However, this development has not occurred in isolation. The influence of Japanese popularculture is a significant catalyst. Research indicates that engagement with anime, manga, and games(AMG) serves as a vital resource for the psychological development and mental resilience ofMalaysian youth, satisfying their core emotional needs and fostering transferable creative skills(Yeap et al., 2025).The \"Phygital\" Shift and Global Market IntegrationBy 2026, the Malaysian creative economy had fully adopted a \"phygital\" model, integratingphysical publishing with predominant digital platforms. This transition is partially attributed to theglobal transformation of creative markets, which witnessed a 30% compound annual growth ratein online consumption during the post-pandemic period (EconStor, 2023).In Malaysia, this is manifested by the rise of webtoons and mobile-first content. The industry'sgrowth is supported by government initiatives such as the \"Film in Malaysia Incentive\" (FIMI),which, while originally designed for film, has paved the way for cross-media collaborations inanimation and digital storytelling (Lee & Lim, 2019). Furthermore, the role of translation hasbecome a critical academic focus; translators now use sophisticated linguistic notes to bridge thegap between Japanese origins and local Malay and English readerships, ensuring that foreigntropes are culturally accessible without losing their original essence (Chow et al., 2020).Legal and Ethical FrontiersAs the industry matures, it faces new regulatory challenges. Scholarly debates in 2025 and 2026highlight the \"fragile balance\" between creative freedom and legal frameworks in Malaysia. There isan ongoing effort to develop more nuanced statutory provisions that protect societal valueswithout over-criminalizing artistic works or stifling the \"slippery slope\" of digital creativity (Coorayet al., 2025).Page 101 of 132sumber : canva
ConclusionThe Malaysian comic industry in 2026 exemplifies cultural futurism. By reclaiming local folkloreand indigenous narratives, such as the Kayan tattoo traditions depicted in contemporary 2Dplatforms, Malaysian creators effectively resist the homogenization associated with an \"East Asiancentric\" perspective (Rahman & Sidek, 2023). The outcome is a dynamic, multi-billion-ringgitindustry that focuses on psychological health and national identity just as much as it does onentertainment.ReferencesChow, Y. F., Haroon, H., & Omar, H. C. (2020). Reaching out to the readers: The translation of Japanese manga in Malaysia.Indonesian Journal of Applied Linguistics, 10(2), 538–550. https://doi.org/10.17509/ijal.v10i2.28605Cooray, M. A. E., Buchan, S., Lee, J. C., & Amiruddin, A. S. (2025). A comparative legal analysis of virtual child imagery inanime and manga: Balancing legality and creativity. International Journal of Cultural Policy.https://doi.org/10.1080/10286632.2025.2571037EconStor. (2023). The global film market transformation in the post-pandemic era: Production, distribution andconsumption. https://www.econstor.eu/bitstream/10419/281339/1/Taylor-Francis_9781032384719.pdfLee, YH & Lim, SY 2019, 'Assessing Malaysia’s creative industry: progress and policies in the case of the film industry',Creativity Studies, vol. 12, no. 2, pp. 224-245. https://doi.org/10.3846/cs.2019.7978Mohd Radzol, A. R., Ibrahim, N., Hassan, S., & Che Shalifullizam, I. F. (2025). Animating heritage: the Sidek family in roles incultural branding and retail engagement. International Journal of Art and Design (IJAD), 9(SI-3), 181-185.Rahman, S. N. A., & Sidek, H. A. (2023). Fostering cultural heritage appreciation through folklore-themed animation anddigital games within Malaysian educational institutions.Yeap, J., Ghazali, E. M., & Matsui, T. (2025). Fostering youth development and mental resilience: The role of anime, mangaand games in Malaysian society. International Journal of Business and Society.https://publisher.unimas.my/ojs/index.php/IJBS/article/view/9584Page 102 of 132
Shafilla Subri¹*, Syahrini Shawalludin² & Nizar Nazrin,Suzani Azmin³¹²³Faculty of Art & Design, Universiti Teknologi MARA(UiTM), Cawangan Kedah, Kampus Sungai Petani,Kedah, Malaysia*[email protected], [email protected],[email protected], [email protected](*corresponding author)Biodata of authorsShafilla Subri is a lecturer at Universiti TeknologiMARA (UiTM) Kedah Branch, Malaysia. She ispassionate about academic writing and research inthe field of art and design, with a strong interest indesign education, visual communication, culturaldesign, and graphic advertising design.Syahrini Shawalludin is an academic and researcherat Universiti Teknologi MARA (UiTM), Malaysia, whereshe serves as a Senior Lecturer in the Faculty of Artsand Design at the Kedah Branch. She obtained aBachelor of Multimedia Technology (Hons.) inInteractive Multimedia Design from Universiti KualaLumpur (2009) and a Master of Art and Design(Visual Communication and New Media) from UiTM(2010). She is currently pursuing a PhD in MultimediaTechnology at Universiti Sains Malaysia.Nizar Nazrin is a lecturer specializing in art historyand graphic design. Currently attached to theFaculty of Art and Design, Universiti Teknologi MARA,Cawangan Kedah. His research focus includes arthistory, graphic design, digital graphic technology,marketing communication, and product design anddevelopment. He is a member of the IdeologyJournal Editorial Board.Suzani Azmin a lecturer at Universiti Teknologi MARA(UiTM) Kedah Branch, specializing in VisualCommunication within the field of art and design.Her expertise focuses on branding, visualcommunication, and creative design strategies forreal-world applications. She is currently pursuing herPhD, with research on visual literacy and designstrategies for mental health awareness, exploringhow visual communication can transform complexexperiences into meaningful and accessiblenarratives.The Use Of Ai InCreative Design ForGeneratingConcept IdeasAmong GraphicDesign StudentsThe rapid development of Artificial Intelligence (AI) hassignificantly transformed various industries, includingthe creative design sector (Russell & Norvig, 2021;McKinsey & Company, 2025). In graphic designeducation, AI is increasingly recognized as a supportivetool that assists students in generating concept ideas,exploring visual directions, and accelerating the designdevelopment process (Shneiderman, 2022; UNESCO,2023). The use of AI allows students to produce initialvisual proposals before transforming them into finalprofessional design products (Goodfellow et al., 2016).This article discusses the role of AI in creative designamong graphic design students, including thetransformation process from AI-generated visuals to endproduct design, its advantages, challenges, andrelevance in contemporary design education (Norman,2013; Ambrose & Harris, 2011).IntroductionThe field of graphic design continues to evolve alongsidedigital technological advancements (Ambrose & Harris,2011). In the past, creative processes heavily dependedon hand sketches, printed references, magazines, andconventional brainstorming methods (Lupton, 2014).Today, Artificial Intelligence has introduced a newdimension to the design industry (Russell & Norvig,2021). AI refers to intelligent systems capable ofunderstanding user instructions, analyzing data, andgenerating new content such as images, illustrations,text, and layout suggestions (Goodfellow et al., 2016).Within education, graphic design students can now useAI as a supportive tool to speed up idea generation andexpand creative possibilities (UNESCO, 2023).Page 103 of 132
