Jurnal Gendang Alam (GA)

PELANCONGAN FILEM: CIRI UTAMA FILEM DALAM MEMPROMOSIKAN SABAH

Mohamaddin Ketapi, Rosli Sareya — Thu, 27 Jun 2024 00:00:00 +0800

Hubungan antara filem, televisyen dan pelancongan merupakan sesuatu yang telah pun dilakukan beberapa negara dan ianya mula diterapkan sejak awal 1990-an. Aktiviti seperti menonton filem, rancangan televisyen serta melancong adalah salah satu cara untuk individu melarikan diri dari kesibukan kerja harian. Kesemua aktiviti tersebut mampu memberikan kelegaan sementara dari kesibukan yang dihadapi sepanjang melakukan aktiviti harian. Industri pelancongan kontemporari sendiri sangat kompetitif dan banyak destinasi baru yang cuba menarik pelancong ke destinasi-destinasi tersebut. Seterusnya filem dan televisyen juga dapat memberikan pengetahuan tentang aspek-aspek tertentu sesebuah negara seperti alam semula jadi, budaya dan kehidupan sosial sesebuah negara. Kajian ini akan memberikan tumpuan kepada pengaruh filem ke atas pelancongan di Sabah sebagai salah satu sumber kontemporari. Pemerhatian telah pun dilakukan oleh pengkaji dan dalam masa sama telah pun melakukan temubual ke atas beberapa tokoh penting dalam industri perfileman dan pelancongan. Secara keseluruhannya dapatan kajian menunjukkan bahawa sumber kontemporari menerusi filem dan televisyen ke atas industri pelancongan di Sabah sememangnya mempunyai pengaruh yang kuat. Kesimpulannya, kajian ini jelas memberikan implikasi yang besar dalam konteks penambahan ilmu pengetahuan berkenaan kelebihan serta manfaat filem dan televisyen sebagai sumber kontemporari yang berguna dalam industri pelancongan. Penambahbaikan dari segi strategi promosi ini dirujuk berupaya meningkatkan lagi nilai tambah serta populariti destinasi pelancongan di Sabah khususnya dan Negara amnya.

Kata Kerja: industri pelancongan, filem, strategi promosi, populariti destinasi, pelancongan Sabah,

ABSTRACT

A number of countries have already established the link between film, television, and tourism, and this has been implemented since the early 1990s. One of the ways people might break away from the everyday grind is by viewing films, TV shows, and travelling. These all kinds of hobbies can offer some little respite from the hectic nature of daily life. The modern travel business is quite competitive; hence many new locations are vying for visitors to those locations. Then, films and TV can also teach about some facets of a nation, including its social life, culture, and natural surroundings. As one of the modern sources, this study will concentrate on how films affect tourism in Sabah. The researcher has already made observations, and concurrently conducted interviews with various significant personalities in the film and travel sectors. The results of the research reveal generally that modern sources on the tourism sector in Sabah via movies and television have a great impact. Finally, given the framework of growing knowledge about the advantages and benefits of film and television as a helpful modern resource in the tourism sector, this study obviously has enormous consequences. Promotional tactics are said to be able to boost the added value and attractiveness of tourism sites in Sabah in particular and the nation in general substantially.

Keywords: tourism industry, film, promotion strategy, destination popularity, Sabah tourism,

A STUDY OF FEMALE IMMORTAL IMAGES IN THE "CHAOYUAN XIANZHANG TU"（朝元仙仗图) FROM THE PERSPECTIVE OF THE MYTHIC-ARCHETYPAL CRITICISM

Lang Qianwen, Lilian Lee Shiau Gee — Wed, 26 Jun 2024 00:00:00 +0800

This paper intends to apply the mythic-archetypal critique to study the concept archetypes of human collectives and the archetypes in Taoist literature and mythology corresponding the feminine immortal images in the "Chaoyuan Xianzhang Tu." By means of image and word juxtaposition, the study investigates the emotional impacts of female immortal images on modern audiences as well as their contribution to current feminist movements. Aiming to clarify the several metaphors and underlying logic of the development of Taoist female immortal images as a symbolic system, this study analyses the Song Dynasty Taoist painting "Chaoyuan Xianzhang Tu," based on the mythic-archetypal criticism, attempting to visually reproduce mythological archetype images in the portrayal of characters in the image. The study examines the various metaphors in Taoist imagery related to the mythic-archetypal perspective, forming three hierarchical functions: "Great Mother Goddess- The Queen Mother of the West (王母) - Flowers and Fruits," "Anima-Female Immortal Worship-Female Immortal Head Portrayal," and "Eternal Life-Feathered Being-feathered sleeves," all of which allude to the ideological implications of Taoist female immortal worship. Frequently, the symbolic, artistic, and meaningful aspects of Taoist art surpass the literal intent of the surface. The "myth-archetype" theory can be used to interpret these images, thereby guiding contemporary viewers to obtain insights into themselves through Taoist visual arts and providing a potential solution to death anxiety. Additionally, the interpretation of female immortal images offers a novel possibility: the integration of yin and yang, which eliminates traditional male dominance and the concomitant "one-sided, self-centered" feminism. This perspective is applicable to the development of contemporary feminist theory.

