bluuebunny/crossref_metadata_2025_split huggingface dataset:
PERUBAHAN SOSIAL DAN SENI VISUAL: KAJIAN AWAL TERHADAP BAKAT MUDA SEZAMAN
Authors: Mohd Firdaus Naif Omran Zailuddin  , Arif Datoem  , Yuhanis Ibrahim  , Muhammad Abdullah  
Published: June 2023

Perjalanan seni visual Malaysia terus berkembang hasil usaha artis lama dan bakat-bakat baharu dari pelbagai generasi, latar belakang kaum dan agama dan pendidikan yang berbeza. Tempoh 50 tahun bagi seni visual Malaysia boleh dianggap berada pada tahap matang dan perlu dinilai secara serius (Zain, 2009). Aktiviti seni visual saling berhubung kait dengan perubahan-perubahan sosial yang berlaku sama ada lokal mahupun perubahan global. Karya yang terhasil mampu menjadi cerminan kepada perubahan sosial yang berlaku dalam masyarakat dan perlu difahami secara mendalam. Dalam menganalisis sesebuah karya seni, adalah penting untuk tidak terus memberikan, huraian sebaliknya perlu menyesuaikan diri dengannya terlebih dahulu (Hauser, 1959). Kajian ini bertujuan untuk mengenal pasti hubungan karya seni dan perubahan sosial berdasarkan teori sosiologi Arnold Hauser (1959). Dua karya dari Bakat Muda Sezaman (BMS) akan dijadikan sampel bagi merungkai aspek “bentuk” dan “makna” berpandukan teori kritikan seni Feldman (1994). Hasil perbincangan akan menjelaskan perubahan sosial yang berlaku dan kesannya terhadap karya seni visual BMS.

Malaysia’s visual arts journey continues to evolve as a result of the efforts of old artists and new talents from various generations, racial and religious backgrounds, and different educations. The period of 50 years of Malaysian visual arts can be considered to be at a mature stage and needs to be seriously evaluated (Zain, 2009). Visual arts activities are interrelated with social changes that occur both locally and globally. The resulting work is able to be a reflection of the social changes taking place in society and needs to be understood in depth. In analyzing a work of art, it is important not to continue to give a description should it be necessary to adapt to it first (Hauser, 1959). This study aimed to identify the relationship of artwork and social change based on the sociological theory of Arnold Hauser (1959). Two works from Contemporary Young Talent (BMS) will be used as samples to unravel the aspects of "form" and "meaning" based on the theory of art criticism Feldman (1994). The results of the discussion will explain the social changes that have taken place and their impact on BMS visual artwork.
ELEMEN PENYOKONG PERSEMBAHAN TARIAN SAYAU MOGINUM, DUSUN TATANA, KUALA PENYU, SABAH
Authors: Sri Ningsih Sukirman  , Patricia Jipoh  
Published: June 2023

Sayau Moginum merupakan tarian suku kaum Dusun Tatana. Suku kaum Dusun Tatana dikatakan berasal dari tanah Mongolia dan Yunan, China pada abad ke-12 dan ke-13 (Wallace, 1983). Dusun Tatana atau lazimnya disebut sebagai ‘Tatana’ juga merupakan salah satu daripada 79 sub etnik Kadazan Dusun di Sabah. Majoriti suku kaum Dusun Tatana menetap di daerah Kuala Penyu yang terletak di bahagian pedalaman negeri Sabah dan menuturkan bahasa Dusun Tatana. Daerah Kuala Penyu terletak di kawasan barat daya negeri Sabah dan menghadap ke arah Laut Cina Selatan di sebelah barat (Joison Romut, Denis J. Sadinag & Flora Iban, 2016). Bagi melengkapkan sebuah tarian, elemen tambahan seperti pakaian, aksesori, muzik, props dan ekspresi wajah harus ada bagi menyampaikan sesuatu persembahan kepada penonton.

