Saturday, March 26, 2011

Project: Research & Content

Research & Data Gathering Planning

Arts(Dance)

Dancing Plates (Tarian Piring)

Dancing Plates (Minangkabau pronounce: Tarian Piriang) is an art of dance that originated from the Minangkabau of West Sumatra. It is one of the art of dance is still practiced from Minangkabau people of Negeri Sembilan Minangkabau descent.

This dance has motions that resembles the movement of farmers during cultivation, harvest and do the work. This dance also symbolizes joy and gratitude to their crops. This dance is a jig with the dancers holding the plates in their hands, accompanied by music played by talempong(small kettle gong which gives its name to an ensemble of four or five talempong as well as other gongs and drums) and saluang(a traditional musical instrument of the Minangkabau people of West Sumatra, Indonesia. It is similar to the flute in general and made of bamboo).

Sometimes, the dishes will be thrown into the air or slammed to the ground and trampled by the dancers. To supplement the aesthetic elements, magic and surprises in this dance, male and female dancers will tread plate rupture without fear nor wound. Viewers would have felt terrible if glass is broken and stepped on a sharp pulling.

Platter Dancing in Malaysia

In Malaysia, a plate dance performed during the wedding ceremony is primarily for families, nobles and wealthy in a village. This dance is commonly seen in the area of ​​Seremban, Kuala Pilah and Rembau by certain groups. Some are offered with full dress and dance dress is not complete. Small fee will be charged if pick up this dance group dances plate. Ten to twenty minutes allocated for this dance performance.

Dance and martial arts presented a plate in front of the couple outside the house. Wedding or a ceremony such will be livelier if held dances plate. However, some people can not accept the presence of dances group as considered to have mixed male and female. To overcome this, the only dance with those girls only.


Indang Dance ( Tarian Indang)

Minangkabau ethnic save a lot of rich oral tradition. One is, also called Dance Dance Indang badindin. This dance is indeed a form of oral literature is presented as a group and play the tambourine while berdendang small.

This art was intended for the purpose of preaching Islam. That's why, that brought literature from salawat prophet Muhammad or the theme of religious affairs. Indang grown in traditional Minangkabau people who live in Padang Pariaman district.

Nasrul Azwar, cultural activist who lives in the waste, said historically Indang a mating between the Minangkabau culture and Islamic civilization centuries - 14. The civilization was introduced into the trader west coast of Aceh in Sumatra Island and subsequent spread to ULAKAN-Pariaman.

If more differentiated, in Indang emerging types of songs the station, and avaz iqa'at and the use of harp music. Maqam scales describing the structure and ambitus interval. Iqa'at store rhythmic patterns in music islam. The melody moves avaz is free tapa musical rhythms and introduced Islam.

Stage common Indang rang all seven dancers male. The seven dancers commonly called 'children indang'. They are led by a teacher called dhikr builders. Tari indang a manifestation of cultural education through prayer and thick cultural influence of Islam in Minangkabau





Architecture

Istana lama Seri Menanti History

From the reign of Raja Melewar (1773), until the reign of "Yamtuan Antah" (1872),there were three palaces built in the "Seri Menanti" which is Istana Barong-barong(Istana Rambai), Istana Baruh and the Istana Pulih. Istana lama Seri Menanti built during the reign of "Yamtuan Muhammad" and itremains so today. All four of these castles has a similar concept back iaiatuoverlooking hills and flat land. This site selection is made ​​based on the belief that theplain or valley surrounded by rolling hills are a reservoir of rain which means theconcentration of income.

Istana Lama Seri Menanti has a four storey timber palace and the construction is mortise and peg system which is the construction adopted by the Minangkabau society at that time. the wood used is"wood penak" taken from the "Forest Pergai" in Jelebu.

This palace has a series of four poles located in the middle. The height of this pillar is16.07 meters (51 feet) from the ground. Total all columns appearing in this court is of121 bars in which there are 74 pillars in the main building of the palace, while another47 pillars on the bridge and the house is the palace kitchen. All columns are the same size.

