Malaysia has its own unique attraction of crafts, cultural, heritage and historical background. Traditional Wood Carving produced by the Malays are one of the craft products that should be highlighted to the world.
Malaysia has its own unique attraction of crafts, cultural, heritage and historical background. Traditional Wood Carving produced by the Malays are one of the craft products that should be highlighted to the world.
Malaysia has its own unique attraction of crafts, cultural, heritage and historical background. Traditional Wood Carving produced by the Malays are one of the craft products that should be highlighted to the world.
Faezah Binti Bahari 2012987009 ED772 M. Ed. (Visual Art Education)
Universiti Teknologi MARA JUNE 2014
2 Table of Content
Chapter 1 Introduction 1.0 Background Of Study3 1.1 Problem Statement.5 1.2 Significant of Study6 1.3 Research Objectives. 6 1.4 Research Questions...7 1.5 Operational Definition8 1.6 Limitation of The Study...10 1.7 Structure of The Study10
Chapter 2 Literature Review 2.0 Introduction...11 2.1 Traditional Wood Carving in Malaysia.11 2.2 Wan Su bin Othman and Wan Mustaffa bin Wan Su15 2.3 Sekolah Seni Malaysia 16 2.4 Philosophy of Malay Traditional Craft.17 2.5 Installation Art18
Chapter 3 Research Methodology 3.0 Introduction21 3.1 Research Design...23 3.2 Cultural Context.23 3.3 Data Collection..24 3.4 Digital Tracing25 3.5 Population and Sample26 3.6 Instrumentation.28 3.7 Methods of Data Analysis..28
References30
3 CHAPTER I INTRODUCTION
1.0 Background of Study
Malaysia has its own unique attraction of crafts, cultural, heritage and historical background. The artefacts or so-called local treasures that can be found in Malaysia comes from local agriculture, traditional architecture, cuisine, the arts, products and many others. The diversifying local treasures such as craft products must be acknowledged to citizen, as well as people from other countries. Traditional wood carving produced by the Malays are one of the craft products that should be highlighted to the world. The woodcrafts and products are associated with Malay traditional architecture, utilitarian products and craft. The forms and functions of each woodcarving product can be recognised as the identity of the Malays. The intrinsic patterns and highly skill of craftsmanship in producing a wood product are one of the main focuses of this research.
The various motifs, which introduced by the artisan are varied and comprises their own identity. However, the community did not have the opportunity to recognise the owner of the motifs designer. In Malaysia, the producer of Traditional Crafts product specifically wood carving is not many compare to other crafts such as batik. Wood carving is famously known in Terengganu and Kelantan which located in the West of Malaysia. Usually, the woodcrafter is a family tradition, which the knowledge and motifs pattern will be use only for family member throughout the generation. The motifs are hand drawn and only the owner will know how to pattern it. 4
Other than that, this research will capture the production of traditional wood products based on the form, content and context. The documentation of design and motifs will be comprehensively analyzed and describe in details using diagram. The design will be reproduced in a form of digital to conserve its formalistic aspect. The purpose of reproducing the digitalized motifs is to preserve the originality and to help students or designers in utilizing the motifs to an extended level. It will also enable art practitioners to understand the meaning and symbolism of each carved motifs. The metaphoric terms used by the Malays to describe the motifs have made the creation of wood carving unique and meaningful. The digitalized motifs will ensemble new ideas creating contemporary artwork with a twist of traditional touch. Generally, the connection of critical thinking and creative vision helps an individual to develop the cognitive, affective domain and psychomotor skills. Through analytical observation on the objects, human can invent new ideas, which are functional and meaningful. Sometimes, there is no limitation in terms of the materials, but the only concern is how critical we are in finding the solutions.
In order to educate the society to have an interest in art specifically in traditional art, current research and innovation on art production need to be introduced. Current research, which is comprehensive, should be integrated with other fields of studies. In this context, the researcher focuses on the production of art within the area of crafts product and visual art. The diversifying forms of art presentation, which can be seen from any art exhibitions, will help to develop the viewers cognition in certain way. As they 5 view the exhibit works, they will recognized the forms, images, media and materials in general and connect it with the cultural context and environment.