Keywords: Taoist painting, female immortal images, mythic-archetypal, feminist movements,

MAH MERI’S MAIN JO-OH (HARI MOYANG PUJA PANTAI RITUAL DANCE): FROM TRADITIONAL TO A TOURISM ART ENTERTAINMENT

Wed, 26 Jun 2024 00:00:00 +0800

Hari Moyang Puja Pantai is the traditional ritual still being practised by the Mah Meri indigenous tribe in Malaysia. The ritual celebrated is to seek protection, forgiveness and requests for a better fortune and faith of life for the next new year to come. From their ancestorial spirits and ancestors. On this note, this study emphases only the ritual dance named Main Jo’oh demonstrated during Hari Moyang Puja Pantai ritual ceremony. Focusing on the capability of Main Jo’oh ritual dance transforming into the art of dance performance as a tourism perspective. The research objective that will be discussed is, to identify and explore the capability of this Main Jo’oh ritual dance through dance performance of Poetics Method by Aristotle, as an art of dance to the tourism art performance. It is a qualitative method, emphases on observation approaches. Using the Poetics Method by Aristotle as instruments for data collection and analysing process. The sacredness of this ritual setting has been deconstructed into the element of tourism setting. In the sense of the crowded spectators: tourists and media, who at this extent establish the concept of Main Jo’oh is an art of tourism art of entertainment. Drawing the Aristotle Poetic to the notion of Main Jo’oh ritual dance, interestingly, the six Poetic structures designed by Aristotle did not signify the element of SETTING as part of the structure. Which to the ritual ceremonial, the element of setting contributes to most important structure to the ritual dance such as Main Jo’oh.

AMALAN PERUBATAN TRADISIONAL ETNIK BAJAU UBIAN DI KUDAT, SABAH: PENELITIAN TERHADAP KAEDAH PERUBATAN TAWAL

Nur Fardha Ayu Jusnih, Zainuddin Baco — Wed, 26 Jun 2024 00:00:00 +0800

Artikel ini mengupas tentang amalan perubatan tradisional upacara Tawal oleh masyarakat Bajau Ubian di Kudat, Sabah. Amalan perubatan tradisional merupakan salah satu alternatif perubatan bagi mengubati jenis penyakit ringan dan biasa seperti demam, gigitan serangga berbisa, sawan dan lain-lain. Upacara Tawal juga dipercayai dapat mengubati sebarang penyakit yang disebabkan oleh sihir dan gangguan makhluk halus. Upacara ini masih diamalkan oleh sebahagian kecil masyarakat Ubian di Kudat kerana mempercayai akan keberkesanan upacara ini dalam mengubati penyakit. Kaedah kajian ini menggunakan medium kajian perpustakaan dan temu bual langsung kepada pengamal perubatan tawal atau juga dikenali sebagai Tukang Tawal. Kajian ini diharap dapat memberi pendedahan kepada masyarakat dan menjadi satu dokumentasi penting kepada pengekalan warisan budaya masyarakat Bajau Ubian.

Kata kunci: Bajau Ubian, Perubatan Tradisional, Penyakit Ringan, Kearifan Tempatan, Adat

ABSTRACT

This article unravels about Tawal, the traditional medical practice ceremony practised by the Bajau Ubian community in Kudat, Sabah. Traditional medical practice is one of the medical alternatives used by this community for healing, apart from modern medicine. The Tawal medical practice aims to cure minor illnesses such as fever, poisonous insect bites, convulsions and cure witchcraft or the disorder of ethereal beings. This ceremony is still practiced by some Bajau Ubian communities in Kudat because this practice is still effective and is seen as one of the ancestral practices that need to be passed down from one generation to the next. This research method uses the medium of library research and direct interviews with tawal medicine practitioners or also known as Tukang Tawal. This study is expected to provide exposure to the community and become an important documentation for the preservation of the cultural heritage of Bajau Ubian community.

