Jurnal Gendang Alam (GA)最新文献

{"title":"ARKA WATAK ADIWIRA BOBOIBOY: FASA PERUBAHAN DALAM MODEL NARATIF CHRISTOPHER VOGLER","authors":"Oscar Gordon Wong, Imelda Ann Achin","doi":"10.51200/ga.vi.3282","DOIUrl":"https://doi.org/10.51200/ga.vi.3282","url":null,"abstract":"Tahun 2019 meletakkan Malaysia dalam kegemilangan filem bergenre adiwira. Dua penerbit besar, iaitu Animonsta Studio menghasilkan BoBoiboy Movie 2 dan WAU Animation Studio menghasilkan Ejen Ali The Movie, masing-masing menghasilkan keunikan watak adiwira dan kuasa mereka tersendiri. Namun begitu, industri filem animasi daripada genre adiwira masih berada di tahap yang tidak mampu berdaya saing. Hal ini dapat dilihat daripada 17 buah filem animasi yang dihasilkan daripada tahun 1998 tahun sehingga tahun 2019, hanya empat sahaja filem adiwira berjaya mendapat perhatian penonton. Animasi merupakan medium emosi, namun pemfokusan ke arah visual dalam reka bentuk watak dan naratif penceritaan sahaja tidak memadai. Sebaliknya, sebuah penceritaan mengajak audiens untuk masuk ke dalam posisi adiwira dan melihat dunia mereka melalui visual penonton. Oleh itu, objektif utama penulisan ini bertujuan menganalisis fasa perubahan arka watak adiwira Boboiboy dalam filem animasi BoBoiBoy Movie 2 (2019). Reka bentuk kajian ini merupakan kualitatif berbentuk analisis deskriptif dan menggunakan model The Character Arc yang diperkenalkan oleh Vogler (2007) menerusi bukunya bertajuk, The Writer's Journey. Kajian ini mendapati fasa perubahan watak adiwira Boboiboy dapat dilihat menerusi tindakan dan penampilannya. Perubahan ini dipengaruhi daripada dua dunia yang berbeza, iaitu dunia biasa dan dunia khas. Boboiboy menjalani 12 fasa konflik dalaman yang berbeza sehingga mencapai kejayaan dan memperoleh kuasa luar biasa untuk dikongsi sebagai rahmat bersama. Diharapkan dapatan analisis ini dapat dijadikan kayu ukur dalam aspek perkembangan watak dan perwatakan, sekali gus memberangsangkan lagi minat audiens.\u0000 \u0000The year 2019 marks the heyday of superhero films in Malaysia. BoBoiboy Movie 2 was produced by Animonsta studio, and Agent Ali The Movie was produced by WAU Animation studio, with each producing their own unique superhero characters and powers. Nonetheless, the animated film industry in the superhero genre remains uncompetitive. As shown by the 17 animated films made between 1998 and 2019, only four superhero films captured the public imagination. Although animation is an emotional medium, focusing solely on the visuals in character design and storytelling narrative is insufficient. Instead, a narrative invites the audience to put themselves in the place of superheroes and experience their world through the audience’s eyes. As a result, the main objective of this article is to examine the arc of the superhero character Boboiboy in the animated film BoBoiBoiBoy Movie 2 (2019). This study’s design is qualitative in the form of descriptive analysis, and it employs the model of The Character Arc introduced by Christopher Vogler (2007) in his book The Writer’s Journey. This research shows that the character of the superhero Boboiboy’s phase of change can be seen through his actions and appearance. These transitions are shaped by two distinct worlds, the ordinary and th","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131649448","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":"PENGGUNAAN BUTOH-FU (NOTASI BUTOH) DALAM PENGKARYAAN KOREOGRAFI: KAJIAN KES PRODUKSI REMINISCENCE, THE WORLD OF THE STRANGE TALES (2013)","authors":"Leng Poh Gee, Mumtaz Begum Aboo Backer","doi":"10.51200/ga.vi.2677","DOIUrl":"https://doi.org/10.51200/ga.vi.2677","url":null,"abstract":"Butoh-Fu (Notasi Butoh) telah diciptakan oleh pengasas butoh, Hijikata Tatsumi (1928-1986) dan disusun oleh pelajarnya, Yukio Waguri (1952-2017) secara retrospektif. Butoh-Fu digunakan sebagai satu kaedah koreografi. Kaedah tersebut telah diperkenalkan kepada penari tempatan oleh Yukio Waguri sejak akhir tahun 2000-an. Artikel ini menerangkan perkembangan seni butoh khususnya di Semenanjung Malaysia dan menjelaskan peranan Butoh-Fu dalam pengkaryaan, melalui kajian kes produksi Reminiscence, The World of the Strange Tales (2013), di mana penulis terlibat sebagai penari. Data yang diperolehi melalui kaedah pemerhatian ikut serta, temu bual kumpulan dan refleksi kendiri telah diwacanakan untuk mengisi kekosongan mengenai perkembangan butoh dalam penyelidikan seni tari tempatan. Artikel ini turut mencadangkan bahawa memiliki satu sistem notasi yang dicipta dan diguna khas oleh komuniti pengamalan sendiri adalah berkesan dalam mempercepatkan pengenalan sesuatu genre tari, serta relevan dalam perakuan autoriti professionalisme.