manoharan","doi":"10.51200/ga.v12i1.1930","DOIUrl":"https://doi.org/10.51200/ga.v12i1.1930","url":null,"abstract":"Wayang Kulit or shadow theatre, an ancient theatrical performance practice has given opportunity and space for researchers to explore the possibilities of creating a stimulating environment for performance and cognitive development among cerebral palsy children. This study looks at how three important performative elements in Wayang Kulit performance, “story-telling, role-playing and space” are explored for the development of cognitive abilities; i) to learn, ii) to sequence and iii) to reason, among cerebral palsy children. The study employs an action-research methodology which looks at participation-observation and artistic processes ranging from drama/theatre approaches to speech and vocal exercises. To assist the children in achieving the intended goals, “sensitive assistance” approach was also employed whereby teachers/facilitators assist the children during the workshop and training sessions. The cerebral palsy children were not only the participants of the workshops but more importantly, were the performers, storytellers, musicians, and puppeteers. Findings of this study show the children could, a) memorize the script (ability to learn), b) present the script in a story-telling manner (ability to sequence), c) role-play (to reason), and d) understand the mechanism of the performative setting (on and off stage). In addition, the study shows that through the sessions conducted via Wayang Kulit performance, the children learned to communicate, respond to each other, and also express themselves emotionally.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"203 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122666869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"THE INTERPRETATION OF SIGNS ON PROJECTION ART OF VEIL OF AN ARTIST AND A FICTIONAL DIALOGUE","authors":"Hannah Kong Nyuk Fun, Imelda Ann Achin, Addley Bromeo Bianus","doi":"10.51200/ga.v12i1.3833","DOIUrl":"https://doi.org/10.51200/ga.v12i1.3833","url":null,"abstract":"The form of communication of new media art serves as a vital link between the world of art and the society. The scenario for the advancements of new media art in our country is inadequate in respect of the intellectualism aspects of studies and the knowledge of projection art. As part of this study, projection art in Malaysia will be analysed to see how artists employ technology and visual art semiotics to convey their ideas to audiences effectively. This paper discusses the projection artworks produced by Hasnul Jamal Saidon titled Veil of an Artist and A Fictional Dialogue. The semiotics approaches which involve in constructing the content analysis semiology and in-depth interviews were utilised to analyse the projection artwork by Hasnul Jamal Saidon. Furthermore, this study aims to discover the value of message that embedded in the projection artworks of Hasnul as well as to interpret the signs and meanings included in each piece of art. According to the research, projection artwork of Hasnul demonstrates the new media and its always changing, intricate ways in which individuals express and interpret in different perspective of the value of the subject, and ideologies of nature, as well as social morality, and conventional standards. Study finding shows that artworks may effectively transmit the intended messages of the artist as well as themes and issues that they addressed regardless of the date or place in which they were produced.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123980638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"KOSTUM DALAM TEATER TRADISIONAL BORIA DI PULAU PINANG AWAL ABAD KE-21","authors":"Noor Rafizal bin Paharul Rozi, Azrul Azizi Amirrul","doi":"10.51200/ga.v12i1.3347","DOIUrl":"https://doi.org/10.51200/ga.v12i1.3347","url":null,"abstract":"Penulisan artikel ini bertujuan mengkaji kostum dalam teater tradisional boria di Pulau Pinang. Kostum merupakan salah satu daripada lima elemen yang terdapat dalam persembahan boria. Komponen boria terdiri daripada pelakon sketsa, sailor tukang karang, dan pemuzik yang menggunakan elemen kostum. Perubahan zaman menyebabkan boria telah menempuhi tempoh cabaran yang menguji kekukuhannya terutama kostumnya. Selain itu, pengubahsuaian kostum boria telah berlaku mengikut keinginan berdasarkan