Malaysia is characterized by means of its sizeable cultural yet racial diversity, its population component Malays, Chinese, Indians, Orang Asli, the numerous indigenous peoples regarding Sabah then Sarawak then others. The Malay Peninsula’s location adjacent in accordance with the Melaka Strait some concerning the world’s close essential maritime trading routes yet the ensuing heterogeneous population, have carried in imitation of indigenous crafts yet art animal subjected in conformity with the impact on ignoble culture. Sabah and Sarawak stability being quite eliminated out of the international thoroughfare over the Melaka strait, flourished markedly one of a kind arts and craft (Syed Ahmad Jamal, 2007).
According to Act 222- Act of Malaysian Handicraft Development Corporation 1979, the craft is the end result on a system as depends fully yet partly concerning on hand skill and mitt artistry is additionally an inventive product to that amount has cultural or ordinary charm. The handicraft field is divided into five parts particularly craft, jungle, soil, metallic and textile products.
In terms of history and development, weaving is a traditional art that does not has external influence. The development of weaving history is similar to development of pottery art. Weaving types at most Neolithic times are produce rope, house and necessities. So far there are some states is still actively involved in weaving activities, including Terengganu, Perlis, Kedah, Perak, Selangor, Negeri Sembilan, Pahang, Malacca, Sarawak and Sabah.
Weaving is an art that affects the life and culture of the Malay community. Scoring or crossing the materials from plants to be a strong cluster is a technique in producing weaving crafts. Based on sources from Act 222 – Malaysian Handicraft Development Corporation Act 1979, the weaving craft which is a Malaysian art of international art has been in existence for the past three hundred years. Bamboo, rattan, pandanus, mengkuang leaves and ribu-ribu leaves are the major results in producing weaving craft. Weaving handicraft in Malaysia is evident in the production of mats, baskets, furniture, barracks, versatile containers, home wall and gift items and souvenirs. Malaysian handicraft art is considered as a unique art in the Asian region.
1.2 PROBLEM STATEMENT The manufacture of weaving craft is decreasing and the craftsmanship of the craft is getting forgotten today (Mohd Norhadie Sahari, 2011). This is because the artwork of handicraft is now less favorable to the younger generation and is particularly alarming and needs serious attention. This was supported by Telang Usan State Assemblyman Dennis Ngau in 2011. He added that the craft also symbolizes the identity of the tribe in the sarawak. This research is conducted to know the student’s skills of Bachelor of Education (hons.) Art and Design Education, University of Technology Mara (UiTM) in the production of weaving craft. According to information from Utusan online, young people are reluctant to engage in weaving work and young people today do not like learning to weave because it is hard to understand. This is because; this weapon needs to be very patient because it takes time apart from needing skills in getting the best pattern (Rosmah Dain,2005).
According to information from Kosmo online, the hard weaving technique that the craft is known as ‘Anyaman Gila’ is amongst the causes it does not favor to learn ( Mohd Roslan Abdul Ghani,2012).
Scoring or crossing the materials from plants to be a strong cluster is a technique in producing weaving crafts. The technique for producing weaving is very difficult. It requires a lot of patience. Weaving also has many types of claws that are also difficult to produce. The researcher wanted to study the skill level of students of Faculty of Education, Art and Design Education, University of Technology Mara (UiTM) in the production of weaving craft. They are required to produce some types of weaving design using nature things such as mengkuang leaves. They are also required to produce some types of weaving design by using man-made materials such as ribbons and colored papers. The weaving they need to produce is A3 size (11.7 x 16.5 inch) only. The students were given a short time in producing the weaving as they needed to produce other craft products. This is a challenge for them in producing weaving craft products.
To get nature things such as mengkuang leaves to produce weaving is extremely difficult. Mengkuang leaves that are ready to be dried and dyed only have in some states such as Kelantan. After the students finished producing weaving craft, they would give their opinion in producing the woven craft.