\u0000 \u0000Butoh-Fu (Butoh Notation) was created by the founder of butoh, Hijikata Tatsumi (1928-1986) and compiled by his student, Yukio Waguri (1952-2017) retrospectively. Butoh-Fu is used as a choreographic method. The method has been introduced to the local dancers by guru Yukio Waguri (1952-2017) since the late 2000’s. This article describes the development of butoh especially in peninsular Malaysia, and explains the role of Butoh-Fu in dance creation and performance, through stage production Reminiscence, The World of the Strange Tales (2013) as a case study, which I was involved as a dancer. Data obtained through the methods ofparticipant observation, group interviews and self-reflection were made as a discourse tofill in the absence of butoh’s development in local dance research. This article also suggeststhat a notation system that was created and used by its community of practitioners, isindeed effectively speed up the circulation of the dance genre and relevant to enhanceits authority of professionalism.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124358705","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":"PERMAINAN INTERAKTIF GALAH PANJANG: PEMELIHARAAN PERMAINAN TRADISIONAL MELALUI PENGGUNAAN TEKNOLOGI","authors":"Norfarizah Mohd Bakhir, Syafina Azleen binti Che Saludin, Mohd. Asyiek Bin Mat Desa, A. Ahmad","doi":"10.51200/ga.vi.2628","DOIUrl":"https://doi.org/10.51200/ga.vi.2628","url":null,"abstract":"Permainan tradisional galah panjang mempunyai keunikan dan unsur kebudayaan yang tersendiri. Bagi sesebuah masyarakat, permainan tradisional dapat mempengaruhi perkembangan diri seseorang kerana ia meliputi perkembangan jiwa, sifat dan kebudayaan hidup sosial anak muda pada masa akan datang. Bagaimanapun, permainan tradisional galah panjang kurang didedahkan kepada kanak-kanak. Malah, ada kanak-kanak yang tidak tahu tentang permainan tersebut. Justeru, melalui permainan interaktif galah panjang ini, berkemungkinan akan dapat menaikkan minat kanak-kanak untuk bermain permainan tradisional berbanding permainan digital. Terdapat tiga objektif kajian ini, iaitu mengenal pasti pengetahuan kanak-kanak tentang permainan tradisional galah panjang, menganalisis tahap kefahaman kanak-kanak tentang permainan tradisional galah panjang dan mereka bentuk satu medium permainan galah panjang berbentuk media interaktif agar dapat menarik minat kanak-kanak untuk bermain permainan tradisional galah panjang. Kesimpulannya, medium permainan interaktif galah panjang ini dapat membantu meningkatkan minat kanak-kanak untuk bermain permainan tradisional dan berharap permainan tradisional ini tidak dilupakan oleh generasi akan datang. \u0000 \u0000The traditional galah panjang is a game with its own unique and cultural features. Traditional games can affect the development of the soul, nature and culture of young people’s social lives in a society in the future. However, children are less exposed to the traditional galah panjang game. Even children do not know about the game. With this long interactive game, children’s interest in playing traditional games can be increased in comparison with digital games. The study’s goals include identifying the knowledge of children in traditional galah panjang games, analysing their level of understanding of traditional galah panjang games and designing a medium long pole game in the form of interactive media in order to attract children to traditional galah panjang games. In summary, this interactive medium for long poles can help children to become more interested in playing traditional games and hope that future generations will not forget these traditional games.