budaya komuniti tempatan. Terdapat dua objektif kajian, iaitu untuk mengenal pasti kefahaman dan fungsi elemen kostum dalam setiap komponen boria. Seterusnya, mengemukakan pembahagian kostum boria setiap komponennya pada awal abad ke-21 dalam persembahan boria moden. Pendekatan kualitatif telah diguna pakai dalam kajian ini yang melibatkan kaedah temu bual dan pemerhatian. Hasil dapatan pengkaji mendapati perubahan telah terwujud dalam kostum boria kini adalah kostum tukang karang dan kostum sailor kerana masyarakat lebih mudah tertarik berbanding dengan kostum pelakon-pelakon. Bukan itu sahaja, peranan pemuzik yang telah disingkirkan menyebabkan kostumnya tidak lagi dihasilkan. Oleh itu, pemeliharaan dan pemuliharaan kostum boria adalah satu langkah yang harus dilakukan oleh pelbagai pihak agar tidak disalahgunakan untuk tujuan komersial semata-mata.\u0000 \u0000This article will study at the early 21st century Penang traditional boria theatre costumes. The costume is one of the five elements found in boria performance. The component of boria especially sketch actors, tukang karang, sailors, and musicians will use this element. Time development had caused boria to undergo a series of evolution, especially the costumes. In addition, the boria costume had been customised according to the local community's taste and culture. This study aims to identify the apprehension and function of the costume elements in each component of the boria. Next, this study also would like to illustrate the division of boria costumes for each of its components in the early 21st century within the modern boria performances. This study has used a qualitative method involving interviews and observations. The objectives of this study have been answered successfully based on the data collected and the analysis. Significant changes in the current boria costumes involving the tukang karang and the sailor's costume had also been found through this study. The findings had found that audiences were more easily attracted to them than the actors' costumes. Not only that, but this study also found that the removal of the musicians' role had caused their costumes to cease production. Therefore, the preservation and conservation of boria costumes is a step that should be done by various parties so as not to be misused for purely commercial purposes","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132183175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"VISUAL TUBUH MANUSIA DAN PESAN SIMBOLIKNYA DALAM KARYA SENI BAYU UTOMO RADJIKIN","authors":"Issarezal Ismail, Hairulnisak Merman, Ruzamira Razak Abdul Razak, Muhammad Salehuddin Zakaria ","doi":"10.51200/ga.v12i1.3836","DOIUrl":"https://doi.org/10.51200/ga.v12i1.3836","url":null,"abstract":"Karya seni visual yang berperanan sebagai salah satu medium komunikasi tidak hanya memperlihatkan gambaran visual semata-mata tetapi juga memiliki pesan atau mesej yang ingin disampaikan oleh pelukis kepada masyarakat umum melalui penggunaan tanda atau simbol tertentu. Tujuan kajian ini dilaksanakan adalah untuk mendekati, memahami dan menjelaskan visual tubuh manusia dan pesan simboliknya dalam karya Bayu Utomo Radjikin. Metodologi kajian seni yang menekankan pada sistem penjelasan bersifat menyeluruh dan mendalam telah digunakan berpandukan pada model pesan simbolik karya seni yang diadaptasi melalui penggunaan konsep-konsep yang difikirkan relevan. Hasil analisis menunjukkan bahawa visual tubuh manusia dari karya-karya Bayu Utomo Radjikin menjadi simbol bagi mengungkapkan pesan tentang penderitaan sosial dan juga identiti diri personal yang diinspirasikan dari tragedi kemanusiaan di peringkat tempatan mahupun global serta pengalaman peribadi sebagai seorang perantau dan sebagai seorang Melayu berketurunan Jawa di Malaysia. Pada masa yang sama, mesej simbolik dari visual tubuh manusia itu juga memiliki fungsi untuk mengajarkan nilai kemanusiaan masyarakat moden yang telah hancur, nilai cinta yang menuntut manusia untuk melakukan pengorbanan dan juga nilai budaya yang sungguh berharga bagi mencari jati diri serta mendewasakan manusia. \u0000  \u0000Visual artwork as one of the mediums of communication not only shows a mere visual image but it also has a message that wants to be conveyed to the general society through the use of certain signs or symbols. The purpose of this study is to approach, understand and explain