KADAZANDUSUN: BELIEF OF THE RICE TRADITIONAL
RITUAL AND ITS CHANGES
Prepared by:
ABDULLAH EHLID AL WALID BIN LULI
2012858238
AD228
2014
The thesis provided to
Faculty of Art & Design, University Technology Mara as part of the
requirement Bachelor of Art and Design (Hons) (Fine Art)
Examined by:
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Date:
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Examined by:
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Date:
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DEAN
FACULTY OF ART AND
DESIGN
UNIVERSITY TECHNOLOGY
MARA
40450 SHAH ALAM
CHAPTER 1: Introduction
1.1 Background Research
Sabah is the largest island in Malaysia, which is also known as
Borneo. Sabah gained independence after participating in the formation of
Malaysia on September 16, 1963. Accordingly, through this merger, Sabah
officially becomes part of Malaysia together with Sarawak. The Kadazandusun[1]
tribe is one of the indigenous people who live on the west coast and interior
of Sabah. Furthermore, the Kadazandusun is the largest community in Sabah, 40
ethnic customs and beliefs have inherited from their ancestors. According to
Baruh, (2010), traditional customs and beliefs of the Kadazandusun community is
animism. They believe in God "kinorohingan"[2]
which gives them security and protection in their daily lives. Hussin, (2005)
also stated that they believe that their relationship with the creatures, daily
activities and agriculture and so is holy.
Practice their faith is shaped worship and adoration. Especially
the Kadazandusun tribe rice spirit worship. This was stated by Hussin, (2005)
that rice is the main economic activity for the Kadazandusun before the arrival
of European emperial in Sabah in the past. In the meantime, the rice spirit
ritual performed once a year after the rice harvest in May. Previous study by Charuruks,
I.B., & Padasian, J. (1993), referred
to as a ritual ceremony "Magavau"[3]
which is done in the middle of rice fields, newly harvested during the first
moon to expand. During the ceremony, some of the worship is done to honor the
spirit or the spirit of rice "Bambaazon"[4]
and the other as the Unduk Ngadau[5] of
ceremonies. However, the arrival of the Western powers has changed the customs
and beliefs shape the Kadazandusun tribe to bring new influences such as
religion, technology, education, and the capitalist economic system.
1.2 Statement
of Problems
At the start of this study some of the
findings and the statements that identified the obstacle, guidance, and
examples of research topics. Among the problems identified to be a question or
search solution is to make a detailed study of the customs and beliefs of
traditional rice ritual and its changes.
1.
Lack of exposure to a new generation of custom and cultural knowledge
Kadazandusun
Sabah.
2.
Lack of time to conduct the study due to the distance between the Peninsula with
the area
of study in Sabah.
3.
Lack of references in respect of works of art (2D) in Sabah highlight
belief in the spirit of rice or their
worldview.
1.3 Significance of the Study
This study is important to maintain the
customs and culture of the Kadazandusun tribe. In particular, the rice spirit
cult belief. It is also important for the benefit of the younger generation
will come that these cultural customs and not be lost in time. Especially the Kadazandusun
generation in Sabah. In addition, it is also important to be used as the
reference material for the future.
Research is essential to the existence of
clear data collection and the references from various quarters. With this it can
be used as a general reading, as a reference, and also a legacy. On the other hand, this study was undertaken
to examine the history of the Kadazandusun tribe customs and beliefs, identify
the Kadazandusun tribes of modern life and identify how the harvest festival of
traditional and modern as they do now.
The production of works in the form of two
dimensions (2D) on the study is also one of the important visual forms for public
to see the aesthetic, cultural and the Kadazandusun’s custom. Symbols and important
elements are merged into an interesting narrative and presentation using the
language of art. It is important to create new dimension in the understanding
of culture and history as narrative that carried out from the study and
expressed in writing in the form of painting with the combinations of elements
and principles of art. The researcher also uses the theory of subtractive mode
of analysis by Heine-Geldern in this research as reference in production of
work. The theory of subtractive mode of analysis is a method or approach to
identify the current art and art traditions. He said;
“The past can be partly constructed
from the present, for art proceeds from other art, contemporary forms can be
traced back genetically to ancient forms”[6]
Research was carried out to the Kadazandusun
in particular. The availability of data and information storage, customs and
cultural heritage can be preserved. While in general, it is important for all
multi-racial society in Malaysia to learn the customs and culture of tribes and
ethnic groups. It is also important for tourists to be able to see the
uniqueness of the Kadazandusun tribe and overseas researchers who want to
conduct research on Kadazandusun in Sabah.
1.4 Objectives of the Study
The researcher’s objectives in this study are to produce an artworks
based on the idea and to interpret the
rice spirits world view by the Kadazandusun Sabah on canvas which is painting and to create work of art
as a new visual text describing two-dimensional visual form in order to
describe and in view of the language of art.The researcher also has to identify the symbol, story and myth of rice spirits.
Other than that is to analyze the artist reference artwork to gain information in process
making in producing an artwork.
1.5 Study Questions
1. How the world view of rice spirits by the
Kadazandusun interprets in painting?
2. How to create works of
art as a new visual text describing two-dimensional visual form in
order to describe and in view of the
language of art?
3. How to transform the
texts or literatures into two dimensional views (2D)?
1.6 Scope of
Research
The
location of the study is only focused on Penampang Sabah. The scope of this
study only focused on the belief of the rice traditional ritual by the
Kadazandusun and its changes.
How the worldview shaping their life, how they treat the
traditional belief, what the purpose of ritual and how this tribe develop.
Rice is a
plant and the main economic activities of the Kadazandusun. A ceremony will be
held to honour the plant and the rice harvest ceremony Magavau or Harvest
festival today. In this festival will be like some ceremony ritual, Sumazau
dance[7],
gongs[8],
Magunatip dance[9]
and lastly are the Unduk Ngadau of ceremonies. In their faith, rice has the
souls or spirits that give them rice yields and prosperity. So, they have to
respect and take care of that spirits by the ceremony ritual. But now, this
festival is just to showcase or showing as a symbol of cultural identity and
ethnic of the Kadazandusun in Sabah. The
uniqueness of customs and culture, especially the Kadazandusun’s Kaamatan festival was form
of solidarity, brotherhood and togetherness between
the Kadazandusun in
Sabah[10].