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116986782","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":"ASAL USUL TARIAN TRADISIONAL PELBAGAI BUDAYA DI LUAR DAN DI SABAH","authors":"Sri Ningsih Sukirman","doi":"10.51200/ga.vi.2843","DOIUrl":"https://doi.org/10.51200/ga.vi.2843","url":null,"abstract":"Setiap tarian tradisional di dunia ini mempunyai asal usulnya. Artikel ini bertujuan membuat sorotan literatur tentang asal usul tarian-tarian tradisional di luar dan di Sabah. Kajian perpustakaan dan laman sesawang telah dilakukan untuk mengumpul data daripada buku, makalah jurnal, makalah ensiklopedia dan penerbitan lain yang ada hubung kait dengan fokus sorotan literatur ini. Hasil sorotan literatur yang dilakukan mendapati asal usul tarian tradisional di luar Sabah hanya terhad kepada dua jenis asal usul sahaja, iaitu ritual dan pergerakan binatang. Kebanyakan tarian ritual di luar Sabah didapati bertujuan untuk permintaan hujan, kesuburan tanaman, penyembuhan penyakit dan upacara kematian. Selain asal usul tarian tradisional yang berkait dengan ritual, terdapat juga tarian tradisional yang berasal daripada pergerakan binatang seperti pergerakan kera, kijang dan unggas. Bagi asal usul tarian-tarian tradisional di Sabah pula, tarian ritual yang ditemui dalam sorotan literatur ini didapati bertujuan untuk penyembuhan penyakit, pemujaan semangat padi dan semangat mengayau serta menolak bala. Berkaitan pergerakan binatang, terdapat tarian tradisional di Sabah yang diilhami daripada pergerakan burung, khususnya burung layang-layang dan burung helang. Tiada pergerakan binatang lain yang ditemui. Tambahan pula, terdapat asal usul tarian tradisional di Sabah yang berasal daripada permainan tradisional orang tempatan. Asal usul sedemikian tidak ditemui dalam asal usul tarian tradisional di luar Sabah ketika sorotan literatur ini dilakukan. Kesimpulannya, terdapat tiga jenis asal usul tarian-tarian tradisional di Sabah telah ditemui dan dibincangkan dalam sorotan literatur ini, iaitu tarian-tarian tradisional yang berasal daripada ritual, pergerakan binatang dan permainan. \u0000  \u0000Every traditional dance in the world has its own origin. This literature review aims to review the origin of the traditional dances outside Sabah and in Sabah. The search for books, journal articles, encyclopedia articles and other publications materials as the data of this literature review were done through library research and online search. In the review, it was found that all the dances outside Sabah were originated from either ritual or the movements of animals and birds. Majority of the ritual dances outside Sabah were associated with the purpose of praying for rain, plant fertility, healing for sickness and funeral. Besides ritual dances, the origin of other dances was associated with the movement of animals such as monkey, deer and birds. For the origin of the tradisional dances in Sabah, rituals dances found in this literature review conducted with the purpose of sickness healing, worshiping paddy spirits and spirits of head-hunting as well as repelling misfortune hapennings. Regarding movement of animals, there are traditional dances of Sabah originated from the movement of birds, especially swallow and eagle. None of the dances were originated from the movement of ani","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"110 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123416443","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":"BOAT-SHAPED COFFIN DALAM GUA KAIN HITAM (PAINTED CAVE) NIAH, SARAWAK","authors":"Junior Kimwah, Ismail Ibrahim, Hj Baharudin Mohd Arus","doi":"10.51200/ga.vi.2842","DOIUrl":"https://doi.org/10.51200/ga.vi.2842","url":null,"abstract":"Artikel ini membincangkan artifak boat-shaped coffin atau keranda berbentuk perahu yang terdapat di dalam Gua Kain Hitam (Painted Cave) Niah, Sarawak. Artifak berbentuk perahu ini dipercayai digunakan sebagai keranda pada suatu ketika dahulu. Keranda ini dipercayai dihasilkan oleh masyarakat neolitik yang menghuni sekitar Gua Kain Hitam pada ketika itu. Upacara kematian yang diamalkan ini bersifat primary burial. Mayat disimpan di dalam keranda perahu sehingga reput sepenuhnya. Kemudian, baki tulang tersebut ditanam di tapak pengebumian lain yang terletak di Gua Kain Hitam II. Penyelidikan ini menekankan kaedah pemerhatian secara langsung di lapangan. Subjek penyelidikan difoto dan direkodkan secara terperinci melalui fotografi dan buku lakaran. Hasil penyelidikan ini menjelaskan reka bentuk dan fungsi serta kegunaan boat-shaped coffin pada suatu ketika dahulu. Hasil analisis kandungan terhadap hubung kait keranda dan lukisan gua prasejarah yang ditemui menunjukkan ruangan Gua Kain Hitam berfungsi sebagai death chamber. Justeru, penyelidikan ini dapat mendokumentasi dan memelihara artifak secara kolektif untuk tatapan masyarakat akan datang. \u0000  \u0000This article discusses on boat-shaped coffin artefacts found in the Painted Cave of Niah, Sarawak. This boat-shaped artefact is believed have been used as a caoffin in the past. The coffin is believed have been maded by the neolithic people who lived around the Painted Cave at