1.1 Problem Statement
Modern generations of Malaysia often ignore or they are lack of awareness on the importance of preserving local culture and heritage. Although the citizen comes from various ethnics and background, they need to educate themselves and appreciate local treasures to an extended level as they live in Malaysia. By having the knowledge on traditional crafts form and functions for example, the citizen can promote the products and disseminate the information to others. This research recommends ways to study the form, functions, symbolism and motifs of traditional Malay woodcarving products and improve the conservation quality. Currently, there are books and documentations of the wood products but less focus on the aesthetic and symbolism of traditional motifs in Malay woodcarving. The intrinsic motifs extracted from natural environment that represents the message will be included in this research. Other than that, as the modern community is heading towards the contemporary culture, many art exhibitions often preview recent work from artist which are closely related to the modern world.
1.2 Significant of the Study This study intends to identify new types of archive and storage for 6 traditional craft in Malaysia. This term comprises digital tracing for motifs and patterns used in Malay traditional wood carving. In relation to that, a critical analysis of form, symbols and function of the Wan Su Othmans legendary wood carving products will be conducted by the researcher. The data analysis will be stored in a form of digital booklet. It is intended to be use for further references and also to ensure the existences of the traditional motifs can be preserved. As for the final artwork, the experimentation of media and materials in the making process will contribute to an extension of knowledge or as the guidelines for other researchers and students within the same area of study. Besides that, the viewers and society can learn from the step-by- step art making processes documented in this research.
1.3 Research Objectives The research objectives of this study are as follows:
1.3.1 To examine the development of Malay traditional wood carving in Malaysia beginning from Wan Su Othman craft works. 1.3.2 To identify the Malay traditional wood carving motifs, pattern, layout design, technique and its functions especially from the Wan Su Othman family. 1.3.3 To study the reproduction of Malay wood carving motifs in a form of digital using Adobe Illustrator and Photoshop as a step to preserve the motifs and patterns.
7 1.3.4 To disseminate the knowledge in producing works of art specifically by integrating traditional motifs and patterns for the use of various target groups such as researchers, artists, students and general public.
1.4 Research Questions
The research objectives of this study are as follows: 1.4.1 How was the Malay Traditional Wood Carving crafts spread to Malaysia and further developed in Malaysia? 1.4.2 What are the traditional motifs of Malay Traditional Wood Carving, the techniques and skills of producing and the functions of its creation? 1.4.3 What have been done by the artist and the government as the consideration for preserving the uniqueness of Malay wood carving? 1.4.4 How do we conduct a project-based research in visual art education in Sekolah Seni Malaysia especially in integrating the new technology in traditional crafts project based on the school syllabus? 1.4.5 What are the new media, new materials and new techniques that can be used in producing an installation art using Malay Traditional Wood Carving motifs and pattern?
8 1.5 Operational Definition
The definitions used in this study are as follows:
Malay From the Wikipedia, Malay is as one ethnic group, which are located primarily in the Malay peninsular, Sumatra and Borneo. It also defines the ethnic who lives in Malaysia whom professed Islam as their religion. Traditional From Oxford Advanced Learner Dictionary (2007), the term traditional in this case prefer to a product which produce accordance to the tradition or conventional. In this research, the word traditional referring to the techniques, materials, motifs and patterns used in designing a wood carving products. Wood carving Crafts According to Zakaria (1989), wood carving in Malaysia was brought by the influences of Buddhisme in Tanah Melayu long time ago. This can be proved by the discovery of monuments of history which used the art of carving for example, Genderang Dongson in Klang and Megalith Pedang in Negeri Sembilan. The era of wood carving can be relate to the history of Tanah Melayu and Malaysia. In this research, the researcher is focusing in wood carving which defines a traditional art creation related to wood forming. The media and tools are chisels and carving knife. Woodcarving is a form of three-dimensional art piece finish by hand skilled artisan. 9 Artisan According to Oxford Advanced Learner Dictionary (2007), artisan is a French word describing craftsmen who intends to have high hand skilled in creating crafts such as furniture, sculpture, clothing and jewelery. In this research the word artisan is referring to wood carvers. In Malaysia, the skills of wood carving is exquisite and rare among the artist in Malaysia. Usually, the skills is developed in a family generation.