the visual of human body and its symbolic message in Bayu Utomo Radjikin’s artworks. The art research methodology that emphasizes on a comprehensive and indepth explanatory system has been used based on the symbolic message model of the artwork adapted through the use of concepts deemed relevant. The results of the analysisshows that the visual of the human body from the artworks by Bayu Utomo Radjikin is a symbol to express the message of social suffering and also personal identity inspired by human tragedy at the local and global level as well as personal experience as a nomad and also as a Malay-Javanese in Malaysia. At the same time, the symbolic message of the visual of the human body also has the function to teach the human values of modern society that has been destroyed, the value of love that demands human beings to make sacrifices and also the cultural values that are very valuable for finding identity as well as maturing human beings.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114304799","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"EVOLUSI PENCAHAYAAN DALAM PERSEMBAHAN WAYANG KULIT KELANTAN","authors":"Azrul Azizi Amirrul","doi":"10.51200/ga.v12i1.1925","DOIUrl":"https://doi.org/10.51200/ga.v12i1.1925","url":null,"abstract":"Pencahayaan memainkan peranan penting dalam persembahan wayang kulit Kelantan. Penggunaan lampu berfungsi sebagai medium utama untuk memancarkan bayang patung  di permukaan kelir. Dalang bertanggungjawab memanipulasi bayang patung dengan narator dan aksi dramatik daripada cerita-cerita wayang kulit Hikayat Maharaja Wana. Kepentingan cahaya tidak tertumpu dalam persembahan semata-mata, tetapi mempunyai makna simbolik yang berhubungan dengan kepercayaan masyarakat. Persembahan wayang kulit Kelantan bertindak sebagai alat didikan sosial, menerapkan amalan kepercayaan agama, menyebarkan maklumat dan berfungsi untuk hiburan dalam masyarakat Melayu tradisional. Dalang bertanggungjawab dalam memastikan setiap aspek persembahan mematuhi amalan tradisi yang diwarisi daripada guru masing-masing. Namun, seiring dengan perkembangan zaman, berlaku kemerosotan terhadap kumpulan persembahan dan dalang yang melakukan persembahan kerana evolusi  dalam masyarakat. Oleh itu, para pengamal seni persembahan wayang kulit Kelantan kini perlu beradaptasi dengan keadaan semasa bagi memancing minat generasi kini bagi memastikan kelangsungannya. Kajian ini bertujuan untuk mengenal pasti kemungkinan wujud evolusi dalam pencahayaan melibatkan jenis lampu, pengendalian dan penyelenggaraan pencahayaan, tanggungjawab dalang dalam pencahayaan dan simbolik dalam pencahayaan. Hal ini berupaya menjelaskan faktor-faktor yang mempengaruhi evolusi tersebut dan membuktikan usaha para pengamal meneruskan tradisi kesenian wayang kulit Kelantan. Penyelidik menggunakan kaedah penyelidikan kualitatif melibatkan pemerhatian dan wawancara bersama lapan orang dalang yang membuat persembahan selama 12 minggu di Gelanggang Seni Kota Bharu, Kelantan. Dokumentasi data turut menggunakan rakaman video dan foto. Hasil kajian mendapati evolusi yang berlaku dalam pencahayaan wayang kulit Kelantan dipengaruhi oleh tuntutan penonton dan perkembangan teknologi. Proses adaptasi melibatkan pengubahsuaian, pengolahan dan penghilangan unsur-unsur tradisional yang tidak relevan khususnya simbolik kepercayaan telah dilakukan demi kelangsungan persembahan.\u0000 \u0000Lighting plays an essential role in wayang kulit Kelantan performance as it serves as the primary medium for emitting the puppet's shadow on the white screen. The dalang, or the mastermind is responsible for manipulating the puppet's shadow as he narrates the dramatic action from the tales of Maharajawana. The significance of light is not limited to the performance itself but also has a symbolic meaning concerning the community's beliefs. Wayang kulit Kelantan performances act as a tool for social education, incorporating religious values, communicating information, and entertaining members of the traditional Malay society. The dalang is responsible for ensuring that all aspects of the performance adhere to the traditional practices passed down from their respective teachers. However, as time passes, the number of performance groups and masterminds who perfo","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123622146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}