that time. This ritual of death is a primary burial. The body was stored in the boat’s coffin until it was completely decomposed. The remains were then buried at another burial site, located in the Painted Cave II. This research emphasizes the method of direct observation in the field. The research subjects were photographed and recorded in detail through photography and sketches. The results of this research explain the design and function and use of boat-shaped coffins in the past. The results of the analysis from the contents of the coffin linkages and prehistoric cave drawings found that the Painted Cave spaces served as a death chamber. As such, this research can document and conserve artefacts collectively for the public to see.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115154537","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":"MALAYSIA FILM POSTERS FROM THE PERSPECTIVEOF MALAY CULTURE","authors":"Hajijah binti Lamiri, Zairul Md Dawam","doi":"10.51200/ga.vi.2841","DOIUrl":"https://doi.org/10.51200/ga.vi.2841","url":null,"abstract":"The content of Malaysia films as well as the film posters itself reflects the “face” or culture of Malaysian peoples, especially the Malays. Content analysis was the main methodology been used in this study, which by analysing content portrayed in 12 movie posters that has been selected randomly from year 1955 until 2013. By using the Roland Barth’s semiotic theoretical approach, 12 Malay movie posters were chosen for the study purpose which are film posters for film Penarek Becha (1955), Siti Muslihat (1962), Cinta dan Lagu (1976), Panglima Badul (1978), Ali Setan (1985), Kekasih Awal dan Akhir (1993), Maria Mariana (1996), Perempuan Melayu Terakhir (1999), Spinning Gasing (2001), Puteri Gunung Ledang (2004), 1957: Hati Malaya (2007) and Tanda Putera (2013). The Malay cultural elements identified in the Malay movie posters are through the language in the poster, characters in posters, wardrobe and make-up of the characters, equipment’s, background locations and symbols in the poster.Thus, the main question here is what is the “Malay” that is being portrayed in the Malay film posters? and the Malay film poster actually describing “Malay face”?. These questions will only be answered by studying and reviewing the contents of Malay film posters as a cultural representation that reflects the Malay culture (our movie is our face). The awareness on the issue of the importance of providing a proper understanding of “our faces” in the display of the contents of Malay film posters is seen as purely pursuit of preserving Malay culture continues to grow and can be inherited from one generation to the next generation in the future.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123192339","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":"NILAI PENDIDIKAN DALAM TALAALA DUSUN TINDAL","authors":"Rosliah Kiting, Jemir Kinsom, Ewon Benedick","doi":"10.51200/ga.vi.2303","DOIUrl":"https://doi.org/10.51200/ga.vi.2303","url":null,"abstract":"Dusun Tindal merupakan etnik majoriti yang menduduki daerah Kota Belud, Sabah. Etnik ini terkenal dengan puisi yang disebut talaala. Puisi ini menyerupai pantun masyarakat Melayu sebagai khazanah sejak dahulukala. Sehingga kini, puisi talaala masih disebarkan secara lisan dan kajian tentangnya masih terbatas. Kajian awal terhadap puisi ini memaparkan nilai-nilai murni, iaitu persamaan dengan puisi Hsi Shing dalam masyarakat Cina atau Leka Main dalam masyarakat Iban yang kaya dengan nilai-nilai pendidikan. Justeru, kertas kerja ini akan menganalisis nilai pendidikan yang diterapkan dalam rangkap talaala Dusun Tindal. Data-data kajian diperoleh daripada temu bual dengan informan di lapangan. Analisis kajian mendapati talaala sarat dengan nilai pendidikan, terutamanya dorongan berkelakuan baik, kerajinan, hormat-menghormati dan memupuk kesedaran betapa pentingnya memiliki ilmu demi kelangsungan hidup. Penerapan nilai pendidikan secara tersirat dalam talaala menggambarkan kesantunan berbahasa dalam etnik Dusun Tindal, sekali gus mencerminkan ketinggian peradaban dan martabat mereka. Tradisi lisan talaala perlu dilestarikan demi memastikan nilai-nilai murni diterapkan dalam kalangan generasi muda.