Motifs and Pattern Motifs and patterns are the design in wood carving. The motifs and patterns identify the owner of the wood carving without putting any designation on the artwork. The motifs and patterns are the elevation of idea of a subject matter for example flora and fauna. In the Traditional Malay Wood Carving, flora is the most famous subject matter in designing motifs and patterns for wood carving. This is influences by the religion of Islam which did not encourage the follower to kept animal figure or human figure sculpture in their house.
Installation Three-dimensional Art Various works of art were assembled in different manner. The installation could be on the wall, pedestals, floor, hanging such as mobile art, or environmental spaces.
Project-Based Research Project-Based Research is the combination of experimental research, which 10 is qualitative in nature and includes quantitative data analysis. In this research, it refers to the context within the production of artworks in visual art area of studies. It can be expanded with various support and evidence alongside the art production and art exhibition.
1.6 Limitations of the Study
There are few limitations during the completion of this research. The study requires the researcher to stay connected with the experts or artisan of Malay Traditional Wood carves located in Terengganu which is far from the researcher. The time and distance are the major limitation in order to collect data and information from the artisan. The researcher is planning to hold a filed trip to Terengganu for a minimum of two times before the research complete. Another limitation of the study is some patterns and motifs of wood carves that can be found in Malaysia did not have the identification of the owner or designer. It is related to the Philosophy of Malay Crafts which the owner will not reveal their name unless been asked, because of the principle of humbleness in Malay ethnic.
1.7 Structure of the Study
This research will be organized into four chapters containing a review of relevant literature on the topics covered in this study (Chapter 2), a detailed account of selected methodology for the research (Chapter 3)
11 CHAPTER 2 LITERATURE REVIEW
2.0 Introduction
This study will explore the archive of motifs and patterns of Wan Su Othmans wood carvings. The main objective of this chapter is to analyze and review past studies and obtain information on Malay Traditional Crafts especially wood carvings. This is followed by deeper discussion on Malay Philosophy of Crafts and Aesthetic Theory. The last part explores the history of Sekolah Seni Johor Bahru, visual art education held in the school and its students.
2.1 Traditional Wood Carving in Malaysia
Malay crafts have been inherited in Malaysia since 500 years ago. The traditional Malay crafts have been through many phases of changes along with development of Malaysia. The changes included the influenced of Islam from Hindu Culture after Islam came to Gugusan Kepulauan Melayu. After the changes, the Malay Traditional wood carvings began to set a new par of design annotation which incorporated with the purpose of monotheism in their ornamental motifs and patterns design. According to Ismail (2001), Islam had an important influenced, to the extend that the carvings produced had developed a relationship between man and his creator in an abstract while we at the same time creating aesthetic values.
12 According to Chattopadaya (1999), crafts are imbued with certain idealism. Two significant characteristics of crafts are that aesthetics and function are integrated, and ornamentation and decoration are not divorced from utility. In order to produce crafts product, it is not only integral that the artist is high skill and technical knowledge, but also the integration of content and culture symbolism, which complement the aesthetic value of the artworks. In Malaysia, artist with great hand skilled were called master or adiguru which has the recognition from Lembaga Kraftangan Malaysia which is responsible with the preservation of Malaysia culture and heritage specifically in Malay Crafts. The development of wood carvings industry in Malaysia are also influenced by the raw material of Malaysia as Malaysia is estimated have 3000 species of wood. From the early years, houses and boats are built from wood in Malaysia. Artisan used this opportunity to create product with functions and also aesthetics value including the symbolism that they want to express.