Students often face challenges when starting a design project, particularly in developing strongvisual concepts that meet project objectives (Lupton, 2014). Many students also experiencecreative block, where they struggle to produce fresh and innovative ideas (Florida, 2019).Therefore, AI is seen as an effective solution during the early stages of the creative processbecause it can generate multiple visual ideas simply through text prompts provided by users(Shneiderman, 2022).AI in Generating Concept IdeasThe use of AI in concept development is highly beneficial, especially during the initial phase of aproject (Shneiderman, 2022). For example, a student designing a coffee promotional poster mayenter a prompt such as “modern minimalist coffee poster with brown tones and premiumelements,” allowing AI to generate multiple visual outputs (Goodfellow et al., 2016). These outputsmay vary in composition, color schemes, typography styles, and illustration approaches (Wong,1993). From these outputs, students may select the most suitable direction as a reference forfurther development (Ambrose & Harris, 2011). In addition, AI can help students build moodboards based on themes such as retro, futuristic, luxury, corporate, or local cultural identity(Lupton, 2014). Through this method, students can better understand the visual direction beforestarting actual design work (Norman, 2013). AI also allows students to experiment with multipledesign styles in a short period compared to conventional manual methods, which are often timeconsuming (McKinsey & Company, 2025).From AI to End Product DesignAlthough AI can generate visually appealing images,these outputs still require creative judgment andtechnical refinement before becoming professional finalproducts (Norman, 2013). For instance, in a traditionalbiscuit packaging project, AI can generate visually strongpackaging concepts based on prompts (Goodfellow etal., 2016). However, students must refine these designsusing professional tools such as Adobe Illustrator orPhotoshop to meet real-world requirements (Ambrose &Harris, 2011). They need to incorporate brandingelements, layout structure, typography hierarchy, andproduction requirements such as barcode and printdimensions (Wong, 1993). As a result, the AI conceptevolves into a real packaging product ready forcommercial use (Norman, 2013). Similarly, in designing acampus coffee booth, AI may generate a modular lowbudget concept, but students must adapt it according toreal costs, materials, and spatial constraints (McKinsey &Company, 2025). This demonstrates that AI functions asan idea generator, while students remain the primarydesigners responsible for execution (Shneiderman,2022).Advantages of AI for Graphic Design StudentsOne of the main advantages of AI is time efficiencyduring brainstorming and concept exploration (McKinsey& Company, 2025). AI enables students to generate ideaswithin seconds, reducing dependency on manualresearch (Shneiderman, 2022).Page 104 of 132sumber : Pintrest
Furthermore, AI enhances creativity by presenting unexpected and diverse design possibilities(Florida, 2019). AI also increases students’ confidence, especially among beginners who mayhesitate when starting projects (UNESCO, 2023). With AI-generated visual references, students feelmore motivated to develop their own concepts (Lupton, 2014). Moreover, early exposure to AIprovides students with a competitive advantage in the creative industry, where intelligent toolsare increasingly integrated into professional workflows (McKinsey & Company, 2025).Challenges of AI UsageDespite its benefits, AI presents several challenges, particularly the risk of overdependence(Shneiderman, 2022). Students who rely too heavily on AI may neglect critical thinking andoriginality (Florida, 2019). This could limit the development of a unique creative identity (Lupton,2014). Another challenge involves copyright and ethical concerns related to AI-generated visuals(UNESCO, 2023). Students must understand that not all AI outputs can be used without properevaluation (Russell & Norvig, 2021). Additionally, AI cannot replace essential design skills such astypography, layout, color theory, and conceptual thinking (Wong, 1993). Human creativity andprofessional judgment remain essential in producing meaningful design outcomes (Norman, 2013).The Role of LecturersLecturers play a crucial role in ensuring that AI is used responsibly and effectively among students(UNESCO, 2023). They must guide students to understand that AI is a supportive tool rather than areplacement for human creativity (Shneiderman, 2022). Lecturers should also train students inwriting effective prompts, evaluating AI outputs critically, and integrating them into proper designworkflows (Ambrose & Harris, 2011). Through this approach, AI can be utilized professionally andethically in design education (UNESCO, 2023).Figure 1: Example of student work generated using Artificial Intelligence (AI) software in the early stage of concept development,demonstrating the exploration of visual style, composition, and design direction prior to refinement into a final design outcomePage 105 of 132
ConclusionIn conclusion, the use of AI in creative design has a positive impact on graphic design students,particularly in generating ideas quickly and creatively (McKinsey & Company, 2025). AI helpsstudents gain inspiration, explore visual styles, and accelerate project development (Shneiderman,2022). However, AI outputs should be considered only as the starting point of the creative process(Norman, 2013).The true value of design lies in the students’ ability to refine and transform ideasinto practical and commercially viable products (Ambrose & Harris, 2011). Therefore, theintegration of human creativity and AI technology will become a key strength for future designers(Florida, 2019).ReferencesChow, Y. F., Haroon, H., & Omar, H. C. (2020). Reaching out to the readers: The translation of Japanese manga in Malaysia.Indonesian Journal of Applied Linguistics, 10(2), 538–550. https://doi.org/10.17509/ijal.v10i2.28605Cooray, M. A. E., Buchan, S., Lee, J. C., & Amiruddin, A. S. (2025). A comparative legal analysis of virtual child imagery inanime and manga: Balancing legality and creativity. International Journal of Cultural Policy.https://doi.org/10.1080/10286632.2025.2571037EconStor. (2023). The global film market transformation in the post-pandemic era: Production, distribution andconsumption. https://www.econstor.eu/bitstream/10419/281339/1/Taylor-Francis_9781032384719.pdfLee, YH & Lim, SY 2019, 'Assessing Malaysia’s creative industry: progress and policies in the case of the film industry',Creativity Studies, vol. 12, no. 2, pp. 224-245. https://doi.org/10.3846/cs.2019.7978Mohd Radzol, A. R., Ibrahim, N., Hassan, S., & Che Shalifullizam, I. F. (2025). Animating heritage: the Sidek family in roles incultural branding and retail engagement. International Journal of Art and Design (IJAD), 9(SI-3), 181-185.Rahman, S. N. A., & Sidek, H. A. (2023). Fostering cultural heritage appreciation through folklore-themed animation anddigital games within Malaysian educational institutions.Yeap, J., Ghazali, E. M., & Matsui, T. (2025). Fostering youth development and mental resilience: The role of anime, mangaand games in Malaysian society. International Journal of Business and Society.https://publisher.unimas.my/ojs/index.php/IJBS/article/view/9584Page 106 of 132
Normaziana Hassan*Faculty of Art and Design, Universiti Teknologi MARA(UiTM), Cawangan Kedah, Kampus Sungai Petani,Kedah, Malaysia*[email protected](*corresponding author)Biodata of authorsNormaziana binti Hassan is a lecturer at theUniversiti Teknologi MARA (UiTM) Kedah Branch,Malaysia. She is passionate about academic writingand research in art and design, with particularinterest in cultural and fashion-related studies. Herwriting explores the relationship between fashion,local heritage, and community-based creativepractices. Through her research and publications,she seeks to highlight cultural identity andtraditional influences in contemporary design whilepromoting meaningful scholarship that connectsfashion, culture, and society.MALAYSIA MUSTRETHINK FASTFASHION IN THE AGEOF ONLINESHOPPINGMalaysia is no stranger to the rapid rise of e-commerce.With 97.4 % of Malaysians using the internet and 83 %active on social media, online shopping, especially forfashion, is now woven into daily life. Platforms such asShopee Live and TikTok Shop have transformed browsinginto impulse buying among Generation Z and youngMillennials (Statista, 2025). Yet behind every click lies amuch bigger question. Is our love of cheap, trendyfashion fueling environmental damage we are onlybeginning to feel?The Scale of Fashion WasteMalaysia generates about 195,300 tonnes of textilewaste each year. Most of this ends up in landfills wheresynthetic fabrics can take up to 200 years todecompose. During decomposition, harmful chemicalsare released into the soil and water. This waste includespolyester shirts, nylon sportswear, and other fastfashion items worn only a few times before beingdiscarded. Over the past decade, the share of textilewaste in municipal landfills has steadily increased,reflecting the growing burden of fashion consumption onthe environment (SWCorp, 2025; The Sun, 2025).Industrial data shows that Malaysia produces about twomillion kilograms of textile waste per day. This illustrateshow much clothing is consumed and discarded withoutthought for the environmental consequences. Manygarments are designed for short-term use rather thandurability. Fast fashion culture contributes significantlyto environmental degradation (Thestar, 2025). The harmdoes not end in the landfill. Synthetic fibres releasemicroplastics during washing or as they slowly breakapart. These particles reach rivers and oceans, harmingaquatic life and disrupting ecosystems (Ellen MacArthurFoundation, 2024).Page 107 of 132
