works. The ideological and artistic aspects of their works became the focus of expression, and modern
fiber art turned into a unified art form of aesthetics and ideas. Through the discovery and attempt of
fiber artists, the expression form of modern fiber art is no longer restricted to the application of
traditional soft fiber materials, and no more limited to the use of traditional skills. Artists have extended
their materials and techniques to reflect the openness and innovation of modern fiber art.
2.3 Conceptual Nature of Modern Fiber Art
Conceptual nature is an important problem that we cannot avoid when talking about art. In fact,
before the emergence of modern fiber art, artists and scholars have countless discussions on the
concept of art and have a very far-reaching impact on the concept of modern fiber art.
2.3.1 Definition of Modern Fiber Art Concept
The concept of art has two key intentions: the “Artistic concept” in the broad sense and the
“Artistic concept” in the narrow sense. In the broad sense, the “Artistic concept” refers to the
concentrated reflection of artists’ spiritual minds in their products when they are engaged in creative
activities. In this sense, we can even say that any work of art is the outcome of the artist’s concept. In
a narrow sense, the “Artistic concept” refers to the thoughts and concepts delivered by artworks
themselves, which reflect the artist’s thoughts and considers on a particular thing.
Although every work of art delivers more or fewer ideas, not all works of art own the
conceptual trait. To study the emergence of the fiber art concept, it requires to be traced back to the
date of the formation of conceptual art. Conceptual art derived from the mid-1960s, it is a western
school of fine arts that focuses more on ideas than objects. In the setting of the gradual
commercialization of art in 1960, artists led by Duchamp Marcel made a rebellion against this
phenomenon. They abandoned the creation of artistic entities and promoted the communication of
direct ideas. In the opinion of Duchamp: Anything with an idea can be named a work of art. Some
western idea artists further raise that the idea varies from people to people, but the relationship between
the preceding and the following in the concept of art is similar. Hence, the conceptual essence of
conceptual art is to show the internal relations of various things.
Before and after the emergence of conceptual art, we can see the impact of conceptual art on
fiber art products from various fiber art exhibitions everywhere. Artists associated conceptual art with
fiber art, and utilize fiber materials and related technical ways to express the artist’s personal feelings
and thoughts. When appreciating this kind of works, people always separate from their decorative
applications and utilitarian functions and pay more attention to the conceptual nature of products.
Impacted by conceptual art, more and more fiber artists start to integrate their ideas into their products
to reach the unity of consciousness and form.
2.3.2 History of Modern Fiber Art Conceptual Development
When talking about the conceptual enhancement of modern fiber art, we have to raise
“Lausanne International Biennale of Traditional and Modern Tapestry”. The first “Lausanne
International Biennale of Traditional and Modern Tapestry Art” was held in 1962 by Jean-Lurat and
Peter Paoli in collaboration with the Lausanne government. The victory of the first biennale exhibition
has attracted a lot of artists from all kinds of countries and fields. Their works are refreshing with their
unique ways of expression and unique artistic ideas. Since then, “Lausanne International Tapestry
Biennale” has guided the development trend of modern fiber art and turned into a significant stage for
the rise of modern fiber art. Until April 1996, the arrangement of “Lausanne International Tapestry
Biennale” was stopped due to the exhibit content and economic reasons. In 2000, “From Lausanne to
Beijing” International Fiber Art Biennale returned to the stage of art, uncovered in Academy of Art
and Design, Tsinghua University. “From Lausanne to Beijing” Biennale inherits the exhibition form
and scale of Lausanne international biennale, incorporate ideas into fiber works, and restarts the trend
of conceptual expression of fiber art.
48
In the first international fiber art biennale “From Lausanne to Beijing” and the later “Western,
western” art exhibition, lots of the exhibited works fully present the artistic traits of western China
and express the concept features of western regions. In the second “From Lausanne to Beijing”
International Fiber Art Biennale, the conceptual expression of the exhibited works focuses more on
the reflection of abstract consciousness, such as the admiration to the operation of nature and the search
for the meaning of life. In the third Asian Fiber Arts Exhibition, the exhibited products investigate the
expression of cultural ideas in the material language, technical skill and spatial form of fiber art
through the show of Oriental art culture. In the third International Fiber Art Biennale, artists from
different nations presented their latest research results in the field of fiber art, reflecting their
comprehension and realization of fiber art. In the first eight “From Lausanne to Beijing” International
Fiber Art Biennale, fiber artworks have interpreted the fusion of concept and fiber art form from
different angles, and become the time’s product of the unification of art and idea.
3. The Conceptual Expression in Modern Fiber Art
The concept of artworks is the integration of the author’s ideology, after a series of artistic
processing, the expression form presented. The concept of the work is the expression essence of the
externalized art form, which echoes with the topic of the work and covers the author’s ideas and
emotional statements. In the last few years, the expression of modern fiber art products is mainly
inclined to emotional semantics, humanistic semantics, natural semantics, philosophical semantics and
scientific semantics.
3.1 The Humanistic Expression in Modern Fiber Art
Humanity is about the culture of human. The so-called humanistic spirit is the attention and
affirmation of human beings to their value. It contains the shaping of the human spirit and the
construction of identity between human and his surroundings. The existence of humanity connects the
relationships between human and human, man and society, man and nature.
In fiber art, modern artists skillfully utilize humanistic topics to depict “life”. Through the
reappear of social culture and history, it reflects the inseparable relationship between man and life.
Wang Mingyuan’s soft sculpture work “The Freedom of Human Form” series, the author uses knots
to weave abstract human form, they have various shapes and exaggerated mould, which seem to break
free from the bondage and search for the freedom of human form. The works have strong shock and
infection, showing the tension of life. In Meng Jie’s fiber artwork, “Life to Kathe Kollwitz”, the author
gives expression to his compassion for suffering and reflection on war through the recreation of war
scenes. And pays a deep tribute to Kathe Kollwitz, the great German anti-war artist of the 20th century.
Figure 1 Wang M Y. “The Freedom of Human Form”
Figure 2 Meng J. “Life to Kathe Kollwitz”
3.2 The Natural Expression in Modern Fiber Art
Nature not only gives us the life resources we need to survive and reproduce but also supports
us inexhaustible artistic materials. Natural plants, trees, mountains and rivers are all valuable sources
of inspiration for our art-making. In the fiber art biennale in recent years, a lot of artists have shown
49
their comprehension of nature in the form of works. In the expression of these fiber artworks, there is
the hope for a new life, the expected for the natural home, and the marvel of the growth of all things.
Since 1989, Chinese arts and crafts artist Liang Shaoji has devoted himself to the conception
and creation of “Nature Series”. “Nature Series” is a series of conceptual artworks that use silkworms
as materials to display life, the author makes full use of silk to draw the life meaning of “spring
silkworm to dead silk”, and works form from soft sculpture to installation, from multimedia to
performance art, continuously and fully reflect the cycle of nature. In the sketches from 1989 to 2009,
Liang Shaoji wrote: “All creatures in the world are looking for their own living space in absurd and
irreconcilable contradictions. The difficulty of life derives not only from nature but also from the
human being. And the silk, the symbol of life, is weak to be broken but not broken. It shows a strong
will to live, the faith of never giving up, the ability to overcome stiffness with flexibility, and the
continuous silk extends the endless life connection.”3 In the third “From Lausanne to Beijing”
International Fiber Art Biennale, the silver-prize-winning work “The Habitat of Life” applies different
sizes, high and low scattered globes to represent the earth that gave birth to our life, displaying a
watchful eye for the natural home and suggesting the bearing of the natural environment on the
continuation of life.
Figure 3 Liang S.J. “Nature Series”
Figure 4 Zhou J., Gu H.M., Li D.P. “The Habitat of Life”
3.3 The Philosophical Expression in Modern Fiber Art
Since the awakening of human consciousness, there has been constant confusion and doubt
about self-form. “Who am I? Where am I from? Where am I going?” Becoming the finally
philosophical numerology of man thinking about life. In the history of human beings, people have
innumerable guesses and hypotheses about the origin of life, which are still debated endlessly. Some
people believe that life is the overcome of the accidental miracle of the natural movement, and some
people find that life is the result of God’s creation. Different schools of philosophy and religious sects
have different attitudes and ideas on this, and different people have various comprehensions of life.
The search for life is not so much the questioning of the unknown world as the review and analysis of
self-existence.
In the fiber art biennale, lots of artists show their thoughts on the origin of life in fiber artworks.
For instance, Korean artist Kim Bong Seop finished the fiber artwork “Life: Reflections on the
Origins” in 2002, which is the pursuit of the source of life, and the author reproduced the initial
nihilistic state of all things with abstract device form. In “The Power” by Brazilian fiber artist Maria
Nepomuceno, the author used traditional Latin American techniques to interweave various objects in
a process of weaving. The string connecting objects symbolizes the connecting line of abstract
concepts, implying that everything in the world is filled with connections, from genes to the universe,
displaying the close and systematic connections of life under the operation of nature.
3 Liang S.J. (2009). 1989 -- 2009, notes of creation, gossamer painting large-scale album, himalaya art museum,
50
Figure 5 Kim B.S. “Life: Reflections on the Origins”
Figure 6 Maria N. “The Power”
3.4 The Scientific Expression in Modern Fiber Art
Life is a fundamental problem that scientists must face in academic study. It is inevitable,
tightly grasps the enhancement of the universe, and guides the future trend of human society. It
contains everything, reveals the rules of the growth of all things in the earth, and discovers the internal
relations between different elements. In the area of science, life has always been a controversial
question, and it is still inconclusive about scientists’ research on life nature. Because of this, “life”
with its mysterious face, attracts people’s restless exploration. From science to humanities, and then
to art, man constantly come up with questions and opinions about it.
In the field of fiber art, scientific meaning is also one of the intentions expressed by “life” fiber
artworks. In scientific semantic fiber products, artists think about genes, cells and other terms. “Gene
Curtain in Operation” by Danish fiber artist Lan Henriksen, the pixels in the pattern are compared to
genes, which are composed of several pixels in different combinations and arrangements to constitute
the image of a tree. In Sun Ying’s fiber artwork “Gm 3”, she hung raindrops of white objects around
baby embryos, making an oppressive atmosphere that reflects the transformation of human life by gm
technology. These make people dialectically view the progress of modern science and technology from
positive and negative perspectives.
Figure 7 Lan H. “Gene Curtain in Operation”
Figure 8 Sun Y. “Gm 3”
4 CONCLUSION
In conclusion, with the development of art forms, concepts have gradually become the focus
of modern fiber art. As one of the most extensive subjects in modern fiber art, “life” expresses abundant
51
semantic features and profound ideological implications under the interpretation of fiber artists. The
expression of modern fiber artists to life comes from the awe and praise of life. The softness and
plasticity of fiber materials make the works with the theme of "life" exist in our daily life, and endow
"life" and "art" with a warm interpretation. No matter in the context of nature, humanity, science and
philosophy, modern fiber art has narrowed the distance between us and art with caring narration and
transmitted the language of life. In the expression form, whether in material language or spatial pattern,
the fiber artworks of “life” theme display unique modeling charm. This derives from fiber artists'
unremitting chase and study of art. In the future, I believe fiber art will continue to shine brilliantly in
the long river of history with its unique artistic form.
REFERENCES
Couturier, E. (2012). L’art Contemporain Mode D’emploi, China: China Citic Press
Gong, P.J. (2007). The Originality and Display of Fiber Art, China: Southwest Normal University
press
Huang, L.J. (1997). Discovery of Modern Fiber Art, China: Artist press
Ma, F.H & Shi, H. (2013). Fiber Visions, China: China Academy of Art
Lin, L.C. & Ni, Y.H. (2006). “From Lausanne to Beijing” 4th International Fiber Art Biennale
Catalogue, China: China Architecture & Building Press
Lin, L.C. & Ni, Y.H. (2008). “From Lausanne to Beijing” 5th International Fiber Art Biennale
Catalogue, China: China Architecture & Building Press
Lin, L.C. & Ni, Y.H. (2010). “From Lausanne To Beijing” 6th International Fiber Art Biennale
Catalogue, China: China Architecture & Building Press
Lin, L.C. & Ni, Y.H. (2012). “From Lausanne To Beijing” 7th International Fiber Art Biennale
Catalogue, China: China Architecture & Building Press
Lin, L.C. & Wang, K. (2006). Fiber Art, China: Shanghai Pictoria Press
Wang, J.H. (2012). Research of China Modern Conceptual Art, China: China social science press
Wang, Y.Z. (2012). The Local Development of Modern Conceptual Fiber Art
Wu, S.S. & Tian. Z.B. (1986). Textile History in China, China: Shanghai People press
Xu, B.J. (2002). Design and Production of Fiber Art, China: China Textile press
Zhang, Y.Z. & Lan, S.M. (2006). History of Fiber Art, China: Tsinghua University press
Zhou, X.O., Zhou, X.X. & Chen, Y.Y. (2008). Production and Appreciation of Modern Fiber Art,
China: Anhui Art press
Zhu, J.H. (2009). Modern Fiber Art Design, China: Shanxi People Art press
52
AFA 2019
11th ASIA FIBER ART EXHIBITION AND SYMPOSIUM –MALAYSIA
2019
24-25 September 2019
THE IMPACT OF SHOCKING PHOTOGRAPH AS A
PROPAGANDA FOR AWARENESS: A CASE STUDY OF
ROAD ACCIDENT
Norhaslinda Binti Shafie1, Nur Akma Halili2, Muhammad Asri Bin Azuddin3, Mohd Nuri Bin Yaacob4,
Muhammad Zaidi Bin Sulaiman5.
1Department of photography & Creative Imaging, Faculty Art & Design, Universiti Teknologi MARA, Seri Iskandar. Malaysia.
2Department of photography & Creative Imaging, Faculty Art & Design, Universiti Teknologi MARA, Seri Iskandar. Malaysia.
3Department of photography & Creative Imaging, Faculty Art & Design, Universiti Teknologi MARA, Seri Iskandar. Malaysia.
4Department of photography & Creative Imaging, Faculty Art & Design, Universiti Teknologi MARA, Seri Iskandar. Malaysia.
5Department of photography & Creative Imaging, Faculty Art & Design, Universiti Teknologi MARA, Seri Iskandar. Malaysia.
[email protected]
Abstract - The worlds of photojournalism are getting challenging today. As a writers and editors, photographers
and photojournalists are held to a standard of ethics. Each publication has a set of guidelines, examples sometimes
written, sometimes unwritten, that governs what that publication considers an honest and realistic representation
of images to the community. These rules cover a road accident topic such as how photographer should act while
taking pictures, what can and can’t photograph. Thereby, this research is to explore the power of shocking
photograph while documenting the spot news especially on road accident photos to create awareness among the
audience or reader. This study was conducted by using quantitative research where questionnaire was distributed
to 81 students from semester 04 in photography program in a local public university. At the end of the research,
researcher finds out the potential for shocking approach as a new style in capturing road accident photographs.