This festival became
a symbol of thanksgiving for the harvest
each year.
The festival is still practiced to this
day by the Kadazandusun. In fact, every May after the rice harvest they will
gather to celebrate rice yields. Penampang district in Kota Kinabalu is the
only area that celebrates the Kamaatan festival for the whole Kadazandusun tribes
in Sabah on a large scale.
In Addition, research or writing exists
by the strength of the researcher to want to know and understand the culture by
own tribe. Kadazandusun culture and tradition have contributed uniqueness and
beauty of the images of Sabah and directly to enrichment the Malaysia cultural.
Therefore, this study would like to see their belief system, especially in the
rice spirit beliefs that guide their ancestors.
1.7 Research
Methodology
Instrumentation (materials or methods used in
the research)
Bil
|
Activities
|
Instruments
|
Functions
|
1.
|
(Phase I )
Primary Data
Harvest
Festival
(May 30 to 31 June 2013) |
Video
|
• Record
the Harvest Festival situation.
•
Record the activities in the Harvest festival.
• worship
demonstration by the Shaman
|
Photography
|
•
Picture of Sumazau dance.
• To
get Harvest picture comparison of past and
present.
|
||
Observation
|
• Seeing modern Harvest Festival.
• The arrival of outsiders who are not from the
Kadazandusun
tribes.
• customs and culture of various tribes of
Kadazandusun.
|
||
2.
|
( Phase II )
Secondary Data
Literature
|
Texts
&
Artists references
&
Theory of Art
|
·
The
Method and the approach.
·
Previous
results about this research.
·
Previous
artworks done by artists’ references and their statement about the works. Looking
for the method, technique, media, organize and model.
·
Edmund
Feldmen theory (description, analysis, Interpretation, judgment)
|
3.
|
( Phase III )
Art Making Process and Result
|
Observing
Data
|
·
Identifying the images based on Idea
|
Analysis data
|
·
Metrials
& techniques experiment
·
Sketches
and drawing process
|
1.8 Chapter Outline
CHAPTER 1: Introduction
1.1 Background research
1.2 Statement of Problems
1.3
Significance of Study
1.4 Research Objectives
1.5 Research Questions
1.6 Scope of Research
1.7 Research methodology
1.8
Chapter outline
CHAPTER 2: Literature
2. 1 The Kadazandusun
2.1.1 The Legend and the Origin
of the Kadazandusun
2.1.2 The Kadazandusun worldviews
2.1.2.1 History of Huminodun
2.1.3 Rituals of rice spirits
2.2 Artists References
2.2.1 Artworks Analysis
2.2.1.1 Syed Ahmad Jamal
2.2.1.2 Anuar Rashid
2.2.1.3 Nik Zainal Abidin Bin Salleh
CHAPTER 3: Art Making Process and Result
3.1 Art
Making Process
3.2
Observing Data Visual
3.3
Visual Analysis
3.3.1 Sketches and Drawing Processs
3.4
Experimental Process of Medium and Techniques
3.5 The
Process of Art Making
3.5.1 First Art Work
3.5.2 Second Art Work
3.5.3 Third Art work
3.5.4 Fourth Art work
3.5.5 Fifth Art work
3.6 The Results
3.7 Artist Statement
CHAPTER 4:
Conclusion & Recommendation
4.1 Conclusion
4.2 Recommendation
4.3 Bibliography
CHAPTER 2: Literature
2.1 The Kadazandusun
2.1.1 The
Legend and the Origin of the Kadazandusun
The
early history of racial existence of Kadazandusun reliable through
oral stories of Nunuk Ragang[11].
It is located between two rivers that merge from the left and right and form a
larger river which is Liwogu[12]
River. All the tribes of Kadazandusun have agreed that they came from in the
same place called Nunuk Ragang and it was a kind of tree which grew up and plenty
at the Liwagu River[13].
According to Herman, S. (2013), the location of Liwagu River was identified by
the Kadazan cultural association (KDCA) in the Tompias Village, Ranau[14].
The Kadazandusun believe that there are many
creatures under the Nunuk and the dangling its roots and the river. According
to the study of Cherry, (2010), Nunuk Ragang is from red light reflection from
the sun toward the creature’s body until Nunuk tree looks red. Therefore, they
reflect many red creatures are partying in the Nunuk Ragang. Since then, Nunuk
Ragang is the identity of the Kadazandusun community because they believe they
came from this area.
According
to Kamarul
N. (n.d) & Cherry, G. (2010), in their blogs stated the origins of Dusunic
tribal into five theory of social science. First theory: They
form the descendants Mongloid, Chinese or Annam Kanchin people and people from
Myanmar. (H.N Ivor Evans: 1923 and T.R Williams: 1965). Second theory: They form the Indo- Malayan
descent from South China to countries in Southeast Asia. In their study, social
scientists, and history taking into account physical, speech , blood group and of
art created by the Kadazan- Dusun. (T.R Williams: 1965). Third theory: They form a hybrid of the Chinese.
(Ivor H.NEvans: 1923 and Owen Rutter: 1920) Fourth theory: They form are descendants of
the ancient cave Madai. The fifth theory: people say this Bunun tribe
originally from Taiwan.
2.1.2 The Kadazandusun Worldviews
At first, people in Sabah Kadazandusun practice
animism beliefs. One of their beliefs is the rice spirits and it is also stated
by Lee, (2012), that this belief inherited from their ancestors. Belief in the
spirit of rice has shaped the lives of the Kadazandusun. They believe that the
rice has a passion to care for and respected. It is further heightened by
Hussin, (2005), in his study that the Kadazandusun traditional believes such as
rice farming is Holy. This belief and ideologies inherited from their ancestors
until it has been a guide in their life. They believe in a god Kinoingan who
created the universe and gave their lives and safety in their everyday lives.