Sayau Moginum’ dance is a tribal dance of Dusun Tatana. The arrival of the Dusun Tatana tribes is said to have originated from the lands of Mongolia and Yunan, China in the 12th and 13th centuries (Wallace, 1983). Dusun Tatana or commonly referred to as ‘Tatana’ is also one of the 79 Kadazan Dusun subethnic groups in Sabah. The majority of Dusun Tatana live in the Kuala Penyu district which is located in the interior of Sabah and they speak the language of Dusun Tatana. Kuala Penyu district is located in the southwestern part of Sabah and faces the South China Sea to the west (Joison Romut, Denis J. Sadinag & Flora Iban, 2016). To complete a dance must have additional elements such as clothes, accessories, music, props and facial expressions to convey a presentation to the audience.
MONUMEN SUNGKUP: REKA BENTUK DAN RAGAM HIAS THE SHAPE AND DESIGN OF THE SUNGKUP MONUMENT
Authors: Mambut Nazri , Mohd Arus Hj Baharuddin bin , Sahibil Zaimie 
Published: June 2023

ABSTRAKPenulisan ini adalah penyelidikan tentang monumen pengebumian yang dibuat semasa perayaan Gawai Antu oleh Masyarakat Iban, iaitu monumen sungkup. Pembinaan sungkup dalam perayaan Gawai Antu merupakan persembahan terakhir untuk si mati. Sungkup ini diperbuat daripada kayu jenis keras dan bentuknya yang kecil seperti pondok ataupun dikenali burial huts. Dalam masyarakat Iban, mereka akan membuat sungkup yang menyerupai reka bentuk pelbagai ragam yang boleh dikaitkan dengan kepercayaan masyarakat Iban itu sendiri. Pada pemerhatian awal penyelidik, wujud ragam hias pada penghasilan sungkup tersebut yang diukir oleh pembuatnya. Dengan ini, penyelidik ingin meneroka serta membuat analisis reka bentuk dan pengaruh budaya dalam penghasilan sungkup ini, di samping mengenal pasti makna yang tersirat pada ragam hias penghasilan tradisional sungkup.
ABSTRACT
This article records research on the funeral monument of the Gawai Antu celebrations by the Iban Community referred to as â€œsungkupâ€. The construction of the â€œsungkupâ€ in the Gawai Antu celebrations represents a final performance for the deceased. The sungkup is made of hardwood and small in shapes like a cottage or a burial hut. The Iban community will build the â€œsungkupâ€ with a variety of designs that can be attributed to the beliefs of the Iban community itself. Early observations by the researchers involve an ornament on the productionof the lid that was carved by the maker. This paper reflects the analysis related to the design and cultural influences in the production of this ornament as well as identifying the implied meaning of the traditional ornamental products with the aim to preserve Iban traditional art forms.
CIRI ESTETIKA DALAM REKA BENTUK DAN MOTIF PAKAIAN TRADISIONAL GOLONGAN PEREMPUAN ETNIK RUNGUS DI KUDAT
Authors: Pui Ling Yoon , Jusilin Humin 
Published: June 2023