Keywords - Road Accident Photography 1, Shocking Photography 2,
1 INTRODUCTION
Photography is a universal language and it exists in a variety the form and styles. It contains
meaning, feeling and emotion and brings out unwritten message to be conveying through it.
Therefore, it is used as an inspiration for our daily life. According to Mustafa Halabi (2015),
photography includes social, medical, industrial, education, economics, architecture and culture.
The power of photography could be seen everywhere, applicable to everyone and difficult to forget.
Shocking photographs have been used since the beginning of photography to represent
straightforward ideas. According to Paul (2003), although exactly it was never scientifically truly
proven, some of the famous photographs endure because of their shocking method. A good example
of using shocking in photography is in 1972, photographs by Nick UT entitled ‘napalm girl’ which
is a nine year old Vietnamese girl named Phan Thi Kim Phuc ran screaming through Trang Bang
as napalm burned through her clothe and then her skin.
This study attempt to use the new approach and adapt it into guideline publications of Ministry
of Home Affairs and Internal Security. The shocking photographs was design to create awareness
among drivers, especially Malaysia drivers since Malaysia has highest number of accident rate.
Reuel (2005) stated that intends to target at accident images in newspaper, as they contributes and
recommending information, education or entertainment to tempt readers In general, the shocking
photographs will help increase the level of awareness and understanding readers.
Today, photography has become the most powerful medium to give impact in visual
communication and a mode of visual impression. Photography has a run as a tool to express certain
53
feeling and some need. A single visual of photography is worth a thousand words. Without any
interpretation, a single still photograph can tell of stories than reading the text. It also able to play
as a medium for records various situations and events. Through still photographs, we can see
history, environment, emotion, and facial expression by simply looked and understand the
photograph itself.
Becky (2017) concluded definition is the kind of photographs which uses concepts that violates
social norms or general personal ideals. The photographs is generally used to break the monotony
of the normal photo and instead shock the audience and create the buzz factor about the photograph.
Researcher finds definition of spot news is current news and has reported immediately. Spot news
is an event or a situation happened without warning or occurs unexpectedly such as fires, crimes
and accidents.
In 1970’s, the cultural of photojournalism and documentary photography began to be accepted
by the world. Hence, at the beginning of the 21st century, digital camera took place in
photojournalism. New technologies makes photojournalism had greatly augmented capacity for
reporting up to the minute news from around the world.
According to Mary (2005), photojournalism is a unique and powerful form of words and
pictures created for magazine and newspaper. However, today photojournalism has morphed into
multimedia and even documentary. Through the technology such as internet, apps and the mobile
device explosion, photojournalism can now reach readers never imagined with immediate impact,
while continuing to write our visual history and form our collective memories.
Golden (2005) stated that everyone in the world these days has a camera digital or a device that
can take images such as cell phone As a result, everyone has the potential to capture and record
whatever events or a situation is going too happened in the world. Then, sell the images to a
newspaper or publish in the website such as blog. With the development of digital media, the
originally in an artistic context of photographs become suspicious.
2 METHODOLOGY
Fig. 1. Research Design
This research applies the quantitative approach by contributing questionnaire towards
the 04 semester photography student that registers the Photojournalism subject in their
curriculum structure. The result or the survey from 81 respondent compile as below.
54
3 RESULT AND DISCUSSION
Fig. 2. Spot News Photography
The figure showed 81 respondents contribute to the questionnaire given. 67.9% has
knowledge about spot news photography. While 32.1% don't familiar with it, even though it
exists in journalism fields.
Fig. 3. Shocking Photograph
The result is shown in figure 3 that 43.2% of photography students know shocking
photographs. While 56.8% of photography students no knowledge of it even shocking
photograph be used since the beginning of photography to represent straightforward ideas.
55
Fig. 4. Photograph That Portrayed Shocking Approach In Newspaper Or Online News
The result is shown in figure 4 that 67.9% of photography students never saw the
photograph that portrayed a shocking approach in a newspaper or online news because
photographers still follow the publication of the guidelines set by the Ministry of Home Affairs
and Internal Security. Only 32.1% of photography students saw it because they exposed to
abroad mediums such as The Independent and The Guardian newspaper.
Fig. 5. The Implementation Shocking Approach In Road Accident Photograph
The result is shown in figure 5 that 85.2% of photography students agree to use the
shocking approach in road accident photographs. While 14.8% of photography students
disagree because of photographers subject to a standard of ethics.
56
Fig. 6. The Important Of Accidents Photograph
Figure 6 shows 81 respondents who contributed to answering the questionnaire given.
53.1% of photography students select an accident photograph is effective's way to create
awareness among readers to be more careful because of photographs content meaning, feeling
and emotion to bring out written messages. However, 22.2% select people who want to see
what they read and need some visual evidence. While 13.6% select grab the emotional side of
reader and 11.1% select readers are curious about the accident.
Fig. 7. The Description Of Accident Photographs
Referring figure 7 shows the result of the description accident photograph that students
answer on the questionnaire. 46.9% of photography students decide on photographs focus on
the car and the human elements. This is because the elements are realistic and easy to capture
by the photographer. However, 24.7% decide on photographs focus on the car. 13.6% decide
on photographs of bodies that were covered with plastic or newspaper. While 7.4% decide
photographs of the effect of accident example traffic-jammed and 7.4% of photographs focus
on human elements, example sad or frustrated.
57
Fig. 8. The Rate Of Accident Photographs That Applied In Our Print Media And Social Media
Refer to figure 8 shows the rate of accident photographs that have been applied in our
print media and social media. The highest 38.8% rate the photographs poor. However, 24.7%
of photography students rate the photographs in our print media and social media are very poor.
17.3% are neutral. While 12.3% rate the accident photographs are good and 7.4% rated very
good.
Fig. 9. Photograps Accept As Of Images In Road Accident Photograps
Figure 9 shows 81 respondents contributing to the questionnaire provided. 69.1% of
students selected Photograph A because the image was clear and the victim's face was not
blurred. While 30.9% of photography students select Photograph B.
58
Fig. 10. An Effective Photograph To Create Awareness
Refer to figure 10 shows an effective photograph to create awareness among the
readers. 77.8% of photography students select Photograph A to create awareness among readers
compare to 22.2% of photography students select Photograph B.
Fig. 11. New Implementation Of Shocking Road Accident Photographs Applied In Our Print
Media And Social Media
Referring to figure11 that 80.2% of photography students agree to the new implementation
of shocking road accident photographs should be applied in our print media and social media
because shocking elements spread the awareness and enhance the road accident photographs.
while 19.8% of photography students disagree.
4 FINDINGS
Generally, majority of the students show a positive response towards this research. It shows
that most of the students agreed that shocking road accident photographs can create awareness
59
to the reader who are drivers in Malaysia. Almost half of the students strongly agreed that the
new implementation of shocking road accident photographs should apply in our print media
and social media.
5 CONCLUSIONS
Photography is a great medium in conveying a story without having to speak. Photo
communicate more convincingly and they are good at evoking feeling and aura. The
implementation of shocking road accident photographs can be seen as a good step in enhancing
the photojournalism. The use of shocking photographs as an alternative way in completing their
assignment on spot news photography for be creative. Therefore the implementation of
shocking photo will spread the awareness and enhance the road accidents photographs.
6 REFERENCES
Becky Pemberton. (2017). Collection of the most shocking photos ever seen.
http://www.thesun.co.uk/living/2910310/shocking-photographs.[Acessed on 12 September
2019].
John Indledew. (2005). Photography. London: Laurence King Publishing.
Mary Panzer. (2005). Photojournalism In Contex 1955; things as they are. New York: Aperture
Foundation.
Mustaffa Halabi Azahari. (2015). Fasa 2015; Pameran Fotografi. Malaysia: University
PublicationCentre. UiTM
Paul Martin Lester. (2003). Visual Communication Images With Messages. US: Thomas
Learning Inc.
Reuel Golden. (2005). Photojournalism; 150 years of outstanding press photography. Carlton
Publishing Group.
60
AFA 2019
11th ASIA FIBER ART EXHIBITION AND SYMPOSIUM –MALAYSIA
2019
24-25 September 2019
BENTUK DAN MAKNA DALAM KARYA HAMDAN
SHAARANI DARI TAHUN 2010 HINGGA 2019
Rosmidahanim Razali1, Siti Humaini Syed Ahmad2, Muhamad Rozali Othman3
1Department of Fine Arts, Faculty of Art And Design, Universiti Teknologi MARA, Perak Branch
1Department of Fine Arts, Faculty of Art And Design, Universiti Teknologi MARA, Perak Branch
1Department of Fine Arts, Faculty of Art And Design, Universiti Teknologi MARA, Perak Branch
[email protected] , [email protected] , [email protected]
Abstrak- Kajian ini adalah untuk menganalisis karya catan yang dihasilkan oleh pelukis Hamdan Shaarani dari
tahun 2010 sehingga 2019. Proses analisis karya di dalam kajian ini menggunakan kaedah kritikan seni oleh
Feldman (1994) dengan menggunakan empat langkah iaitu deskripsi (description), analisis (analysis),
interpretasi (interpretation) dan penilaian (judgement). Proses deskripsi merujuk kepada subjek dan medium yang
dipaparkan dalam karya. Analisis merujuk kepada penggunaan elemen dan prinsip rekaan. Interpretasi pula
menghuraikan makna dalam karya. Penilaian (judgement) adalah kaedah menilai karya pelukis sama ada ia
berjaya atau tidak dari segi pengolahan bentuk, warna dan makna tertentu. Kaedah pengumpulan data yang
digunakan adalah melalui analisis karya, pemerhatian dan temubual. Hasil kajian menunjukkan Hamdan Shaarani
menggunakan subjek alam semulajadi secara realis dan semi abstrak sebagai tema dalam karya. Beliau
menggunakan subjek kajian seperti daun, batu dan pokok yang dipaparkan dalam refleksi air. Pada awal
penghasilan karya beliau, subjek kajian dipaparkan secara realis bagaimanapun pendekatan ini sedikit demi
sedikit berubah di mana ia mula dipaparkan secara semi abstrak. Karya Hamdan Shaarani bukan sekadar
memaparkan keindahan visual semata-mata, malah menghargai kebesaran dan keagungan Pencipta. Hamdan
Shaarani berjaya menerapkan aspek formalistik elemen dan prinsip rekaan seperti warna, rupa, bentuk, ruang,
keseimbangan dan kepelbagaian. Kesimpulannya, karya Hamdan Shaarani berjaya membawa identiti subjek alam
semulajadi dari awal penglibatan beliau sebagai seorang pelukis dengan pendekatan gaya realis sehingga
peralihan ke gaya semi abstrak.
Kata Kunci: Bentuk dan makna, Feldman, analisis karya, realis, semi abstrak
1 PENGENALAN
Hamdan Shaarani merupakan seorang pelukis catan tanah air yang sinonim dengan pendekatan
refleksi didalam karya-karyanya. Beliau yang aktif berkarya sejak dari tahun 1995 sehingga kini juga
merupakan seorang pendidik seni halus di Universiti Teknologi MARA Cawangan Perak.
Pengalaman beliau di dalam arena seni catan selama lebih 20 tahun ditambah pula dengan latar
belakangnya sebagai seorang pendidik, menjadikan hasil karya-karya beliau sarat dengan nilai estetik,
berjiwa dan membawa mesej yang bermakna. Penghayat seni di Malaysia mengenali Hamdan
Shaarani sebagai seorang pelukis yang sering membawa subjek-subjek alam di dalam karya-karyanya.
Zainon Abdullah (2011) menyifatkan karya Hamdan Shaarani mempunyai keunikan tersendiri. Beliau
menggunakan konsep pandangan ‘mata burung’ iaitu melihat subjek yang dirakam daripada
pandangan atas. Zainon juga menambah biasan air menjadi satu kemestian di dalam karya-karya
Hamdan Shaarani. Pandangan ini turut dikongsi oleh Hung (2013) yang mengatakan bahawa biasan
air merupakan subjek utama dalam karya-karya beliau.
Memandangkan karya-karya beliau sangat unik dan mempunyai identiti yang tersendiri, maka
adalah penting untuk mengkaji dan seterusnya menganalisa karya Hamdan Shaarani secara terperinci
supaya ia boleh menjadi sumber rujukan bagi penggiat dan peminat seni catan tanah air.
61
Analisa karya adalah penting untuk penggiat seni mengetahui dengan lebih mendalam tentang
bentuk dan makna yang hendak disampaikan oleh pelukis. Mohd Johari (2004) mengatakan bahawa
karya seni adalah penting untuk dikritik. Beliau menggariskan beberapa fungsi kepentingan kritikan
seni iaitu:
Perhubungan antara seni dengan masyarakat
Memberi perangsang kepada pengkarya untuk menghasilkan karya bermutu
Membezakan antara karya yang berkualiti atau sebaliknya
Memperkenalkan karya seni terbaru kepada umum
Menyebarkan pendapat dan pengetahuan
Membantu penggiat seni mendidik generasi baru
Hasil dapatan daripada analisis yang dijalankan ke atas karya-karya Hamdan Shaarani,
sememangnya ia tidak lari daripada apa yang diutarakan oleh Mohd Johari.
2 REALISME KE SEMI ABSTRAK
Dalam tahun 2016 terdapat perubahan dalam pendekatan penghasilan karya-karya Hamdan
Shaarani. Menurut Hamdan Shaarani (2019) apabila membawa bentuk dan gaya karya yang sama
dalam tempoh yang lama menyebabkan beliau bosan dan tepu dari segi makna dan teknikal untuk
menghasilkan karya. Hamdan Shaarani telah membawa gaya realis sejak tahun 1995 lagi. Oleh itu,
Hamdan Shaarani menginginkan suatu kelainan dan maka berlakulah peralihan pendekatan karya
dalam bentuk semi abstrak. Jika sebelum ini subjek karya-karya Hamdan Shaarani memaparkan subjek
daun, pokok dan batu secara realis tetapi dalam karya semi abstrak ini, subjek-subjek tersebut
dipaparkan dalam bentuk bayang-bayang. Oleh itu, jika dilihat pada karya-karya terbaru beliau,
pemilihan subjek adalah masih sama tetapi pendekatan yang berbeza.