At that particular moment, every single design of motifs and pattern bring out an intrinsic meaning related to the lifestyle of the community. It can be signified as unique and authentic as each motif and patterns are significantly different from each other. According to Leigh (2000), the centuries-old history of this part of east coast of the changes in religion, trading patterns and in material culture that must have taken place over this this. However, along the change often a remarkable adherence to practices that belongs to previous generations. Malay Arts and Crafts have its uniqueness whereby the originality and symbolism is aligned with the development of its culture. 13
Throughout the modernism, many have not realize the beauty and importance of Traditional Craft specifically wood carving. Not many people have seen the carved palaces in Kelantan, Trengganu and Negeri Sembilan and those, which still survive, may not be preserved for very much longer examples of traditional styles of Malay wood carving form part of the decoration of the National Museum in Kuala Lumpur (Sheppard, 2011). Malaysian may only seen wood carving as a typical ornament which provide no metaphoric emotions to them. Nevertheless, the effect of the extinction of this crafts is not being seen as a major factor to the community. However, in the future as more new modern building with high class design and new product design using high technology are invented, if the government did not take further action on this matter, our future generation will never know what is the meaning of Malay Wood Carving on the first place.
There are various types of wood carvings in Malaysia. The type usually differentiate by the techniques and motifs used. The types also differentiate the functions of each products.
Figure 01 : Ukiran Tembuk Tembus 14
Figure 02 : Ukiran Tembuk Timbul
Figure 03 : Ukiran Arca
Figure 04 : Ukiran Hanyut
15
Figure 05: Ukiran Larik Source : http://e-journal.um.edu.my/filebank/published_article/4216/Pengaplikasian Seni Ukiran Melayu dalam Seni Bina Malaysia.pdf
2.2 Wan Su bin Othman and Wan Mustaffa bin Wan Su
Wan Su bin Othman is one of the most skilled wood carver, whose home is at Besut, near the border between Kelantan and Terengganu. He was born 1899 and opened a wood carving workshop in his hometown. The talent of his hand skilled was inherited to his son named Wan Mustaffa Bin Wan Su or so-called Wan Po. Wan Po followed his father footstep and already opened a Gallery with 30 workers including young interns.
Norzehan, 2008 stated that, Di Semenanjung Tanah Melayu, seni pertukangan dan ukiran kayu tradisional sudah lama dikenali dengan keunikan, kelembutan dan kehalusan bentuk silatnya. Justeru keindahan warisan bangsa ini patut dipelihara dan dipertahankan (Norzehan, 2008). The skills of wood carving has been inherited in his family generations. Wan Su bin Othman family is well known on for its uniqueness and fine carving 16 skills. It is well-said which Wan Po hand skilled are more fine than every other wood carving artisan even his own father. Wan Po in the Utusan Terengganu said that, his talents was polished by his own father since he was just a child. He also have his own slogan of when making his art piece. In realizing the massive changes of arts and crafts movement in Malaysia, Wan Po in collaboration with Lembaga Kemajuan Kraftangan Malaysia inculcate young generations to learn more about the craft and culture by opening the workshop for novice craftsmen.
2.3 Sekolah Seni Malaysia
The idea of the implementation of an art school in Malaysia was recognized in 2004 when the Ministry of Education Strategic Planning was presented. In the convention, YB Dato Seri Hishammudin Tun Hussein Onn, the former Minister of Education announced the building of two Sekolah Seni Malaysia in Johor and Sarawak. On 2008, both Sekolah Seni Malaysia have been operated in temporary premise. Sekolah Seni Malaysia offers majoring in four main art subjects, which are visual art, theatre, music and dance. In Form 4 Visual Art syllabus, Wood Carving is one of the topic that will be learn by the students. In related to that, this particular research should give benefits to the students and the art teacher in Sekolah Seni Malaysia. The students of form 4 visual art Sekolah Seni Johor will be the samples in this research. They are suitable to be the samples as they are very familiar with the topic and majoring in visual art. 17
Figure 06 : Students project artwork based on Wood Carving syllabus
Figure 07 : Students working on Craft project.