According to research conducted by Hussin, (2007), Kadazandusun worldviews
encompass the real and spiritual which make up the concept of space consisting
of sky, earth, and the ground. Each space has a layer name, and the creatures.
The real (physical) inhabited by humans and other creatures and the spiritual
nature (supernatural) inhabited by the soul and spirit that is made up of good
and evil spirits. For the Kadazandusun they believe that the balance between
the real world and the spiritual will make life better and safer. If both the
nature is not balanced then the accident or damage will befall them. Therefore,
to restore the lost spirit in the lives around them, the ceremony should be
done as a meal to the spirit to bring it back and did not interfere with their
lives. The ceremony is also known as the Magavau or Harvest Festival that to celebrate
of thanksgiving and restore the spirit of rice.
Magavau in the past
very concerned about the taboos aspects. But now, no longer the taboos aspects of
the practice completely and it’s the same as no longer obey or follow. In addition, the Magavau nowadays just as a
symbol of the Kadazandusun tribe. According to Oyum Bin Morindu from the Rungus
Bamboo Stem Group[15].
Rice spirit ritual in the past referred to as Magavau but now referred to as the Harvest Festival.
Before the advent of the colonial power in Sabah, the Kadazandusun
economic activity is rice plants. According to Hussin, (2005), Rice is the
principal activities of the Kadazandusun community. Cultivation methods are
performed traditional and farmers will be doing various rituals to obtain the
fertile rice plants fields and get a lot of paddy. They believe rice has a soul
or spirit. Rice spirit called Bambaazon. Hussin explained further, Kadazandusun
community believed in this rice is as a friend that must be treated with all
the time in the form of rituals. This ritual will be done by the priest of Bobohizan[16]
order. Magavau[17] is conducted rituals from
the past until today after the rice harvest every 30 and 31 Mei.
Moreover, culture
and external influences make their world view changed. The entry of new
religions such as Islam and Krestian among the Kadazandusun at Penampang area in
Sabah is the main reason for the tradition of their ancestors abandoned.
Old beliefs have changed because of their new
religious beliefs. It also touched on in the study by Irene and Janette, (1992), where
most of them are Christians and Muslims. However, there is still practice the
animism beliefs. Especially the elderly Kadazandusun. This is because they have
adopted this belief before the arrival of other religions.
In
the study Hussin, (2005), the times have turned to the importance of science
and technology. Rituals and traditional rice cultivation practices changed to
the activities of modern agriculture. Additionally, this can be explained
further in the book published by Hongkod Koisaan (KDCA), (2013), in which
various changes have occurred in terms of rituals, taboos and the beliefs.
Therefore,
in order to maintain the traditions, the association Kadazandusun Cultural
Association (KDCA) has made the Harvest Festival as a symbol of tradition and
culture that is the identity of the Kadazandusun. The festival will provide a
variety of shows and activities like farming tools, traditional dance,
traditional house, traditional drink, spirit of rice as well as Huminodun
worship, gongs and the attraction is Unduk Ngadau competition that became a
symbol of the spirit of rice as well as Huminodun.
2.1.2.1 History of
Huminodun
The legend and myth of the Kadazandusun belief
is the belief of the existence of their god Kinoingan (God the creator of
heaven and earth), and his wife Suminundu or sumundu. They have a daughter
namely Huminodun. The Kadazandusun believes that God kinoingan dwells in another
world. In the study of Lee, Y. & Low, K. (2012), Kadazandusun believes in
the rice spirit that inherited from their ancestors. This belief is formed
based on myth and legend mentioned by their ancestors, believes in god
Kinoingan. They added that the Kadazandusun community has suffered from
disaster namely a long drought. Therefore, they have been starved of food due
to drought. From that, God Kinoingan was sympathetic to the human condition on
earth and wants to save them from starvation. However, to end the drought and
save mankind, Kinoingan have to sacrifice a young woman, sincere and beautiful.
Therefore, Kinoingan and his wife agreed that their daughter namely Huminodun
sacrificed. According to the literatures by Hussin, (2003) & (2008),
Kinoingan sacrificed his only daughter, so that people can get food. The
article written by Fred, A. (2013) in his blog said that the body Huminodun
splitted into 7 parts and planted. Each part has released a variety of crops
that enable human food. Among the plants that are the source of human food is
rice. Therefore, the Kadazandusun believes that rice is the spirit of Huminodun
to save the people from starvation. They also believe that the seven parts of
the Huminodun body that had been buried and produce crops is Bambarayon[18]
spirit in the rice and becomes a spirit. This spirit should be on guard,
entertained and respected. By then, the spirit worship rituals rice or Magavau
in Kadazandusun language, also known as the Harvest festival now existed. It is
meant to commemorate the god of Kinoingan that was willing to sacrifice his
only daughter and grateful obtained rice yield and avoid danger or interference
from evil spirits. According to Nasir, J. (2009), the ceremony honoring the
spirit of the rice will be led by a shaman or Bobohizan and usually made up
of the older women. According Hongkod Koisaan Penampang (KDCA), Huminodun is Bambarayon spirit, Bambarayon is the rice spirit, rice is the food of the spirit of
the Kadazandusun, and Huminodun is Unduk
Ngadau[19] Kaamatan idol and she is a
soul of Unduk Ngadau and Harvest
festival.
2.1.3 Rituals of Rice
Spirits
Rice
is a ceremonial ritual that must be done properly and respected. According to a
study by Hussin, (2007), the rice spirit is a spirit of Kinoingan’s daughter
(creator god) which is Huminodun that sacrificed to save the people from
starvation and drought. It is also the Kadazandusun traditional beliefs.
According to them the spirit should be maintained so that their lives are
always safe and secure from evils and get a lot of harvest each year.