The Consumer DilemmaDespite these facts, Malaysian consumers often prioritize price and trendiness over sustainability.Affordable fashion allows self-expression, which is important in a rapidly modernising society.However, the environmental consequences are too serious to ignore. If current consumptionpatterns continue, the burden of textile waste will grow heavier for future generations (Majcafe,2022). A shift in mindset is already underway. Thrifting and second-hand shopping are gainingpopularity in Malaysia. This trend is not only fashionable but practical for reducing waste. Secondhand purchases across Southeast Asia saved hundreds of thousands of tonnes of CO₂ emissions in2023. Many Malaysians report that they are adopting sustainable practices when shopping (EUPE,2025).Sustainable Choices and SDG 12Supporting brands that use recycled or sustainable materials reduces demand for constant newproduction. Fashion does not need to disappear. It needs to be created and consumed in ways thatrespect the environment (UNEP, 2023). The Malaysian government has joined global effortsthrough Sustainable Development Goal 12. This goal urges countries to ensure responsibleconsumption patterns and better manage resources and waste (UN, 2015). To make thismeaningful for everyday Malaysians, policymakers must integrate sustainability into digital retail,waste regulations, and public education.Online Shopping and SustainabilityOnline shopping now dominates Malaysian retail. It iswhere most people discover, compare, and buy clothing.This space must offer more than sizes and prices. Onlinestores could display sustainability labels, eco-ratings formaterials, or carbon footprints for clothing items.Transparency empowers consumers to make responsiblechoices (Statista, 2025). Retailers also need incentives toadopt sustainable practices. Tax rebates or grants forbusinesses that use recycled materials or circularbusiness models help them compete with fast fashiongiants. Without such support, small Malaysian brandsface challenges because sustainable production is oftenmore costly (Ellen MacArthur Foundation, 2024).Grassroots Action and Community EngagementCommunity groups and students are showing thatchange is possible. Campaigns that encourage people torethink habits or learn about textile reuse increaseawareness and spur action. Grassroots initiatives givehope that Malaysians can move from a throwawayculture to one of thoughtful consumption (First CityUniversity, 2025). Sustainable fashion does not requireabandoning style or self-expression. It asks consumers tobuy less and buy better. Valuing durability, ethics, andenvironmental impact can make Malaysian fashion bothbeautiful and responsible.Page 108 of 132
Looking Ahead: Expectations and National PreparednessThis is not only an environmental issue. It is social and economic. Waste costs money to manageand affects community health. The sooner Malaysians embrace sustainable solutions, the better itwill be for the nation and the world (SWCorp, 2025). Consumers expect clear information about theenvironmental impact of their purchases, convenient access to sustainable options, and incentivesthat reward responsible shopping (Statista, 2025). The fashion industry is expected to innovateresponsibly, adopt circular models, invest in durable and recycled materials, and align marketingwith sustainability goals (Ellen MacArthur Foundation, 2024). As a nation, Malaysia muststrengthen waste management infrastructure, enforce sustainable production regulations, supportsmall and medium enterprises, and embed sustainability education across communities (UN, 2015;SWCorp, 2025). Only by aligning consumer behaviour, industry practices, and national policies canMalaysia reduce textile waste, protect the environment, and transform the fashion sector into aresponsible and sustainable industry.ReferencesEllen MacArthur Foundation. (2024). Fashion and circular economy. https://www.ellenmacarthurfoundation.org/fashionand-the-circular-economy-deep-diveEUPE Corporation Berhad. (2025). Thrift for tomorrow: Sustainability impact in Southeast Asia.https://eupe.com.my/article/thrift-for-tomorrowFirst City University. (2025). FOREVA LOVED campaign brings SDG12 awareness to life through fashion.https://firstcity.edu.my/foreva-loved-campaignMajcafe. (2022). Environmental awareness survey in Malaysia. https://majcafe.comStatista. (2025). Digital behaviour in Malaysia: E-commerce and social media statistics. https://www.statista.com.SWCorp Malaysia. (2025). Solid waste management report Malaysia. Ministry of Housing and Local Government.https://www.swcorp.gov.myThe Star. (2025). From runway to responsibility: Malaysian fashion waste. https://www.thestar.com.myThe Sun. (2025). Textile waste poses serious threat to environment. https://thesun.my/news/malaysia-news/textile-wasteposes-serious-threat-to-environment-al13905720/.United Nations. (2015). Transforming our world: The 2030 agenda for sustainable development.https://sdgs.un.org/2030agendaTUnited Nations Environment Programme. (2023). Sustainable fashion guidelines.https://www.unep.org.Page 109 of 132
Nazirul Mubin bin Awang Besar*Faculty of Art and Design, Universiti Teknologi MARA(UiTM), Cawangan Kedah, Kampus Sungai Petani,Kedah, Malaysia*[email protected](*corresponding author)Biodata of authorsNazirul Mubin is a passionate researcher, educator,and graphic design expert, with a Master’s degree inVisual Communication and New Media from UiTM.With extensive experience as an art director inleading Kuala Lumpur agencies, Nazirul now focuseson mentoring future designers, exploring thedynamic intersections of design, art, technology, andIslamic thought. His work aims to push theboundaries of creative expression while fosteringcultural relevance in contemporary design.Dedicated to using art as a tool for empowerment,he actively engages in community initiatives thathelp marginalized groups through creative educationand social impact. Nazirul’s commitment toinnovation, culture, and creativity continues toshape the evolving landscape of design in Malaysia.How DesignersThink inSystems, NotScreensA screen constitutes a snapshot. A system is defined byits behavior over time. When designers concentratesolely on displays, they may produce a visually refinedproduct that falters in practical scenarios, such as roletransitions, absent data, sluggish networks, contradictingstates, and feature expansion. Systems thinkingadvances design to the foundational rules andinteractions that ensure the experience is cohesive androbust (Meadows, 2008).Displays are subordinate to modelsSystem-oriented designers initiate the process byelucidating the domain model: entities (users, accounts,orders, permissions), their interrelations, and theconstraints that regulate them. This transforms designfrom \"embellish this page\" to \"articulate this logicdistinctly.\" The benefit is scalability. When a model isstable, new features utilize the same cognitiveframework and user interface patterns, rather thanintroducing exceptions that disrupt the product'scoherence.Consistency is an approach for reliabilityTeams frequently regard consistency as a matter ofartistic coherence. In systems design, consistency isessential. Common patterns alleviate cognitive burdenfor users and minimize redundancy for teams. Designsystems formalize this by offering principles andreusable components that enhance collaborationbetween designers and developers (Google, n.d.).However, a genuine system encompasses more than onlya component library. It encompasses interactionprotocols (validation, sorting, filtering), state behaviors(loading, empty, error, retry), content criteria (labels,error language), and governance (approval processes forexceptions). Page 110 of 132sumber : Pintrest
