Major Project 1 - Task 1: Proposal Development
Lew Guo Ying / 0365721 / Bachelor of Design in Creative Media
Major Project 1
Task 1: Proposal Development
Index
Instructions
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| Fig1.1 Task 1: Proposal Development |
Week 1: Safeguarding Cultural Heritages
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| Fig1.2 Week 1 Discussion Result |
After Mr. Kamal's briefing on the major project 1 module, we proceeded to form our teams. Our group consists of four members: team leader Winnie Ho, myself (GuoYing), Melvin, and Yanny.
We began by brainstorming potential themes for our project. After thorough discussion, we unanimously decided on "Safeguarding Cultural Heritages" as our core concept. When choosing a specific regional focus, we agreed that China, with its rich cultural heritage, would provide an excellent foundation for our research.
As a team member, I started exploring elements that have persisted as cultural carriers throughout history. I recommended several unique cultural phenomena to the group, including the ancient practice of Gu sorcery from Yunnan province and the Daoist concepts of Yin-Yang and the Five Elements. These cultural elements are not only historically significant but also carry profound philosophical underpinnings and practical applications, making them ideal subjects for our cultural preservation theme.
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| Fig1.3 Interviewee contact |
After our initial consultations, our lecturer Dr. Wong Chui Yin provided valuable feedback on our project direction. He suggested we narrow our scope and focus on local cultural elements rather than Chinese cultural heritage. This would facilitate better access to information, research materials, and field studies. He also advised us not to rush into solution-finding too early, but instead to explore step by step, allowing for more possibilities in our final solutions and outcomes.
Following this guidance, we decided to focus on two disappearing local cultural elements: Baba Nyonya culture and Wayang Kulit (shadow puppetry). Both represent fading traditions where artisans, production techniques, and knowledge are gradually being lost. We divided our research responsibilities: Yanny and I would focus on Wayang Kulit, while Winnie and Melvin would investigate Baba Nyonya culture.
We began collecting information and discovered that, fortunately, there were several upcoming Wayang Kulit exhibitions and activities scheduled in the near future. These events would provide us with excellent opportunities to gather data, gain inspiration, and identify potential interviewees to better understand these cultural elements for our subsequent tasks.
According to our task timeline, each team member needed to interview three people. Winnie and I would focus on interviewing professionals in their respective fields, while the other two team members would engage with general audiences and enthusiasts. We compiled contact information for potential interviewees to arrange both online and in-person interviews.
I also proposed conducting field research in Melaka, which Dr. Wong approved. We scheduled this field trip for Week 3, after which we planned to attend a Wayang Kulit exhibition organized by Fusion Wayang Kulit on the 16th at GMBB in Kuala Lumpur.
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Fig1.4 Research |
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| Fig1.5 Interview Question |
I began conducting online research covering various aspects: initial thoughts before data collection, reasons for the decline in Wayang Kulit craftsmanship, research questions, how modern society can prevent cultural disappearance, and differences in local Wayang Kulit styles. I also collected detailed information related to Wayang Kulit, including types of Malaysian Wayang Kulit, their distinctive characteristics, and other relevant data.
Simultaneously, I started identifying expert teams and individuals who could be contacted for interviews. Since we planned to conduct field research in Melaka, I specifically searched for Wayang Kulit resources in that area. Having visited Melaka years ago, I remembered a museum that displayed some Wayang Kulit artifacts, so I hoped to locate the person in charge for an interview.
To make our interviews more effective, we developed an interview question list divided into general questions and specialized questions for more in-depth understanding. We also categorized different types of interviewees, including: shadow puppet crafters, general public, museum owners, cultural event organizers, local cultural enthusiasts, educators in cultural studies, and tourists.
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| Fig1.6 Field Research |
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| Fig1.7 Research Analysis |
During this period, we traveled to Melaka for field research. Although the area primarily showcased items related to Baba Nyonya culture, we seized the opportunity to interview craftspeople involved in making lanterns, kebaya (traditional Nyonya dress), and kasut manik (beaded shoes).
We visited local museums but found that exhibits on Wayang Kulit were quite limited. After returning to Kuala Lumpur, we attended an exhibition at GMBB organized by Fusion Wayang Kulit. Prior to our visit, I had already contacted them via email and arranged interviews. Additionally, we visited the Waye Kito project at Sunway University, gaining valuable insights through these channels. These field trips provided us with a rich collection of photographic documentation.
Subsequently, I completed interviews with three interviewees, documenting their basic background information. To systematically analyze the collected data, we employed an Affinity Diagram approach to organize and analyze the interview results, helping us identify key themes and findings.
Interview Insights on the Decline of Wayang Kulit:
To gain deeper insights into the preservation of Wayang Kulit, I interviewed three individuals with different backgrounds. Here are the key takeaways:
Interviewee 1: Linus (47, Self-Media Professional)
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Key Points:
- Linus highlighted the disconnect between younger generations and traditional arts like Wayang Kulit, as modern entertainment (social media, TV, video games) takes precedence.