Therefore, in honor and gratitude that rice yield at harvest, they will do the
rituals like worship, worship, meal of food and drink to the spirits, play
music and dance. According to Nasir, J. (2009), this ritual will be led by
Bobolian or Bobohizan[20]
the women who have aged and they are women who play an important role in ritual
honor the spirit of rice. Cult system was done in an orderly manner. This
ritual is also known as Magavau or adults now it is known as the Harvest
festival. According to Herman, S. (2010), Harvest festival is not only grateful
to be given by God Kinoingan but it also is an occasion where the promise of
friendship and brotherhood renewed through mutual forgiveness. According to
Herman again the Kaamatan festival is usually held on the first moon looks full
expands after the harvest.
The
rice spirits ritual that explained by Nasir, J. (2009) and Hussin, (2005) is
started with a ceremonial “Kumogos”[21]
which is done when the rice was yellow and ready for harvest. Next, the
ceremonial “Komotob”[22]
done in the area of unmilled rice and ritual “Poposisip”[23]
in the rice-built home while the mantras read by Bobohizan.
The
Kadazandusun also believe in the spirit of rice that comes and always take care
and observe the rice fields from damage. According to Dani, N. A, (n.d) and
Nordin A, (2012), The Kadazandusun believe Huminodun soul become Bambarayon[24]
in the form of rice spirit. According to them, Bambarayon is swallows[25]
flying in the paddy fields. Birds will fly low to catch insects that damage of
paddy. Apart from that they also believe in the spirit of the eagle. According
to their beliefs eagles will eat rats that damage rice stems and fruit. These
interpretations serve as a guide to farmers Kadazandusun in their lives.
2.2 Artists References
2.2.1 Artworks Analysis
The
researcher wants to analyze the works of local artists based on the Edmund Feldmen theory (Description, Analysis,
Interpretation, and Judgment). The researcher took the works
of artists who create the idea or issue based on the belief, myth or worldviews
as narrative of work.
2.2.1.1 Syed Ahmad Jamal
Figure 2.1: Syed Ahmad Jamal (“Langit dan Bumi I”/ “Heaven and earth I”) 1998.
http://dinmerican.wordpress.com/category/creativity-and-innovation/
|
Description
This
work titled "Heaven and Earth
I" and produced in 1998. Media used is acrylic on canvas. The size of
this work is 203sm x 274.5sm. What can be seen and described in this work are the
artist use of multiple colors and warm and cool colors, expression, abstract,
and energetic. If viewed as a whole, the artist uses colors such as red,
yellow, green, sea blue, sky blue, white and purple. Strokes of vibrant color
and multi-layered forming texture on canvas. Colors strokes and abstract lines
and fast apparent in the middle of painting with bright colors like yellow, red
and blue. Repeated lines are significantly skewed to the left of the work.
Convex and horizontal lines can also be seen by the color purple in the middle
of painting and red the bottom left of the work. While the top of the painting
there are patches of color as the stars shine and brighten the earth.
Analysis
With
the title "Heaven and Earth I",
the artist organizes the composition based on the title in four parts. The
first part layer is the earth, the second layer is the plants and views of the
hills, the third layer consists of clouds, light and rain and the fourth layer
sky and the stars. The forms of subjects are not clear because the artist uses
brush strokes and abstract color and expression. However, the artist use
elements of the appropriate color as the color of the subjects like land,
plants, sky and light. The authors also use the elements and principles of art
in the production of work. The elements of art like brush strokes and soft
colors, simple, fast and firmly, and tie up the various lines, the use of hot
and cold colors to suit the diverse elements of the subject color as the color
of the soil, plants and sky where form harmony, the use of organic and
geometric shapes, flat surface, especially the use of horizontal space on the
bottom of work namely land and shallow space of the entire piece. While, the
principle of art that used by the artist are he plays with composition where
there are the bottom, middle and top that directly shape the diversity, balance
is not equal (asymmetrical balance) namely the uneven placement of the images
and the use of red color contrasted with the blue color that looks dominant,
the combination of the elements and principles of art that make up the union,
slanted lines and horizontal repeated and form of rhythm, especially in the
middle of painting, repetition of colors and small patches at the top of the
painting that repeated and fast colour strokes and abstract produce movement.
Interpretation
Based
on the title of "Heavens and Earth I",
the artist would like to reflect the culture, thought, culture, philosophy,
values, and the meaning of life and the height of the creator of heaven and
earth. This can be seen based on color that make up a landscape that looks like
layers of earth which forms life. Artist feel this life as a blessing given the
responsibility and trust as a vicegerent on earth. In terms of philosophy, the
main thrust used by the artist is Tawhid. It is consistent with the philosophy
of faith asserted by al Faruqi Oneness of Allah. Artist is also very impressed
with the creation of natural world (natural) created by Allah. Artist does not
reflect the landscape of the natural world in the form of realistic natural
reality. Instead the artist had simplified or abstracted the nature of subjects
namely stylization denaturalization. In this work, the artist expresses a
variety of situations such as night, day, hot, cold, afternoon and evening.
Artist inserted the values and attributes Islamic credentials in the work as
the identity and beliefs. Directly the artist brings to the audience to
remember the beauty and signs of God through nature. Artist also reflects the
beauty of the creation with what is described in the Qur'an in Surah Al A'raf
of the heavens and the earth, which means;
“Your Guardian-Lord is Allah, Who
created the heavens and the earth in six days, and is firmly established on the
throne (of authority): He draweth the night as a veil o'er the day, each
seeking the other in rapid succession: He created the sun, the moon, and the
stars, (all) governed by laws under His command. Is it not His to create and to
govern? Blessed be Allah, the Cherisher and Sustainer of the worlds!” (Al-A'raaf
7:54)[26]
Judgement
This
work makes awareness and consciousness to the audience and the artist had
successful in delivering and reflects who we are and who created the universe.