2.4 Philosophy of Malay Traditional Craft
As stated by Zakaria (1989) in Seni dan Seniman, there are six principle in Malay Traditional Crafts. The six principle are closely related to each other and balance the designing and producing the art. In designing traditional crafts, the artisan must have the ability in critical thinking which the art make the audience think. The artisan must also describe their own patience when producing the art to ensemble the criteria of fine art in crafts 18 product. In terms of traditional craft, the aesthetics theory defines on two main criteria which are the object and the language of art. The crafts must not only show beauty but also give ethical impact to the art lover.
The first principle is Prinsip Halus. This principle relates with the workmanship show by the artisan when creating the art. The fine techniques and skills shows the different and potential of the artisan. In the era of Kesultanan Melayu, craft plays important role in showing wealth and power in one individual.
The second principle is Prinsip Berguna. This principle referring to the used of one creation. The crafts must be made to be used. Usually, crafts will be produced when requested. The craft is not only focusing on the aesthetic values but also focusing on the functions of its creation.
The third principle is Prinsip Bersatu. This principles related to the design of the motifs and patterns in the crafts. For example in wood carving, the motifs must be design according to the traditional method which referring to the parts of motifs. Parts of motifs includes the ibu, sulur, pucuk and more.
The fourth principle is Prinsip Berlawan. This principle referring to the material used in craft. Sometimes the material used is different from each other to create an impact for the audience. However, the used of material must be in control and balance to other principles.
19 The fifth principle is Prinsip Berlambang. This principle is focusing on the symbolism of a unity. The symbolism of the motifs and patterns design can be shown on how it been design. Nevertheless, this principle also focusing on the symbol of the race itself which the craft represented.
The sixth principle is Prinsip Bermakna. The last principle is closely related to the inner beauty of an art. According to the Zakaria (1989), this is the important principle in designing craft products. The crafts must give intrinsic and as well as extrinsic meaning which defines the whole beauty of the crafts. The creation of a crafts is not only a making art process but it also convey in cultivating a feeling and ethics in creating it. As an artisan of Malay Traditional Wood Carving, the artisan must have the patience and compassion in creating the art.
2.5 Installation Art
The expression of contemporary social works reflects fundamental of this research. Although accurate information on the definition of contemporary was not found, the researcher will try to triangulate the data obtain from various interpretation on the digital archive from the motifs and patterns of wood carvings. The contemporary art collaborated with traditional ornaments define the art of its time. It assembled the perception of modernity and conceptual thoughts in various form of its presentation. Installation art, digital art, paintings, sculpture, photography and other dimensional art can be categorized as contemporary it signifies the current or new ideology, it reflects the thinking of our modern society and it carries 20 the messages across multiculturalism context.
The production of the installation art in this research will made the researcher to share the artwork as a part of transmitting the messages, in which the need to care for our environment to be shared by broad audience. Even if this research is just a fraction of the audience were to be to experience a shift in their awareness and consciousness about the environment and art, through the exposure on this artwork, then it would be worth it. The researcher as part of the society believed that presently humanity is at a critical point in time, with our planet currently existing in a fragile ecological state, with global warming hastening unheard of changes, all amplifying the fact that we need all the help we can get. The installation art will also cultivate students to appreciate more traditional crafts rather than neglect it. In order to encourage the younger generation to be likely into cultural crafts, installation art is one of the best way to do it. In terms of this research, Visual art students in Sekolah Seni Johor will not only learn on the crafts topic based on the syllabus but also create new ideas and outcome which can integrate their creativity.
21 CHAPTER 3 RESEARCH METHODOLOGY
3.0 Introduction This chapter will discuss the following; Research Design, Population and Sample, Instrumentation, Data Collection, and Data Analysis Plan.
3.1 Research Design This chapter discusses the rationale of using qualitative method in a case study and the procedures used to collect and analyze data. The combination of experimental and observational method in Project-Based Research including the experimentation of media and techniques will be used in conducting the research. Therefore, the research methodology in this research is qualitative in nature. According to Eisner (1991), qualitative research is the search for qualities that characterize our existence. Similar with Merriam (2002), it is stated, the key to understanding qualitative research lies with the idea that meaning is socially constructed by individuals in interaction with their world (p. 3). Sherman and Webb (1990) said, Qualitative research has the aim of understanding experience as nearly as possible as its participants feel or live it (p. 7). To ensure that the research succeed the objectives, various approaches and experiments will be conducted.