Dalam konteks makna pula, karya Hamdan Shaarani adalah berkaitan bayangan dan makna
diri. Hamdan Shaarani menghubungkaitkan bayangan minda dengan kajian seorang saintis dari Jepun
iaitu Dr Masaru Emoto. Emoto telah menjalankan kajian ke atas perubahan bentuk molekul air yang
boleh berubah dalam bentuk positif dan negatif. Hasil kajian Emoto mendapati air yang didedahkan
dengan kata-kata dan ayat yang berbentuk positif maka air tersebut akan membentuk molekul kristal
yang indah. Berbeza pula dengan air yang didedahkan dengan perkataan dan lisan yang tidak baik atau
negatif, ia tidak akan membentuk molekul air malah kelihatan buruk dan hancur. Menurut Hamdan
Shaarani lagi, dalam kehidupan juga kita perlu sentiasa berfikiran positif. Apabila kita sentiasa
berfikiran positif sudah tentu akan menzahirkan tubuh badan dan minda yang sihat.
3 METODOLOGI
Untuk menganalisis karya-karya Hamdan Shaarani, kajian ini menggunakan kaedah Edmund
Burke Feldman (1994) dengan menggunakan empat langkah iaitu deskripsi (description), analisis
(analysis), interpretasi (interpretation) dan penilaian (judgement). Proses deskripsi merujuk kepada
subjek dan medium yang dipaparkan dalam karya. Analisis merujuk kepada penggunaan elemen dan
prinsip rekaan. Interpretasi pula menghuraikan makna dalam karya. Penilaian (judgement) adalah
kaedah menilai karya pelukis sama ada ia berjaya atau tidak dari segi pengolahan bentuk, warna dan
makna tertentu.
Untuk kajian ini sebanyak sepuluh buah karya Hamdan Shaarani telah dipilih iaitu dari tahun
2010 sehingga 2019 untuk dianalisis. Berikut adalah senarai karya-karya Hamdan Shaarani yang
dianalisis.
Jadual 1: Senarai Karya-Karya Yang Di Analisis
Bil. Tajuk Tahun
1. Refleksi # Alun 1 2010
2. Refleksi # Renung Riak 5 2011
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3. Refleksi Jernih 1 2012
4. Refleksi # Jernih 20 2013
5. Refleksi # Jernih 15 2014
6. Tenang 2015
7. Bias 1 2016
8. Bias 9 2017
9. Bias # 14 2018
10. Bias 17 2019
Data yang diperolehi untuk menganalisa karya kebanyakkannya adalah melalui proses
temubual dengan pelukis sendiri dan disokong dengan maklumat-maklumat daripada katalog, buku
dan blog pelukis. Temubual dengan pelukis telah dijalankan pada 6 Ogos 2019 bertempat di studio
pelukis sendiri iaitu di Tronoh, Perak.
4 ANALISIS KARYA
Bil Karya dari tahun 2010 Analisis Karya (Feldman (1994)
sehingga 2019
1. Deskripsi (Description)
Karya Refleksi # Alun 1 dihasilkan pada tahun 2010 dengan
menggunakan bahan akrilik di atas kanvas. Imej yang digunakan
adalah bayangan daun, ranting, batu serta daun berguguran.
Format bentuk karya ini adalah segi empat sama berukuran 76 cm
x 76cm.
Refleksi # Alun 1 Analisis (Analysis)
Akrilik atas Kanvas Karya ini menitik beratkan penggunaan elemen warna panas
seperti warna kuning dan jingga pada subjek batu. Warna neutral
76 cm X 76 cm digunakan pada subjek rupa ranting dan daun. Prinsip
2010 keseimbangan karya ini adalah keseimbangan tidak sama ukur
(asymmetrical balance) dan dari segi ruang pula karya ini
menggunakan ruang cetek.
Interpretasi (Interpretation)
Sifat alam semulajadi di gunakan sebagai kiasan dalam karya
Hamdan Shaarani. Refleksi daripada sifat ranting dan daun pada
permukaan air seperti mengambarkan cerminan diri seseorang.
Hasil pantulan berwarna gelap umpama menceritakan maksud
yang tersirat atau mendalam yang cuba disampaikan dalam bentuk
visual. Alunan air dan bayangan subjek daun yang tidak jelas
seolah- olah seperti sifat manusia yang sentiasa berubah- ubah
mengikut arus air.
Penilaian (Judgement)
Pengkarya berjaya menghasilkan karya realis dengan
menggunakan simulasi jalinan (simulated texture) pada subjek
batu dan permukaan air dengan memindahkan pada permukaan
kanvas.
2. Deskripsi (Description)
Karya bertajuk Refleksi # Renung Riak 5 membawa subjek daun,
batu dan kesan pantulan pada permukaan air. Karya ini
menggunakan cat akrilik atas kanvas. Ukuran karya ini bersaiz
122cm x 122cm yang di hasilkan pada tahun 2011.
Analisis (Analysis)
Secara keseluruhannya karya ini banyak menggunakan warna
panas iaitu jingga, merah, kuning dan coklat serta warna sejuk
iaitu warna biru pada sebelah kanan sudut atas karya. Prinsip
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Refleksi # Renung Riak 5 keseimbangan tidak sama ukur (asymmetrical balance) boleh di
Akrilik atas Kanvas lihat antara dasar air dan bayangan langit.
122 cm x 122 cm
2011 Interpretasi (Interpretation)
Bayangan subjek langit, ranting dan daun yang kelihatan pada
permukaan air adalah dari landskap sebenar. Bayangan yang
wujud selalunya bersifat tidak kekal, ia akan sentiasa berubah
disebabkan oleh alunan dan arus air yang mengalir. Ia seumpama
membicarakan sikap manusia itu sendiri yang sentiasa berubah-
ubah perwatakan emosinya yang kadang kala bersifat tenang,
marah, sedih dan gembira. Persekitaran yang tenang memberi
impak positif kepada seseorang individu dan seterusnya
membentuk acuan persekitaran yang positif.
Penilaian (Judgement)
Rasa emosi yang tenang telah berjaya diwujudkan oleh pengkarya
dengan memaparkan keindahan air sungai yang belum tercemar
dengan memperlihatkan air yang berkeladak jernih.
3. Deskripsi (Description)
Karya bertajuk Refleksi Jernih 1 membawa subjek daun, batu dan
kesan pantulan pada permukaan air. Karya ini menggunakan cat
akrilik atas kanvas. Ukuran karya ini bersaiz 153cm x 153cm yang
di hasilkan pada tahun 2012
Refleksi Jernih 1 Analisis (Analysis)
Cat Minyak atas Kanvas Pengkarya gemar menggunakan komposisi dari pandangan atas
dan “close up” menampakkan ruang cetek setiap siri karya refleksi
153cm x 153cm beliau. Penggunaan warna panas iaitu oren, merah, kuning dan
2012 warna sejuk iaitu hijau, biru adalah mewakili warna- warna alam.
Prinsip keseimbangan tidak sama ukur (asymmetrical balance)
jelas kelihatan pada sebelah kiri karya yang menampakkan biasan
air.
Interpretasi (Interpretation)
Alam semulajadi menjadi sebahagian dari jiwa pengkarya.
Keindahan panorama ciptaan tuhan melahirkan rasa tanda
kebesaran yang maha pencipta. Penekanan pada subjek sehelai
daun yang gugur seolah- olah menjadi kiasan kepada kehidupan
manusia iaitu setiap yang hidup pasti akan kembali kepada
pencipta.
Penilaian (Judgement)
Pengkarya mempunyai minat yang amat mendalam terhadap
subjek alam semulajadi sehingga beliau berjaya meniru subjek
tersebut secara realis. Kekuatan dalam karya ini boleh dilihat pada
penghasilan tona warna yang pelbagai dan kesan biasan yang
menarik.
4. Deskripsi (Description)
Karya bertajuk Refleksi # Jernih 20 dihasilkan pada tahun 2013
dengan menggunakan cat akrilik atas kanvas. Ukuran bagi karya
ini adalah bersaiz 163 cm x 92 cm berformatkan segi empat tepat.
Pengkarya memaparkan subjek seperti daun, batu dan refleksi air.
Refleksi # Jernih 20 Analisis (Analysis)
Arilik atas kanvas Prinsip kepelbagaian adalah prinsip utama yang ditekankan oleh
pengkarya dengan menggunakan kepelbagaian dari segi saiz batu-
batuan sungai yang dijadikan sebagai subjek utama karya ini.
Secara keseluruhannya karya ini menggunakan warna sejuk iaitu
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163 cm x 92 cm warna biru dan ungu namun di kontraskan dengan warna panas
2013 iaitu warna kuning pada tiga helaian daun yang terapung pada
permukaan air. Pengkarya menggunakan simulasi jalinan
(simulated texture) pada subjek batu- batuan sungai dengan
memindahkan ke permukaan kanvas melalui kaedah sapuan berus.
Kesan biasan air pada sebelah kiri karya ini menjadikan karya ini
menggunakan keseimbangan tidak sama ukur (asymmetrical
balance).
Interpretasi (Interpretation)
Pengkarya menjadikan alam sebagai sumber inspirasi untuk
menghasilkan karya catan. Hamdan menggemari subjek alam
seperti batu- batuan, daun yang berguguran, kejernihan air sungai,
dan kelembutan alunan air.Daun- daunan yang gugur yang di bawa
arus air adalah kiasan kepada sikap manusia yang tidak
mempunyai pendirian yang teguh.
Penilaian (Judgement)
Karya ini unik dan menarik dari segi pengolahan komposisi yang
di ambil dari pandangan atas. Prinsip keharmonian dalam karya ini
menzahirkan rasa kagum terhadap keindahan alam semulajadi
ciptaan tuhan.
5. Deskripsi (Description)
Karya bertajuk Refleksi # Jernih 15 dihasilkan pada tahun 2014
dengan menggunakan cat akrilik atas kanvas. Ukuran karya ini
adalah bersaiz 76 cm x 76 cm berformatkan segi empat sama.
Pengkarya memaparkan subjek seperti daun, batu dan refleksi air.
Refleksi # Jernih 15 Analisis (Analysis)
Akrilik atas Kanvas Pengkarya menggunakan elemen warna panas pada subjek batu,
daun, dasar sungai dan warna sejuk pada kawasan biasan air.
76 cm x 76 cm Warna panas yang digunakan lebih dominan digunakan
2014 berbanding warna sejuk. Tona warna digunakan untuk membentuk
subjek batu- batuan yang mempunyai kepelbagaian dari segi rupa
dan saiz. Prinsip pengulangan dapat dilihat pada subjek batu
batuan dan biasan air.
Interpretasi (Interpretation)
Pengkarya gemar menggunakan komposisi pandangan dekat
(close-up) bagi menampakkan subjek yang di ambil seperti daun,
batu dan kesan biasan pada permukaan air. Ia seperti cermin
kepada alam semulajadi. Ia seolah- olah memberi makna tersirat
disebalik penggunaan subjek alam tersebut yang berkait rapat
dengan manusia. Seperti individu yang melihat diri pada
permukaan air mahupun cermin akan menampakkan diri sendiri,
ia adalah cerminan diri kita yang sebenarnya. Selain daripada
menonjolkan nilai keindahan, ia juga membawa pengkarya
menghayati tanda- tanda kebesaran Tuhan.
Penilaian (Judgement)
Pengkarya berjaya menghasilkan simulasi jalinan (simulated
texture) setiap subjek yang digunakan.Penggunaan tona warna dari
cerah ke gelap menampakkan subjek batu yang dilukis. Teknik
renjisan dan sapuan berus yang terkawal membuatkan karya ini
kelihatan tenang.
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6. Deskripsi (Description)
Karya bertajuk Tenang dihasilkan pada tahun2015 dengan
menggunakan cat akrilik atas kanvas. Ukuran bagi karya ini adalah
bersaiz 122 cm x 122 cm berformatkan segi empat sama. Subjek
seperti daun, ranting dan dahan menjadi pilihan pengkarya.
Tenang Analisis (Analysis)
Akrilik atas Kanvas Dari aspek elemen warna, karya ini berlatar belakangkan warna
122 cm x 122 cm sejuk iaitu biru secara monokromatik. Prinsip kontras wujud pada
subjek daun yang berwarna kuning terletak pada bahagian tengah
2015 karya. Subjek dedaunan pula telah diulang- ulangkan seolah olah
membentuk dahan pokok. Dahan pokok di paparkan dalam bentuk
vertical manakala ranting pula dikomposisikan secara horizontal.
Elemen ruang dalam karya ini menggunakan ruang cetek.
Interpretasi (Interpretation)
Mesej yang ingin disampaikan oleh pengkarya adalah berkaitan
dengan manusia dan pencipta. Kesan tindanan ranting- ranting
seumpama kehidupan perjalanan manusia yang berliku- liku
namun jika ditangini dengan kesabaran dan ketenangan maka
lahirlah kedamaian dalam kehidupan seperti warna biru yang
dipaparkan dalam karya ini.
Penilaian (Judgement)
Penggunaan warna biru yang digunakan dalam karya tenang
mencetuskan rasa ketenangan dan kedamaian kepada pemerhati.
Karya ini merupakan cerminan diri pelukis sendiri yang sentiasa
tenang dan berfikiran positif dalam apa jua situasi.
7. Deskripsi (Description)
Karya bertajuk Bias 1 dihasilkan pada tahun 2016 dengan
menggunakan cat akrilik atas kanvas. Ukuran bagi karya ini adalah
bersaiz 152 cm x 152 cm berformatkan segi empat tepat. Subjek
yang dipaparkan ialah dahan, ranting, daun dan refleksi air.
Analisis (Analysis)
Pengkarya menggunakan warna panas iaitu merah, kuning dan
jingga menampakkan karya ini lebih dominan berbanding warna
sejuk iaitu ungu yang mewakili bayang- bayang. Warna neutral
iaitu putih digunakan pada latar belakang menampakkan ruang
negatif dan positif. Kelihatan garisan pelbagai jenis garisan seperti
garisan halus dan tebal. Prinsip pengulangan warna merah
menjadikan warna ini kelihatan bertenaga dan kontras.
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Bias 1 Interpretasi (Interpretation)
Akrilik atas Kanvas Karya siri bias yang dihasilkan oleh Hamdan menggunakan
152 cm x 152 cm bayang- bayang sebagai metafora yang membawa maksud tersirat.
Biasan air seolah-olah berkait rapat antara pencipta dan manusia
2016 merangkumi persekitaran hidup.
Penilaian (Judgement)
Keistimewaan karya hamdan ditonjolkan melalui penggunaan
warna yang bertenaga, garisan, rupa, bentuk, kontra, kepelbagaian
dan banyak lagi. Pengkarya berjaya membuat pembaharuan dalam
catan dengan pengolahan imej tindanan bayang sehingga
menampakkan gaya semi abstark.