Keywords: Bajau Ubian, Traditional Remedies, Minor Ailments, Local Wisdom, Tradition

INTERPRETASI CATAN ‘GUNUNG KINABALU MENANGIS’ OLEH BARON KAMPIAU SEBATING

Abal Mukam Bin Mislin, Musnin Bin Misdih, Humin Bin Jusilin — Wed, 26 Jun 2024 00:00:00 +0800

Imej Gunung Kinabalu adalah hal benda yang paling digemari oleh pelukis-pelukis Sabah. Kecenderungan ini telah berlaku sekian lama iaitu sejak tahun 1960-an ramai pelukis tempatan Sabah seperti pelukis legenda seperti Benedict Chong (1960-an), Lakim Haji Kassim (1970-an) dan pelukis generasi muda yang prolifik seperti Baron Kampiau (1990-an) mengekspresikan Gunung Kinabalu sebagai hal benda utama dalam catannya. Takrifan Catan Kinabalu adalah merujuk kepada karya catan yang mengidealisasi imej Gunung Kinabalu sebagai hal benda secara metafora yang menjelaskan tujuan dan makna tertentu khususnya berkaitan isu-isu budaya di Sabah. Berdasarkan karya Baron Kempiau Sebating, isu budaya dan identiti Sabah dianalisis melalui pendekatan ikonografi terhadap aspek-aspek formal yang dipaparkan. Pelukis ini dipilih mewakili etnik Kadazandusun untuk menilai ekspresi ikon Gunung Kinabalu sebagai tunjang manifestasi budaya dan kepercayaan mereka yang signifikan dengan Catan Kinabalu. Data melalui temu bual awal, menunjukkan pernyataan idea ekspresif pelukis terdorong dengan unsur kebanggaan, keagungan dan keunggulan Gunung Kinabalu sebagai gunung tertinggi di Asia Tenggara. Imej Gunung Kinabalu digarap sebagai simbolisme yang memberi makna tentang tatacara hidup masyarakat Sabah seperti adat istiadat, pantang larang dan amalan harian. Catan Kinabalu berfungsi sebagai ikon visual yang menterjemahkan isu dan makna budaya tempatan di Sabah. Dapatan Kajian ini menjelaskan bahawa Catan Kinabalu menjadi saluran komunikasi kepada pelukis Sabah untuk menyalurkan kesedaran kepada audiens tentang budaya Sabah. Mereka meletakkan Catan Kinabalu sebagai saluran manifestasi putaran budaya yang harus dikekalkan. Karya Catan Kinabalu berperanan untuk mempertahankan warisan budaya Sabah.

Kata Kunci: Ikon, Catan, Imej Kinabalu, Budaya, Pelukis Sabah

ABSTRACT

The depiction of Mount Kinabalu is particularly popular among Sabah painters. This trend has been going on for a long time, with many local Sabah painters, including legendary painters like Benedict Chong (1960s), Lakim Haji Kassim (1970s), and prolific young generation painters like Baron Kampiau (1990s), focusing on Mount Kinabalu in their work. Catan Kinabalu is defined as a painting that idealises the picture of Mount Kinabalu as a metaphor for explaining a certain purpose and meaning, particularly in relation to Sabah's cultural challenges. Based on the work of Baron Kempiau Sebating, Sabah culture and identity concerns are examined using an iconographic approach to the formal characteristics portrayed. This painter was chosen to symbolise the Kadazandusun ethnic group in an evaluation of Mount Kinabalu's iconic expression as a cornerstone of their significant ethnic and philosophical manifestation alongside Kinabalu Paintings. Data from first interviews suggest that the painter's expressive concepts are influenced by components of pride, majesty, and dominance of Mount Kinabalu, Southeast Asia's highest mountain. The image of Mount Kinabalu is utilised as a symbol to convey meaning to Sabah people's rituals, taboos, and daily practices. Kinabalu Paintings serves as a graphic representation of local cultural issues and meanings in Sabah. Findings According to this study, Kinabalu Paintings serves as a communication channel for Sabah painters to raise awareness about the state's culture among the general public. They identified Kinabalu Paintings as a manifestation channel of cultural rotation that must be preserved. Kinabalu Paintings effort contributes to preserving Sabah's traditional heritage.