Accessibility is an integral component of the system, not an after thoughtAccessibility is an inherent systemic characteristic. An inconsistent interaction model leads to theproliferation of inaccessible patterns. WCAG 2.2 delineates accessibility as a series of verifiablecriteria that enhance usability for individuals with disabilities, underscoring the necessity ofintegrating quality into default designs (W3C, 2023).Subsequent actionsInitially describe the model and rules for your upcoming feature, thereafter design screens asrepresentations of that system. The most aesthetically pleasing screen is one that renders a welldesigned system appear effortless.Constraints generate leverageSystems thinking pertains to managing complexity ratherthan augmenting it. Constraints serve as the mechanism.Restricting variants and standardizing behaviors mitigatespriority ambiguity and eliminates \"special-case inflation.\"Designers employ limitations to safeguard clarity whilefacilitating growth. Meadows (2008) contends that leveragefrequently arises from altering structures and regulationsrather than merely adjusting superficial elements.Develop the comprehensive lifetime of interactionHuman-centered design guidelines prioritize the design ofinteractive systems over their whole lifecycle, rather thanfocusing solely on isolated user interface instances (ISO,2019).This entails conceptualizing flows and states as primarydeliverables:Vacant states that direct actionErrors that elucidate causes and propose remediesIrreversible behaviors that indicate risk promptlyPermission modifications that ensure safetyData updates that prevent unexpected outcomesUsers assess trust during these instances, rather than in theoptimal scenario.ReferencesGoogle. (n.d.). Material design: Guidelines overview. https://material.io/designInternational Organization for Standardization. (2019). ISO 9241-210:2019 ergonomics of human-system interaction—Part210: Human-centred design for interactive systems. https://www.iso.org/standard/77520.htmlEMeadows, D. H. (2008). Thinking in systems: A primer. Chelsea Green Publishing.https://www.chelseagreen.com/product/thinking-in-systems/World Wide Web Consortium (W3C). (2023). Web Content Accessibility Guidelines (WCAG) 2.2.https://www.w3.org/TR/WCAG22/Page 111 of 132sumber : Pintrest
Mohamat Najib Mat Noor*Faculty of Art and Design, Universiti Teknologi MARA(UiTM), Cawangan Kedah, Kampus Sungai Petani,Kedah, Malaysia*[email protected](*corresponding author)Biodata of authorsMohamat Najib Mat Noor is a senior lecturer in theFaculty of Art & Design and he currently holds aposition of Head of Faculty. He is a Malaysiansculptor artist and minoring in painting. He studiedfor a Master in Fine Art and Technology in UiTM.One can define art as an expression. It could be anexpression of feelings, emotions or maybe ideas orcould even be an imagination of what they have in theirminds. Sometimes the feelings, emotions, ideas orimaginations cannot be said verbally so they expressedthem by using art. It can be in the form of painting,drawing or maybe sculpture. Art allows individuals tocommunicate complex emotions that are sometimesdifficult to express verbally (Malchiodi, 2012). Withoutart, life can be dull. Without art, the world can be bland.There will be no colors around us. Thus, here comes thequestion. Does society need art? The answer is,undebatably, yes !How does art serve society?As a way to preserve culture, identity, valuesIn order for traditional brands to stay relevant in currentdays, art helps by translating the cultural heritage intovisual symbols. Every culture has its own uniquenesspassed down from generation to generation. Bypaintings or drawings, the culture can be preserved sothat the future generations can learn their roots, and theoriginality will still be there. Art helps preserve culturalidentity by transforming traditions, beliefs, and heritageinto visual symbols that can be passed on to futuregenerations (Dissanayake, 2000).As a way to express emotions and feelingsNot everyone is good at expressing their feelings oremotions in words. One way to channel all the feelingsand emotions subtly can be by drawings or paintings.DOES SOCIETYNEED ART?Page 112 of 132
Art allows them to express their complex or complicated feelings in such a way that cannot be saidonly by using words. Not only that, art might also builds a connection and understanding betweenthe artist and audience. Art can be understood as a form of human expression that communicatesemotions, ideas, and imagination through visual or creative media (Tolstoy, 1897).Art in therapyNowadays, art can also be a therapy to treat various mental health conditions. When someoneimmerses themselves in creative activities, they can reduce the stress, anxiety or trauma they havefaced before. They can explore their emotions in a safe and healthy environment. Art can help inimproving emotional well-being, promoting self-expression and healing. Hence, art therapy isvaluable and vital tool that can contribute to community health and well-being. Art therapy hasbeen widely used to help individuals explore emotions, reduce stress, and improve psychologicalwell-being (Razali, 2021).Art in educationAssimilating art into education can help in building strong cognitive and social development. Bybeing creative, students can improve their imaginations, critical thinking and problem-solvingskills. Previous research shows, student that integrate art in their study and education get betteracademic results. By exposing students in art education, these can help them to become morecreative and foster awareness and appreciation towards art. Art educators play a very importantrole in producing creative thinkers and innovators. Integrating arts into education can enhancecreativity, critical thinking, and problem-solving skills among students (Eisner, 2002).Art is limitless. Art has no boundaries. Art is valuable. As a final thought, art is indeed needed bysociety. Art can inspire people and society to be more expressive, creative and innovative. Notonly that, art also shapes and colors the world to be more vibrant so that society enjoys art andexpresses themselves through art.ReferencesCissanayake, E. (2000). Art and intimacy: How the arts began. University ofWashington.Press.https://uwapress.uw.edu/book/9780295979912/art-and-intimacy/Eisner, E. W. (2002). The arts and the creation of mind. Yale University Press.https://yalebooks.yale.edu/book/9780300095231/the-arts-and-the-creation-of-mind/Malchiodi, C. A. (2012). Handbook of art therapy (2nd ed.). Guilford Press.https://www.guilford.com/books/Handbook-ofArt-Therapy/Cathy-Malchiodi/9781609189775Razali, S. (2021). Art therapy for people with mental illness: Overview of the evidence from empirical research on theeffectiveness of the treatment. International Journal of Art and Design, 5(1). https://doi.org/10.24191/ijad.v5i1.2603Page 113 of 132
Mohd Hamidi Adha Mohd Amin*Faculty of Art and Design, Universiti Teknologi MARA(UiTM), Cawangan Kedah, Kampus Sungai Petani,Kedah, Malaysia*[email protected](*corresponding author)Biodata of authorsMohd Hamidi Adha Mohd Amin is an academic andpractitioner in the field of Industrial DesignEducation, with a strong focus on product design,creative thinking, and three-dimensional modeldevelopment. With 11+ years’ experience spanningboth academia and industry, he has played a pivotalrole in nurturing emerging talent and advancingpedagogical practices within the discipline. His workis driven by a deep commitment to innovation,design excellence, and the continuous evolution ofdesign education. Currently serving as a mentor andeducator, Mohd Hamidi Adha is dedicated tocultivating the next generation of designers. Heactively explores new methodologies and creativestrategies to enrich the learning experience andexpand the boundaries of industrial design practice.Facilitating EarlyStage IndustrialDesign LearningThrough a Built AIApplication: ASketch-to-3D forDiploma IndustrialDesign StudentsIntroduction: Bridging Manual and Digital DesignIn early industrial design education, students are oftenintroduced to design through manual sketching. Atdiploma level, especially for Semester 2 students,sketching plays a crucial role in developing basic designthinking, form exploration, and visual communication(Goldschmidt, 2017). However, one frequent challenge Iobserve in the studio is the difficulty students face whentranslating their sketches into three-dimensional form.While 3D software is an essential component ofindustrial design practice, it requires time, technicalunderstanding, and time consuming. For early-stagediploma students, this often slows down the designprocess and changes attention away from ideationtoward software operation (Isa et al., 2024). To addressthis gap, I as industrial design academician explored thedevelopment of a built AI website application designedto facilitate the early design process without replacingfoundational skills. This article reflects on the use of atwo-stage AI application developed using Google AIStudio, aimed at supporting students in visualizing theirdesign intentions more effectively while maintaining theimportance of manual sketching.Page 114 of 132