Research within the scope of Visual Art that carries out experimental practices can be categorized as the Project-Based Research. The 22 procedures involved in this research are the exploration of selected media, materials and techniques used to form an installation art that adapt traditional wood carving techniques in the process of producing the art form. Challenges throughout the making and step-by-step processes will be documented in a form of visual diagram to provide the society with appropriate information. The details on media that have been used by the researcher also will be included in the research.
The research tends to maximize the use of digital technology in the restoration of traditional wood carving motifs and patterns. Therefore, the case study adapts qualitative method to provide an appropriate understanding for the research methodology. Stake (1988) explains case study as a search for understanding that has the opportunity to go much further than most research to pursue complex, situational themes to the limits of human understanding (p. 410). A case study will be conduct in order to recognize the collection of patterns and motifs of the woodcarvings. The procedures of collecting patterns and motifs will be trace into digital patterns and vector using illustration software: Adobe Illustrator and Adobe Photoshop. The collection will be focusing on one artisan of traditional wood carving in Malaysia, which is Wan Su Othman and his generation and later compile as an archive for the traditional wood carving motifs of Malaysia.
In further discussion, this research will comprises an installation artwork includes the mixture of digital and three-dimensional art. The installation will utilize the concept of local wood carving in cultural context 23 and represent the use of digital software and craftsmanship skills in the production. The research focuses on specific technical aspects of sustaining the motifs and pattern of woodcarving and combining the pattern with three- dimensional form as the lead conception of the installation artwork.
Additionally, the main instrument of this research is depending on the archives of the motif and pattern of woodcarving, experimentation of mixed media and observation. The data will be accumulated and explain using appropriate instrument such as visual diagram as mention earlier. This case study is quite similar to most qualitative research because of the utilization of the visual documentation and processes in making the artwork as the major source of data. Besides that, the findings obtained from interviews and questionnaires among the respondents and viewers act as supporting details to promote better understanding of this research.
3.2 Cultural Context
In further discussion, this research looks through the cultural context of traditional art forms in Malaysia. Observational studies and critical analysis on a craft product specifically on wood carves will develop the researchers thinking to conduct further investigation. The aspect of Malay Cultural values will also be analyzed in regards to make the research deeper and meaningful. In terms of traditional Malay wood carves, it is always been a close relationship with the environment and lifestyle of the Malays. The pattern and motif symbolized the Malays philosophy of life, culture and 24 heritage. The parts of each motif were identified as the way of living. In relations to that, the research will also focus on the separation of type of motifs and patterns. There are few researches have been done in terms of the technical aspect of woodcarvings. It will be use as further references in this research.
The final idea will be develop based on the emotions and symbols of the Malay cultural towards this crafts. The interventions of ideas could be in any form of its explanation, as long as the viewers can appreciate the work of art. The translation of cultural philosophy and intrinsic symbols into art objects, will promote therapeutic experience for the artist. Producing art does not only represent an aesthetic value of an artwork but also disseminate the ethical values in making it.
3.3 Data Collection
The research data will be collected from previous books and research as well as interviewing session with the experts. The conversation will be recorded on video tape and transcribe. In addition, the researcher will gather information based on motifs and symbolism designed by the Malays. Other than that, comparison studies on Malaysian wood carving motifs and Indonesian motifs also will be conducted to verify the differences. The identity of each motifs from two different communities can contribute to better understanding on Malay tradition, cultural and beliefs.
25 After the motifs have been segregated into three sections such as motifs extracted from floral, fauna and cosmos, the researcher will verify which Malay motifs originated from the Wan Su Othman or Wan Pos family and its transformation based on functions, environments and socio-cultural aspect. These data are the main sources of this research. Therefore, the research methodology used in this research is qualitative in nature. A research survey will also integrate on the exhibition day as the data can be supporting evidence in this research.