This can be seen with the concept of the unity or tawhid in Islamic values
that showed by the artist. Though, the objects of natural world were
abstraction and simplified (stylization or denaturalization). The beauty and the
color strokes combination have made this work stand out. In addition,
formalistic aspects of this work make it more meaningful and successful. For
example, warm and cool color strokes throughout the painting that portrays as
the natural world, color strokes which forms the diversity of lines and texture
on canvas, used abstract objects that formed shapes, and emphasizes the space.
The elements of art take advantage by the artist in its production. However,
the principles of art used asemetry which is the uneven placement of images,
repetition of color and lines on the work, and horizontal composition, the
repeated lines had formed rhythm such as the lines in the middle of painting
and patches color repeated in the top of canvas, combination of elements and
principles of art have formed a diversity, unity and harmony and emphasis of
each layer of earth.
2.2.1.2
Anuar Rashid
Figure 2.2: Source; T.K.
SABAPATHY (Editor). Vision and Idea - ReLooking
Modern Malaysian Art. Kuala Lumpur: Malaysian
National Art Gallery, 1994). Received from
http://oil-painting-mezan.blogspot.com/2010/11/oil-painting-artwork.html
|
Description
This
work titled "The Birth of Inderaputera" which was produced by Anuar
Rashid in 1978. Material used Oil on canvas. Meanwhile, the size is 244cm x
306cm. This work reflects the dramatic and mythical atmosphere. In the middle
of work, we can see the movement of bird flying and some have been simplified.
The use of colours and technique of layered or repeated made the objects like
moving. The colors layered, cut and form a cube and use blue that clearly can
be seen in the entire of work. In addition, yellow, orange, purple, and white.
On the top of work looked dark and the lighting looked in the middle and bottom
of in bright colors which forms light shadows.
Analysis
Artist
clearly fully understands the position and arrangement of use the appropriate
color on. Artist emphasizes the elements and principles of art in the
production of work. The use of colours plays an important role as a picture, a
mood and feeling. Artist evokes dramatic effects of light, movement layer blue,
orange, yellow, white purple. The shape and appearance of two-dimensional and
using geometric and organic as well as a flat surface. Variety of lines made
lines moving. For example, repetition lines have raised front space movement.
The thin lines have created texture far illusions space while solid lines has
raised front space which will forms the space. The colors strokes on canvas
created texture effects. However, the principle of art is also a priority of
the artist. The repetition of the image and the color has produced interesting
effects on the canvas and create movements and unions. It can be seen in the
movement of birds, layers of color and repetition of colors like blue, white,
purple, yellow and a little orange on the movement of birds. It also creates a
rhythmic where images repeated and it looks like vibrate, rolling and moving.
Arrangement or composition of colour is also a priority to create
differentiating between front, middle and back. On the top of work looked dark
gloomy. While the middle and bottom of the work looked bright and there are
repetition such as birds and thin and thick lines which forms the illusion of space.
This has created asemetry on work.
Interpretation
Artist would like to reflect a situation and atmosphere of the mystical,
myth and legend or Hikayat. With the title of "The Birth of Inderaputera"
based on Inderaputera tale, the artist used the technique and distinctive style
of storytelling to reflect the atmosphere of the work. In addition, the artist
would like to pick up this work as an understanding of aesthetics and
acceptance of folk stories, myths and Hikayat of the text to the visual two
dimensional. Artist would also like to improve the understanding of the
audience about the quality of thought and intellectual in a corner of fantasy
and abstract. The narrative that the
artist wants to present is trough the text of Hikayat Inderaputra.
“Hikayat ini mengisahkan seorang putera Raja
Bikrama Buspa Negeri Samanta Puri yang telah diterbangkan oleh merak emas.
Inderaputera telah dijatuhkan di dalam sebuah taman bunga yang dimiliki oleh
nenek kebayan. Disinilah serta dibawah jagaan perdana menteri Inderaputera
dewasa, hingga beliau memperhambakan diri kepada Maharaja Syahian untuk menemui
Berma Sakti bagi mendapatkan penawar beranak bagi baginda. Perjalanan
Inderaputera penuh dengan temasya-temasya yang ajaib dan menakutkan. Akhirnya
bertemu juga dengan Berma Sakti. Kejayaan Inderaputera disambut oleh Maharaja
Syahian yang tetapi tidak oleh menteri-menteri muda dan anak raja-raja yang
menaungkan diri kepada baginda”.
(Dewan
Bahasa Dan Pustaka, 1968.)
Judgement
By
understanding the idea and conveying the context, the artist has succeeded in
producing the work a mature corner. Artist has a mystical atmosphere to reflect
the use of the peacock image to reflect the movement and abstract images and
brush strokes voracious have created a strong impact or empression. In
addition, the use of color and composition the work has attracted the audience
to see and understand the work. Effectiveness makes the audience feel the
beauty of the work. This is further heightened by the use of formalistic
aspects of the priorities in the production of work. These aspects are
explained with the use of the elements and principles of art such as color,
thread, line, shape, form and balance, composition, rhythm, repetition,
contrast, emphasis, the union movement. These aspects of the work merged into a
vibrant and evoke a passion and understanding of the narrative.
2.2.1.3 Nik Zainal Abidin Bin Salleh
Diagram 2.3:
Nik Zainal Abidin Bin
Salleh
Received
from http://goodenei.com/2009/05/21/nik-zainal-abidin-bin-salleh/
|
Description
This work titled “Kelantan shadow” and produced in 1961.
The size is 116cm x 56cm size. Media used is oil paint on canvas. This work
reflects the various expressions and facial features weird and scary. The use
of color is also very bright red, yellow, black, brown, white and blue. In
addition, it is seen that the two groups meet and quarrel between the left and
right canvas.
Analysis
Artist is aware of and understands each
character and image processing and color. The composition of the work is
vertical. The artist put the images with various characters from the bottom to
the top canvas. Use the elements and principles of art make this work seem
interesting. Processing lines and colors on the canvas like red, brown, yellow,
blue, black and white make up various characters. The shape and appearance of
the work is two-dimensional illusory and organic as well as a flat surface.