ABSTRAKPakaian tradisional etnik di Sabah mempunyai keunikan reka bentuk dan motif yang menampilkan nilai keindahan yang amat menarik. Pakaian tradisional etnik golongan lelaki Rungus dikenali sebagai baduâ€™- masap yang dipakai dalam upacara ritual, manakala pakaian mogah dipakai oleh penari lelaki. Pakaian tradisional golongan perempuan pula terdiri daripada pakaian banat-tapiâ€™ yang dipakai dalam upacara ritual bersama-sama dengan pakaian sukolob. Kajian ini ditumpukan pada pakaian baduâ€™-masap dan banat-tapiâ€™. Tumpuan analisis adalah terhadap elemen estetika dari segi reka bentuk dan motif yang dipaparkan. Data-data penyelidikan ini diperoleh melalui kajian lapangan dengan menggunakan kaedah pemerhatian, temu bual dan rakaman audio visual. Analisis kajian adalah berdasarkan pendekatan estetika yang diperkenalkan oleh Beardsley (1975) dan Vitruvius (1960). Pendekatan estetika ini merumuskan elemen harmoni, kesatuan dan imbangan sebagai indikator yang penting. Kajian ini mendapati elemen estetika dalam pakaian tradisional masyarakat Rungus dapat dikategorikan berdasarkan reka bentuk motif organik dan geometri. Seterusnya, elemen estetika didominasi oleh unsur flora, fauna, alam sekeliling dan kosmos. Reka bentuk dan motif pakaian tradisional etnik ini dapat dikaitkan dengan aktiviti kehidupan mereka.
ABSTRACT
Sabah traditional ethnic costumes are unique in design and motif as it reflects their cultural values. Rungus menâ€™s traditional ethnic clothing is known as the â€˜baduâ€™-masapâ€™ used in ritual ceremonies while the â€˜mogahâ€™ costume is worn by male dancers. The traditional costumes of the women folk are called â€˜banat-tapiâ€™ usually worn in ritual ceremonies with the â€˜sukolobâ€™. This study focuses on the â€˜baduâ€™-masapâ€™ and â€˜banat-tapiâ€™ costumes especially on the aesthetic elements in terms of the design and motifs on the material used to make these costumes. These research data were obtained through field studies using observation, interview and audiovisual recording methods. The analysis of the study was based on the aesthetic approach introduced by Beardsley (1975) and Vitruvius (1960). This aesthetic approach summarizes the elements of harmony, unity and balance as an important indicator. This study found that the aesthetic elements in traditional clothes of the Rungus community can be categorized based on the design of organic and geometric motifs. Furthermore, the aesthetic elements are influenced by elements of flora, fauna, the environment and the cosmos. It is also observed that the designs and motifs of traditional costumes are related to their daily activities.
ELEMEN REALISME MAGIS YANG TIDAK DAPAT DIJELASKAN (THE IRREDUCIBLE ELEMENT) DALAM KUMPULAN CERPEN LARON (2010) OLEH JASNI MATLANI
Authors: Adama Roziah , Amat Asmiaty 
Published: June 2023

ABSTRAK
Kajian ini bertujuan menganalisis ciri-ciri realisme magis yang terdapat dalam kumpulan cerpen Laron karya Jasni Matlani (2010) yang menghimpunkan 30 buah cerpen Jasni Matlani. Walau bagaimanapun, kajian ini hanya meneliti lima buah cerpen dalam kumpulan cerpen Laron, iaitu Di Bawah Pohon Angsana, Dua Helai Daun, Kisah di Sebuah Taman dan Perempuan Berbau Harum. Penelitian ciri irreducible element dalam gaya penulisan realisme magis mengikut aliran Wendy B. Faris, iaitu elemen yang tidak dapat dijelaskan menjadi tumpuan analisis kelima-lima cerpen tersebut. Mengikut Wendy B.Faris, Irreducible Element (Ordinary Enchantments Magical Realism and Remystifiction of Narratives) merujuk kepada sesuatu perkara yang tidak dapat dijelaskan mengikut hukum alam berdasarkan logik, pengetahuan biasa atau kepercayaan yang ada. Oleh itu, analisis terpaksa berfokus pada dua unsur utama iaitu objek magis yang merangkumi bunyi, benda dan tempat serta pemerian watak-watak dalam karya dengan melihat bagaimana watak-watak magis dibangunkan dalam ruang realiti. Hasil kajian membuktikan bahawa gaya penulisan Jasni Matlani memenuhi konsep elemen yang tidak dapat dijelaskan (the irreducible element) dan sesuai dikategorikan sebagai karya realisme magis.
ABSTRACTThe purpose of this research is to analyze the characteristics of magic realism contained in Jastni Matlaniâ€™s short stories Laron (2010). In the works of magic realism, there widely exists unreasonable magical and strange elements, which are generally recognized as â€˜Irreducible Elementsâ€™. Though the collection includes 30 short stories in total, this research will only focus on examining five stories, to be specific, that is short stories Laron, Di Bawah Pohon Angsana, Dua Helai Daun, Kisah di Sebuah Taman and Perempuan Berbau Harum. This study is focused on the â€˜Irreducible Elementsâ€™ of magic realism as highlighted by Wendy B. Faris in Ordinary Enchantments Magical Realism and Demystification of Narratives. â€˜Irreducible Elementâ€™ refers to the unexplainable things in terms of the natural law of logic, common knowledge or beliefs that exist. Hence, to analyze the selected stories that contain unexplained elements, this research will concentrate on two major elements. Firstly, the magical objects that include sounds, objects and places and secondly, the description of the characters in the work by looking at how magic characters are developed in the realm of reality. Ultimately, the findings of this research prove that Jasni Matlaniâ€™s short stories correspond to the concept of irreducible elements, therefore, can be categorized as works of magic realism.
PIRONOK: MANTERA PEMIMPIN DUSUN KIMARAGANG
Authors: Yuni Ain Apainah , Amat Asmiaty 
Published: June 2023