8. Deskripsi (Description)
Karya bertajuk Bias 9 dihasilkan pada tahun 2017 dengan
menggunakan cat akrilik atas permukaan kanvas. Karya ini
memaparkan subjek bayang- bayang ranting dan dahan. Ukuran
bagi karya ini adalah bersaiz 152 cm x 92 cm dengan
menggunakan format segi empat sama.
Bias 9 Analisis (Analysis)
Akrilik atas Kanvas Keindahan karya Bias 9 ditonjolkan dengan menggunakan warna
panas iaitu warna kuning. Ia kelihatan kontras berbanding dari
152 cm x 92 cm warna neutral iaitu hitam dan putih. Kesan tindanan bayangan
2017 mewujudkan tona warna monokromatik dari cerah ke gelap.
Prinsip keseimbangan karya ini adalah keseimbangan tidak sama
ukur (asymmetrical balance). Ini dapat dilihat pada bahagian kiri
karya yang lebih dominan berbanding sebelah kanan karya
disebabkan oleh elemen warna kuning tersebut.
Interpretasi (Interpretation)
Pokok dan air adalah di antara elemen penting dalam alam.
Bayang- bayang sebagai perlambangan kepada cerminan diri
manusia. Ia umpama, cetusan pemikiran yang positif akan
membentuk tindakbalas yang positif.
Penilaian (Judgement)
Pengkarya berjaya membuat perubahan rupa ranting dan dahan
pokok dalam bentuk semi abstrak. Walaupun pengkarya
menggunakan penggunaan warna yang minimalis iaitu warna
kuning dan warna neutral namun pengkarya berjaya menonjolkan
komposisi yang menarik. Dari aspek kepelbagaian pula, karya ini
menggunakan kualiti garisan yang pelbagai.
9. Deskripsi (Description)
Karya Bias # 14 telah di hasilkan pada tahun 2018 dengan
menggunakan cat akrilik atas kanvas. Format bentuk karya ini
adalah segi empat tepat yang berukuran 90cm x150 cm. Imej yang
di paparkan dalam karya ini adalah bayang- bayang dari subjek
alam semulajadi iaitu daun, batu dan pokok yang mana telah
melalui proses semi abstrak atau semi mujarad.
Bias # 14 Analisis (Analysis)
Akrilik atas Kanvas Dari segi penggunaan warna, karya ini menggunakan warna panas
iaitu merah dan warna neutral iaitu warna hitam dan putih.
90 cm x 150 cm Pengulangan warna merah dan warna neutral menjadikan karya ini
2018 kontras, bertenaga dan dinamik. Kelihatan juga tona warna
monokromatik kesan dari tindanan warna tersebut. Pelbagai kualiti
garisan yang dikenalpasti dalam karya ini seperti garisan diagonal
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dan horizontal. Ia terhasil daripada sapuan berus yang terkawal
dan ekspresif.
Interpretasi (Interpretation)
Karya catan ini mempunyai kekuatan makna yang tersendiri. Ia
berkait rapat dengan makna bayangan dan makna diri. Bayangan
merupakan metafora dalam badan manusia. Begitulah penggunaan
bias itu sendiri yang membawa makna bayangan minda. Ia seperti
setiap tindakan positif atau negatif yang diambil oleh seseorang
itu, akan memberi reflek pada diri dari tindakan yang di diambil.
Penilaian (Judgement)
Bias # 14 adalah sebuah karya seni yang menggabungkan bentuk
dan makna yang tersendiri. Kekuatan dalam karya ini jelas
merujuk kepada penggunaan elemen dan prinsip rekaan yang
memberi daya tarikan kepada pemerhati. Pengkarya berjaya
menghasilkan komposisi yang menarik serta kesan- kesan sapuan
berus yang mewujudkan prinsip kepelbagaian. Dari aspek makna,
karya ini membawa nilai positif kepada individu. Tindakan
berfikiran positif dalam kehidupan mampu meransang minda dan
badan yang sihat.
10 Deskripsi (Description)
Karya bertajuk Bias 17 dihasilkan pada tahun 2019 dengan
menggunakan cat akrilik atas permukaan kanvas. Ukuran bagi
karya ini adalah bersaiz 182 cm x 152 cm dengan menggunakan
format segi empat sama. Imej yang di paparkan dalam karya ini
adalah bayang- bayang dari subjek alam semulajadi iaitu daun,
batu dan pokok yang mana telah melalui proses semi abstrak atau
semi mujarad.
Bias 17 Analisis (Analysis)
Akrilik atas Kanvas Kelihatan warna merah lebih menjadi tumpuan anak mata untuk
182 cm x 152 cm melihat disebabkan oleh warna tersebut lebih terang dan kontras
berbanding warna sejuk iaitu warna biru dan warna neutral.
2019 Tindanan beberapa bayang- bayang biasan meghasilkan warna
monokromatik.
Interpretasi (Interpretation)
Karya ini seakan- akan menjelaskan perihal dalaman diri manusia.
Bias sebagai tajuk karya yang membawa makna isi tersirat. Gemar
menggunakan bayang- bayang sebagai metafora pada tingkah laku
manusia. Sikap dan emosi manusia yang sentiasa berubah-ubah,
kadangkala akan hadir rasa amarah dalam diri, namun mampu
dikawal oleh sikap positif yang boleh mendorong seseorang
menjadi tenang dan sabar.
Penilaian (Judgement)
Dalam karya Bias, kelihatan pengkarya begitu menitik beratkan
penggunaan elemen dan prinsip rekaan dalam karya. Ia bagi
mewujudkan nilai estetika dalam setiap karya yang dihasilkan.
selain itu, teknik sapuan berus yang terkawal dan agresif
menghasilkan kesan sapuan seakan- akan seperti cat minyak.
Perubahan rupa dan bentuk dari imej asal yang diambil seperi batu,
pokok dan daun kepada bentuk abstrak menjadikan karya ini
berjaya dihasilkan dengan baik.
Jadual 1
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4 KESIMPULAN
Berdasarkan daripada hasil kajian yang telah di buat, dapat disimpulkan bahawa Hamdan
Shaarani merupakan seorang pelukis Malaysia yang berjaya membawa subjek alam semulajadi dengan
gaya yang tersendiri. Keunikan karya Hamdan Shaarani dikenalpasti dengan menggunakan konsep
pandangan ‘mata burung’ iaitu melihat subjek yang dirakam daripada pandangan atas. Pengkarya juga
kerap kali memaparkan subjek alam secara pandangan dekat (close – up). Setiap siri karya Hamdan
Shaarani, memaparkan unsur biasan air yang mana merupakan kemestian dalam karya beliau. Subjek
dalam karya Hamdan Shaarani bukan hanya di gambarkan secara sebenar (real) malah subjek alam
juga di gambarkan dalam bentuk bayang- bayang. Imej bayangan daun, ranting dan dahan pada
permukaan air dijadikan sebagai metafora dalam kehidupan manusia. Kekuatan karya- karya Hamdan
Shaarani juga terserlah pada gabungan elemen dan prinsip rekaan yang saling melengkapi dalam
menghasilkan karya yang berkualiti.
Berdasarkan hasil analisis sepuluh karya yang di buat dari tahun 2010 sehingga 2019,
mendapati berlaku perubahan bentuk pengolahan gaya dari realis kepada gaya semi abstrak. Perubahan
bentuk gaya semi abstrak ini berlaku pada tahun 2016 yang mana subjek alam seperti daun, ranting dan
dahan telah di gaya- gayakan. Ocvirk (2009) mengatakan proses semi abstrak dari subjek alam
semulajadi adalah subjek sebenar yang sebahagiannya dimudahkan dan digaya- gayakan. Proses semi
abstrak ini telah mengubah sifat sebenar subjek tersebut. Kesimpulannya, karya Hamdan Shaarani
berjaya membawa identiti subjek alam semulajadi dari awal penglibatan beliau sebagai seorang pelukis
dengan pendekatan gaya realis sehingga peralihan ke gaya semi abstrak.
5 RUJUKAN
Feldman. (1994). Practical Art Criticsm. United States America: Prentice-Hall, Inc.
Ocvirk, Stinson, Wigg, Bone, Cayton. (2009). Art Fundamentals Theory and Practice. New York:
McGrill-Hill Companies, Inc.
Mohd Johari Ab. Hamid. (2004). Falsafah dan Kritikan Seni. Malaysia:Uiversiti Pendidikan Sultan
Idris.
Hamdan Shaarani Solo Exhibition. (2013). G13 Gallery: Kuala Lumpur. Art Valley Sdn. Bhd.
Zainon Abdullah. (2019). Realisma Mata Burung : Hamdan Shaarani. Dimuat turun pada 12 Ogos 2019
daripada https://zainonabdullah.blogspot.com/2011/08/realisma-mata-burung-hamdan-shaarani.html
Zainon Abdullah. (2019). Ambuguity. Dimuat turun pada 12 Ogos 2019 daripada
https://zainonabdullah.blogspot.com/2016/12/ambiguity.html
Temubual bersama Hamdan Shaarani (Pengkarya Seni Catan) di kampung terseusun Seri Kantan,
Tronoh, Perak pada jam 10.00 pagi, 6 Ogos 2019.
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AFA 2019
11th ASIA FIBER ART EXHIBITION AND SYMPOSIUM –MALAYSIA
2019
24-25 September 2019
THE MODIFICATION OF PAINTBALL SPORTSWEAR IN
FULFILLING THE SAFETY REQUIREMENT
Nur Syazwani Binti Hasim 1* Suriati Binti Saidan 2, Norzaleha Binti Zainun 3
Fashion Department, Faculty of Art & Design, Universiti Teknologi Mara, Perak
Fashion Department, Faculty of Art & Design, Universiti Teknologi Mara, Perak
Fashion Department, Faculty of Art & Design, Universiti Teknologi Mara, Perak
[email protected]
Abstract - Malaysian are more open for new extreme sport such as water crafting, all-terrain-vehicle (ATV),
paintball and etc. However, out of listed here, paintball is one of the most challenging and admired extreme sport
among Malaysian as the game is more safer and can be played in a group of people that gives more excitement.
Besides that, it has become a popular recreational activity to some group of people. These people are willing to
buy all type of basic equipment for the game that costs hundreds or even thousands ringgits and enjoy the game
as hobby. All this kind of enthusiastic is growing rapidly on its fanatic fan in Malaysia.The purpose of this research
is to design and to improve the existing attires of the paintball sport. Paintball is a sport that is categorized as an
extreme sport because it applies battle mode into its mechanics. The game requires two teams to battle, where one
of the group has to achieve the main objective of the game, which is to capture the opponent's flag. The games
plan or strategy is an important criterion to win this challenge. Through research, it has been found that there are
some weaknesses in the paintball apparel currently available, which has proved to be a bane especially to the new
players who are only protected by the "protector vest" that is usually provided by the organizers. This is because
there are no specific dress arrangements made for amateur, whereby professional players were equipped with the
basic need. The vest that are usually provided for amateur players have less safety features, hence allowing the
possibilities of minor injuries such as cuts and bruises to occur upon the players due to the hits by the bullets shot
by their opponent. There are also some organizers who do not provide clothing or equipment to the participants
because there is no specific requirement for attires in the application for new participants. Participants would play
with no protective attire whatsoever and in their own clothing.The objectives of this research are: 1. To identify
which part of body being targeted on this game: 2. to create proper attire especially targeted towards the "new
players" with high priority on safety features that avoid injuries and accident.Protective attire that is characterized
as “vest protector" to serve as protective clothing. It has also been found that careful material selection. The
production of this outfit, it will overcome both physical and mental difficulties in anticipating injuries and
accidents by the participant. Through interviews, observation and a meticulous series of surveys, it appeared that
they (the new players) are apprehensive in continuing to play paintball as a sport due to the injuries that they
sustained during their first experience of playing the game.Both objectives had been achieved in producing a
safety outfit with aesthetic value which is to promote protection gear to prevent injuries. With the production of
this new outfit it will greatly help to increase the popularity of this of this extreme sport. The catalyse birth of a
new batch of players as this sport a potential to be national class sport in Malaysia.
Keywords - safety, practicality, aesthetic value
1 INTRODUCTION
Paintball is a sport that is gaining more popularity among Malaysians (Utusan, 2008). Paintball
as a sport is played with two opposing teams that require a minimum of one person (normally from
three to eight persons are involved according to game formats), and its task is to eliminate each other;
the victor is identified after the elimination of all of the opposing team members. It can be played in
open field as well as indoor arenas. The nature of the game that simulate real-life battlefield includes
tactical planning and strategies, makes it suitable for teambuilding activities. Playing paintball requires
the participants to be brave despite forbidding physical contact; physical contact will result in penalties.
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The proper equipment and complete gear is the basic fundamentals required in any given sport. Even
in paintball, the basic necessities that every player must have consist of 3 main items, namely a marker,
pellets and a face mask for protection. Additional accessories such as the protective suit, shield pads,
shows and others add comfort and ease of movement plus extra protection to the player. However, its
equipment (gun and paint pallets can result in injuries (Shano, Schnirring pars.9). Hits from the
paintballs do create swelling and bruises on the body (Kosmo, 2011).
This paper aims to discuss the development or modification of paintball sportswear to minimize
injuries. The main objective of this paper is to create a specific sportswear for Paintball players,
complete with safety features so that injuries are reduced to a minimal or completely avoided. ( Ums
Sport Crew, 2012 )
1.0 STATEMENT OF THE PROBLEM
For newbie players that have just begun exploring the sport, the basic safety is somehow was
taken for granted. It is more unfortunate as this basic safety gear in clothing has not been set as
mandatory rule, thus led most players often wear unsecured equipment whenever they feel comfortable
with. This often resulted in injuries due to the gunshots or other injuries such as collisions between the
players that impacted from unstable movements.
This game requires fast movement and at the same time to execute their strategy of defence and
attack. The speed of the bullet is almost the same to the real gun which we can imagine the impact to
the body. Even though the bullet is only going to go through your body, the momentum itself can give
inner bleeding.
“Paintball impact can create painful welts and contusions when players don't wear proper
clothing….Also, the risks of more severe skin trauma increase when competitors modify their
guns” Shano (Schnirring pars.9).