3.3.1 Interview set
Section A (Demographic question) This section will convey questions on the subject personal background, family history and working history. Question 1 to 5 Section B (Skills and Techniques development) This section will convey questions on the subject early involvement in this area, his work of arts, his inspirations, his skill development and techniques. At the same time, the researcher will take visual documentation on the work of arts (wood carvings) for archive. Question 5 to 10 26 Section C (continue interview based on section B) This section will be based on Section B question
These elements are chose based on the research objectives in obtaining further information in order to make sure the research is complete. The archive of images will be the major evidences for this research. Other elements will be supporting the major factor.
3.4 Digital Tracing
The data collection will be mostly digital tracing which transferring the original motifs and patterns of wood carving into a digital collection that are easy to store and use. The data collection of this research also involves the investigation of the most suitable media and materials in producing installation art from found objects. The documentation of step-by-step processes later became the data of this research. The experiment covers the aspects listed below:
3.4.1 Transferring Images Digital tracing of motifs and patterns wood carving photographs using Adobe Illustrator and Adobe Photoshop.
27 3.4.2 Art Installation Steps Thumbnail sketches, Rough Sketches, Comprehensive, Final Final composition Media Experimentation The making of artwork.
3.5 Population and Sample
The sample of this research is upper secondary students of Sekolah Seni Malaysia Johor and Sekolah Seni Malaysia Sarawak. They are Form 4 and Form 5 students in Visual Art fields such as Industrial Design, Fine Art and Visual Communication. The samples have been chosen because the Visual Art Education syllabus in these schools comprises the study of motifs and patterns and also the production of wood carving product. Therefore, the sample is significant to the research because they can utilize the digital motifs of woodcarving in various art form such as three-dimensional product, paintings, print-making and graphic design. These students will represent the population of upper secondary Visual Art students of Sekolah Seni Malaysia that utilize the use of digital motifs in making art form. Please note that Sekolah Seni Kuala Lumpur offers only Music Education to 53 students in Form 1 starting from year 2014. Thus, this school will not become the sample of this research.
28 3.6 Instrumentation
A set of interview questions will be outlined and interview session with experts will be conducted in order to obtain data of this research. The interview session will provide historical and demographic data regarding the research. Visual documentations such as photographs, videos and drawings will be obtain during the research as it will be the major data provider to complete the research. Lastly, research survey will be used to gather appropriate data for this research. The methods of survey research need to be supported with sets of questions to be answered by the respondents. The questions were drawn to examine respondents personal reflection and visual satisfaction in using the digital motifs during teaching and learning and production of art. Some of the questions were specified to evaluate the respondents level of satisfaction and learning experience obtained by using the digital motifs and patterns of woodcarving. The impact on respondents or sample also can be identified in general from this research.
3.7 Methods of Data Analysis
The statistical data has been analyzed using the SPSS (Statistical Package for the Social Sciences). The method of ANOVA or Analysis of Variance was used in this study. Particularly, selected items in the research survey have been analyzed using Pearson Correlational Measures and illustrated in a form of Scatter-Plots. The items have been segregated into sections of visual satisfaction and extension of learning for clearer 29 understanding. The analysis will determine the extension of knowledge obtained by the viewers as they preview the installation artwork.
30 References
Chttopadhyay, K. (1969). The Crafts as an Embodiment of the Great Folk Tradition. In The Arts and Man. NY :Prentice Hall. Legino, R., & Forrest, D. (2011). An Analysis of Javanese Influences on Malaysian Motifs In Batik Sarong Design. The International Journal of the Arts in Society, 6(4), 215-225. Leigh, B (2000) . The Changing Face of Malaysian Crafts . Oxford University Press. Mohd Sabrizaa,A.R (2008). Penafsiran Falsafah Ibu Dalam Awan Larat: Warisan Estetika Seni Ukiran Melayu. Norzehan, M. et. al (2009).Seni Kraf Kayu : Motif & Teknik. Institut Kraf Negara. Sheppard, M. (2011). Malay Arts And Crafts. MBRAS.