Sunday, March 20, 2011

Project: Proposal, Brief & Gant-Chart

Task:
To design and develop an Interactive Information Design Application

Title:
Arts and Crafts In Minangkabau / Minang Culture


Objective:
• To give information and learn about arts and crafts of minang culture at audience using interactive information.

Target audience:

Teenagers ( 13-18 years old )






Arts and Crafts In Minangkabau / Minang Culture

Introduction

Minangkabau or Minang people are ethnic groups who are speaking and uphold traditional of Minangkabau. Regional cultural adherents include West Sumatra, hald of Riau land, north of Bengkulu, west part of Jambi, North Sumatra to the south, southwest of Aceh and Negeri Sembilan in Malaysia.

Their culture is the nature of motherhood (matrilineal), with the property and the land handed down from mother to daughter, while religious and political affairs is a matter for man (although some women also pay an important role in this field). Now about half of the Minangkabau people living in the region, the majority of large towns and cities in Indonesia and Malaysia. The Malays in Malaysia, many of which originated from the Minangkabau, they mainly live in Negeri Sembilan and johor.

Myths in Legend Of Minangkabau

The word Minangkabau is a combination of two words, namely, a Minang means “victory” and kabau for “buffalo”. According to legend, the name is derived from the events of the dispute between the Minangkabau kingdom to a prince of the power of Java, which require the recognition of the Malays. To prevent them from fighting, the people of Minangkabau buffalo fights suggests competition between the two parties. The prince agreed and features a large and ferocious buffalo. Local people, will only features a buffalo calf is hungry, but the horns were sharpened. During the contest, the children are starving buffalo inadvertently butt buffalo horns in the stomach and wanted to find the nipple to dispel hunger. The violent death of the buffalo and the locals managed to resolve the land struggles In a safe manner.

Minangkabau traditional house roof a house called Gadang, ( Big House ) has a unique shape because it resembles a horn of buffalo. It also have certain principles in the construction of Minangkabau traditional house.


Culture

Minangkabau society is a matrilineal society of the largest in the world, where inheritance diwaris nasab pass through the mother. Some experts argue that free thought is what causes the customary noisy Minangkabau men to wander in serata archipelago to seek knowledge or looking for luxury with the trade. A child as young as 7 years usually men will leave their homes to stay in the mosque where they were taught the science of religion and traditional Minangkabau. If teenagers also, they encouraged to leave their villages to study at school or draw from the experience rather than outside the village in the hope that they will return as an adult who is more mature and responsible to the family and village (my hometown).

This tradition is able to establish some regional of Minangkabau society in airports and other places in Indonesia. But their ties with “Ranah Minang” (Minang Land) are retained and strengthened again. One example of the region inhabited by the Minangkabau people and still practice the customs and culture of Minangkabau is Negeri Sembilan in Malaysia.

Other than those identified as traders, also triumphed Minang society bears some poets, writers, statesmen, cultural, experts thought, and the scholars. This may occur because penimbaan aggravating their cultural knowledge. As a strong adherent of the Islamic religion, they tend to the idea to combine the characteristics of Islam in the modern society. In addition, the role played by the scholars together with spirits proud Minang people with their identity make Minangkabau Land, namely, West Sumatra, as a major power in the independence movement in Indonesia.

Minang society, devided to several tribes, namely, Interest Piliang, Bodi Caniago, Tanjuang, Koto, Sikumbang, Malay and tuft. Sometimes also, the family clan lived in a big house called House Tower. Use of Indonesian berleluasa among the Minang people, but they are still allowed to speak in their mother language, namely, Minangkabau language. Minangkabau language has words that are similar to the Malay language but different designation and also in terms of grammar to make it unique.