Stage One: From Sketch to 3D Visual FormThe first stage of the application focuses on transforming student sketches into AI-generated 3Dvisual renderings. Students were provided with a link to the Ai application (Sketch2Real) developedby the lecturer. Instead of navigating multiple platforms or crafting complex prompts, studentssimply uploaded their hand-drawn sketches and generated a 3D visualization with a single action.This approach was intentionally designed to reduce technical limitation. At this stage of learning,students are still developing confidence in form, proportion, and product identity. The AIgenerated output does not replace their sketch; rather, it acts as a visual extension of it. Studentswere able to see how their 2D ideas might translate into volume, surface, and material appearance.The generated visuals also helped clarify design intentions during critiques. Rather than spendingtime explaining what a sketch “might become,” students could directly discuss form language,surface, and product character.Figure 1: Google Ai Studio website interface.Figure 2: Examples of Built-In Ai App (Sketch2Real) that focusing on transforming the manual sketch into 3Drender generated.(Source: Ai App that develop by the Mohd Hamidi Adha Mohd Amin)Page 115 of 132
Stage Two: Placing Design into ContextThe second stage of the application builds upon the generated 3D visual by placing it into anenvironmental context. Using a separate built-in developed Ai app, students uploaded the AIgenerated render and generated an environment-based visualization. This stage introducedstudents to think about the product placement, which how a product exists in area intention,interacts with surroundings, and show it’s scale and function. For the Semester 2 students, this istheir first exposure to product visualization beyond simple sketch annotations.By visualizing their designs in an environment, students were able to:Better understand scale and proportionExplore material appearance in realistic settingsCommunicate usage scenarios more clearlyThe environment visualization did not aim for realism comparable to professional rendering.Instead, it served as a conceptual tool to support storytelling and design explanation.Figure 3: Examples of student sketches alongside AI-generated 3D render outcomes produced through thefirst-stage application.(Source from Semester 2 Diploma in Industrial Design students, Faculty of Art & Design)Figure 4: Examples of Built-In Ai App (Advision) that focusing on transforming the 3D render generated inContextual Environment(Source: Ai App that develop by the Mohd Hamidi Adha Mohd Amin)Page 116 of 132
Side-by-Side Learning: From Intention to CommunicationOne of the most valuable outcomes of this approach was the ability to compare the design processacross stages. A side-by-side comparison between the original sketch, the AI-generated 3D form,and the environmental visualization revealed a clearer progression of design intention.Students could reflect on:Whether the AI-generated form matched their original ideaHow material and form changed perceptionWhat design elements became stronger or weaker through visualizationThis comparison became a teaching tool rather than just a visual result. It encouraged students tocritique both their sketches and the AI output critically, reinforcing the idea that AI is a supportsystem, not an authority.Figure 5: Examples of student-generated environment visualizations using the second-stage application.(Source from Semester 2 Diploma in Industrial Design students, Faculty of Art & Design)Figure 5: Examples of student-generated environment visualizations using the second-stage application.(Source from Semester 2 Diploma in Industrial Design students, Faculty of Art & Design)Page 117 of 132
ReferencesGoldschmidt, G. (2017). Manual sketching: Why is it still relevant? In Philosophy of engineering and technology (pp. 77–97).https://doi.org/10.1007/978-3-319-56466-1_4Isa, S. S., Liem, A., Steinert, M., & Jamaludin, N. L. (2024). Investigating the correlation between visual representation flow,physical prototyping, and designers’ creativity. The Design Journal, 27(5), 954–975.https://doi.org/10.1080/14606925.2024.2378574Learning Experience: Efficiency Without Losing Design ThinkingFrom a teaching perspective, the application significantly improved studio efficiency. Students nolonger needed to spend excessive time recreating early concepts in complex 3D software. Instead,that time was redirected toward refining ideas, exploring alternatives, and engaging in discussion.More importantly, the learning experience became more engaging. Students were exposed to bothmanual and digital methods and learned how the two correlate rather than compete. Sketchingremained the starting point, while AI-assisted visualization became a bridge toward digital thinking.This approach also helped level the learning curve. Students with weaker rendering or softwareskills were still able to communicate their ideas effectively, reducing frustration and increasingconfidence. As educators, our role is not to resist AI nor to surrender to it. Our responsibility is todesign learning experiences where technology enhances understanding without underminingfundamental skills. When guided carefully, AI can become a meaningful companion in the designstudio which supports students as they learn not just how to design, but how to think likedesigners.Page 118 of 132
LITERATURE AND CULTUREPage 119 of 132
Muhamad Khairul Anuar Zulkepli*Academy of Language Studies, Universiti TeknologiMARA (UiTM), Cawangan Kedah, Kampus SungaiPetani, Malaysia*[email protected](*corresponding author)Biodata of AuthorsMuhamad Khairul Anuar Zulkepli is asenior lecturer in Academy of LanguageStudies. He is one of language expert inthe field of Arabic Rhetoric, ArabicLinguistics, Arabic Semantic, ArabicLexicography, Discourse Analysis, ArabicSyntax & Morphology. He studied for aPhD in Arabic Studies and IslamicCivilization in UKM.SUFI SYMBOLISMOF LOVE INCLASSICALARABIC WRITINGSIntroductionThe esoteric nature of Sufism has also had an impact onclassical Arabic literature in the hermeneuticinterpretation of symbols, which could reflect a mysticalpassion for the Divine Beloved. It is in this language thatthe mystics are afforded an opportunity to articulatedeep inner experiences of yearning and union, usingfamiliar images such as wine and gardens as allegories ofthe soul’s movement into God’s presence and itsconnection with God, a motif which recurs in manyIslamic Sufi poets and prose writers (Blaly & Nadwi,2024). Classical Arabic Sufi literature advocates that lovehas a metaphysical and transformative quality. Lovehere represents the annihilation of ego, burning away ofworldly desires and finally union with that Beloved. Inthis allegorical reading, love becomes both a figure ofspeech and a declaration of faith: an instrument for Sufipoets to articulate the very extremities of mysticalstates of being while maintaining an aesthetic languagethat empathetically finds echoes in other literary canons(Schimmel, 2026). By exposing how the symbolism oflove operates in classical Sufi writings, this article delvesinto the complex relationship between language,spirituality and literary form – and shows how Sufisymbolism enhances the aesthetic and metaphysicaldimensions of Arabic literature.The Concept of Divine Love (al-Hubb al-Ilahi) in SufiThoughtDivine love (al-ḥubb al-ilahi) is regarded as the ultimategoal of the spiritual path (ṭariqah) in Sufism and is alsothe means by which this goal is possible, and, therefore,Divine love is more than just an emotion; it is thefoundation for everything that happens on this path.While ordinary human love (mahabbah bashariyyah) isbased on wanting something that can satisfy our egosand desires, Divine love (mahabbah ilahiyyah) is viewedas the perfect union between the human soul and theDivine Presence, separated from worldly desires andattachments that are centered on ego.Page 120 of 132sumber : Pintrest