Meanwhile, the work also balance in prioritizing which is the artist put the
images on the left and right. The variety of color processed has resulted in
diversity and unity. Repetition of human images also clearly visible. Moreover,
the diversity of the lines that make up the characters has developed a rhythm
and movement.
Intrepretation
Artist wish to express and reflect the
daunting atmosphere or in a battle where the two groups can be seen left and
right are being met and holding a sword. In addition, the artist has brought
the art of this puppet out of the screen or theater on the canvas to be viewed
and judged beauty of nature static and two-dimensional. Artist takes the
stories of the ancient Hindu epic Ramayana. It tells the king Rama and his wife
Sita Queen. Sita was kidnapped by King Rama Ravanna and his army came to rescue
Queen Sita. Thus, the artist portrays the battle being fought between the army
of Hanuman, the monkey king and the army of evil Ravanna.
Judgement
Artist has successfully
produced mature artwork. The use of formalistic aspects in the work makes
it more successfully. Artist has used character or puppet characters on canvas.
Transforming text or visual theater to two dimensions has made this work
interesting. Processing of various colors has developed various expression and
character. In addition, the use of multiple lines that makes up the look. The
artist also emphasizes balance of the work, the repetition of the image and the
composition of the piece.
CHAPTER 3: ART MAKING PROCESS AND RESULT
3.1 Art Making Process
3.2
Observing Data Visual
Researcher had been looking a variety of visual reference for
identifying appropriate. Based on the idea of researcher, researcher has tried
to understand and identify the relevant visual world view and the Kadazandusun
belief. This visual is important in the
production process of work. The main image that identified is the image of a
woman Kadazandusun that symbolized as the purity of the rice crop and the
daughter of god Kinoingan which is Huminodun. The second image is the Kadazandusun
shaman, dance sumazau, the moon the birds of the attribute as beliefs. The
galaxy is the reference image picture of the views of the world based on
personal experience by researcher on the lives as a people of Kadazandusun
Figure 3.5:
Image of Bobolian or shaman does
worship the spirit of rice.
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Figure 3.4:
The image of Kadazandusun woman became a
symbol of the impurity of paddy and the daughter of god of Kinoingan.
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Figure 3.7: An eagle and swallows be a symbol
embodiment spirit of Bambarayon or the rice spirits.
|
Figure 3.8: The full moon is a good month in the
worldview of Kadazandusun when rice planting or after harvest.
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Figure 3.9: Various Image of galaxies as a reference
of researcher for background work.
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Figure 3.6: Sumazau dance during the spirit of
rice worship.
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3.3
Visual Analysis
3.3.1 Sketches and Drawing Processs
Figure 3.10: Quick sketches for idea process. The
researcher draws various composition and image based on the idea that
relates.
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Figure
3.11: Drawing
(Composition, colour and surface experiment). Researchers have drawn various
compositions and using various images such as women, birds and the moon as
a metaphor to the idea of the researcher. In addition, researcher also
studies the background color of works.
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3.4
Experimental Process of Medium and Techniques
The researcher using acrylic as a
medium in research
and produce work. Researcher studied the use of this material in terms of the appropriate colors based on the idea.
Figure 3.12: The researcher studying the acrylic on
canvas. The researcher also studying the use of color, mixed color and the
artwork background research.
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Figure
3.13: The
researcher studying the scumbling technique on surface. Researcher tries to
combines the technique and the element of art which is the scumbling style
and the character of line which is curls or wave line. Both aspects used to
all artworks.
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“In skillful hands, scumbling can
create some of the most magical effects in a painting, giving a veil-like
impression”
(The Encyclopedia of oil painting techniques Wrote by Jeremy Galton)
Based on the study
researcher at the surface of the canvas, the smooth lines curls or waves will
create a background work look more smooth and foggy due to the lines. The main
purpose that the researcher uses the line is to create the symbol of rice
spirits. The researcher also makes it curl and use white colour so that its
looks like rice that flying in the field of rice. Based on research by Hussin (2005), he states
that the Kadazandusun traditional believes such as rice farming is Holy[27].
In addition, it will create a rhythm
that will stimulate a person's physical movements due to alternating lines.
“Thin lines are generally more elegant, gentle or delicate. The repetition
of fine fluid lines ties the images together and suggests movement”
“Alternations of movement become visually entertaining and physically
stimulating if they are rhythmic”
(Art and
Faundamentals. Theory and Practice. Page-110)
3.5 The Process
of Art Making
3.5.1 First Art Work
Figure
3.14: The background colours look like smoky expression, foggy, mystical, and glowing.
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Figure
3.16: The images add with the lines that look like
broken glass. Its cubic shapes that represent the unseen spirits. To get
the sharp shape or line uses the masking tape as material of making.
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Figure 3.15:
The images are inserted on the background.
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Figure 3.17: The image is repeated. The
last is inserting the soft lines over the images and background. After
that, finishing process or final touch.
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3.5.2 Second Art Work
Figure
3.18: The background colours look like smoky expression, foggy, mystical, and glowing.
Its looks like in the sky and wave. The researcher use avariety kind of
brush to get the effects. Here the researcher also inserts the soft lines
on the background. Hence, the background looks smooth and the lines
actually symbol of rice spirits.
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Figure
3.20: The image is repeat and transparent. Use
variety of colours, its value and hue to make contrast the images and the
background. The background also overlaps with a little bit cubism lines
that look like a broken glass.
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Figure
3.21: The second and third images are inserted and
overlapped with the curls or wave lines on it. The last is finishing
process.
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Figure
3.19: The images are inserted on the background with
eagle flying and swallow bird.
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3.5.3 Third Art Work
Figure
3.22:
Background colour with orange on canvas.
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Figure
3.23:
Background layer or overlapping colour.
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Figure 3.24: The images are inserted on the surface of
canvas.
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Figure
3.25: The images are overlapped and dynamic
movement. The effects of lines also inserted on it.