ABSTRAK
Ilmu pironok kini dilupakan oleh pemimpin baharu suku kaum Dusun Kimaragang akibat kehidupan berpendidikan dan beragama. Sedikit demi sedikit mantera kearifan tradisi ini ditinggalkan, menyebabkan ujaran yang dipercayai mempunyai kuasa magis ini tidak dipelihara untuk pemahaman generasi muda. Kajian ini memberi perhatian pada makna dan fungsi pironok dalam kalangan masyarakat Dusun di Kota Marudu dan Kudat, Sabah. Pengumpulan data yang menggunakan pedoman wawancara dan perakaman dimanipulasikan dengan bantuan informan. Hasil kajian menunjukkan pironok mempunyai tujuh fungsi. Ilmu pironok membantu memberikan keyakinan dalaman kepada pemimpin, menyemai taat setia rakyat kepada pemimpin, mendamaikan pertelingkahan, membantu melicinkan tugasan kepimpinan, sebagai kaedah dan sistem perancangan keamanan, mengajar ahli-ahli untuk saling menghormati dan menyemai sikap saling menyayangi sesama ahli masyarakat. Hasil kajian ini juga memberi maklumat tentang peranan ilmu pironok dalam sistem sosial masyarakat Dusun tradisional. Pironok membantu membangunkan ketamadunan tradisional masyarakat Dusun dengan cara melicinkan tugasan harian insan dalam memimpin ahli kumpulannya. Positif atau negatifnya pironok bergantung kepada keyakinan dan keimanan secara individu. Ahli masyarakat sepatutnya mampu menyikap mantera secara bijak. Pada masa yang sama, mereka berkewajipan menjaga kerukunan beragama dan bermasyarakat agar pengamal dan bukan pengamal mantera dapat hidup berdampingan, selaras dan harmonis.

ABSTRACT
The pironok knowledge is now forgotten by the new leaders of the Dusun Kimaragang tribe as a result of educated and religious life. Bit by bit this mantra of traditional wisdom is abandoned, causing the utterance believed to have a magical power not preserved for the comprehension of the younger generation. This study focuses on the meaning and function of pironok among the Dusun community in Kota Marudu and Kudat, Sabah. Data collection using interviews and recording guidelines is manipulated with the help of informants. Findings showed that pironok had seven functions. Pironokâ€™s knowledge helps to provide insight to the leader, to instill loyalty to the leader, to reconcile arguments, to help ensure leadership tasks, as a means and system of peace planning, teaching members for mutual respect, and cultivating mutual affection for the fellow members community. The results of this research also provide information on the role of pironok knowledge in the social system of the traditional Dusun community. Pironok helps to develop the traditional civilization of the Dusun community by facilitating the daily tasks of the people in leading their group members. The pironok positivity or negativity relies on individual beliefs and faith. Community members should be able to disclose the mantra wisely. At the same time, they are obliged to maintain religious and social harmony so that practitioners and non-practitioners of the mantra can co-exist, inline and harmoniously.
SIGNIFIKAN BUDAYA MENGAYAU DAN RITUAL DALAM PERSEMBAHAN LANSARAN
Authors: Min Toh Min , On Low Kok 
Published: June 2023