Divine love represents a journey of transformation for the seeker, where the ego is eliminated, andthe soul becomes more and more attuned to the Divine reality (ḥaqiqah), which corresponds to theSufi concepts of annihilation (fana’) and subsistence in God (baqa’ fillah) (Zeeshan, 2025). Figuresin classical Sufism, like Rabi’ah al-‘Adawiyyah, expressed the concept of selfless love for God—thecause of love for God is not due to any favours God may bestow. This love precedes personaldesire for or towards the Divine (Mudaimin, 2020).Symbolism and Metaphor of Love in Sufi PoetryIn Sufi literary works, the depiction of love is conveyed in a metaphoric way rather than literally; byusing poetic symbols like wine, the beloved, candlelight, gardens, and desire that transcendphysicality to create feelings of inspiration through sensitivity to the human experience andaspects of the mystical world. The wine metaphor — which appears frequently in Sufi poetry — isindicative of divine love's ability to make the seeker feel spiritually \"drunk\" on the unconditionallove of the Divine Beloved rather than feeling \"drunken\" from the good things of this world. Thelonging and desire expressed in these types of vocals illustrate the soul's search for unity withGod; this theme is most prevalent during various stages along the path of Sufism's journey towardGod (Miftahul Ula, 2016).According to some current research in modern academia, many Sufi poets utilize elements fromsecular contexts related to human love and apply them within their own writings to express theirfeelings of mystical happiness through union. For instance, with the famous Muhyiddin Ibn alʿArabi, numerous examples exist in which scholars point out how he creates what are referred to as“spaces of uncertainty,” where forms found within secular literature (i.e., romantic desire) areturned into metaphors for the inexpressible pursuit of God. Thus, these forms create a fusion ofboth perceptual and cultural domains, allowing the poet to express the two opposing ideas—thelover becoming one with the Beloved while simultaneously creating a new, deeper understandingof the oneness of all things through love (Binmayaba, 2020).The meanings attached to the symbols of love within Sufi poems operate on many different levels;they explore both the beauty of what love can provide us with and also serve as a link between ourexperience of love to the higher spiritual reality by giving us access to these more complex formsof spirituality in metaphor (Alfarizy et al., 2025).The Union of Language, Love, and Mysticism in ClassicalArabic LiteratureLanguage in classical Arabic Sufi writings is an importanttool that can help people achieve the experience ofbeing in union with God through love that transcendsordinary spoken words and becomes an unrealizedexperience of spirituality. Sufi writers and poets makeuse of an assortment of symbolic devices such asmetaphors, ambiguity, and layers of imagery torepresent their encounters with Divine love and tocommunicate the ineffable qualities of these unions withGod through means other than the usual linguisticconventions of the time. Thus, the poets construct abridge between cognition and an inexpressibleexperience of being in union (i.e., longing) with God,which the poets have expressed (1) in terms of theirindividual experiences with God, through layers ofsacred imagery, and (2) in terms of their failure toexpress these experiences using only traditional literaryforms.Page 121 of 132sumber : Pintrest
Divine love represents a journey of transformation for the seeker, where the ego is eliminated, andthe soul becomes more and more attuned to the Divine reality (ḥaqiqah), which corresponds to theSufi concepts of annihilation (fana’) and subsistence in God (baqa’ fillah) (Zeeshan, 2025). Figuresin classical Sufism, like Rabi’ah al-‘Adawiyyah, expressed the concept of selfless love for God—thecause of love for God is not due to any favours God may bestow. This love precedes personaldesire for or towards the Divine (Mudaimin, 2020).Symbolism and Metaphor of Love in Sufi PoetryIn Sufi literary works, the depiction of love is conveyed in a metaphoric way rather than literally; byusing poetic symbols like wine, the beloved, candlelight, gardens, and desire that transcendphysicality to create feelings of inspiration through sensitivity to the human experience andaspects of the mystical world. The wine metaphor — which appears frequently in Sufi poetry — isindicative of divine love's ability to make the seeker feel spiritually \"drunk\" on the unconditionallove of the Divine Beloved rather than feeling \"drunken\" from the good things of this world. Thelonging and desire expressed in these types of vocals illustrate the soul's search for unity withGod; this theme is most prevalent during various stages along the path of Sufism's journey towardGod (Miftahul Ula, 2016).According to some current research in modern academia, many Sufi poets utilize elements fromsecular contexts related to human love and apply them within their own writings to express theirfeelings of mystical happiness through union. For instance, with the famous Muhyiddin Ibn alʿArabi, numerous examples exist in which scholars point out how he creates what are referred to as“spaces of uncertainty,” where forms found within secular literature (i.e., romantic desire) areturned into metaphors for the inexpressible pursuit of God. Thus, these forms create a fusion ofboth perceptual and cultural domains, allowing the poet to express the two opposing ideas—thelover becoming one with the Beloved while simultaneously creating a new, deeper understandingof the oneness of all things through love (Binmayaba, 2020).The meanings attached to the symbols of love within Sufi poems operate on many different levels;they explore both the beauty of what love can provide us with and also serve as a link between ourexperience of love to the higher spiritual reality by giving us access to these more complex formsof spirituality in metaphor (Alfarizy et al., 2025).The Union of Language, Love, and Mysticism in ClassicalArabic LiteratureLanguage in classical Arabic Sufi writings is an importanttool that can help people achieve the experience ofbeing in union with God through love that transcendsordinary spoken words and becomes an unrealizedexperience of spirituality. Sufi writers and poets makeuse of an assortment of symbolic devices such asmetaphors, ambiguity, and layers of imagery torepresent their encounters with Divine love and tocommunicate the ineffable qualities of these unions withGod through means other than the usual linguisticconventions of the time. Thus, the poets construct abridge between cognition and an inexpressibleexperience of being in union (i.e., longing) with God,which the poets have expressed (1) in terms of theirindividual experiences with God, through layers ofsacred imagery, and (2) in terms of their failure toexpress these experiences using only traditional literaryforms.Page 122 of 132sumber : Pintrest
Sharina Saad*Academy of Language Studies, Universiti TeknologiMARA (UiTM), Cawangan Kedah, Kampus SungaiPetani, Kedah, Malaysia*[email protected](*corresponding author)DANCING WITHTHE SPIRITS:SEWANG, A LIVINGTRADITION OF THESEMAI PEOPLEIntroductionThe synonymity of the \"Sewang Dance\" and \"SemaiCulture\" is very significant. However, under currentcircumstances, chances are that people often getconfused that the \"Sewang Dance\" is related to the tribeand is performed when guests arrive in \"Semai Village.\"Let us get the info correct! The \"Sewang Dance\" is one ofthe most popular cultural practices and norms prevalentwithin the \"Indigenous Orang Asli\" communities locatedin \"Peninsular Malaysia,\" specifically referring to peoplebelonging to the \"Mah Meri,\" \"Bateq,\" \"Semai,\" and\"Temiar\" tribes of \"Perak.\" The cultural dance of\"Sewang\" is done as a way to pay respect to \"Nature\" andto \"Supernatural Entities\" through \"ritualistic practices.\"The way the \"Sewang Dance\" is performed depends onthe rituals that take place. The dance includes \"SewangChenchem,\" \"Gamok,\" \"Panoh,\" \"Penhei,\" \"Manjar,\"\"Pungei,\" \"Tanggei,\" \"Selombang,\" and many othercategories.Biodata of authorsSharina Binti Saad is a dedicated researcher andwriter deeply committed to exploring the richcultural heritage of the indigenous Semai in Malaysia.She holds a Master's degree in Teaching English As aSecond Language from Universiti Pendidikan SultanIdris and has a profound interest in indigenouslanguage studies, folklore and creative writing suchas short stories and poems. Sharina has authoredseveral publications, shedding light on the diversecultural traditions and practices of Malaysia's Semaicommunities. Sharina's work is driven by her passionfor preserving and promoting the unique culturalidentity of the Semai people in history.Page 123 of 132sumber : Google image, https://pemetaanbudaya.jkkn.gov.my/