“An individual has the potential to get hurt if proper safety measures are not taken to avoid
injuries” (sports injuries, 2009)
“Sports attires should feel comfortable when worn, chosen according to the size of the player’s
body and allows condensation of sweat…tight outfits will constrain blood flow in the body and
might cause negative consequences to the athlete.” (sihat cergas- pilihan pakaian sukan, 2013)
There was an interview conducted with the experts in Malaysia on paintball safety. One of them
is former paintball coach, Encik Kamsun Baharin. He used to coach hundreds of newbie in the arena of
paintball. The interview with him was conducted on 16 January 2010 at a paintball set in Subang Jaya
resulted some take away salient points. One of the salient point is regarding the paintball protective
gear. He highlighted that there are paintball suits are stylish and fashionable however low safety
protection. This resulted some injuries to the players which can be avoided should the players choose
proper suits. He did says that some action should be taken in order to give perception that this extreme
game is the most safer amongst others.
“The paintball safety apparels available today are flawed and lack quality in terms of providing
protection from injuries such as swelling from multiple gunshots.”
(KamsunBaharin,Ex-Coach For Paintball)
“Sports attires should feel comfortable when worn, chosen according to the size of the player’s
body and allows condensation of sweat…tight outfits will constrain blood flow in the body and
might cause negative consequences to the athlete.”(sihat cergas- pilihan pakaian sukan, 2013)
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This project was aimed to produce paintball suit that will not only be embedded a sense of style
to the players, but most important is to protect the players with its safety features. The protective
components are to prevent injuries at 99% performance. The designed will be further focus on the
material selection, sewing techniques and user friendly.
1.1 RESEARCH QUESTIONS
I. How can this sport can protect a player's body?
II. How can this sport be played in safely for newbies?
1.2 AIMS OF THE RESEARCH
I. To design specialized sportswear for paintball with stylish and also fully
functional with complete security, safety features and functionality.
II. To design outfit than can be a guard or security for players (make it protective)
1.3 OBJECTIVE OF THE RESEARCH
I. To identify which part of body being targeted on this game
II. To create proper attire especially targeted towards the "new players" with high
priority on safety features that avoid injuries and accident.
2. SIGNIFICANT OF THE STUDY
The creation of paintball suits will benefits the fanatic fans of this extreme sport. Through the
style, comfort and confidence level gained to the players is aim to evoke the spirit of the sportsmanship
amongst them and bring to victorious. As of today, the only known paintball outfits in Malaysia are
imported from overseas. Thus, the fabrication of these outfits will be the first sport outfits as Malaysian
brand. It is in fact in parallel with the intention from Ministry of Youth and Sports i.e. encouraging local
industry in developing sports gear & apparel industry. In a newspaper article dated 1st October 2012, it
was stated that;
“In the year 2010, the Ministry of Youth and Sports stated that the sports goods business industry in
Malaysia has a potential up to RM30.3 billion to be explored by the local sports businessmen!”
Unfortunately, our country is still lacking in sports outfits industry. With this project, it is quite
important in accomplishing the government’s aspirations on this specific industry.
1.1 LIMITATION
I. The target for this outfit is for new players
II. Outfits produced have safety and protective feature.
2.2 DELIMITATION
I. All type of suitable sportswear fabrics
II. All age group
3.0 METHODOLOGY
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This research has divide the data collection into three parts. Each section is made up of small
parts which serve as guideline in order to complete the research.
3.1 DATA COLLECTION
In this research, it used primary methods. Through the data, the research gathering the
information by interviews, observation, and questionnaire. The three sessions were conducted at the
same period, time and at the same place to facilitate the process of the data collection.
A) PRIMARY DATA
3.1.1 INTERVIEW
The interview session was conducted informally with two types of the different players of the
sport which are the advance paintball players and the new comers. The reason why this session are
targeting two group of players is because to get its own perception between them for the researcher to
make comparisons.
After all of the interviews have been done, there is conclusion to be made, which is these two
groups of players (professional and new players), both agreed that this extreme sports can be categorized
as a dangerous sport. But it can be overcome if there is a special or specific clothes design for the sport
that can protect themselves during the match. Overall, all of the respondents claimed that the most often
body part being targeted is the upper body which is the chest. (Refer to appendix)
As for the conclusion of the interview, it can helps this research to study and design a special
clothes for paintball players that can prevent or reduce the injury (bruising) due to a gunshot wound
from opponents and maybe other injuries. Each description will be given a guideline for the research to
meet the exact requirements of the objective of the studies.
3.1.2 OBSERVATION
The second method for data gathering was via an observation. It was aimed to support and
strengthen the study itself. This method is used in three situations; before, during and after the game by
recorded and collecting pictures of the sports activities in order to make the study more interesting. This
process not only focuses on physical players, but also other activities such as the movement of the
players, field conditions/sports venue and the equipment provided. Instead of using the camera to record
and collect photographs, this research also has used the observations to identify the problems faced by
the participants in various aspects, particularly in the context of the attire.
This method has been carried out at Seroja Field on May 18 2013 at UiTM Shah Alam and the
participants involved in the paintball competition are selected randomly.
a) First Situation
The first situation ,several pictures have been taken before the match started. All participants
were given a short briefing regarding the rules and regulations of the game. After the briefing
completed, each participant was asked to get back in their respective groups and take turns to play on
the field.
Before the players take the field, all the preparation steps must be carried out thoroughly such
as checking all the equipments availability to every player including the face mask, marker and palette.
Participants also made a free and easy warm-up exercise before entering the battleground. It is to ensure
that no problems. Occurred during the game, especially on physical injury and to ensure the game runs
smoothly without any technical glitches.
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Figure 3.1.2.a1 Figure 3.1.2.a2
b) Second Situation
Second situation has been observed during matches are in progress. This game activities
was recording throughout the match. At this point of time, we are required to wear equipment
to get in the field. As such, the referee’s shirt, security tools and face masks. It was intended to
measure safety as player.
While in the field, the movement of activities performed by each participant has been
recorded using a camera. Through the captures images from this activities, it helps to identify
participants on how they move their bodies to play as well as their movement to protect
themselves from becoming a target. Thus, it also helps this reseaarch to identify which parts of
the main target and how the body is exposed to the target.
Figure 3.1.2.b1 Figure 3.1.2.b2
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Figure 3.1.2.b3 Figure 3.1.2.6
Figure 3.1.2.b4 Figure 3.1.2.b5
With this detailed information, it really helps the research to understand and internalize
the problems faced by the players, then to help to overcome these problems from this
observation.
c) Third Situation
The last situation was when the pictures are taken after the game.. This situation was
very important to obtain all of the information to support this research. At the same time the
effects of the injuries occurred to the participants in the incident during the match.
The pictures below show the impact of cuts and bruises as a result of a gunshot wound
from an opponent marker. At first, these bumps are formed through contact with bullet by
forming a circle where according to the size bullet shape. Then it turned to reddish and form a
blood clot on the skin and eventually look so worst. It depends on the distance of shots being
hit either far or near. The resulting bruise takes time to recover. It usually took more than two
(2) weeks to be fully covered.
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With pictures of minor cuts and bruises effects from the shots, it was been able to
support the research problems. Also thanks to the respondents who involved in the injuries for
willing to share some of their experience.
Figure 3.1.2.c1 Figure 3.1.2.c2
Figure 3.1.2.c3 Figure 3.1.2.c4
Figure 3.1.2.c5 Figure 3.1.2.c6
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Figure 3.1.2.c8
Figure 3.1.2.c7
After game observations shows marks of bruises and wounds on the participants’ body due to
improper or lack of safety of sportswear. The pictures above strengthen the need for paintball to have a
better sportswear that minimizes risk of injuries. It also shows the types of injuries commonly associated
with paintball (cuts, bruises and wounds).
3.1.3 QUESTIONNAIRE
The activities of distributing the survey question has been done in the same location where the
method of interviews and observations been conducted. The survey questions were distributed and there
are 84 participants involved from various categories of players; professional players, normal players,
and new players.
Below is the result that obtained from the questionnaire. The graph using percentage
calculations to represent the players involved to facilitate the reading and calculating the answers.
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100 YES
90 NO
80 OTHERS
70
60 CLOTHING- IS UPPER BODY- MAIN HIT FROM PELLETS
50 FACTOR OF TARGET
40 DANGEROUS
30
20
10
0
DANGEROUS GAME
Based on the graph above through the questions, it shows the three options selected by 84
participants on a given question by developed a graph based on the questions contained in the survey
form in order to make it easily to understand.
Through the graph's result, the first column, it find out that more than 50% agreed paintball is
categorized as a dangerous and extreme sport that can cause injury to the players. Over 70% agreed that
the clothing selection is a key factor in the occurrence of sport injuries. Over 90% agreed that the upper
body is the main part target for shooting opponents. The upper body also seems to be the part that
usually got injured such as minor bruises and cuts from contact with the enemy's pellet. And the final
column over 70% agreed indicates the probability of injury during the match is due to enemy's pellet.
Through the survey, this research concluded that in terms of the safety precaution, the selection
of clothing is one of the most important factors in paintball. Any injury depends on the selection of
appropriate clothing. However, the upper body part should be given more details in order to reduce or
prevent the occurrence of further injuries caused by opponent’s pellet.
4. CONCLUSION
The research of this paintball outfit has undergone several processes i.e. interview sessions,
observation and questionnaire for information gathering. The best design should be designed according
to need to meeting the required criteria.The first mentioned objective was to identify which part of
body being targeted on this game.
The second objective was to create proper attire especially targeted towards the "new players"
with high priority on safety features that avoid injuries and accident. This research have to design
the outfit using all elements gathered based on the conducted research. With the usage of specific
material, appropriate stitching techniques, details of the safety pad and line design on the outfit, the end
product will fully functioning as a safety outfit for the sport. The production of the outfit have made a
significant change to the paintball sports, especially to the new players with it stylish look and user-
friendly criteria.
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As for the conclusion, this research have to finds out the study achieved the primary objective
in producing a safety outfit which is to promote safety protection gear to prevent injuries. With the
usage of specific materials, appropriate stitching techniques, details of the safety padding and line
design on the outfit itself has made it as fully functional as safety clothing for the sport.
This research is also being able to help in enhancing the clothes industry development in
Malaysia with unique designs thus increasing the country's economy with the creation of Malaysia
sports apparel brand in the future.
5. APPENDIX
5.1 Interview Session:
a) Professional Player
Respondent 1
Name: Fariq Harith
Age: 25 years old
Occupation: Student (Mechanical Engineering, UiTM Shah Alam)
Experience in Paintball sport: Four (4) Years
The first interview was with respondent Fariq Harith. Respondent is a final year
undergraduate student in Mechanical Engineering course, UiTM Shah Alam. Interview was
conducted on May 18 2013 at Seroja Field, UiTM Shah Alam during the paintball competition
organized by non-resident students.
Respondent is a professional paintball player which was his own paintball team who
actively participating in many competitions organized by outsiders’ bodies’ related to paintball
sport.
These are some questions and answers derived from the conducted interview session
by the researcher;
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1. Q: Are paintball is a dangerous sport?
A: It depends on several factors that make this sport either dangerous or otherwise. If
players comply with the safety principles, then this sport should be safer. However, if the
player does not comply the safety and conditions of the game then, it may be dangerous.
2. Q: What are some of the major security ethics that should be taken into a count for
each player?
A: Some of the players set the game rules them self without complying the paintball rules
& regulations such as to wear face mask at all times while in the game field, proper clothing
and to have the referee as game control.
3. Q: Does clothes play an important role for the player and why?
A: Yes. It is because clothing is one of the basic requirements for the game.
4. Q: Does this sport have a special outfit for each player?
A: No specialized clothing for new players. They can wear any kind of paintball clothes to
play. However, it is depends on the organizer whether to provide the protector vest or else
as there are no specific designated clothes in this game based on my experience.
5. Q: What happens if the players not been emphasized the role of clothing in this sport?
A: Players will be exposed to injury. It occurs as a result when there are no gear to protect
the player especially when they got pallet hit from the opponent.
6. Q: How players can avoid injury when being shot?
A: Players should wear appropriate clothing such as thick materials, loose sleeves and long
pants because it can hinder the impact of the bullet. This helps to reduce injuries due to less
penetration effect of the bullet to the body skin.
7. Q: Where are the regular spot of the body part that always being shot? Why?
A: The upper body parts and hands. This is because players who are hiding behind a
bunkers, will moves out their upper body part to see the opponent movement prior shoot.
Somehow, the lower body part are normally being covered with the bunkers that act as a
shields in the game.
8. Q: What are the other factors that could cause injury other than clothing factor?
A: The field condition. As we know, the field should be in a level state and should not have
any hole as this may occur injuries due to careless. The players should move very fast
between a bunker to another. Thus, it is a responsibility of the organizer to ensure that the
pitch is in a very good condition.
The result from this interview showed that type of clothes plays as one of the important role for
each player, especially for the newbies as they are normally have no proper suits. Thus, we can conclude
that, weakness in selecting the right clothes is one of the factor contributes to this injuries. The
respondent did shared his experience i.e. being shot during one of his paintball tournament earlier with
researcher. Some photos are took as evidence for this study. The bruise created by the bullet shot will
remain to the body even after two (2) weeks tournament day.
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Respondent 2
Name: KhairulAzwan B Mohd Daud
Age: 21 years old
Occupation: Student (Chemical Engineering, UiTM Shah Alam)
Experience in Paintball sport: Six (6) Months
The second interview was with respondents named Khairul Azwan on the same date and venue.
He is currently in fourth (4th) semester student in Chemical Engineering course, UiTM Shah Alam. He
is a paintball fanatic fan and being actively engaging in this rough sport since six (6) months ago.
These are the input from the interview session with the respondents;
1. Q: Do you think paintball is a dangerous sport?
A: Actually this sport is dangerous.
2. Q: Does clothes play an important role for the player?
A: Yes it does. A player clothing plays an important role. The vest should be provided as
security protection such as pads, long sleeves or outfit that is made from a thick fabric
similar to soldier’s uniform.
3. Q: Where are the regular spot of the body part that always being shot?
A: Normally the part which frequently exposed, that is players’ chest. As most of the time
the player hide behind the bunker, the expose part such as face and hands are usually being
the opponents’ spot.
4. Q: Which is more important between strategy and safety?
A: For me both are important. Both criteria should be managed concurrently. If the team
have a good strategy but without proper safety, once their player get injured and need to
walkover, this will left the team out of control during the game. So for me both are
important in winning this kind of sport competition.
Even though the safety factor plays an important role in paintball sport, the second
respondent emphasis that a good strategy also should be taken into consideration. Both
factors are actually connected and interdependent to each other.
b) New Player
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Respondent 3
Name: Elesha
Age: 22 years old
Occupation: Student (Forensic Analysis, UiTM Shah Alam)
Experience in Paintball sport: 1st Time
The next interview conducted on a third respondent named Elisya, she is an undergraduate
student semester three in Forensic Analysis, UiTM Shah Alam. Respondent was one of the female
participants of the organized competition and this is her first experience to try to compete in this extreme
sport.