ABSTRAK
Lansaran ialah salah satu persembahan tradisional etnik Murut Tahol yang tinggal di pedalaman Sabah. Tulisan ini memberikan tumpuan terhadap kaitan antara budaya Mengayau, ritual Kukui dan persembahan Lansaran etnik Murut Tahol. Bagi mengumpul data kajian, pengkaji telah menjalankan tiga kerja lapangan di lapan buah kampung di Daerah Tenom. Pengkaji telah menemu bual sejumlah 14 orang informan Murut Tahol yang arif dalam hal Lansaran. Analisis yang dilakukan dalam kajian ini adalah berasaskan interpretasi terhadap hasil temu bual dan cerita lisan yang disampaikan oleh informan Murut di tempat kajian. Hasil analisis mendapati persembahan Lansaran pada asalnya ialah sejenis permainan tradisional dan dijadikan sebahagian daripada persembahan ritual Kukui yang berkait rapat dengan budaya Mengayau. Bagi mententeramkan roh mangsa yang telah dipenggal kepala, maka upacara Kukui dikendalikan supaya roh mangsa serta semangat jahat lain tidak mengganggu penduduk kampung. Tulisan ini telah menonjolkan persembahan Lansaran, aktiviti Mengayau dan upacara Kukui adalah saling berkait.

ABSTRACT
Lansaran is one of the traditional performances of the Tahol Murut ethnic group residing in the interior of Sabah. The focus of this paper is analyzing the relationship between the Lansaran performance, headhunting culture and the Kukui ritual. To collect research data, three separate field trips had been conducted in eight Tahol Murut villages in Tenom District. In the field trips, 14 Murut Tahol informants were interviewed. The analysis in this paper is based on the interpretation of the data gathered from the interviews with the informants. This study found that the Lansaran performance was originated from a Murut traditional game, where the kids were playing by jumping on the tree trunks. Later, Lansaran became part of the Kukui ritual, which is closely related to the headhunting culture. To calm down the spirit of the human soul, whose head had been cut off during the headhunting activity, a ritual which is known as Kukui would be performed by the ritual specialist. In doing so, it is believed that the spirit of the victim and other evil spirits will not harm the villagers. This article has highlighted that the Lansaran performance, headhunting activity and Kukui ritual are closely related.
KEARIFAN DAN KONSEP REKAAN KRAF ANYAMAN WARISAN DUSUN TINDAL DI SABAH
Authors: Kindoyop Salbiah , Jusilin Humin , Tugang Noria ak 
Published: June 2023

Anyaman ialah hasil seni kraf tangan yang memaparkan bahan alam semula jadi yang mewujudkan bahan utiliti melalui kearifan ciptaan manusia. Kraf anyaman etnik Dusun Tindal, iaitu fokus penulisan artikel ini mempunyai kesenian dan nilai keindahan tersendiri melalui rekaan motif dan corak yang dihasilkan. Setiap motif dan corak telah diolah selaras dengan fungsinya, iaitu sebagai bahan utiliti dalam aktiviti seharian mereka. Kajian yang berasaskan kerja lapangan ini mengumpul dan menganalisis reka bentuk motif anyaman yang dikaitkan dengan signifikan warisan kearifan masyarakat etnik Dusun Tindal di daerah Kota Belud, Sabah. Hasil analisis mendapati kraf anyaman etnik Dusun Tindal mempunyai perkaitan rapat dengan pemikiran tukang krafnya dan mempengaruhi kehidupan dan kebudayaan etnik Dusun Tindal di Kota Belud. Reka bentuk dan motif anyaman tradisional dapat mencerminkan identiti budaya yang menonjolkan kesenian etnik Dusun Tindal yang diturunkan sejak zaman berzaman. Reka bentuk dan motif anyaman turut menjadi identiti warisan kearifan yang berkonsepkan geometri dan berimbangan simetri. Hasil penyelidikan ini memaparkan keistimewaan rekaan kraf anyaman tradisi etnik Dusun Tindal berdasarkan konsep kearifan dan rekaannya.