Therefore, the researcher should collect the data and make observations on the students to know the level student’s skills of Bachelor of Education (hons.) Art and Design Education, University of Technology Mara (UiTM) in the production of weaving craft.
1.3 RESEARCH OBJECTIVES There are three research objectives:1) Identify student knowledge about weaving craft2) To identify student’s skills in producing weaving craft3) To identify the student’s achievement in producing weaving craft. 1.4 RESEARCH QUESTIONS There are three research questions:1) How much student’s knowledge about weaving craft?2) What is the skill’s level of students in producing weaving craft?3) What is the student’s achievement in producing weaving craft?
1.5 SIGNIFICANT OF STUDY The purpose of this study was to determine the level of the student’s skills of Bachelor of Education (hons.) Art and Design Education, University of Technology Mara (UiTM) in the production of weaving craft products. The results of this study can contribute to new knowledge about the skill level of students to produce woven craft. Hence, the results of this study will give a bit of information to the relevant parties in order to make the teaching and learning process more effective for mutual benefit. Students Bachelor of Education (hons.) Art and Design Education, University of Technology Mara (UiTM) are able to identify their level of skill in producing woven craft and are aware of their importance and relevance in the subject of Craft, Design and Society (ADE 630). In this study also, some of which can assist lecturers in identifying weak students in crafting craftsmanship. This study focuses on the level of the student’s skills of Bachelor of Education (hons.) Art and Design Education, University of Technology Mara (UiTM) in the production of weaving craft products in the subject of Craft, Design and Society (ADE 630). In this study we can know student knowledge about weaving craft. We also can know student’s skills in producing weaving craft and know student’s achievement in producing weaving craft. The sample of the study consists of Students Bachelor of Education (hons.) Art and Design Education, University of Technology Mara (UiTM). 1.6 LIMITATION OF STUDY There are a few of limitation in this research. The limitations in this research are researchers can only conduct studies in Art and Design Education studios on subject Craft, Design and Society (ADE 630). 1.7 DEFINITION OF TERMS 1.7.1 WEAVING Weaving is the process of fabricating sheets or leaflets, skewers, rattan, bamboo and some other plants by infiltration. The material of this plant type is dried and formed before the weaving process begins. Weaving art is an inseparable part of the traditional way of life of the people in the archipelago. From mats to residential protective walls, weaving work forms a living environment that can be seen everywhere. This is not surprising because many tropical plants are suitable for woven material. Weaving art can be said to be a long-standing handicraft branch. Weaving is continuously changing so there are significant changes, ranging from the production of mats to high-grade furniture. 1.7.2 CRAFT Handicraft is a work of making useful or decorative equipment with full hand or simple appliance. Handcrafted crafts should be done individually or in small quantities. Handicrafts often bring cultural and religious interests. Mass production or military outcome is not a handicraft. Craft is also meant as a result of artistic role for use. John Harvery insists that this strength is also on membership, efficiency and expression as ‘knowledge’ is power. According to Paul J. Smith in his book “Craft Today ‘Poetry of the physical,” describes the craft, mystically representing the unity between the spiritual and the senses of a human being. This reinforces the element of humanity in daily life and experiences born through crafts in addition to producing individual crafts. 1.7.3 SKILL Skill is the natural ability acquired by someone who makes it smart, clever and efficient in doing something. The level of mastering one’s skills depends on the extent to which one trains himself in mastering a skill. For example, teachers with skills will be able to perform their duties and responsibilities such as holding a scholarly program provided by school administrators well and smoothly. 1.8 CONCLUSION
As the first chapter, Introduction section include the purpose of study, statement of problem, research objective, significance of study and the limitation that being faced of the researcher. For the research objective, this study clearly stated and explains the main reason for conducting this research. Refer to Chua (2012), the research objective must have means of ‘measuring’ or ‘achieving’.
However due to the limitation, the result of this research cannot be generalized due to several factor.
Throughout this chapter, it can be said that the introduction is moderate but able to give an idea on what is the study about. It just needs to be improved in aspect of the explanations and how the writer’s statement can be supported by strong and valid reason.