Below are the interview session from the newbie: -
1. Q: Are paintball is a dangerous sport?
A: It is a very dangerous because the sport does not have the protection that actually
protects the body from injury.
2. Q: To compare between clothes and strategy, which is an important factor in this
sport?
A: In my opinion the clothing factor is the most important thing to be considered compared
with the strategy. I would say, clothes are the first factor and strategy would be the second.
3. Q: Why clothes are the main and important factor in this sport?
A: Because it acts as a protector to the player. As we all know, this sport requires activities
that involve body movement for each player in order to win this competition. So in terms
of safety, clothes must be a priority factor and should be supplied by organizer such as
chest protector.
4. Q: Which part of the body should be given special attention during the game?
A: Limbs from head to waist level and particularly the chest and ribs.
5. Q: Why the upper body parts are being targeted?
A: Because the average height of men is 175cm to 180cm. So the angle for the shot is the
chest level area.
6. Q: Other factors that cause injuries besides the clothes factor?
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A: Field conditions should be flat and no stone because some players will definitely slides
during the game and if the body is drag to the twigs or sharp rocks. This may cause an
injury.
7. Q: How would you suggest a shirt to wear during the game?
A: Comfortable clothes that used thick sponge material to the dress and could cover the
chest. Thus reduced the pain once you are being hit.
Respondent 4
Name: Mohd Fitri B Fairus Adras
Age: 22 years old
Occupation: Student (Forensic Analysis, UiTM Shah Alam)
Experience: 1st Time
The last respondent was Mohd Fitri, a student in Forensic Analysis course, UiTM Shah Alam.
Respondent was one of the newbie who participated in the sport. It was his first experience somehow
he already got a couple of shots on his chest by the opponent.
Follow the interview from the second newbie: -
1. Q: Your opinion about this extreme sport
A: For me this sport is quite dangerous if not equipped with chest protector. This is
because all participants have the ability being shot by the opponent on the chest.
2. Q: Did you get hit? Where and does it hurt?
A: yes, at my chest. At the beginning it does not hurt because my spirit to fight is still
high, however my chest started to feel pain as it starts to form a blood clot and it
getting very painful.
3. Q: Are this shots makes you tired to play paintball again?
A: Yes. I have learned my lesson even from my first game. But there are still two (2)
more knockout matches that I still have to play later.
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The effects of injuries being hit by the bullets resulted bruises to this respondent’s chest.
Respondent no. 4 has shown the bruises caused by the gunshot to the researcher and he agreed his
injuries to be captured as evidence of this study. It is proven that, this sport may cause injuries to the
player if there are no proper outfits provided.
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AFA 2019
11th ASIA FIBER ART EXHIBITION AND SYMPOSIUM –MALAYSIA
2019
24-25 September 2019
SENI JAHITAN SULAMAN TANGAN SEBAGAI TERAPI
Zolina Mohamad¹, Norzaleha Zainun², Suriati Saidan³,
Mohd Radzuan Mohd Rafee⁴, Lilinieta Talib⁵
1Department of Fashion, Faculty of Art And Design, Universiti Teknologi MARA, Perak Branch
1Department of Fashion, Faculty of Art And Design, Universiti Teknologi MARA, Perak Branch
1Department of Fashion, Faculty of Art And Design, Universiti Teknologi MARA, Perak Branch
1Department of Photography, Faculty of Art And Design, Universiti Teknologi MARA, Perak Branch
1Department of Fashion, Faculty of Art And Design, Universiti Teknologi MARA, Perak Branch
[email protected]
Abstrak-Seni jahitan sulaman tangan hanya dianggap sebagai hobi dan berfungsi sebagai hiasan bagi
mencantikkan pakaian dan permukaan fabrik sahaja sekian lamanya. Hasil sulaman dinilai dari sudut estetik
sahaja selama ini. Tiada sebarang kajian dilakukan dari sudut perubatan dan pandangan nilai terapeutik
sehinggalah berlakunya Perang Dunia Pertama pada tahun 1914-1918. Hanya kaum wanita dan kaum ibu yang
membuat jahitan sulaman tangan suatu ketika dahulu. Setelah berlakunya perang dunia, kaum lelaki juga
membuat jahitan sulaman tangan. Ianya bertindak sebagai terapi dalam usaha membantu mereka pulih dari kesan
peperangan yang dasyat. Kajian ini adalah bertujuan untuk melihat sejarah dan latar belakang seni jahitan
sulaman tangan diterima pakai sebagai rawatan bersifat terapeutik. Bermula dari Perang Dunia Pertama sehingga
penerimaan seni jahitan sebagai rawatan terapi di abad ke 21 sinonim dengan aliran “Art as Therapy” yang
menawarkan seni jahitan sulaman tangan sebagai salah satu projek terapi. Obektif kajian ini, bertujuan untuk
memberi kesedaran bahawa seni jahitan sulaman tangan efektif dalam membantu meningkatkan kesihatan mental
dan fizikal kerana aktiviti jahitan yang menggunakan pergerakan tangan dan jari jemari memerlukan tumpuan
mendalam. Lantas, melatih otot tangan dan jari jemari serta saraf berkaitan otak berfungsi dengan lebih baik.
Telah terbukti seni jahitan sulaman ini membantu dalam merawat amnesia. Metodologi yang digunakan di dalam
penulisan kertas ini adalah dengan merujuk penulisan dan kajian kes yang telah didokumenkan sebelum ini
melibatkan veteran Perang Dunia Pertama dan Perang Dunia Kedua disokong oleh pakar perubatan. Signifikan
kajian dan penulisan ini diharapkan dapat menjadi batu lonjakan kepada bidang perubatan “Occupational
Therapy” di Malaysia yang mana aktiviti jahitan sulaman tangan boleh digunapakai sebagai salah satu projek
terapi. Melalui aplikasi Pinterest dapat dilihat hasil seni jahitan sulaman tangan yang memberangsangkan. Wujud
komuniti di dalam Pinterest dan Facebook yang meminati seni jahitan sulaman tangan secara individu mahupun
berkumpulan berkongsi gambar hasil kreativiti sulaman. Ianya menjadi trend dikalangan generasi muda.
Kata Kunci - Jahitan, Sulaman Tangan, Terapi, Occupational Therapy, Perang Dunia Pertama
1. PENGENALAN
Sulaman tangan merupakan suatu bentuk aktiviti yang memerlukan fokus dan koordinasi
kemahiran tangan yang tinggi. Mengikut sejarah, sulaman telah pun wujud lama seawal wujudnya
manusia menggunakan kulit binatang dan kulit pokok untuk dijadikan pakaian bagi melindungi dan
menutup tubuh badan. Teknik sulaman ketika itu digunakan bukanlah bertujuan sebagai dekorasi pada
pakaian tetapi bertujuan untuk mencantumkan kepingan-kepingan fabrik bagi menghasilkan pakaian
yang boleh dipakai menggunakan jarum diperbuat dari tulang ikan. Sulaman tangan dipercayai
bermula dari negara China dan tamadun-tamadun awal dalam sejarah. Perkataan sulaman atau dalam
Bahasa Inggerisnya, “Embroidery” adalah berasal dari perkataan Perancis iaitu “broderie” bermaksud
hiasan atau ragam hias.
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1.1 Apakah yang dimaksudkan aktiviti jahitan sulaman tangan sebagai terapi?
Semasa Perang Dunia Pertama (1914-1918), aktiviti sulaman telah dijadikan sebagai terapi
untuk perajurit yang mengalami kecederaan teruk yang mana menjejaskan pergerakan mereka. Alfred
Briggs yang merupakan askar Australia ketika Perang Dunia Pertama telah mengalami kecederaan
teruk yang telah menjejaskan saraf lengan menyebabkan tangannya kanannya tidak dapat berfungsi
dengan baik. Beliau ketika itu telah digalakkan untuk memulakan aktiviti sulaman tangan bagi mengisi
masanya di dalam hospital disamping untuk melatih kemahiran motor halus bagi membolehkan
tangannya berfungsi kembali. Kemahiran motor halus adalah melibatkan koordinasi pergerakan otot-
otot kecil tangan, jari jemari dan pergerakan mata secara serentak. Kemahiran ini kebiasaannya adalah
dilatih diperingkat kanak-kanak yang mana objektif yang perlu dicapai melalui aktiviti dan koordinasi
pergerakan tangan dan jari jemari ini seharusnya mampu mempamerkan aktiviti yang dikawal oleh
sistem saraf manusia. David Briggs setelah menjalani rawatan selama setahun di Perancis, pulang ke
Australia dan menjalani rawatan seterusnya selama dua tahun di Randwick Hospital telah menulis nota
yang menyatakan bahawa sulaman telah membantu pesakit terlibat perang untuk melupakan kecacatan
dan ketidakupayaan yang dialami ketika peperangan.
Visual 1 Hasil Sulaman Tangan Lance Corporal Alfred Briggs (Albert Biggs),
20th Battalion, Australian Infantry Battalion
Tahun :1918-1920
Media : Fabrik Kapas, Benang Kapas Sulam Tangan
Diskripsi : Pelapik kusyen diperbuat dari kain kapas berwarna
hitam, dihiasi border tali emas. Disulam menggunakan jahitan stem
dan satin. Bermotifkan 6 kuntum bunga Daisy yang disulam emas
dan 4 tangkai buah berry yang disulam dengan benang merah.
Sumber: https://www.awm.gov.au/collection/C1283694
1.2 Apakah yang berlaku semasa Perang Dunia Pertama (1914-1918) dan Perang Dunia
Kedua (1939-1945) sehingga menyebabkan sulaman jahitan tangan diterima dan
digunapakai sebagai suatu bentuk terapi?
Perang Dunia Pertama menyaksikan kesengsaraan perajurit yang juga merupakan veteran
perang mengalami kecederaan yang bukan sahaja berbentuk fizikal malahan mental meraka juga turut
terjejas. Kecederaan dan kesakitan mental ini tidak kelihatan jelas jika dibandingkan dengan
kecederaan fizikal. Traumatik yang dialami kerana melalui suasana berperang dengan terdedah kepada
bunyi letupan bom yang kuat disertai dengan serpihan kaca dan bahan-bahan lain yg berterbangan
semasa letupan bertutur-turut telah memberi kesan kepada mereka. Wujud veteran perang yang
mengalami amnesia (kehilangan keupayaan untuk mengingat) serta kehilangan kemampuan untuk
bercakap tanpa dikesan kaitannya dengan kecederaan fizikal yang dialami. Veteran perang ini
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menghadapi apa yang dikenali zaman sekarang sebagai PTSD (Post Traumatic Stress Disorder) akibat
peperangan yang dasyat.
Charles Myers yang merupakan sorang ahli fizik adalah orang pertama yang menulis dan
membicarakan kertas bertajuk “Shell Shock” pada tahun 1925. “Shell Shock” adalah istilah yang
dicipta sendiri dan digunapakai oleh perajurit yang terlibat Perang Dunia Pertama. Antara simpton
yang dialami adalah kepenatan, gegaran, kekeliruan, mengalami mimpi-mimpi buruk yang
menggangu tidur dan kehilangan keupayaan mendengar dan melihat (Dr. Edgar Jones, 2012). Diagnos
dilakukan apabila perajurit gagal untuk berfungsi dengan normal dan tiada punca atau penyebab yang
jelas dapat dikenalpasti. Semasa Perang Dunia Pertama, wujud pandangan yang melabel bahawa
perajurit yang mengalami “Shell Shock” adalah penakut dan berpura-pura sakit untuk mengelakkan
dari menjalankan tugas.
Visual 2 Hinge, Leslie 1868-1954. Aktiviti Sulaman Menjahit Sulaman Tangan di Kalangan
Askar Terlibat Perang Dunia Pertama Yang Sedang Menjalani Terapi.
Imej adalah ehsan dari Perpustakaan Alexander Turnbull, Wellington, New Zealand
Sumber: https://www.inspirationsstudios.com/embroidery-as-rehabilitation-after-wwi/
Punca kepada masalah ini adalah berakar umbi daripada kecederaan fizikal yang dialami
(Charles Myers, 1925). Seterusnya, beliau menyatakan bahawa pendedahan berulang-ulang kali
kepada letupan yang sangat kuat telah menyebabkan otak mengalami trauma yang memberi kesan
kepada kumpulan perajurit yang mengalami simptom ini. Namun, apabila kajian dilakukan, teori ini
tidak berjaya dibuktikan dengan jelas. Ini disebabkan wujudnya ramai veteran perang yang tidak
terdedah dengan letupan yang kuat turut mengalami simpton yang sama. Justeru, Myers mencadangkan
dan meyakinkan ketenteraan British untuk mengambil serius berkaitan hal ini yang mana akhirnya
membawa kepada perkembangan di dalam bidang terapi yang masih digunapakai sebagai garis
panduan pada hari ini.
Kecederaan fizikal yang dialami oleh para perajurit ini mengambil masa yang lama untuk pulih
disamping rawatan yang perlu diberi menyebabkan mereka perlu berada lama di hospital. Berada lama
di dalam hospital memberi kesan kepada mereka. Kebosanan, kesunyian dan kesakitan yang dialami
ketika menjalani rawatan mewujudkan kebosanan dan menimbulkan tekanan perasaan ditambah
dengan trauma yang masih meninggalkan kesan mendalam. Wujud keadaan yang mana pesakit perlu
berada di hospital menjalani rawatan memakan masa hampir setahun. Kebanyakkan hospital
menyediakan suasana hospital yang cerah, bersih dan sunyi sesuai untuk proses meditasi dan
pemulihan bagi bekas perajurit ini.
Para perajurit ini dirawat oleh jururawat wanita ketika berada di dalam hospital. Jururawat-
jururawat ini yang bertanggungjawab menggalakkan perajurit ini untuk membuat sulaman tangan bagi
mengisi masa lapang yang terluang disamping mewujudkan suasana positif yang mana para pesakit
yang juga bekas perajurit ini boleh bertukar-tukar pandangan, idea dan berkomunikasi sesama mereka.
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Keadaan ini secara tidak langsung menjadi terapi berkesan dalam membantu pemulihan tambahan
pula aktiviti sulaman tangan melibatkan banyak pergerakan tangan dan jari jemari dengan
menggerakkan otot-otot tangan dan saraf yang membantu kepada pemulihan perajurit walaupun tidak
pulih sepenuhnya. Aktiviti sulaman pada asalnya dikenali sebagai aktiviti yang hanya dilakukan oleh
kaum wanita. Tanpa disangka aktiviti ini mampu dijadikan rawatan terapi untuk merawat perajurit
lelaki yang tercedera dan mengalami PTSD malahan seni jahitan sulaman ini diterima di dalam dunia
perubatan.