Woven craft refers to hand-crafted art from natural materials that have been created to reflect nature for utility from the creative wisdom of the people. The woven craft of the Tindal Dusun is the focus of this article as these craft(s) possess their art and beauty especially the motif designs and patterns produced. Each motif and pattern has been created in harmony with its function in their daily activities. This study, which is based on fieldwork, collects and analyzes designs of woven motifs that are significantly associated with the wisdom of the Tindal Dusun ethnic in Kota Belud, Sabah. The analysis found that the woven motifs and patterns are strongly linked with the thoughts of the craftsmen and the influences from their lifestyle in Kota Belud. The traditional designs and motifs of the woven craft also reflect the cultural identities that highlight the ethnic arts of the Tindal Dusun that were passed down from generation to generation. The patterns and motifs reflect the inherited wisdom conceptualized through geometry and symmetrical balance. The results of this research highlight the distinctive Tindal Dusun identity conceptualized in their woven craft concerning creative wisdom concept.
REPRESENTASI BUDAYA DALAM REKAAN BENTUK BUSANA PERKAHWINAN MASYARAKAT BISAYA DI BEAUFORT, SABAH
Authors: Mukam Nurfahrina Abal , Jusilin Humin 
Published: June 2023

Busana tradisional etnik di Sabah adalah representasi daripada kerencaman fesyen, bentuk dan ragam hias yang menampilkan identiti dan nilai budaya. Pengaruh asimilasi budaya dan fenomena kehidupan moden yang sentiasa berubah secara tidak langsung mempengaruhi penampilan berpakaian daripada tradisional kepada kontemporari sifatnya. Pada masa kini, busana tradisional lazimnya dapat dilihat dalam majlis perkahwinan, persembahan tarian dan upacara ritual. Identiti busana perkahwinan masyarakat Bisaya di Sabah dikenal pasti melalui penggunaan istilah, bentuk dan ragam hias mengikut citra dan dogma budaya. Kajian busana ini ditumpukan khusus di perkampungan masyarakat Bisaya di Beaufort, Sabah. Data-data kajian membantu pengkaji untuk mendokumentasi dan menganalisis elemen bentuk dan ragam hias yang menitipkan representasi identiti dan budaya dalam etnik berkenaan. Makna tentang subjek, bentuk dan ragam hias selanjutnya diperoleh melalui bentuk simbol sebagai asas penghayatan seni melalui kaedah pemerhatian, temu bual dan rakaman audio visual di lapangan. Kajian ini mendapati elemen bentuk dan ragam hias busana perkahwinan adalah gambaran artistik melalui representasi budaya, adat istiadat dan alam sekeliling. Justeru, bentuk dan ragam hias busana perkahwinan masyarakat Bisaya di Sabah dapat dikaitkan dengan kehidupan tipikal dan warisan budaya yang diwarisi semenjak turun-temurun.

Traditional costumes of ethnics in Sabah were representing the variety of fashion, form and ornament design which reflect the identity and cultural values. The influence of cultural assimilation and the modern life phenomenon that constantly changing from time to time indirectly affecting the dressed appearance from traditional to contemporary fashion. Nowadays, traditional costume still can be seen in a wedding ceremony, dance performance and ritual ceremony. The Bisayaâ€™s wedding costume identity in Sabah can be identified by its terms of the costume and the parts, the form and also the design based on the cultural imagery and beliefs. The research location of the costume is focusing on the settlement of the Bisaya community. The research data assist the researcher to do the documentations and analysis of the form and design elements which representing the identity and cultural aspects of Bisaya. The interpretation of the subject, form and design were obtained by the symbols as the basis of art appreciation through observation, interview and audio visual recording at the research location. This research found that the form and design elements of wedding costume are describing the artistic through culture, custom and tradition, and the environments representation. Thus, form and design of the Bisayaâ€™s traditional wedding costume are strongly related to the typical life and cultural heritage in the community.