Keywords: Icon, Painting, Image of Kinabalu, Culture, Sabah Painter

KONSEP LATAR SET DALAM FILEM ANIMASI UPIN & IPIN KERIS SIAMANG TUNGGAL: SATU ANALISIS INTERPRETASI KOMPOSISI

Cristhiee Shenna Chin, Imelda Ann Achin — Wed, 26 Jun 2024 00:00:00 +0800

Konsep seni yang berkualiti tinggi serta penceritaan yang menarik perhatian penonton telah berjaya membawa filem animasi Upin & Ipin: Keris Siamang Tunggal oleh Les’ Copaque yang dikeluarkan pada tahun 2019, sekaligus disenaraikan dalam Anugerah Oscar. Walaupun tidak disenaraikan dalam pencalonan akhir, kejayaan ini telah mengharumkan nama negara diperingkat antarabangsa kerana ini membuktikan bahawa industri filem animasi negara mampu bersaing dengan negara lain. Namun begitu, idea dan imaginasi yang kreatif adalah penting bagi menghasilkan konsep seni yang berkualiti tetapi ramai artis konsep seni masih mengalami masalah dalam menjana idea. Oleh itu, objektif utama dalam penulisan bertujuan untuk menganalisis konsep latar set filem animasi Upin & Ipin: Keris Siamang Tunggal dengan menggunakan pendekatan interpretasi komposisi yang diperkenalkan oleh Rose (2016). Melalui pendekatan ini, konsep latar set dihuraikan melalui elemen-elemen yang terdapat dalam interpretasi komposisi. Hasil kajian ini mendapati bahawa konsep latar set dalam filem animasi Upin & Ipin: Keris Siamang Tunggal banyak menggunakan ilustrasi konsep seni yang berinspirasikan elemen makanan tempatan. Diharapkan kajian ini dapat membantu artis konsep seni tempatan untuk menghasilkan konsep seni kerana kualiti filem animasi bermula daripada konsep seni yang baik.

Kata kunci: konsep seni, latar set, animasi, Upin & Ipin

ABSTRACT

The high-quality art concept and storytelling that captures the audience's attention have successfully brought the animated film Upin & Ipin: Keris Siamang Tunggal by Les' Copaque, released in 2019, to be listed in the Oscar Awards. Although not listed in the final nomination, this success has made the country's name international because it proves that the country's animation film industry is able to compete with other countries. However, creative ideas and imagination are important to produce quality concept art but many concept art artists still experience problems in generating ideas. Therefore, the main objective in the writing aims to analyze the background concept of the animated film Upin & Ipin: Keris Siamang Tunggal by using the compositional interpretation approach introduced by Rose (2016). Through this approach, the concept of the set background is explained through the elements found in the interpretation of the composition. The results of this study found that the set background concept in the animated film Upin & Ipin: Keris Siamang Tunggal uses a lot of illustrations of art concepts that inspire elements of local food. It is hoped that this study can help local art concept artists to produce art concepts because the quality of animated films starts from a good art concept.

Keywords: concept art, setting, background concept, animation, Upin & Ipin

DIGITAL HORIZONS IN HERITAGE MUSEUMS: A COMPARATIVE ANALYSIS OF DISPLAY EVOLUTION AND RESEARCH TRENDS

Meng Wensi, Jasni Dolah — Wed, 26 Jun 2024 00:00:00 +0800

The construction and development of museums have gained increasing attention as a prominent research topic in recent years. Digital technology has enhanced the presentation of artefacts across various museums. However, adequate visualisation software for analysis in heritage museum research remains lacking in China or even around the world. Consequently, this study conducts a statistical analysis of literature on heritage museum displays that was sourced from Web of Science and CNKI (China's National Knowledge Infrastructure) for 2002–2023, examining publication frequency, principal authors, research institutions, and keywords to identify research hotspots and trends. The results show that although there is a lack of study on historical museum exhibits both in China and abroad, the amount of research is trending significantly. Strengthening collaboration between core authors and institutions is necessary as it's currently limited. Internationally, AI research commenced earlier, with a focus on integrating augmented and virtual reality, among others. In China, the emphasis is on heritage museum conservation and architectural space research. Research trends indicate a deeper integration of heritage museums and AI technology, with its application on tangible and intangible cultural heritage proving significant for improved display, conservation, and legacy. This research provides insights for expanding heritage museum research in the areas of technological innovation and cultural heritage protection. It also outlines the current condition of heritage museum research and lays out fresh pathways for its future growth.