Louisa Frances Pesel (1870-1947) merupakan tokoh wanita penting yang bertanggungjawab
memperkenal sulaman kepada perajurit yang menjalani rawatan di hospital semasa Perang Dunia
Pertama. Beliau kemudiannya dikenali dan diiktiraf sebagai pengasas yang juga pakar di dalam bidang
seni jahitan di peringkat antarabangsa. Ketika Perang Dunia Pertama, beliau telah ditugaskan untuk
membantu pendatang Belgium bertempat di Bradford, England. Beliau bertanggungjawab
menubuhkan Bradford Khaki Club for Shell Shock bertujuan untuk membantu perajurit-perajurit ini
menjalani rawatan dan pemulihan dengan mengajar sulaman. Disinilah bermulanya titik tolak
permulaan kewujudan cabang kerjaya dalam dunia perubatan iaitu Occupational Therapy (OT).
Justeru, apakah itu Occupational Therapy?
Occupational Therapy Service is the use of treatment to help patients to achieve,
maintain and optimize independent in activities daily living, work, play or recreation
with the aspect of physical, mental, social, and spiritual. Strategies include promotive,
preventive, and rehabilitative.
Sumber: Portal Rasmi MYHEALTH Kementerian Kesihatan Malaysia
http://www.myhealth.gov.my/en/what-is-occupational-therapy/
Berdasarkan sumber di atas, jelas bahawa rawatan Occupational Therapy adalah bertujuan membantu
meningkatkan tahap kesihatan bukan sahaja fizikal pesakit untuk membolehkan mereka menjalani
kehidupan seharian malahan aspek bersifat rohani turut dibantu supaya mereka mampu berdikari.
Visual 3 Louisa Frances Pesel (1870-1947)
Sumber: https://www.notjusthockney.info/wp-content/uploads/2019/09/PESEL-
photo-2-186x300.jpg
Aktiviti sulaman tangan adalah suatu aktiviti yang menuntut ketelitian, tumpuan dan kesabaran
yang tinggi bagi mendapatkan hasil yang halus. Pergerakan aktiviti sulaman tangan memerlukan
penyulam memasukkan dan menarik benang dengan perlahan. Bermakna, mereka perlu menerima dan
memahami sifat atau karektor aktiviti sulaman yang memerlukan penyulam memperlahankan
pergerakkan. Keadaan ini umpama latihan yang lama-kelamaan memberi kesan tenang dan tidak
terburu-buru dalam pergerakan dan tindakan. Secara tidak langsung menjadi suatu falsafah yang boleh
diadaptasi dalam kehidupan.
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Metod sulaman sebagai terapi bagi merawat bukan sahaja sahaja di amalkan di United
Kingdom malahan di gunapakai juga di Australia, New Zealand dan Canada (Jonathan Davidson,
2018). Buktinya, peninggalan sulaman oleh veteran-veteran perang boleh didapati diTePapa Museum,
Wellington, New Zealand dan Autralian War Memorial Museum, Canberra, Australia.
“Penelope Kits” dikomersilkan oleh WM Briggs & Co. Ltd setelah menyedari jahitan sulaman
tangan semakin popular dan digunapakai ketika Perang Dunia Pertama sebagai terapi. Perkakasan
Penelope Kits ini sebenarnya telah wujud pada tahun 1886. Namun ketika itu, ianya hanya digunakan
di kalangan wanita lebih kepada tujuan rekreasi atau hobi sahaja berbanding sebagai terapi. Justeru,
ketika berlakunya Perang Dunia Kedua (1939-1945), juga dengan pengiktirafan Lembaga Perdagangan
yang menyedari nilai jahitan sulaman tangan, telah menggalakkan pembuatan dan pengkormesilan pek
Penelope ini. Pihak WM Briggs & Co. Ltd telah mengambil langkah efektif dan efisyen dengan
menyediakan Penelope Kits walaupun wujudnya sekatan perniagaan ketika itu akibat peperangan yang
sedang berlangsung. Setiap pek “Penelope Kits” mengandungi jarum, benang Anchor, fabrik yang telah
dicetak dengan corak dan juga buku mengandungi arahan untuk menjahit sulaman tangan.
Visual 4 Contoh Pek Penelope Kits
Sumber: Imperial War Museums United Kingdom@IWM2019
https://www.iwm.org.uk/collections/item/object/30083058
Aktiviti Menjahit Sulaman Tangan dan Kesihatan Mental
“…young, stressed professionals are now taking up needlepoint as a way to
relax and enjoy the benefits of their labour, and medical experts are
supportive of embroidery as an effective way to improve creativity and
mindfulness.
(Catherine Lambert, 2016)
Di Australia, generasi muda yang juga berjawatan profesional mengambil inisatif menghadiri
kelas-kelas jahitan sebagai salah satu cara untuk beristirehat yang mampu memberi faedah ke atas diri
supaya lebih berfikiran positif dan bertenaga sekaligus memperbaiki mutu kerja mereka. Pakar-pakar
perubatan juga turut sama menyokong dan menerima pakai aktiviti jahitan sulaman tangan adalah
kaedah efektif untuk meningkatan kreativiti dan mencapai ketenangan minda.
“…says embroidery is known as logic relaxation. Forming and flowing
patterns requires a certain logic to practice. It makes beautiful sense to do
this. You could sit on the train going to work and look out the window or
you could do cross-stitch, engaging the brain in being able to develop and
follow patterns, so there is a logic involved. It’s a self-induced state of
focusing.”
(Dr. Marlies Alvarenga, 2012)
Director of the Monash Clinical Psychology Centre, Monash University
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Gaya hidup di abad ke 21 dilihat menjadi punca kepada peningkatan masalah berkaitan emosi
dan psikologi mengakibatkan jasmani dan rohani terganggu. Hidup mendesak bertuhankan kapitalisma
dan materialistik memaksa generasi hari ini menjalani kehidpan seperti robot tanpa nyawa dan emosi.
Tekanan yang dihadapi membuatkan hilangnya pertimbangan menggunakan akal. Tekanan yang juga
dikenali sebagai stres ialah satu reaksi tubuh badan (fizikal), pemikiran dan emosi serta tingkahlaku
yang berlaku akibat dari sebarang perubahan persekitaran yang mendesak seseorang individu itu untuk
melakukan proses penyesuaian (Khairul Azhar Idris, 2014).
Peningkatan kewujudan program “Art as Therapy” pula semakin digalakkan dan sedikit demi
sedikit mendapat tempat di kalangan masyarakat terutama di luar negara. Kursus-kursus berkaitan “Art
Therapy” juga semakin bercambah dan mendapat perhatian. Salah satu kaedah dan aktiviti yang
dijalankan semasa sesi “Art Therapy” adalah menjahit sulaman tangan, melukis, membuat catan,
bercucuk tanam dan lain-lain. Apakah itu “Art Therapy”?
Art Therapy is an integrative mental health and human services
profession that enriches the lives of individuals, families, and
communities through active art-making, creative process, applied
psychological theory, and human experience within a psychotherapeutic
relationship. Art Therapy, facilitated by a professional art therapist,
effectively supports personal and relational treatment goals as well as
community concerns. Art Therapy is used to improve cognitive and
sensory-motor functions, foster self-esteem and self-awareness, cultivate
emotional resilience, promote insight, enhance social skills, reduce and
resolve conflicts and distress, and advance societal and ecological
change.
(American Art Therapy Association, dikemaskini 2017)
Ternyata, aktiviti yang dijalankan bukan sahaja boleh dilakukan secara individu, malahan
juga secara berkumpulan mengikut kesesuaian. Projek berkaitan jahitan sulaman tangan memberi
peluang supaya lebih fokus. Justeru, menarik tumpuan dan perhatian jauh dari masalah penyakit
yang dihadapi serta trauma ketakutan dan keresahan yang dialami melalui proses penghasilan
jahitan sulaman sehingga selesai (Jonathan Davidson, 2018).
2. KESIMPULAN
Sulaman tangan sebagai suatu bentuk terapi telah diperkenalkan sejak Perang Dunia Pertama
lagi dan dibuktikan memberi kesan efektif dalam membantu perajurit yang trauma kembali menjalani
hidup dengan sihat. Sulaman tangan dari segi perubatan merupakan satu bentuk seni yang boleh
digunapakai untuk tujuan terapi. Justeru, aktiviti ini boleh diperluaskan di Malaysia untuk pelbagai
lapisan masyarakat meliputi golongan muda dan tua. Tambahan masyarakat Malaysia yang berbilang
kaum dengan pelbagai budaya ini juga mempunyai budaya dan kesenian menjahit sulaman tangan
mengikut acuan bangsa dan budaya masing-masing. Menyedari populariti aktiviti seni jahitan sulaman
sebagai hobi dan terapi semakin meningkat, juga melihat prospek “Art as Therapy”, adalah sesuatu
yang amat baik jika dapat diperluaskan di Malaysia. Di luar negara, aktiviti berkaitan seni dan kreativiti
dimasukkan di dalam pengurusan PTSD (Post Traumatic Stress Disorder) untuk pesakit lelaki dan
wanita. Alternatif ini adalah satu cara efektif selain kebergantungan terhadap ubat-ubatan sahaja.
3. RUJUKAN (JOURNAL & BUKU)
Cooper, C. (2013). Fundamentals of Hand Therapy, Clinical Reasoning and TreatmentsGuidelines for
Common Diagnoses of the Upper Extremity, 2nd Edition. St. Louis Missouri, Elsevier Mosby
Publication
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Davidson, J. (2018). Threading the Needle: When Embroidery Was Used to Treat Shell-Shock. J R
Army Med Corps. Doi:10.1136/jramc-2018-000922
Jones, E. (2010). Shell Shock at Maghull and the Maudsley: the origins of psychological
medicine.Journal of the History of Medicine and Allied Sciences, 65, 368–395.
McBrinn, J. The work of masculine fingers: The Disable Soldiers’ Embroidery Industry, 1918-195. J
Des Hist 2016:epw043
Myers, C.S. (1916). Contributions to The Study of Shell Shock, Being an Account of Certain Cases
Treated by Hypnosis. Lancet,1, 65–69.
Myers, C.S. (1940). Shell Shock in France 1914–18, Based on a War Diary. Cambridge: Cambridge
University Press
American Art Therapy Association (dikemaskini Jun 2017). Definition of Art Therapy. Diakses pada
Oktober 17, 2019 dari https://www.arttherapy.org/upload/2017_DefinitionofProfession.pdf
AustralianWar Memorial. DiaksespadaOktober 16, 2019 dari https://www.awm.gov.au/collection/C1283694
Brayshaw, E. (2017, April 25). How embroidery therapy helped first world war veterans find a
common thread. Diakses pada 16 Oktober, 2019 dari
https://www.theguardian.com/commentisfree/2017/apr/25/how-embroidery-therapy-helped-
first-world-war-veterans-find-a-common-thread
Idris, K. A. (2012, Mei 12). Tekanan Hidup dan Sakit Mental. Diakses pada Oktober 17, 2019 dari
http://www.ikim.gov.my/index.php/2014/05/12/tekanan-hidup-dan-sakit-mental/
Jones, E. (2012, Jun). Time Capsules Shell Shocked. Volume 43, No.6. Diakses pada Oktober 17, 2019
dari https://www.apa.org/monitor/2012/06/shell-shocked
Lambert, C. (2016, Jun 17). How Stitching Helps Beat Stress. Diakses pada Oktober 18, 2019 dari
https://www.bodyandsoul.com.au/mind-body/wellbeing/how-stitching-helps-beat-stress/news-
story/89222a959043b7731caab8274e577fca
Neville, C. (2015). Not Just Hockney. Diakses pada Oktober 17, 2019 dari https://www.notjusthockney.info/pesel-
louisa/
Penelope Kits. Diakses pada Oktober 18, 2019 dari https://afamilyofthreads.info/wp-
content/uploads/2018/04/AFOT2017-Booklet4-BRIGGS-PENELOPE-KITS.pdf
Abdul Kuthoos, J. (2014, Januari 27). What is Occupational Therapy.Portal Rasmi MYHEALTH
Kementerian Kesihatan Malaysia. Diakses pada Oktober 18, 2019 dari
http://www.myhealth.gov.my/en/what-is-occupational-therapy/
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AFA 2019
11th ASIA FIBER ART EXHIBITION AND SYMPOSIUM –MALAYSIA
2019
24-25 September 2019
TINJAUAN LITERATUR PENYAKIT KECELARUAN
PERMAINAN VIDEO DALAM TALIAN DI MALAYSIA
Zulimran Ahmad1, Mohd Nor Osman2, Muhammad Nur Firdaus Nasir3
1Department of Graphic Design Faculty of Art And Design, Universiti Teknologi MARA, Perak Branch
1Department of Graphic Design Faculty of Art And Design, Universiti Teknologi MARA, Perak Branch
[email protected]
Abstract - Objektif: Masih banyak maklumat yang tidak digenggam kemas oleh masyarakat Malaysia
terutamanya golongan remaja dan ibubapa berkenaan penyakit ‘Internet Gaming Disorder’ (IGD). Maklumat
kritikal tidak diterjemah secara meluas dalam bentuk yang mudah dihadam kepada kempen-kempen kesedaran
bersasar yang berimpak tinggi. Keputusan World Health Organization (WHO) meletakkan IGD di dalam
Klasifikasi Penyakit Antarabangsa edisi ke sebelas ‘International Classification of Diseases’ (ICD-11) sebagai
sejenis penyakit telah mencetus kebimbangan dunia. Keputusan ini adalah rentetan daripada banyak kajian, kes
dan laporan corak gaya hidup permain permainan video yang tidak normal diperoleh dari merata tempat.
