TUALA WANITA SEBAGAI INOVASI SOSIAL TERHADAP KEPERCAYAAN AMALAN TRADISI KETIKA DATANG BULAN DI KALANGAN MASYARAKAT DI PEDALAMAN INDIA: PADMAN (2018)

Fokus kajian adalah berkenaan fungsi tuala wanita yang dicipta oleh Lakshmi sebagai mekanisme inovasi sosial di kalangan wanita dan masyarakat pedalaman di India dalam filem PadMan (2018). Penciptaan tuala wanita oleh Lakshmi, suami kepada Gayatri adalah sebagai langkah penyelesaian masalah dan untuk menggubah persepsi masyarakat setempat khususnya kaum wanita dalam aspek penjagaan kebersihan dan kesihatan ketika haid. Kajian ini menggunakan kaedah kualitatif yang bersifat analisis tekstual naratif filem (PadMan 2018) melalui pendekatan inovasi sosial. Melalui hasil kajian, inovasi sosial ciptaan Lakshmi ini bersifat sebagai agen penolakan dan menyumbang kepada unsur negatif. Inovasi sosial ini bertindak sebagai unsur penentangan dari objektif utama fungsi inovasi sosial yang dikatakan oleh para sarjana Justeru, ia berfungsi sebagai elemen penentangan terhadap amalan dan kepercayaan tradisi dan agama di situ. Produk ini mengaibkan dan menjatuhkan maruah keluarga Lakshmi sendiri. Inovasi sosial ini turut dianggap sebagai unsur kejahatan yang mencabar agama, adat dan kepercayaan tradisi yang sudah lama diamalkan. Ironinya, pada masyarakat luar: daerah perkampungan lain dan bandar, inovasi sosial ini mencapai objektif yang dikehendaki. The discussion offers in this paper draws on the innovation of female pad by Lakshmi, as an element of social innovation mechanism among the rural women dan society in India, in PadMan (2018). The invention of a female towel by Laksmi, a husband of Gayatri function as the innovation of solution and the element of change to his society and especially to the women community in his village. However, this perception serves as an element of opposition to their traditional practice and also the religious belief of the society. This study uses the textual analysis approach through the concept of social innovation. Findings of the study shows that Lakshmi’s social innovation fails to achieved its function defined bythe scholar. Yet it serves as negative elements to his family and his communinity. The action brought shame upon his family and he is labelled as a bad energy to the society. Ironically, to the others: those in the city and urban areas, his innovation serves as a positive element. Thus, it is an innovation that could lead society to a better life andhygiene. Hence, he is considering as a saviour or a hero.

CONTEMPORARY SHAPE OF LOGO DESIGN FOR DESIGN QUALITY AND EFFECTIVENESS

The goal of this research is to investigate the modern shape of logo design for design quality and effectiveness. Since the announcement of the Movement Control Order (MCO), the market has seen an increase in demand for logo design. Many entrepreneurs appear to be prioritizing online business. Although the high demand for logo design is a good thing for every graphic designer, the logo design field is also losing quality. This study's methodology is a hybrid method (combination of quantitative and qualitative). Quantitative and primary data are gathered through interviews with both designers and entrepreneurs, as well as a survey form. While qualitative data is gathered from Google Scholar, ResearchGate, articles, a literature review and YouTube. This study also includes the effect of logo design on consumer behavior, how the COVID-19 is changing consumer behavior, and the researcher's justification based on logo design guidelines. This paper can be used as a trend analysis for marketer, designer, and other marketing, branding, or academic purposes.

ELEMEN PATRIOTISME DALAM FILEM MAT SALLEH PAHLAWAN SABAH (1983)