Functions and Roles of SewangThe Sewang dance was believed by the Semai communities of Perak to play a vital role within theirspirituality and culture. Not only does the dance itself reflect and signify the cultural identity ofthe Orang Asli, but it is also employed as a means of voicing and expressing them. In one of theSemai’s popular folktales, Bah Luit, the Sewang dance was featured in a ritual dance by Tok Halaq,a Semai traditional healer, in an attempt to cure Bah Luit, who was believed to be possessed by thespirit of Bah Bertai. In this instance, the ritual of Sewang, which took place over a seven-daycourse, was used to negotiate and facilitate communications between Tok Halaq, the mysticalbeing, and Bah Luit’s body. Function of Sewang. As presented in Bah Luit, the function of theSewang dance is that of a traditional healer. During healing rituals, the dance is featured and lastsover six to seven consecutive nights, and only members of the Orang Asli are allowed to partake inand witness the ritual. It is imperative that outsiders not be allowed until after the ritual iscompleted,highlighting the importance of preserving the sanctity of this holy tradition.Thus, from this point of view, the ritual of performing the Sewang heals and cures not only formedicinal benefits, especially for cases of spiritual possession, but also for spiritual expressions ofthe community itself. Beyond its healing attributes, it is also seen to play an important role as agesture of respect for ancestral spirits, most especially for celebrations such as Hari Moyang.During such celebrations, there is a special sanctuary prepared for resting ancestral spirits invitedfor such events, for which the dance is performed not only for healing objectives but also forspiritual expressions of respect.At the same time, it should be noted that Sewang is deeply rooted in the social lives of the Semaicommunity. It takes place during happy moments of receiving honored guests, celebrating themarriage of couples, and receiving members of families who come back from afar. It also serves asan act of gratitude to the Gunik deity for the rich harvest received during the year. Therefore, it canbe said that Sewang carries the essence of unity and pleasure.The Semai believe the Sewang originates from dreams about Pulau Buah, a place of holy bliss thatis believed to bestow blessings, including fertile harvests and plentiful rice yields. Thus, the danceis not just a performance but from the heart, in devotion to such spiritual beliefs and the sustainedbonding among people, their ancestors, and the divine.Page 124 of 132sumber : Google image, https://pemetaanbudaya.jkkn.gov.my/
ConclusionNevertheless, with the evolution and inception of modern-day developments, the Sewang dancehas gradually evolved and transformed into an iconic cultural performance that represents theOrang Asli community of Malaysia. Furthermore, the Sewang dance is not only restricted andperformed during rituals and religious ceremonies but is also performed for the public as a culturaldisplay and show. The dance was previously performed in a strictly religious domain, but theSewang dance today plays a significant role in the dissemination of Orang Asli culture within thebroader Malaysian society. This change and evolution are a testament to the Orang Aslicommunity’s constant and relentless approach towards the preservation of culture in the midst ofthe realities of the world today.ReferencesAlfarizy, S., Nurholis, Mumtaz, L., &, Suci., A., R. (2025). Makna cinta ilahi dalam sastra islam klasik: Kajian simbolisme tasawufLinggang, D. A. D. J., Wirunsakunphiban, W., & Nusen, R. (2024). Mah Meri’s Main Jo-Oh (Hari Moyang Puja Pantai RitualDance): From traditional to a tourism art entertainment. Jurnal Gendang Alam (GA), 14(1), 64–79.Mahadzir, S. (2021). Sewang: Tarian tradisi masyarakat Mah Meri. Dewan Budaya.https://dewanbudaya.jendeladbp.my/2021/12/29/989/Page 125 of 132
Berlian Nur Morat*Academy of Language Studies, Universiti TeknologiMARA (UiTM), Cawangan Kedah, Kampus SungaiPetani, Kedah, Malaysia*[email protected](*corresponding author) Between theClassroom andthe Manuscript:Finding Balancein Academic LifeWhen people think of academia, they often imaginelectures, publications, and conferences. They are notwrong for those are the persistent images. However, thedaily reality of a lecturer is far more layered. Toillustrate, the layers become most visible in the quiethours of the night. When it is approaching midnight; thelecture slides are ready for tomorrow, but themanuscript remains untouched. At the same time arevision notification keeps reminding me: “Due in threedays.” At that moment, the roles feel blurred as teacher,researcher, supervisor, committee member.Unfortunately, academia does not operate in separatecompartments. Everything overlaps.Although I had been publishing for years before formallytaking on a lecturing role, becoming a full-time academicfelt different. Then, research was something I enjoyeddoing between classes or during semester breaks. Atpresent, it is a bit overwhelming as it has to coexist withteaching preparation, marking, student consultations,supervision sessions, meetings, reporting, andinstitutional expectations. This is not unique. The realityof academic work has been widely discussed in highereducation literature, particularly the intensification ofacademic responsibilities over time, with increasingexpectations in both teaching and research (Sabagh etal., 2018).I could say that I learned it the hard way when iteventually warranted a pause in my academic activities.Like many other early-career lecturers, I had been tryingto perform well in every area without letting one aspectslacken. At one period of time, I responded in the mostapparent way: I tried to do more. This unusual “publishor perish” culture has actually been debated for years(McGrail et al., 2006). Succumbing to the pressure Ibegan submitting more research papers, I acceptedmore deadlines, and even planned additional outputs, allat the same time. For a while, I equated progress withquantity and gradually learned that this approach wasnot sustainable.Biodata of authorsBerlian Nur Morat is a senior lecturer at UniversitiTeknologi MARA (UiTM), Kedah branch. She obtainedher PhD in Educational Technology from UniversitiSains Malaysia (USM). Her main research areas areTESL and educational technology. She has sharedher knowledge through numerous published papers,with a special emphasis on utilising platforms likeTikTok and YouTube to facilitate English teaching andlearning.Page 126 of 132sumber : Pintrest
Almost without my noticing, the lack of balance slowly began to affect my health. The fatigue I feltdid linger longer. The episodes of acid reflux also noticeably became frequent. Besides, theoccasional vertigo somehow felt severe. Sadly, these were the symptoms I ignored at first.Accordingly, research on academic workload has linked work intensification to burnout and stress(Guthrie et al., 2018; Sabagh et al., 2018). Reading such findings felt relatable especially when Irecognised parts of my own experience in them.In fact, during that one-month hiatus period to recover, I had some restful moments to rethink myunderstanding of “success” as a lecturer. Was it really about accumulating publications quickly?Was it about the excitement when receiving congratulatory posters and publicacknowledgements? Or was it about building a career path I could sustain for the next twenty orthirty years? Little by little, I shifted from focusing on quantity to focusing on alignment. Insteadof chasing and accepting every possible opportunity, I began asking whether a project alignedwith my expertise, connected meaningfully with my teaching, and supported my long-term goals.Also, rather than viewing teaching and research as competing demands, I actually integrated themas my strategy. In simple words; my classroom became a source of research ideas whilesupervision became part of my scholarship. My writing also became more selective and focusedwith more emphasis on my own grant outcomes.At the same time, and most importantly, I slowly reclaimed parts of myself that had beenreserved. I tried reconnecting with personal interests and taking short breaks during semesterbreaks to recharge myself. From as simple as weekend brisk walking to travelling overseas, I beganenjoying them again. This allowed moments of rest without constant guilt that I used to carry. Ialso repeatedly reminded myself not to worry unreasonably for these were not acts of evadingacademic life. Instead, these leisure activities were necessary for me to maintain it.Personally, through these experiences, I have come to realise that being on a teaching andlearning track as an academic does not die down research. In the early years of lecturing, I doadmit the pressure to prove my capabilities is real, hence the constant academic activities.However, wanting long-term success also means having a clear sense of my values and direction.On that note, I have learned to balance between teaching and research by allocating my energywisely, recognising my limits, setting boundaries, and planning for durability. Page 127 of 132