AN INVESTIGATION ON THE ADAPTATION OF TRADITIONAL NAXI COSTUME ELEMENTS INTO CONTEMPORARY CLOTHING

Qiu Qilu, Lilian Lee, Victor Pangayan LEE — Wed, 26 Jun 2024 00:00:00 +0800

The Naxi ethnic group in China has a rich and extensive history. Their remarkable traditional attire has been recognised and designated as a "living" culture by the United Nations (Wang, 2017). Nevertheless, due to shifting trends and lifestyles, contemporary society, particularly the younger generation, is progressively disregarding traditional attire. As a result, designers have incorporated diverse influences, such as blending contemporary ideas with traditional cultural features, in order to create "modern clothing" that may endure and gain international recognition while preserving the legacy of fashion. Hence, it is imperative to foster the development of Naxi heritage, just as it is done for other ethnic groups. This includes the crucial integration of Naxi motive aspects into contemporary culture. This study aims to investigate the attributes of traditional clothing elements of the Naxi ethnic group. It will employ questionnaires to examine the community's perspectives and preferences regarding the innovative design of Naxi clothing elements. The objective is to both preserve the cultural essence of these elements and achieve innovative designs. By doing so, Naxi clothing can showcase the allure of new culture and art.

Keywords: Naxi ethnic group, Traditional costume, Heritage, Modern clothing, Inspired design

SIMBOL BUDAYA MASYARAKAT SABAH DALAM KARYA SENI ARCA “WARISAN” OLEH CHEE SING TECK

Rohasmezan Bin Hashim, Zaimie Bin Sahibil — Wed, 26 Jun 2024 00:00:00 +0800

Seni arca adalah karya seni yang mempunyai fungsi sebagai objek budaya dengan mengetengahkan aktiviti kehidupan masyarakat setempat. Pelbagai media dan teknik diolah bagi membentuk seni arca yang bersifat tiga dimensi. Ia diolah oleh pengarca dengan mempunyai mesej yang tersurat dan tersirat tentang budaya masyarakat setempat. Kajian ini akan membuktikan arca “Warisan” mempunyai mesej yang tersirat atau makna budaya masyarakat setempat di Sabah. Teori ikonografi digunakan dalam kajian ini bagi mengeluarkan ikon budaya pada reka bentuk dan makna arca yang dihasilkan oleh Chee Sing Teck. Tiga peringkat proses menginterpretasi arca “Warisan” dalam pengunaan teori ikonografi ini. Peringkat pertama adalah peringkat asas yang mengkaji olahan unsur dan prinsip rekaan. Peringkat kedua adalah peringkat sekunder yang mengkaji mengkaji dari olahan unsur dan prinsip rekaan tadi bergabung mewujudkan ikon atau motif atau imej tembikar, aksesori pakaian tradisi dan motif pada corak pakaian masyarakat tradisi di Sabah. Akhir sekali, peringkat ketiga adalah peringkat interinsik iaitu gabungan kajian di peringkat pertama dan kajian di peringkat kedua membentuk makna dalaman yang membawa mesej tentang aktiviti dalam kehidupan masyarakat di Sabah. Kajian ikonografi terhadap arca “Warisan” yang dihasilkan oleh Chee Sing Teck telah mengesan bahawa arca ini mempunyai simbol budaya tentang masyarakat tradisi di Sabah.

Kata Kunci: Simbol; Ikon; Budaya; Seni Arca; Ikonografi

ABSTRACT

Sculpture art is a work of art that serves as a cultural object by emphasising the activities of local communities. Various media and techniques are used to create three-dimensional sculptural art. The sculptor processes it by writing and implying a message about the local culture. This study will demonstrate that the "Warisan" sculpture has an inferred message or cultural significance to the Sabah people. In this study, iconography theory is utilised to extract cultural icons from the design and meaning of Chee Sing Teck's sculptures. Three steps of viewing the "Warisan" sculpture using this iconographic approach. The first level is the fundamental level, which covers element processing and design principles. The second step investigates how the components and design concepts are integrated to create pottery icons, motifs, or images, traditional clothing accessories, and motifs on traditional clothing patterns in Sabah. Finally, the third level is the internal level, which combines the first and second levels' studies to create an internal meaning that conveys a message about the activities of the Sabah community. The iconographic research of Chee Sing Teck's sculpture "Warisan" revealed that it serves as a cultural symbol for Sabah's traditional community.