\u0000 \u0000Dusun Tindal is the majority ethnic group in Kota Belud., Sabah. This ethnic group is known for its talaala poetry. The poem resembles cultural traditions as ancient treasures. Hardly, talaala poetry circulated orally and related research is limited. Preliminary studies of this poem feature noble values, notably similarities with Chinese society’s Hsi Shing poetry, or Iban society’s Leka Main rich in educational values. This paper will analyse the value of education in the Dusun Tindal tunnel. Data were obtained from field informant interviews. Analysis showed talaala loaded with the value of education, particularly encouraging good behaviour, diligence, respect and knowledge of the purpose of understanding the nature of life. Implicit application of educational values in talaala reflects language politeness in the Dusun Tindal ethnic group, reflecting the altitude of their civilization and dignity. To ensure pure principles are enforced among the younger generation, talaala’s oral heritage must be preserved.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130227136","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":"TARIAN MONGIGOL-SUMUNDAI MOMOGUN RUNGUS DI SABAH: ANALISIS KONSEP PERSEMBAHAN DAN RAGAM GERAK","authors":"Victor B. Pangayan","doi":"10.51200/ga.vi.2840","DOIUrl":"https://doi.org/10.51200/ga.vi.2840","url":null,"abstract":"Tarian Mongigol-Sumundai merupakan tarian tradisional Momogun-Rungus yang mendiami daerah Kudat, Pitas dan sebahagian kecil di kawasan Sandakan yang terletak di bahagian pantai barat utara negeri Sabah. Tarian ini sering dipersembahkan dalam majlis keramaian seperti majlis perkahwinan, sambutan Pesta Kaamatan dan Pesta Moginakan. Fokus kajian ini adalah pada konsep persembahan tarian Mongigol-Sumundai dan ragam gerak yang digunakan dalam persembahan tarian ini. Hasil pemerhatian dan analisis mendapati bahawa tarian Mongigol-Sumundai mempunyai dua konsep persembahan dan setiap konsep persembahan ini mempunyai fungsi yang berbeza. Selain itu, pengkaji juga dapat mengenal pasti 12 ragam gerak yang selalu digunakan dalam persembahan tarian Mongigol-Sumundai dan keseluruhan ragam gerak ini akan dinilai dari segi kualiti gerak menggunakan Laban Eight Effort Movement. Kajian seumpama ini penting bagi mendalami dan memahami konsep persembahan dan ragam gerak yang terkandung dalam persembahan tarian Mongigol-Sumundai. \u0000  \u0000The Mongigol-Sumundai dance is a traditional Momogun-Rungus choreography that lives in the Kudat, Pitas and Sandakan districts of the north west coast of Sabah. Often this dance is performed at weddings, Kaamatan Festival and Moginakan Festival ceremonies. The key focus of this analysis is the idea of dance performance by Mongigol-Sumundai and the diversity of movements used in this dance performance. The results of observations and studies have shown Mongolian-Sumundai dance to have two performance concepts and each concept has a different function. The researcher was also able to classify 12 moving styles that are commonly used for the Mongigol-Sumundai dance performances and the entire range of these movements can be evaluated by means of the Laban Eight Effort Movement in terms of movement efficiency. Such a research is essential for us to deepen and understand the concept of performance and the diversity of movements in the dance performance of Mongigol-Sumundai.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124071054","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":"IMEJ BUDAYA DAN KERJASAMA DALAM KARYA SENI CETAKAN MAPHILINDO","authors":"Mohd Azdy Shahrin Nizzam Amarisner, Humin Jusilin","doi":"10.51200/ga.vi.2827","DOIUrl":"https://doi.org/10.51200/ga.vi.2827","url":null,"abstract":"Artikel ini menyingkap karya seni yang dihasilkan oleh kumpulan Pangrok Sulap bertajuk Maphilindo. Pangrok Sulap merupakan sebuah kumpulan yang terdiri daripada beberapa orang pengkarya yang amat prolifik menghasilkan karya cetakan teknik woodcut. Kajian khusus tentang karya seni cetakan yang bertajuk Maphilindo dipilih kerana memaparkan isu budaya dan sosial. Karya ini menggambarkan harapan tentang kesatuan budaya yang terkandung dalam gagasan kesatuan Maphilindo, iaitu Malaysia, Filipina dan Indonesia. Ketiga-tiga buah negara yang terlibat dalam penubuhan gagasan Maphilindo memberi kesan kepada budaya dan kehidupan sosial masyarakat tempatan. Pengkarya menggunakan seni cetakan untuk memberi gambaran dan pendedahan tentang kesedaran orang awam tentang isu ini. Penulis menggunakan Teori Ikonografi oleh Erwin Panofsky (1972) dalam menghurai setiap elemen seni visual yang diketengahkan oleh pengkarya dalam karya cetakan. Data-data yang terdiri daripada elemen formal dianalisis melalui tiga tahap analisis iaitu primer, praikonografi dan makna ikonografi. Kajian