Besides, I have broadened my understanding of impact in academia by including my students’improved outcomes, having more innovative classroom practices, and doing meaningfulsupervisions. Publications indeed still matter but they no longer define the whole picture. Thisalso reflects broader understandings of scholarship that extend beyond publication counts(Boyer, 1990). Similarly, academic careers have been described as evolving over time, shaped bychanging roles and contexts (O’Meara et al., 2008). Moreover, in academia, the clock may nevertruly sleep. At the end of the day, the more important task is not to chase every deadline, but tobuild a career that can be sustained academically and personally over the long term.ReferencesBoyer, E. L. (1990). Scholarship reconsidered: Priorities of the professoriate. Princeton University Press.Guthrie, S., Lichten, C. A., Van Belle, J., Ball, S., Knack, A., & Hofman, J. (2018). Understanding mental health in the researchenvironment: A rapid evidence assessment. Rand health quarterly, 7(3), 2.McGrail, M. R., Rickard, C. M., & Jones, R. (2006). Publish or perish: A systematic review of interventions to increaseacademic publication rates. Higher Education Research & Development, 25(1), 19-35.O'Meara, K., Terosky, A. L., & Neumann, A. (2008). Faculty careers and work lives: A professional growth perspective. ASHEhigher education report, 34(3), 1-221.Sabagh, Z., Hall, N. C., & Saroyan, A. (2018). Antecedents, correlates and consequences of faculty burnout. EducationalResearch, 60(2), 131-156.Page 128 of 132
Syazliyati Ibrahim*Academy of Language Studies, Universiti TeknologiMARA (UiTM), Cawangan Kedah, Kampus SungaiPetani, Kedah, Malaysia*[email protected](*corresponding author)Malaysian literature in English (MLE) often expounds thecreations of selfhood in a multilingual, multiethnic nationinfluenced by colonial history, post-independencenation-building, and global cultural agendas. In thenovels, short stories, and young-adult fiction, readersalways find symbolic patterns that require deepinterpretative work such as threshold crossings(kampung to city, peninsula to diaspora), hauntedlandscapes, “garden” or “jungle” imageries, andcharacters such as the exile, the alienated citizen, thetrickster, the nurturing or devouring mother, and thevillain. This is where archetypal analysis can be usefulbecause it helps critics describe these repetitionsdistinctively and argue how Malaysian writers sharemythic forms to convey local histories and angsts.What is archetypal analysis?Archetypal criticism illustrates Jung’s studies ofarchetypes as recurrent patterns that structureimagination and symbolic life (Jung, 1968) and delineatemyth-critical approaches that regard literature asorganised by repeated narrative designs, genres, andimage clusters (Frye, 1957). In modern literary studies,archetypes are most effectively considered as flexiblecultural resources rather than fixed universals becausethey are historically situated, ideologically contested,and locally inflected. This flexibility makes the approachsuitable for MLE, where texts contain the Malay, Chinese,Indian, indigenous, Islamic, and global popular-culturaloeuvres.Archetypal Analysisand Its Benefits inMalaysianLiterature in EnglishPage 129 of 132Biodata of authorsSyazliyati Ibrahim is a senior lecturer at the Academyof Language Studies, UiTM Kedah Branch. Shecurrently holds the position of Chief Editor of theJournal of Creative Practices in Language Learning &Teaching (CPLT). She is interested in literary studies,community service by HEIs and innovative teachingapproaches. She obtained her degrees fromUniversiti Sains Malaysia & University of Kent atCanterbury, United Kingdom.
Benefits of archetypal analysis in MLE studiesPrimarily, archetypal analysis strengthens close reading by foregrounding patterned repetition.Rather than citing “motifs” loosely, critics can trace where images recur, what narrative functionsthey serve, and how they change across the plot (e.g., water as purification vs. threat; the forest asrefuge vs. encroaching violence). This type of pattern-mapping expands symbolic rigour and makesinterpretive claims clearer to be argued.Secondly, archetypal analysis defenses comparative argumentation without removing specificity.Since archetypes are known as patterns, they enable critics to compare how different Malaysiantexts stage, for instance, the exile, the threshold, or the “shadow” of national violence—while stillfocusing on genre, period, and cultural location. Comparisons can illustrate literary-historicalchange such as what “returns” in later decades, what mutates under Islamisation, neoliberaluncertainties, or digital subjectivity, and what becomes newly silenced.Thirdly, it presents a connection between psyche, culture, and history. Jungian-inflected readingscan show how repressed or denied materials (trauma, taboo desire, racialised fear) revertsymbolically through doubles, hauntings, and “shadow” figures (Jung, 1968). When combined withpostcolonial analysis, archetypal images become sites where colonial discourse and localworldviews contend. For instance, work on Malaysia as an archetypal “garden” shows how spatialimagery can portray colonial romance, environmental understanding, and the production of“knowledge” about the place (Ahmad, 2014).Fourthly, the approach is also pedagogically relevant. In literature classes, archetypal frameworksoffer a clear route from observable textual characteristics (images, scenes, character functions) tohigher-level theoretical debate. This is significant in multilingual situations, where students canutilise local cultural knowledge to interpret archetypal figures and then investigate those readingsagainst textual evidence. Pattern-based activities (motif maps, threshold-scene annotation,archetype inventories) can also strengthen intercultural literacy by making symbolic choices moredefinite.Page 130 of 132
Methodological cautionsHowever, the main limitation of archetypal analysis is universalizing tendencies, in whicharchetypes can be treated as ahistorical prototypes that disregard cultural difference. In MLEstudies, this can be avoided by (a) substantiating archetype claims in close reading, (b) specifyingthe cultural connections of figures and symbols, and (c) triangulating archetypal interpretationwith contextual frameworks such as postcolonial theory, feminist criticism, and ecocriticism.Employed as a disciplined descriptive method rather than a catch-all label, archetypal analysisdevelops a way to explain how Malaysian texts transform shared symbolic patterns into locallyprofound critiques of belonging, gender, and nation.ConclusionArchetypal analysis benefits Malaysian literature in English by offering a coherent terminology forpatterned meaning-making and by enabling critics to connect symbolic form to cultural history. Itcan refine close reading, reinforce cross-text comparisons, link interiority to public conflict, andimprove pedagogy especially when linked to context-sensitive postcolonial and feministapproaches.ReferencesAhmad, S. N. (2014). Malaysia as the archetypal garden in the British creative imagination. Southeast Asian Studies, 3(1),29–56.Frye, N. (1957). Anatomy of Criticism: Four Essays. Princeton University Press.Jung, C. G. (1968). The Archetypes and the Collective Unconscious (2nd ed., R. F. C. Hull, Trans.). Princeton University Press.(Original work published 1959)Page 131 of 132
Research Management UnitUniversiti Teknologi MARA Cawangan KedahPage 132 of 132