Keywords: Symbols; Icons; Culture; Sculpture Arts; Iconography

PLASTIC IN ARTISTIC FORMS: INTERPRETATION OF ARTWORKS RELATED TO PLASTIC CRISIS THROUGH STUDIO-BASED RESEARCH

Zhu Xiao Ming, Mohammad Khizal Mohamed Saat — Wed, 26 Jun 2024 00:00:00 +0800

Plastic is almost everywhere; in fact, it is hard to imagine life without plastic. However, although plastic is convenient to people, its difficulty in degrading as a petrochemical product, its production, consumption and random disposal has also put enormous strain on the environment in which humans live, resulting in a plastic crisis. This study analyses 20 artworks related to the plastic crisis and finds that most artistic production and focuses on marine plastic pollution. In particular, this study examines how artistic practice has brought attention to the plastic catastrophe and uses a studio method to highlight the plastic crisis in the mountains by using plastic bags as a material to demonstrate how widespread plastic pollution is. It presents the phenomenon of mountain plastic pollution and promotes a dialogue about mountain plastic waste pollution. Art can make the plastic crisis more visible and impart a more visceral, emotional message that encourages people to understand and reconsider it. Additionally, artistic practice helps people intuitively understand the plastic crisis and the viability of plastic as an artistic medium for expressing environmental concerns.

TRANSIENT SCENERY FROM THE ARTISTIC PERSPECTIVE

Wei Jin Qin, Muhammad Khizal Mohamed Saat, Tetriana Ahmed Fauzi — Wed, 26 Jun 2024 00:00:00 +0800

This paper explores the transient landscape from an artistic perspective. “Transience” has always been a topic of much discussion in art research, and in recent years, many artists have focused their research on transient landscapes. In this paper, the methodology of “Graham Gibbs’ Reflective Cycle model” is adopted, and through the descriptive analysis of the works of several artists, it triggers an in-depth reflection on the manifestation of spatial and temporal relations under the phenomenon of “transient landscape”, as well as the real meaning of the artist’s practice. In this paper, we first introduce the context of the study, using the Graham Gibbs’ Reflective Cycle model as a guide to illustrate the work of several artists’ practices, and reflect on the topic from the artists’ point of view. This paper focuses on the concept of “transient” and its origins, and explores its philosophical implications. The contribution of this paper is to deepen the understanding of transient landscapes through an artistic perspective and to recognize the possibility of hidden spatio-temporal relationships between them.

REKAAN DAN KONSEP RUANG RUMAH KEDAYAN TRADISIONAL

Mohd Nor Firdaus Bin Minor, Zaimie Sahibil — Wed, 26 Jun 2024 00:00:00 +0800

Penulisan ini adalah berkaitan dengan konsep ruangan rumah tradisional untuk masyarakat Kedayan. Kajian ini juga mengandungi susun atur dan penggunaan ruangan yang ada pada rumah tradisional ini. Rumah Kedayan tradisional ini dibina dengan sangat sederhana dengan reka bentuk yang ringkas sekadar cukup untuk dijadikan sebagai tempat perlindungan berdasarkan gaya hidup masyarakat Kedayan yang sederhana. Pada pandangan pengkaji meski rekaan rumah tradisional ini dibina dengan ringkas namun pengkaji mendapati bahawa terdapatnya keunikkan tentang bagaimana masyarakat mengatur penggunaan ruangan yang terhad pada rumah tradisional ini dengan baik untuk memenuhi keperluan dan berlandaskan konsep budaya hidup sehari-hari. Maka dari itu, pengkaji ingin melanjutkan kajian dengan lebih mendalam dan menganalisis mengenai konsep ruangan rumah Kedayan tradisional ini.

Kata kunci: Konsep ruang, rekaan ruang, rumah tradisional, masyarakat Kedayan, konsep budaya.

ABSTRACT

This writing is about the concept of traditional home room for etnic Kedayan. This study also contains the layout ada use of the rooms available in this Kedayan Traditional house. Kedayan traditional house is built simply with a simple design that just enough to serva as a shelter that is based on Kedayan average life style. In the reseacher’s point of view, although the design of this traditional house was built simply, the reseacher found out that there is a uniqueness about how the Kedayan people organizes the use of the limited room space in this house well and satisfy the needs for daily life use based on their culture. Therefore, the reseacher wants to continue this study and analyze the concept of this Kedayan traditional house.

Keywords: concept of traditional home room, design of home room, traditional house, Kedayan, culture concept.