Filem adalah karya seni berbentuk audio dan visual. Selain hiburan, filem juga merakamkan semula sejarah bangsa dan negara serta berperanan menyebarkan pelbagai mesej kepada masyarakat. Antaranya adalah menyedarkan masyarakat tentang semangat patriotisme pada negara. Hal ini dinyatakan Mohd Daly et al. (2017: 570), bahawa penerbitan filem patriotisme bukan sahaja sebagai tontonan, malah mampu menyemai dan menyampaikan mesej cintakan negara. Selain perlakuan, penyampaian mesej boleh dilakukan melalui penyampaian dialog watak. Justeru, artikel ini akan menganalisis penggunaan ujaran implikatur patriotisme dalam filem Mat Salleh Pahlawan Sabah (1983) dengan menggunakan teori Grice (1975). Pemilihan filem ini dilakukan kerana gambaran Mat Salleh dalam memperjuangkan keadilan sehingga sanggup mati cukup jelas menunjukkan semangat patriotisme beliau pada bumi Sabah. Selain itu, sehingga kini nama Mat Salleh menjadi legenda bualan masyarakat dan salah satu tokoh yang menentang keras penjajah khususnya di negeri Sabah. Oleh itu, analisis penggunaan ujaran implikatur patriotisme ini bertujuan untuk menentukan presentasi dan mesej tentang patriotisme boleh dijelaskan secara harfiah dan terperinci berdasarkan konteks negara Malaysia melalui medium filem. Selain itu, ia juga bertujuan memperkuatkan lagi watak Mat Salleh dalam filem tersebut dikategorikan sebagai pahlawan yang mempunyai semangat patriotisme iaitu cintakan negaranya. Films are works of art in the form of audio and visuals. Apart from entertainment, the film also re -records the history of the nation and the country and serves to spread various messages to the community. Among them is to make the community aware of the spirit of patriotism in the country. This is stated by Mohd Daly et al. (2017: 570), that the production of patriotism films is not only a spectacle but also able to sow and convey the message of love for the country.In addition to treatment, message delivery can be done through character dialogue delivery. Thus, this article will analyze the use of the implicature expression of patriotism in the film Mat Salleh Pahlawan Sabah (1983) by using the theory of Grice (1975). The selection of this film was done because of Mat Salleh’s portrayal of fighting for justice until he was willing to die, it clearly shows his patriotism in Sabah. Apart from that, until now, Mat Salleh’s name has become a legend in the community and one of the figures who strongly opposed the colonialists, especially in Sabah. Therefore, the analysis of the use of the expression of the implicature of patriotism aims to determine the presentation and message about patriotism can be explained literally and in detail based on the context of Malaysia through the medium of film. Apart from that, it also aims to strengthen the character of Mat Salleh in the film which is categorized as a hero who has the spirit of patriotism that is the love of his country.

IMEJ ANTHROPOMORPHIC DALAM GUA KAIN HITAM (PAINTED CAVE) SARAWAK

Artikel ini membincangkan imej figuratif yang terdapat di dalam Gua Kain Hitam (Painted Cave) Niah, Sarawak. Beberapa imej figuratif ini dihasilkan dengan gaya dan bentuk yang dinamik. Namun, posisi rupa imej yang amat dominan adalah kedudukan tangan dan kaki terbuka. Imej ini membawa mesej tertentu dan mempunyai hubung kait dengan cara hidup dan kepercayaan masyarakat prasejarah pada ketika itu. Sehubungan dengan itu, kertas kerja ini menjelaskan reka bentuk dan menganalisis makna yang terkandung dalam imej. Penulis menggunakan Teori Ikonografi dalam usaha menganalisis imej prasejarah ini. This article discusses the figurative images found in the Painted Cave of Niah, Sarawak. Some of these figurative images are created with dynamic styles and shapes. However, the most dominant image appearance position is the open hand and foot position. These images carry a specific message and have a correlation with the way of life and beliefs of prehistoric societies at the time. Therefore, this paper explains the design and analyzes the meanings contained in the images. The author uses Iconographic theory in an effort to analyze these prehistoric images.

DANCESCAPE IN SAYAW BARONG PERFORMANCE OF BAJAU SAMA

Sayaw barong is one of the traditional performances for the Bajau Sama ethnic in Kota Belud, Sabah. With parang barong itself as a primarily customised weapon, this symbolic performance represents the war dance in Bajau martial arts locally and used as an offensive and defensive technique (buah/jurus silat) that merges in different streams (aliran) of silat such as silat kuntau, silat sping/sprint, silat betawi, and silat Nusantara. Through participants’ observation and performance ethnography, this particular style and technique encompasses the identity of Bajau Sama martial art through artistic movement as a representation that is also performed during other traditions such as wedding ceremonies, traditional healing, or funeral as their own cultural value. By referring to The Fan Theory suggested by Schechner, it shows how this tradition links and connects to other elements in sacred space such as ritualization, shamanism, rites and ceremonies. This paper also discusses the use of parang barong as a material culture and how its appearance helps the efficacy of the performance. The concept of sacred-scapes, death-scapes and kinetic-scapes take shape as tangible and intangible in order to understand this particular custom and how it fits in the Bajau identity as their own art of defence traditions. It also shows the Bajau Sama belief system that creates space in ritual including initiations, customs and celebrations.

ETHNIC MINORITIES IN BORNEO: THE KIMARAGANG PEOPLE

This article presents an overview of the Kimaragang ethnic group, where the Kimaragang ethnic group is one of the indigenous sub-ethnic groups of Sabah, with typical settlements in Kota Marudu and Pitas. This article discusses the origins of the Kimaragang ethnic group, their earliest habitation, their language, economy, and sociocultural. It is anticipated that the material in this article will assist researchers, educators, institutions, and organisations in continuing to impart the culture of the indigenous peoples of Sabah, both directly and indirectly, through diverse research, publications, and documentation.