Kupasan berita akhbar sekali-sekala dan hebahan maklumat on-demand di internet dilihat masih tidak
mencukupi. Ini tidak bermaksud bahawa kuantiti maklumat ini terbatas. Akan tetapi, kekerapan penyaluran
maklumat yang berulang kepada masyarakat dapat membantu memberi impak kepada kesedaran umum
berkaitan IGD. Oleh itu, objektif kertas ini adalah untuk memuatkan beberapa literatur bagi membincangkan
penyakit IGD yang kini menjadi fenomena di seluruh dunia terutamanya Malaysia. Kaedah: Pemilihan literatur
adalah berdasarkan pencarian di ‘google scholars’ dengan penggunaan kata kunci seperti berikut ‘Internet
Gaming Disorders (IGD), video game demographic, Internet gaming disorder in the world, online gaming, bad
internet gaming disorder’ turut diambil kira jika artikel berkenaan dari jurnal yang berindeks tinggi. Keputusan
: Kesimpulan: Hasil dari tinjauan literatur, menunjukkan IGD di Malaysia telah berada ditahap yang hampir
membimbangkan. Ini kerana semasa literatur ditulis, internet di Malaysia sedang menuju ke arah keupayaan
internet berkelajuan tinggi ‘fifth generation’ (5G). Perkara ini harus diambil perhatian dimana keupayaan internet
4G masa kini senang sekali dicapai berikutan matlamat pemerkasaan jalur lebar negara. Lambakan pelbagai
jenama telefon pintar di pasaran dengan caj pembekal servis telekomunikasi yang semakin murah, memudahkan
akses kepada permainan video tanpa had.
1 PENGENALAN
Statistik yang dikeluarkan Newzoo (2019) menempatkan tajuk permainan mengikut
kedudukan: 1) League of Legends, 2) Minecraft dan 3) Counter Strike Global Offensive sebagai
permainan yang paling ramai dimainkan pemain video seluruh dunia sama secara amatur dan di arena
liga profesional. Amerika Syarikat, China dan Jepun adalah tiga negara teratas dalam kedudukan
pasaran permainan global dengan mempunyai bilangan pemain yang tertinggi (Newzoo, 2019).
Menyedari fenomena kewujudan pemain permainan video yang diiktiraf sebagai atlit sukan
professional oleh Amerika Syarikat, Gabungan Bolasepak Antarabangsa (FIFA) telah melancarkan
Piala Dunia Elektronik (eWorld Cup) yang menawarkan hadiah sebanyak 412,826 ringgit beserta
gelaran juara dunia (Alex Gray, 2018; FIFA, 2019).
Permainan video dilihat kini sebagai suatu kerjaya yang menjana pendapatan yang lumayan,
mendapat liputan wawancara sukan terkemuka serta memiliki tiga ratus juta peminat secara langsung
ataupun di media sosial sebagai sukan elektronik ‘eSports’ (Alex Gray, 2018). Alex Gray (2018) yang
memetik statistik penjejak permainan Newzoo mengatakan Kuro Takhasomi merupakan seorang
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pemain Jerman yang memiliki pendapatan yang paling tinggi di dunia pada ketika ini dengan kekayaan
3.5 juta dollar (14,687 060 ringgit) daripada wang hadiah. Oleh kerana peningkatan ketara pemain,
peminat dan pasaran pemainan video global, risiko kepada penyakit IGD dengan sendirinya akan
meningkat jika tiada langkah-langkah penyampaian maklumat, pencegahan atau rawatan.
Langkah WHO mengklasifikasi IGD sebagai sejenis penyakit tidak boleh dipandang ringan.
Penekanan WHO menglasifikasi IGD di dalam ICD-11 sebenarnya menjadi tanda kepada tahap
keseriusan penyakit ini. Pemain yang menumpukan bermain permainan video semata-mata lebih
daripada minat dan aktiviti harian yang lain dan meneruskan kehidupan mereka walaupun munculnya
akibat-akibat negatif daripada itu, telah didefinisikan sebagai penyakit (WHO, 2018). Walaupun
terdapat sebilangan sarjana yang mengkritik perkara ini secara terbuka melalui kertas kerja terhadap
World Health Organization, tetapi mereka secara kolektif bersetuju bahawa pemain permainan video
mengalami masalah serius akibat dari masa yang diperuntukkan semasa bermain (Espen Aarseth, et
al., 2017)
Banyak kertas kajian telah dibuat oleh penyelidik daripada dalam dan luar negara berkenaan
IGD, ketagihan bermain, impak, motif, masalah pemain-pemain, dan cara-cara mengatasinya. Namun
kaijan-kajian ini hanya berlaku di dalam konteks negara kajian itu dibuat sahaja. Perdebatan mengenai
permainan atas talian telah menjadi tumpuan para ilmuan di awal 2005, dimana ianya secara jelas
menunjukkan aspek negatif dan akibat kepada perkara ini ianya secara tidak langsung turut
menyumbang kepada masalah pembelajaran, keluarga dan masalah perhubungan (Brian D. Ng, 2005).
Sejak tahun 2013, lebih dari 250 penerbitan telah dihasilkan berkaitan dengan gangguan permainan
video atas talian, ianya turut dirujuk sebagai, permainan video atau gangguan penggunaan internet,
permainan video atau ketagihan internet, permainan video atau kebergantungan internet (Nancy M.
Petry, 2013) Kebanyakkan laporan menjurus kepada belia ataupun remaja dari
Negara Asia. (Choo H., 2010; Zhang 2008). Beberapa kajian tempatan melibatkan pelbagai
sudut disiplin seperti di dalam bidang psikiaitri (Ahmad Izzat Ahmad Tajjudin, Shahrul Nizam Ahmad
Zamzali, 2018), perubatan (Guan & Yen, 2018), sains komputer (Muhammad Muhaimin, Norshakirah
Aziz, 2019) dan sains sosial (Latif, Aziz, Taufik, & Jalil, 2017) di samping literatur janaan pihak
berwajib iaitu kerajaan Malaysia (KKM, 2019).
Laman portal Kementerian Kesihatan Malaysia (KKM) turut mengesahkan fenomena ini
dengan sokongan maklumat memaparkan kriteria penyakit IGD. Portal-portal berita media cetak dan
sosial turut sama melaporkan berita berkaitan. Namun begitu, tidak ramai yang memandang serius
akibat penyakit janaan permainan video. Oleh itu, kertas ini bertujuan untuk mengumpulkan beberapa
literatur yang berkaitan bagi membantu meluruskan kefahaman dan meluaskan hebahan maklumat
tentang penyakit IGD.
1.1 Senario permainan video atas talian di Malaysia
Malaysia berada di kedudukan ke-21 dalam pasaran permainan video dunia, ke-30 dalam
penggunaan telefon pintar global sebanyak 18,437,000 pengguna dengan jumlah 57.5 peratus
penembusan dilaporkan (Newzoo, 2017).
Newzoo (2017) memberikan demografik umur pemain permainan video aktif di Malaysia
secara majoriti berada di dalam lingkungan umur 21 hingga 35 tahun manakala pemain aktif yang
termuda dikesan bermula sejak usia sepuluh tahun. Sebanyak 42 peratus pemain permainan video yang
aktif di Malaysia adalah daripada golongan perempuan manakala pemain lelaki mendominasi dengan
peratusan sebanyak 58 peratus. Kesemua mereka bermain dalam ketiga-tiga jenis platform konsol, PC
dan telefon pintar (Newzoo, 2017).
Di dalam satu kajian tentang hubungan antara permainan video berunsur keganasan dan
tingkah laku telah dijalankan dikalangan remaja melibatkan beberapa sekolah terpilih di sekitar lembah
klang. Responden terdiri dari pelajar berumur 13 hingga 17 tahun berjumlah 994 orang (499 lelaki dan
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495 perempuan) daripada dua buah sekolah telah menjawab kertas soalan. Keputusan dari kajian
tersebut melaporkan bahawa pelajar lelaki lebih gemar bermain permainan video yang berunsur
keganasan berbanding pelajar perempuan (Vashnarekha Kumarasuriar, 2011). Laporan statistik
analitikal yang terbaru melaporkan Malaysia mempunyai seramai empat belas juta pemain video yang
membelanjakan lebih 587 juta dollar iaitu 2.5 bilion ringgit pada tahun 2017 sahaja (Newzoo, 2017).
1.2 Ketagihan bermain permainan video di Malaysia
Ketagihan ditakrifkan sebagai keinginan yang amat sangat, kebiasaanya dengan kehilangan
kawalan diri berasal daripada stimulasi sikap bukan-kimia apabila lebihan interaksi di antara manusia
dan mesin tercapai (Griffiths & Pontes, 2019; Latif et al., 2017). Walau bagaimanapun, pemain yang
bertahan bermain sehingga 14 jam sehari tanpa mengalami impak negatif dalam kehidupan mereka
tidak dianggap sebagai penagih kerana penagih dan pemain keterlaluan adalah berbeza menurut Latif
(2017).
Sebuah artikel akhbar tempatan memetik pendapat seorang psikologis klinikal Malaysia Dr.
Joel Low berpandangan ketagihan bukan sahaja berlaku dengan tindak balas bahan kimia seperti
alkohol atau dadah sahaja kerana ketagihan seperti judi, pornografi dan permainan video turut berkuasa
menggalak kesan yang sama kepada otak dan sikap mereka (Chandy, 2019). Malaysia tidak terlepas
daripada terkena masalah penyakit IGD kerana Low dan beberapa kertas kajian merujuk kepada banyak
individu yang mengalami pelbagai masalah kesihatan mental kesan daripada bermain permainan video
(Chandy, 2019; Latif et al., 2017;
Ng & Wiemer-Hastings, 2005). Low menambah, penyakit ini mengakibatkan insomnia,
kelesuan, hilang konsentrasi dan kematian dalam kes yang paling ekstrem. Chandy (2019) memetik
Low dengan mengatakan depresi sering didapati sebagai diagnosis sekunder contohnya jika masa
bermain dibataskan.
Pendapat pengkritik yang mengatakan penyakit ini hanya melibatkan peratusan yang kecil dan
tidak perlu dibimbangkan sukar diterima kerana apabila ribuan juta orang bermain di seluruh dunia,
walaupun dengan peratusan yang kecil, ia akan mencapai kumpulan jutaan lebih-lebih lagi dengan
letusan fenomena sukan elektronik yang menawarkan hadiah lumayan (Alex Gray, 2018; Chandy,
2019).
2. PERBINCANGAN DAN KESIMPULAN
Faktor kemasukan IGD ke dalam ICD-11 sebenarnya adalah satu langkah yang jelas untuk
meningkatkan perhatian pihak berkuasa dengan harapan ia akan menghasilkan langkah pencegahan dan
rawatan yang berkaitan (WHO, 2018).
IGD adalah merupakan subjek kepada banyak perdebatan namun hanya sedikit sahaja
penyelidikan yang telah dilakukan walaupun penyakit ini muncul dalam seksyen tiga Diagnostic and
Statistical Manual of Mental Disorders-5 (DSM-5) (Griffiths et al., 2016; Király, Griffiths, &
Demetrovics, 2015; Laconi, Pirès, & Chabrol, 2017). Persatuan Psikiatri Amerika (APA) menganggap
IGD sebagai sejenis penyakit mental yang akan dihidapi sekiranya seseorang menunjukkan lima
daripada sembilan jenis gejala ini sahaja iaitu: 1) Keasyikan dengan permainan video, 2) Gejala
penarikan apabila permainan video telah diambil pergi, 3) Toleransi kepada keperluan untuk
menghabiskan masa semakin meningkat dalam permainan, 4) Cubaan mengawal diri dalam penyertaan
permainan tidak berjaya, 5) Kehilangan minat kepada hobi dan hiburan sebelum ini, 6) Berterusan
bermain walaupun tahu akan masalahnya, 7) Berbohong kepada keluarga terdekat, ahli terapi atau
orang-orang lain tentang masa yang dihabiskan dalam bermain, 8) Menggunakan permainan untuk
melegakan mood negatif, 9) Telah menjejaskan atau kehilangan hubungan penting, pekerjaan,
pendidikan atau peluang karier disebabkan kesetiaan bermain (APA, 2013).
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Gejala-gejala yang disebutkan di atas adalah gejala yang sama bagi permainan video untuk
dalam atau luar talian dan boleh melibatkan permainan luar internet seperti platform konsol, permainan
dipegang dengan tangan (handheld) atau jenis-jenis yang lain (Laconi et al., 2017). Walau
bagaimanapun Laconi (2017) menegaskan bahawa permainan di dalam dan di luar talian tidak boleh
dikaji menggunakan konsep yang sama dan perlu dibezakan sewajarnya mengikut kajian.
2.1 Kesimpulan
Malaysia, seperti negara-negara yang lain mengalami masalah IGD walaupun tidak
diketengahkan secara jelas dengan angka-angka peratusan mahupun berita tular di media sosial. Dunia
kini berada di ambang internet berkelajuan generasi ke lima (5G) pasti akan memberi impak kepada
tahap mental, emosi dan cara hidup masyarakat. Persediaan ke arah penerimaan teknologi 5G yang jauh
lebih hebat harus diutamakan agar rakyat bersedia dengan gelombang kejut teknologi tersebut. Dengan
kehadiran permainan-permainan baharu yang disokong grafik memukau kapasiti 5G, pasti lebih banyak
jenama akan menjadi menaja pertandingan sebagai teknik periklanan terbaru. Lebih banyak liga dan
pasukan eSports akan dibentuk, lebih banyak gajet baharu diperkenalkan untuk memainkan genre
permainan akan datang. Gaya hidup diramalkan akan terevolusi. Hipotesis bahawa lebih
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ramai rakyat Malaysia akan terjebak dengan IGD mungkin terjadi jika tiada kawalan pencegahan dan
pelan pemulihan terancang secara sistematik.
Situasi IGD dalam permainan video sama ada di dalam atau di luar talian di Malaysia harus
diberikan penekanan mulai sekarang sebelum keadaan merebak menjadi tidak terkawal dan akhirnya
kritikal.
Kesihatan mental rakyat adalah sangat penting dalam pertumbuhan modal insan pada masa
hadapan. Ia turut menjadi tuntutan kerohanian dalam setiap agama agar penganutnya menyediakan
ruang masa, memberi sepenuh tumpuan dan penghayatan bagi menyempurnakan kerukunan atau ritual
agama tertentu. Kesihatan sosial perlu dipulihkan agar nilai kehidupan berkeluarga dapat di manfaatkan
dengan aktiviti rohani dan jasmani yang seimbang, membentuk generasi yang lebih sihat.
Media harus digerak sebagai platform pemampan gelombang 4G semasa dan seterusnya 5G
dengan penyaluran maklumat dan kesedaran secara berkala. Justeru, pengaruh media massa seperti
periklanan kreatif harus dieksploitasi secara bersasar menggunakan mesej, frekuensi, peletakan
(placement) dan kenderaan-kenderaan media khusus bagi memujuk pemain yang terlalu obses dengan
permainan video kembali waras. Kajian-kajian terhadap keupayaan media bagi membendung atau
sekurang-kurangnya melengah atau mengurangkan kesan IGD-4G pada masa kini harus digiatkan.
Dengannya kita mampu bersedia melawan gelombang IGD-5G yang akan tiba tidak lama lagi
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AFA 2019 - Symposium
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