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3.5.4 Fourth Art Work
Figure 3.26: First is the background layer with yellow
colour and overlapped the surface with the other colours.
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Figure
3.27: The images of moon, eagle inserted. The image
of eagle was repeated to create the movement and the moon paint in the
middle of canvas. Other than that the light horizontally to the left that based on the idea
of researcher.
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Figure
3.28: The
characters of lines are inserted on the image and background. To create the lines researcher use a
little round brush and paint it with white colour.
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Figure
3.29: The last is touch up or finishing
process.
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3.5.5 Fifth Art Work
Figure
3.33: The last is touch up or finishing
process.
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Figure
3.31: The characters of lines are inserted on the
image and background. To create the
lines researcher use a little round brush and paint it with white colour.
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Figure
3.32: The character of lines full layer on the
surface of canvas.
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Figure
3.30: The
background first layer is same with other steps of work. After that the
images are inserted. The girls’ image as a symbol of Huminodun. The image
repeated to create movement.
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3.6 The Result
First Work
Figure 3.34: Title: Kadazandusun: The Legend of Huminodun I
Year:
2014
Size:
5ft x 3ft
Medium:
Acrylic on canvas
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Second
Artwork
Figure 3.35: Title: Kadazandusun: The Rice Spirits Of Eagle and Swallow
Year:
2014
Size:
6ft x 4ft
Medium: Arcylic on Canvas
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Third Artwork
Figure 3.36: Title: Kadazandusun: The Spirits of Magavau
Year:
2014
Size:
6ft X 4 ft.
Medium: Acrylic on Canvas
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Fourth Artwork
Figure 3.37: Title: Kadazandusun: The Full Moon
Year:
2014
Size:
8ft X 5 ft.
Medium: Acrylic on Canvas
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Fifth Artwork
Figure 3.38: Title: Kadazandusun: The Legend of Huminodun II
Year:
2014
Size:
4ft X 3 ft.
Medium: Acrylic on Canvas
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3.7 Artist Statement
The legend of Huminodun is
the story of the Kadazandusun ancestors. They believe in the god of Kinoingan
that who care and give them the life and well-being. Huminodun is the daughter
of Lord Kinoingan. It tells the story of Huminodun sacrifice to save humankind
caused by prolonged drought and famine food. Thus, sacrifice is a way and a
solution to end the drought and famine to humans. They believe that the Huminodun body splitted into 7 parts and buried. Each part has released a variety of plants that become food for the
people. The plants are including rice. The sacrifice considered as sacred. They
assume that the rice is holy and without rice there is no life. Divine nature
and sincerity of this woman make her get elected, honored and respected with
her sacrifice. They belive Huminodun is the soul of Bambarayon. Bambarayon is
the soul of rice. Huminodun is idolized as Unduk Ngadau Kamaatan and the soul
of Unduk Ngadau.
Each work that described by
the researcher is the symbol of the spirit of rice. This is because the
Kadazandusun believes that symbols are the embodiment of the spirit or soul of Huminodun
or Bambarayon. Among the symbols that represent the spirits of the rice are expanding
moon, eagle and swallow, image of woman. This belief inherited from their
ancestors. The overall works, the researcher has portrayed the mythical
ambience by using warm and cool colors. The smear colors like fog or smoky and
the images seem layered and repeatedly each other. The researcher would like to portray the spirits of rice scattered
about.
The
researcher also uses fine white lines and seems wavy or curly. The researcher,
the lines are the white rice spirit (holy). Besides, the pieces like a cube
is a reflection of the spirit of Huminodun that transforms into rice that can
visible and invisible.
What the researcher want
sto talk about the production of this work is the transformation from the texts
into two dimensional visual. The researcher wants a deeper insight in delivering aesthetic values
formed from the appreciation of the Kadazandusun worldviews.
CHAPTER 4: Conclusion & Recommendation
4.1 Conclusion
As a conclusion, from the first
process to the end result of the artworks, the researcher has achieves the
several objectives that have been set. The researcher objective in this study
is to produce an artworks based on the idea and to interpret the rice spirits world view by the
Kadazandusun Sabah on canvas which is
painting project for CDT652. To create
works of art as a new visual text that describing two-dimensional visual form
in order to describe and in view of the language of art. Other than that, to
transform the texts or literatures based on the idea on canvas. As results the
researcher succeed produced five painting with the symbols of Kadazandusun
worldviews about the beliefs of rice spirits. Based on the woman image, moon,
bird and mystical colour that represent Huminodun spirits make the audience
understand all the works that what the researcher trying to intreprates. It is
also supported with the title of work. All works are using canvas as surface to
transform the aesthetic of rice spirits.
In the process of research, the researcher collected the data from
various sources and analyse it. From that, the researcher had identified the symbol, story and myth of rice spirits.
Other than that is to analyse the artists
reference artworks to gain information in process making in producing an
artwork. The researcher chooses four local artists that most popular in
Malaysia. Most of the references also use a story or history as their work to
interpret on canvas. For example, the work by Anuar Rashid where he uses the
Hikayat Inderaputra as an idea from text and visualised it on canvas as a new
method to see the aesthetic and its values.
In the production of
works. The researcher collected more pictures and data to support the visual of
works. Analyse the data with sketches and drawing process to bring out the
images or ideas. Development idea is very important in production of work
because it will give the best result. Other than that it will satisfy ourself and in what we are doing as
well. The researcher come up with his own skills in painting and he succeed
used the lines as represent the rise spirits. It’s also supported by the
audience who see the lines that applied on the painting looked like the rice.
It is because the researcher used white colour and the curl lines that
repeated.
This study gave a lot of
experience to the researcher. Especially in writing and produced works based on
the researcher literatures in this study.
4.2 Recommendation
The process of writing and
works that described in this study gave much of understanding and knowledge to
the researcher and to the reader. This research also helps to researchers or
other artists who want to study and experiment, especially on Kadazandusun
worldview.