UNSUR FORMALISTIK DALAM KARYA YA BAMBAN YA LUKAH DAN HUMINODUN SPIRIT

Karya catan Hassan Majin iaitu Ya Bamban Ya Lukah dan Huminodun Spirits (Kadazandusun) oleh Abdullah Ehlid Al Walid adalah cetusan idea pelukis terhadap tarian tradisi masyarakat Bisaya dan cerita rakyat wanita Kadazandusun. Karya diolah oleh pelukis bertujuan untuk memberi tafsirannya sendiri berdasarkan ekspresi dalam catan seni visual. Karya ini memberi penekanan terhadap penyampaian rasa, emosi dan perasaan yang diolah dalam sapuan berus dan penggunaan warna dalam kanvas karyanya. Naratif cerita diolah melalui pergerakan Spirit Bubu Mengalai dan figura Huminodun. Kajian dilakukan secara kualitatif untuk mentafsir keadaan yang sebenar menerusi pengkaryaan. Penghasilan karya adalah menerusi aplikasi aspek formalistik dalam pengkaryaan dan perspektif budaya. Hasil kajian menjelaskan bahawa terdapat unsur spirit dalam perkaryaan sebagai pernyataan seni visual yang mengupas tentang elemen fomalistik, kepercayaan terhadap figura dan kritikan seni. Justeru, terdapat unsur kepercayaan semangat dan perubatan tradisional menerusi tarian serta semangat menuai padi masyarakat tempatan di Borneo yang mereka warisi sejak dahulu lagi. Oleh hal yang demikian, pelukis dapat memaparkan semula dalam bentuk karya catan seni visual. Hassan Majin’s painting artwork Ya Bamban Ya Lukah and Huminodun Spirits (Kadazandusun) by Abdullah Ehlid Al Walid is the origin of this painter’s idea of the traditional dance of the Bisaya community and the Sabah folklore of a Kadazandusun woman. The work produced by the artist aims to give his interpretation based on being expressed in visual art paintings. This work focuses on emphasis on the delivery of feelings, emotions and feelings processed in brush strokes and the use of colour in the canvas of his work. The narrative of the story is processed into visual works through the movement of the Bubu Mengalai Spirit and Huminodun figure. The study is done qualitatively to interpret the real situation through the work. Production of works through the application of formalistic aspects in the creation and cultural perspective. The results of the study can explain that there is an element of spirit in the work as a visual art statement that examines the elements of formality, belief in figures and art criticism. Therefore, there is an element of belief in the spirit of traditional medicine through the dance and harvesting of local rice in Borneo that they have inherited for a long time. Thus, the painter can re-display in the form of visual art paintings.

PENDEKATAN “IMAGINASI” DALAM THE SYSTEM STANISLAVSKI MEMBINA DAYA KREATIVITI MURID: KES KALANGAN MURID SEKOLAH MENENGAH DI KEDAH

Kajian ini bertujuan untuk mengkaji salah satu sistem teknik The System, iaitu imaginasi yang telah diperkenalkan oleh Stanislavski. Teknik imaginasi yang diaplikasikan adalah bertujuan untuk membina watak perwatakan semasa proses yang dijalankan oleh seseorang pelakon. Proses imaginasi oleh pelakon merupakan satu usaha dalam memberi gambaran secara jujur melalui lakonannya. Sehubungan dengan itu, pendekatan imaginasi ini sekaligus dapat menerapkan daya kreativiti murid di sekolah. Menerusi kajian ini, kaedah temu bual dan penulisan jurnal murid digunakan untuk mengumpul maklumat berkenaan sejauh mana praktis sesi lakonan dengan menggunakan pendekatan The System mampu memupuk daya kreativiti murid yang terlibat. Seramai 20 murid dan seorang guru terlibat sebagai peserta kajian. Kajian ini dilaksanakan di sebuah sekolah menengah harian di daerah Kuala Nerang, Kedah. Hasil kajian menunjukkan pendekatan imaginasi dalam proses latihan telah membentuk tiga tema utama, iaitu 3E iaitu exploration, elobrate dan evaluate. Bermakna, murid menjalani proses dengan melalui proses eksplorasi terhadap watak, menghuraikan watak perwatakan dan menilai tahap watak yang dibawa. Aktiviti improvisasi bukan suatu hal yang dirancang sebaliknya penambahbaikan biasanya muncul akibat daripada suatu kesalahan ataupun kemunculan peristiwa yang tidak terancang. Improvisasi dapat melahirkan daya pemikiran kritis dan kreatif murid serta dapat mewujudkan proses pembelajaran secara aktif dalam kalangan murid sekolah menengah. This study aims to examine one of technical system namely, The System which is imagination that has been introduced by Stanislavski. The imaginative technique applied is intended to build character during the process carried out by an actor. The process of imagination by the actor is an effort in giving an honest picture through his acting. In this regard, the imaginative approach can also apply creativity of students in school. Through this study, the method of interviewing students and student’s writing journal is used to gather information on the extent to which the practice of acting sessions by using the approach The System strives to cultivate the creativity of the students involved. A total of 20 students and 1 teacher were involved as study participants. The study was conducted in a daily secondary school in the district of Kuala Nerang, Kedah. The results show that the imaginary approach in the training process has formed three main themes namely 3E namely exploration, elobrate and evaluate. Meaning, students go through the process of exploring the character, describing the character and characterizing the level of the successful character. Improvisation activities are not something that is planned. Improvements usually arise as a result of an error or the occurrence of an unplanned event. Improvisation can produce students’ critical and creative thinking as well as can create an active learning process among secondary school students

