Jurai Sembah

Pengaplikasian Model Teater Interaktif AJIH bagi Kanak-Kanak Orang Asli dalam konteks Pembelajaran Kreatif

Marlenny Deenerwan — 2024-06-30

Permasalahan yang dihadapi berkaitan pendidikan komuniti Orang Asli di Malaysia sebahagian besarnya meliputi faktor-faktor dalaman seperti minat dan kefahaman, serta faktor luaran seperti kurikulum yang tidak sesuai dengan budaya dan keperluan mereka, selain daripada faktor ekonomi dan sosial. Ini menyumbang kepada peratus keciciran tinggi, seterusnya menyaksikan kanak-kanak Orang Asli (KKOA) meninggalkan alam persekolahan selepas tamat sekolah rendah kerana tidak memiliki motivasi untuk meneruskan pendidikan. Kajian ini meneroka penggunaan Model Teater Interaktif AJIH dalam pembelajaran KKOA dengan memberikan fokus kepada KKOA di Pertak, Kuala Kubu Bharu, Selangor. Model AJIH dibangunkan sebagai intervensi kepada isu-isu yang menghalang KKOA menerima pendidikan khususnya di sekolah rendah. Dengan mengambil kira konteks budaya dan keperluan komunitinya, pengaplikasian Model AJIH bertujuan meningkatkan pemahaman, komunikasi, dan pengukuhan konsep kendiri yang rendah dalam kalangan KKOA. Objektif penyelidikan ini adalah untuk mengaplikasi Model AJIH bagi membangunkan konsep kendiri KKOA berdasarkan pengukuhan tingkah laku, minat, dan motivasi. Aktiviti dijalankan menerusi pelaksanaan bengkel didik hibur sebagai mekanisme pembelajaran kreatif bagi membina kepercayaan diri, nilai-nilai, sikap, persepsi dan keterampilan KKOA. Melalui kaedah kualitatif yang menggunakan Model Kajian Tindakan Kemmis dan McTaggart (1988), Teori Konstruktivisme Vygotsky (1978), Teori Konsep Kendiri Carl Rogers (1951) dan Teori Belajar Sambil Bermain (1962), kajian ini melibatkan pemerhatian, temu bual, dan jurnal harian KKOA. Dapatan kajian menunjukkan bahawa penggunaan Model Teater Interaktif AJIH adalah signifikan dalam meningkatkan interaksi sosial antara KKOA, memperkaya kreativiti melalui penggunaan elemen-elemen budaya dalam persembahan, serta meningkatkan pemahaman mereka terhadap nilai-nilai dan tradisi budaya Orang Asli. Penemuan kajian ini memberikan pandangan yang berharga untuk penyediaan pendekatan pembelajaran yang lebih holistik dan budaya-sensitif dalam pendidikan KKOA.

Abstract

The educational challenges faced by the Orang Asli community in Malaysia predominantly stem from internal factors such as interest and understanding, and external factors including curricula that are not culturally appropriate or aligned with their needs, alon g with economic and social barriers. These issues contribute to a high dropout rate, with Orang Asli children (KKOA) often leaving school after completing primary education due to a lack of motivation to continue their studies. This study investigates the application of the AJIH Interactive Theatre Model in the education of KKOA, with a focus on children in Pertak, Kuala Kubu Bharu, Selangor. The AJIH Model was developed as an intervention to address the barriers preventing KKOA from receiving education, particularly at the primary school level. By considering the cultural context and needs of the community, the AJIH Model aims to enhance understanding, communication, and self-concept among KKOA. The objective of this research is to apply the AJIH Model to develop KKOA’s self-concept through the reinforcement of behaviour, interest, and motivation. Activities were conducted through edutainment workshops as a creative learning mechanism to build self-confidence, values, attitudes, perceptions, and skills among KKOA. Using a qualitative methodology that incorporates Kemmis and McTaggart’s (1988) Action Research Model, Vygotsky’s (1978) Constructivist Theory, Carl Rogers’ (1951) Self-Concept Theory, and the Learning through Play Theory (1962), this study involved observations, interviews, and daily journals of KKOA. The findings indicate that the AJIH Interactive Theatre Model significantly enhances social interaction among KKOA, enriches creativity through the integration of cultural elements in performances, and improves their understanding of Orang Asli values and cultural traditions. These insights are valuable for developing more holistic and culturally sensitive learning approaches in KKOA education.

Koreografi Kontemporari yang Berunsurkan Elemen Tradisi: Tari Piring sebagai Titik Permulaan Penciptaan

Mohd Fauzi Amirudin — 2024-06-30

Kebanyakan koreografer di Malaysia dilatih dengan tarian tradisional dan teknik tarian Barat telah menggabungkan unsur ini dalam penciptaan koreografi kontemporari. Sebagai koreografer yang mempunyai latar belakang latihan seperti ini, pengkaji mengkaji kaedah rekonstruksi dari elemen Tari Piring di dalam penciptaan koreografi kontemporari. Tari Piring adalah merupakan tarian yang berasal dari Sumatera Barat dan masih diamalkan oleh masyarakat di Negeri Sembilan. Tarian ini menggunakan piring sebagai prop utama dengan pergerakan merendah, mengawal dan memanipulasi piring yang kompleks. Pengkaji telah menghasilkan koreografi kontemporari yang menggunakan kualiti dan estetika daripada elemen tari piring berjudul “Gelanggang”. Kajian ini menganalisis proses kreatif dengan mengabungkan estetika, kualiti, dan corak pergerakan yang berbeza dalam koreografi kontemporari dan menggunakan kaedah rekonstruksi. Kaedah kualitatif seperti pengumpulan data dan pemerhatian digunakan dalam proses ini, dengan produksi koreografi disokong melalui latihan di studio, catatan jurnal dan rakaman video.

Abstract

Most choreographers in Malaysia, trained in traditional dance and Western dance techniques, have incorporated these elements into contemporary choreography. As a choreographer with this training background, the researcher examines the reconstruction methods from the elements of Tari Piring in the creation of contemporary choreography. Tari Piring, originating from West Sumatra, is still practised by communities in Negeri Sembilan. This dance utilises plates as the primary prop, and the movements, which involve lowering, controlling, and manipulating the plates, are complex. The researcher has produced contemporary choreography titled “Gelanggang,” which employs the qualities and aesthetics of Tari Piring elements. This study analyses the creative process by combining aesthetics, qualities, and distinct movement patterns in contemporary choreography through reconstruction methods. Qualitative methods, such as data collection and observation, were employed in this process, with the choreography production supported by studio practice, journals, and video recordings.

Harmonising Traditional and Technology: 3D Printing’s Role in Modernising Rebab Melayu

Mhd Sany Mhd Hanif — 2023-06-30

The Rebab Melayu, a traditional string instrument deeply rooted in Malay culture, symbolizes the rich cultural heritage of Southeast Asia. However, the continuity of this iconic instrument is increasingly threatened by the decline in skilled craftsmanship and the rising costs associated with traditional manufacturing techniques. This study investigates the potential of 3D printing technology as a modern solution to these challenges. By integrating 3D printing with traditional craftsmanship, the research aims to preserve the cultural essence of the Rebab Melayu while enhancing production efficiency in terms of cost, time, and space. The study also explores whether 3D printing can replicate the intricate design that defines the Rebab Melayu. Through a comparative analysis of traditional and 3D-printed Rebab Melayu, this research highlights the potential of 3D printing to revitalize interest in the instrument, particularly among younger generations. The findings suggest that a balanced approach, combining modern technology with traditional methods, can ensure the continued relevance and preservation of the Rebab Melayu as a vital part of Malay cultural heritage.