It also can be used as a
reference for students and the general public who want to know the history and the
Sabah’s aboriginal worldviews. It is not only at the university or college but
also appropriate to art students at the school level as STPM who took art and
the public. With the understanding of the production process of this research,
other researchers also can use a variety of media and techniques in the
production of research and contemporary works. In addition, with this research,
it can be used as a tool to preserve and reflect the history into
two-dimensional shape and make it a new visual in the interaction. This is
because, the artwork will not be boring because of the visual forming such two
or three dimensions and interact more attractive than text.
4.3 Bibliography
Books sources
BSLN, (2008). TIMELINES.
Celebrating Malaysian Visual Art with the National Art
Gallery’s 50th
Anniversary.
KDCA, (2013). Harvest Festival State Level Sabah: Sustain Goodwill and Understanding
Through Kaamatan.
Ocvirk, O.T., Stinsonr, R.E., Wigg, P.R., Bone, R.O., Cayton, D.L.
(2009). Art
Fundamentals: Theory and Practice. Eleventh Edition.
Charuruks,
I.B., & Padasian, J. (1993). Cultures,
Customs and Traditions of Sabah Malaysia.
Articles Sources
Dani, N.A. (n.d). Elegantly: THE FAIRY TALES, MEANING, AND THOUGHT.
Department of Malay Language Faculty of
Modern Language Studies, UPM
Malaysia
Hussin,
H. (2003). Bobohizan Dan
Peranannya Di Kalangan Masyarakat Kadazan Daerah
Penampang, Sabah.
Hussin,
H. (2005). Ritual Padi Komuniti Kadazan Dataran Penampang Sabah. 171-198.
Hussin,
H. (2007). Ritual, Identity and the West Coast of Changes in Sabah: The Experience
of the Kadazan Penampang Community.
Hussin,
H. (2008). Performing Rice Farming
Rituals By Penampang Kadazan Of East
Malaysia: Between Sacred Ritual and Secular Performance.
Hussin, H. (2012). WORLDVIEW DAN
AMALAN: PENGALAMAN KADAZAN DATARAN
PENAMPANG SABAH. Borneo Research Journal,
University of Malaya, 1(1).
Low, K. O., & Lee, Y. F.
(2012). Investigating the relationship
between Kadazandusun
beliefs
about paddy spirits, riddling in harvest-time and paddy-related sundait.
MALIM:
Jurnal Pengajian Umum Asia Tenggara, 13, 65-93.
Nordin,
A. (2012). Buaya Tembaga. ITBM.
Newspaper Sources
Herman, S. (2010). PESTA KAAMATAN: Sabah’s
Very Own Harvest Festival.
News Sabah Times: May 11, 2008.
Nasir, J.
(2009). The
Harvest Festival
is meaningful for
Kadazandusun’s People.
News
Sabah Times; Rencana.
p.9.
Herman, S. (2010). HUMINODUN: The
Mystical Origin of the Kadazandusun People.
New Sabah Times: Jun
10, 2010. p.3.
Online Sources
Feldmen, B.E. (1967). Art as Image and Idea. New Jersey:
Prientice-Hall.
Kamarul, A. (n.d). Historical origins of the Dusun in Sabah. Retrieved from
terdapat-5.html
Kadazan-Dusun. (n.d). Retrieved
from http://ms.wikipedia.org/wiki/Kadazan-Dusun
Fred, A. (n.d). Retrieved from http://www.scribd.com/doc/14521504/Sejarah-Asal-Usul
Fred,
A. (n.d). Retrieved
from http://www.idesa.net.my/modules/news/article.php?storyid=896
CHERRY, G. (2010). The Early
History of Kadazandusun. Retrieved From
http://chillgideon.blogspot.com/2010/08/sejarah-awal-kaum-kadazandusun.html
Wikipedia, (n.d). Syed Ahmad Syed Jamal. Retrieved from
http://ms.wikipedia.org/wiki/Syed_Ahmad_Syed_Jamal
Sarah, N. H. (2013). Creativity and Innovation: In
search of the Sacrosanct. Retrieved from
http://dinmerican.wordpress.com/category/creativity-and-innovation/
[1]Kadazandusun is
the indigenous people and union of two people of Sabah, namely 'Kadazan'
and
'Dusun'.
[2]
Kinorohingan is a God who made the world and residein another world.
[3] “Magavau” is a harvest festival in the
ceremony celebrating the spirit of rice every 30
to 31 May.
[4] Bambaazon is the soul or spirit of paddy.
[5] Unduk Ngadau
is a beauty pageant that represents Huminodun.
[6] BSLN, (2008).
Timelines. page.194
[7]Sumazau dance is
a one of Kadazandusun dance.
[8] Gong is a music
instrument using in the ceremony ritual or other ceremony.
[9] Magunatip dance
is dancing in the ceremony ritual.
[10] Message from
Datuk Seri Panglima Musa Haji Aman in conjunction with the Sabah State Level
Harvest Festival 2013 in Penampang Sabah
[12]
Liwogu is a river that its look too deep and serene river water.
[14] Herman L.
(2013). Daily Express-Nunuk Ragang, the
Legend Of Kadazandusun. p.9
[15] The Harvest Festival in Dongongon Penampang on 30 & 31 May 2013.
[18] Bambarayon is a
rice spirits.
[19] Unduk Ngadau is
a beauty pageant a symbol Huminodun.
[20] Bobohizan is the shaman from women
Kadazandusun that responsible for the spirit of rice.
[21]
“Kumogos” is tying
or tying rituals and tying seven heads of the best rice and will harvest when
the paddy harvesting season.
[22] “Kumotob” is cutting ritual of
seven stalks of
rice that selected to be
harvested and stored and the rice harvest will start after that.
[23] “Poposisip” is storing ritual and untied of paddy that selected from the Kumotob ritual in the house which is
referred to as Tangkob.
[24] Bambarayon is a rice spirits.
[25] The scientific
name for the swallow is Hemiprocne coronata (Ministry of Education, 1994:776)
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