WOMEN ARTISTS OF THE LATE 19TH CENTURY: CONTINUITY AND CHANGE AT THE SUNSET OF IMPERIAL CHINA

Increasing attention to the history of Chinese women artists gives further impetus to re-evaluation of their artistic contribution. Here I focus on developments in women’s art in the later part of the 19th century, entering into an interrogation of the assumption that the century had witnessed its decline in tandem with the decline of the Imperial China itself. A focus of the article is the 2017 Zhejiang exhibition, which has served to further intensify the imperative for research. Adopting a perspective based on gender and class, this paper examines the work of the female Chinese artists of the late 19th century both in the traditional Jiangnan area, which had been the epicentre of culture and economy, and in the newly developing trade areas, most notably Shanghai. There a vibrant art market emerged, bringing significant opportunities for women artists from broader social strata. This dynamic is illustrated by the particular example of Ren Xia. In these circumstances significant changes took place in the context of the presence of continuity in women’s aesthetic production, while a traditional male discourse remained hegemonic.

PENGGUNAAN DATA CINEMETRIC SEBAGAI SATU PENEMUAN SIGNIFIKASI MAKNA SUBTEKS DALAM KAJIAN FILEM

Kajian ini memberi fokus kepada objek formal iaitu disebut sebagai sinematik dan sistem tanda. Filem Lelaki Harapan Dunia (LHD, 2014) merupakan material teks filem yang menyelusuri pengalaman subjektif manusia dan takrifan mereka terhadap dunia khususnya dalam dunia ruang komposisi filem (memahami cara, pandangan atau perspektif dunia melalui pandangan orang lain) menjadi asas utama kajian. Dalam konteks kajian ini, teori Miles dan Huberman, dan aplikasi perisian Cinemetrics digunakan dengan pendekatan data rubrik yang kemudiannya sebagai verifikasi data keseluruhannya untuk paparan data yang lebih tersusun. Teori Semiotik Roland Barthes digunakan terhadap teks filem dan penelitian akan bertumpu bagaimana pembinaan unsur sinematik menghasilkan makna subteks. Kajian ini melihat kepada aspek teknikal gerak kerja kamera sebagai penelitian utama dalam memahami sistem tanda dan makna menerusi perisian Cinemetrics. Subteks yang signifikan ini diperoleh daripada sistem tanda semiotik yang lebih spesifik iaitu denotasi, konotasi dan mitos. Fokus analisis adegan dan unsur sinematik yang benar-benar dominan sahaja dilakukan yang merangkumi perbincangan gerak kerja kamera adegan 16 dan 64. Hasil penelitian terhadap teks filem, ia berfungsi sebagai ideational yang menerangkan hubungan antara actants (pelakon) memainkan peranan mereka dalam filem, keduanya berfungsi sebagai interpersonal yang mengangkat pemikiran pengarah seperti yang disampaikan dan ketiga berfungsi sebagai textual yang membawa maksud mesej disampaikan secara tersirat. This study focuses on formal objects called cinematic and sign systems. Lelaki Harapan Dunia (LHD, 2014) is a text material that examines human subjective experience as well as their definition of the world especially in the film composition (understanding the way, view or perspective of the world through the eyes of others) becomes the main basis of the study. In the context of this study, Miles and Huberman theory as well as Cinemetrics software applications for a more structured show of data are used with a rubric data style that later as a verification of the overall data. Roland Barthes’s Semiotic theory is applied to the film and research will focus on how the construction of cinematic elements generates meaning through semiotic theory. Technical aspects such as camera movement is the key research insight the sign system and its meaning. This significance subtext is derived from a more specific system of semiotic signs, i.e., denotations, connotations and myths. The focus of the analysis will investigate scenes and cinematic elements that is dominant only in suggesting meaning. Discussion’s scenes 16 and 64 will firstly serves as an ideational that describes the relationship between actants (actors) playing their roles in the film, second, functioning as interpersonal that elevates the director’s thinking as presented and the third serves as textual that carries the meaning of the messageexpressed implicitly.