ini mendapati bahawa karya ini memaparkan elemen kesatuan yang selaras dengan budaya dan sosial antara negara Malaysia, Filipina dan Indonesia. \u0000  \u0000This article reveals the artwork produced by the Pangrok Sulap group titled Maphilindo. Pangrok Sulap is a group consisting of several very prolific works producing woodcut prints. This special study of printed artwork titled Maphilindo was chosen because it presents cultural and social issues. This work also illustrates the hope of cultural unity contained in the idea of Maphilindo unity, namely the countries of Malaysia, the Philippines and Indonesia. The three countries involved in the establishment of Maphilindo ideas have an impact on the culture and social life of local communities. The artist uses printed art to give an idea and exposure to the public’s awareness of the issue. The author used Erwin Panofsky’s Theory of Iconography (1972) to decipher visual art elements centered by the works in print. Data consisting of formal elements is analyzed through three stages of analysis e.g. primary, preiconography and iconography meaning. The study found that this work presents elements of unity that align with culture and social between Malaysia, the Philippines and Indonesia.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"137 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121046120","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":"RUANG DAN MEMORI DALAM KOREOGRAFI SITE-SPECIFIC: KAJIAN TERHADAP KARYA CITY OF ENTERTAINMENT OLEH LEE REN XIN","authors":"Nurulakmal Abdul Wahid, Mumtaz Begoo Aboo Becker, Muhizam Mustafa","doi":"10.51200/ga.vi.2673","DOIUrl":"https://doi.org/10.51200/ga.vi.2673","url":null,"abstract":"Koreografi site-specific merupakan sebuah persembahan tari yang dipersembahkan di sebuah lokasi khusus yang menjadi sumber inspirasi dalam proses berkarya dan ia dijadikan sebagai lokasi persembahan. Menurut Hunter (2015), koreografi site-specific merupakan sebuah koreografi yang dipengaruhi oleh respons daripada koreografer terhadap ruang yang terdapat di lokasi khusus. Sebuah site atau lokasi khusus mempunyai bentuk dan saiz ruang yang berbeza serta elemen memorinya yang tersendiri. Bentuk dan saiz ruang yang terdapat pada lokasi dapat mempengaruhi sebuah koreografi. Bagi elemen memori, setiap lokasi mempunyai latar belakang, sejarah, perkembangan serta kehidupan aktiviti sosial di persekitarannya. Kajian ini membincangkan tentang penggunaan ruang dan memori dalam proses koreografi City of Entertainment oleh Lee Ren Xin yang dipersembahkan pada program Dancing in Place 2018 sempena festival Urbanscape KL. Kaedah pemerhatian dan temu bual bersama koreografer diaplikasikan bagi mendapatkan informasi tentang proses koreografi site-specific. Kajian ini dapat membantu koreografer menambah ilmu dalam bidang koreografi yang menjurus kepada koreografi site-specific serta perkembangan idea dalam proses kreatif. Ia turut menyumbang kepada pemahaman, pengetahuan serta tafsiran tentang pengertian istilah koreografi site-specific.Site-specific choreography is a dance performance that is performed at a specific location where the location gives inspiration in the choreography process and it is used as performance spaces. According to Hunter (2015), site-specific choreography is a dance choreography, which is influenced and responded by the choreographer to a specific location. A specific site or location has different shapes and sizes of space and it has its own memory elements. The shape and size of the space found at the site will affect the choreography process. In site-specific dance choreography, the memory is associated with the history, background, social activities and life in that specific location. This study discusses the use of space and memory in Lee Ren Xin site-specific choreography, which is City of Entertainment that has been presented at the Dancing in Place 2018 program in conjunction with the Urbanscape KL festival. Observation and interview with the choreographer applied to get information about the choreography process. This study helps choreographers enhancethe knowledge in the choreography as well as the development of ideas in the creative process. It also contributes to the understanding, knowledge and interpretation of the terms of the site-specific choreography.","PeriodicalId":285298,"journal":{"name":"Jurnal Gendang Alam (GA)","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132544339","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}