Gant Chat




Sunday, March 13, 2011

Assignment 01: Final

Assignment 01: Research & Development

Research:

Earliest historical evidence shows that the game was played in the 15th century's Malacca Sultanate, for it is mentioned in the famous Malay historical text, "The Sejarah Melayu" (Malay Annals)[3]. The Malay Annals described in details the incident of Raja Muhammad, a son of Sultan Mansur Shah who was accidentally hit with a rattan ball by Tun Besar , a son of Tun Perak, in a sepak raga game. The ball hit Raja Muhammad's headgear and knocked it down to the ground. In anger, Raja Muhammad immediately stabbed and killed Tun Besar, whereupon some of Tun Besar's kinsmen retaliated and wanted to kill Raja Muhammad. However, Tun Perak managed to restrain them from such an act of treason by saying that he would no longer accept Raja Muhammad as the Sultan's heir. As a result of this incident, Sultan Mansur Shah ordered his son out of Malacca and had him installed as the ruler of Pahang.[4].
In Bangkok, murals at Wat Phra Kaeo which was built in 1785, depict the Hindu god Hanuman playing sepak takraw in a ring with a troop of monkeys. Other historical accounts mention the game earlier during the reign of King Naresuan (1590–1605) of Ayutthaya. The game remained in its circle form for hundreds of years, and the modern version of sepak takraw began taking shape in Thailand sometime during early 1740s. In 1866 the Siam Sports Association drafted the first rules for takraw competition. Four years later, the association introduced the volleyball-style net and held the first public contest. Within just a few years, takraw was introduced to the curriculum in Siamese schools. The game became such a cherished local custom that another exhibition of volleyball-style takraw was staged to celebrate the kingdom’s first constitution in 1933, the year after Thailand abolished absolute monarchy.
Some sources[who?] in Indonesia say that "Sepak Takraw" in Indonesia is probably developed from the buginese traditional game which is called "Raga" (the players are called "Pa'Raga"). The "Raga" was originated from Malacca Sultanate[5], and was popular in South Sulawesi since 19th century. Some men playing "Raga" within a group, the ball is passed from one to another and the man who kicked the ball highest is the winner.
In the Philippines the sport was called "sipa" and along with traditional martial arts survived the three century Spanish colonization. It is a popular sport played by children in Philippines and many other countries. In Myanmar, or Burma, it was dubbed "Chinlone", in Laos "Kator", "cầu mây" in Vietnam and in Indonesia "Raga" or "Sepak Takraw".[1]
By the 1940s, the net version of the game had spread throughout Southeast Asia, and formal rules were introduced. This sport became officially known as 'sepak takraw'. "Sepak" is the Malay word for kick and "takraw" is the Thai word for a woven ball, therefore sepak takraw quite literally means to kick ball. The choosing of this name for the sport was essentially a compromise between Malaysia and Thailand, the two powerhouse countries of the sport

Sepak Raga



Idea 1:


Idea 2:



Assignment 01: Briefing

Assignment (10%)


Task:
Creative Documentation
Scope: [Precedent Studies on Cultural Symbols and Metaphors in Malaysia]

Brief:
• This is an individual project.
• Students are required to create a piece of Poster Design
• Students are encouraged to use creative approach in the documentation.

Objective:
• To study and identify the design issue based on Cultural Symbols and Metaphors in Malaysia.

Guides on the documentation’s structure:
1. Creativity, originality and criticality through metaphor to deliver the concepts
2. The detail studies on poster design e.g.:
a. Composition (Grids, Alignments etc)
b. Visual (Images)
c. Content (Text, Font Style, Type Contrast, Title etc)
d. Appearance (Colour, Mood, Tone, Style, etc)


Evaluation criteria:

• Understanding of Topic: 6%
• Presentation: 4%

• Format: Create a Poster Design in digital format
 A2 Format on blog

Evaluation schedule:
• Assignment date: 07 March 2010: 9 a.m.
• Submission: 14 March 2010 9 a.m. : DM studio