- He emphasized the lack of cultural education in families, leading to a generational gap in understanding traditional arts.
- Solution: To revive traditional arts, there needs to be modernization, integrating contemporary elements to attract younger audiences.
Interviewee 2: Chuo (52, Multimedia Professional & Fusion Wayang Kulit Performer)
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Key Points:
- Chuo pointed out the growing dominance of modern entertainment over traditional art forms, with young people increasingly disengaged.
- He stressed that innovation is key to making Wayang Kulit appealing to today's audience, suggesting that modern technology like VR and digital music could breathe new life into the art form.
- Solution: Combining traditional arts with modern tech could help bridge the gap between generations.
Interviewee 3: Pak Cu (72, Traditional Tok Dalang Performer)
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Key Points:
- Pak Cu discussed the negative impact of modernization, where young people are more attracted to fast-paced entertainment than traditional performances like Wayang Kulit.
- He also mentioned the fusion of different cultural influences, which has diluted the authenticity of the original form of Wayang Kulit.
- Solution: There needs to be a balance between preserving the authenticity of traditional arts while adapting them to the needs of modern audiences.
Common Themes from Interviews:
- Modern Entertainment’s Influence: Modern digital media is overshadowing traditional arts, making them less relevant to younger generations.
- Generational Disconnect: There’s a significant gap in cultural transmission between older and younger generations.
- Lack of Innovation: Traditional arts are seen as outdated, and without innovation, they risk fading away.
Solutions:
- Integrating modern technology and entertainment elements (e.g., virtual reality, digital media) into traditional performances.
- Encouraging cultural transmission through education and intergenerational programs.
- Creating innovative platforms to make traditional arts more accessible and engaging for young audiences.
FeedBack
Additionally, Dr. Wong expressed support for our planned field research, believing that visiting the locations in person would give us a more direct and profound understanding of Wayang Kulit and Baba Nyonya culture. This on-site experience would provide us with firsthand information for our research, offering valuable insights that online research alone could not provide.
After reviewing our research progress, Dr. Wong pointed out that our interviews were not yet comprehensive enough. He noted that we had primarily interviewed professional shadow puppet crafters at that point, lacking insights from other perspectives. Therefore, he advised us to conduct deeper data analysis to ensure the smooth progression of subsequent tasks.
Dr. Wong also encouraged us to broaden our vision for final solutions, suggesting we look beyond conventional digital platforms like websites and apps to consider interactive educational formats such as workshops. This diversified thinking would make our project outcomes richer and more effective.
Additionally, Dr. Wong introduced requirements for the upcoming User Persona task, recommending that we consider various types of users, including the general public, professionals, and people from different age groups. This categorization would help us design more targeted solutions that meet the needs of different user groups.
Reflection
In this cultural heritage preservation project, our group faced a rather unique situation. The scope of our focus was relatively broad, encompassing both Wayang Kulit and Baba Nyonya culture—two distinctly different yet equally important local cultural heritages. This breadth made our project both highly challenging and extraordinarily complex.
To address these challenges, we adopted a multifaceted approach. Team collaboration became the key factor in overcoming difficulties. Each member was responsible for different research areas, while we met regularly to exchange findings and insights, ensuring thorough information sharing and integration. We conducted extensive online research, delving into various academic materials, historical documents, and modern interpretations, all of which helped us establish a foundational understanding of these cultural forms.
However, the most valuable experience undoubtedly came from our field research. Visiting cultural sites in Melaka and Kuala Lumpur in person provided us with precious insights that could not be obtained through the internet. During our field visits, we documented numerous photographs and video recordings, capturing the nuances of these cultural expressions. Through direct conversations with professionals, we acquired firsthand information of higher quality and reliability. Being able to witness the manipulation techniques of shadow puppets firsthand, or closely observe the intricate craftsmanship of Baba Nyonya attire, greatly enriched the depth of our understanding.
We were also fortunate with timing. Coincidentally during our module period, several cultural events and exhibitions related to our research topics were held. For example, the Fusion Wayang Kulit exhibition at GMBB and the Waye Kito project showcase at Sunway University gave us opportunities to connect with many professionals and enthusiasts in the field. These rare interview opportunities significantly enriched our research content, providing us with unique perspectives and profound insights.
Reflecting on this experience, I believe that combining field research with online research proved extremely effective. While online resources can provide theoretical frameworks and basic knowledge, the insights and understanding gained through personal experience and direct dialogue are irreplaceable. This multidimensional research approach not only made our project more comprehensive but also gave us as designers and researchers a richer sensory understanding, enabling us to develop solutions that are more targeted and culturally sensitive.
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