PROF. EMERITUS DATO` DR. HOOD SALLEH

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PROF. EMERITUS DATO` DR. HOOD SALLEH
“Bagaimana Muzium Harus Berperanan Dalam Melestarikan Masyarakat Dan
Alam Persekitaran Yang
Terdedah Kepada Tekanan Perubahan Dan Arus Pembangunan Khususnya
Terhadap Kelompok Masyarakat Asal”.
PROF. EMERITUS DATO’ DR. HOOD SALLEH
SEMINAR ‘MUZIUM UNTUK MASYARAKAT LESTARI’
4 OGOS 2015
CITA SEMPURNA WARISAN TAMADUN
KITA
Apa itu cita sempurna? q KEDAMAIAN q KEPIMPINAN q KEBEBASAN Apa falsafah/kosmologi kita? KELESTARIAN UNTUK SIAPA?
q Apa itu kelestarian? q Definisi terlalu sempit : yang fizikal diberi tumpuan sangat q Isu-­‐isu masa kini/terkini : tanah dan sumber asli CABARAN HIDUP PRIBUMI/ORANG
ASAL
q Peminggiran : Fada sejarah bertulis q Selalu dijadikan permainan intelek q IdenFF/JaF diri : mentaliF orang kecil (‘liKle people’) PELAN TINDAKAN
1. Melihat sejarah semula 2. Menulis naraFf baru, cari tafsiran yang lebih betul/tepat 3. Turun padang untuk membangunkan masyarakat : Fnggalkan ofis yang selesa 4. SenFasa bincang program yang lebih berinformasi, terkini dan tersusun 5. Beratkan usaha penggabungan tenaga dengan semua golongan komuniF, tak kira etnik, warna, janFna dsb. LANGKAH KE HADAPAN
q SenFasa bersinergi/berkongsi q Prinsip kesederhanaan dan ‘al-­‐Mizan’ q Pemerkasaan jaF diri q Projek-­‐projek distrukturkan semula q Pendidikan yang holisFk EMPOWERING A MUSEUM :
Outer space and inner space
The way we look at society (our society) will reflect the way we look at museums. But who are we? QuesFon: How does one empower a museum? How can museums be empowered? The aim of this paper is to provoke discussion, not cri9cism. I believe that we can make the museum more useful to society and a be>er educa9onal instrument and a more meaningful social en9ty than it has been in this country. Steps must be taken to ensure that the objec9ves will lead to empowerment and hence a transforma9on of its place in society. In this paper I propose to talk of the concept of the museum with a view to re-­‐invent what the museum should and could mean to the public. Before that it is imperaFve that I say something about what the term ‘public’ means within the context of the contemporary world. So much has changed in our present world that we may not be able to see clearly, i.e. to “perceive” what we mean when we point out to something which has a public funcFon, or is meant for the public. A museum is one such example. To give focus to the museum is to be able to see it objecFvely within the context of the “new world of percepFon” , so to speak. Let us look at museums again and see them as aspects of the social scene, just like houses and buildings. What do they appear to be today? Do we see them as we saw them yesterday, or 20 or 30 years ago. I will hazard the view that we do not. We no longer see them as we did -­‐-­‐ as places where we “visit” and enjoy seeing and expect to see something surprising or someFmes” out of the ordinary”. When we take children to a museum, we tacitly believe that they “will learn something” from the experience. We take pleasure in doing that. But the quesFon today is: did the children enjoy the experience, and if so, in what way? Do we recall what the impact of the museum was when we were children. Was the experience traumaFc or extremely educaFonal and saFsfying. I raise these quesFons because they are relevant today, especially in the planning of museums. The essence of this paper is also meant to point out to the passing of the old concept of the museum, so that we keep pace with changes in society. If we study how the Japanese concept of the museum has changed since the end of the 2ne World war, we will begin to understand some of the changes that we need to introduce into the local Malaysian scene. Here is the history of the Japanese museum concept over the last 60 years. The Japanese Museum in history. Strange as it may seem, the answer lies in many different things, but least of all in the museum itself. For a long Fme since its halcyon days, the museum has stood by its own image -­‐-­‐ not its funcFon-­‐-­‐ as a place to “see” old historical items. The museum is a place of records where select aspects of history, chosen by a few minds, are depicted in “creaFve” ways by a group of “experts”. The total effect is the result of clever “reconstrucFon” of a period of history or a slice of culture, wriKen in splendor or in exoFca. All this is basically “for people to see”. • How can we save a museum • from being too conserva3ve? Here are some answers. First, by rejecFng the old way of not consulFng the public as stake holders in the process of exhibiFng items. Second, by encouraging the public to be a part of the museum in very direct ways, such as being members appointed on an honorary or professional basis to plan each new programme of exhibiFons. Thirdly, to strongly recommending the scienFfic content of exhibits, so that it has to keep abreast of events and knowledge in the wide world. Fourthly, to recommend it to be “an extension” of a university, or part and parcel of it. In other words, all museums must be a university-­‐based museum. What would all this entail? Very clearly it entails a complete sense of ownership being given to the community. The museum staff must be well qualified to be academic in their approach and are all researchers with experFse in the own different fields. They are supported by a strong conFngent of curators who are affiliated to the academics because of their ability to help out in opFmizing the shows being put up.c A good budget. The museum must be supported by a comprehensive budget system. Some aspects of the administraFon of the budget are based on building a strong human resource over an extended period of Fme. SECEBIS PENGALAMAN DI
LAPANGAN
(1971-SEHINGGA KINI)
TEMIAR GUA CHA
TEMIAR GUA CHA
TEMIAR GUA CHA
JAH HET LUBOK WONG
JAH HET LUBOK WONG
JAKUN TASIK CHINI
TEORI PERUBATAN SEMELAI
PERJALANAN PUYANG
Perjalanan Payang Mencari Semangat Pesakit.
Bebelian.
No.
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
Name
Cekor
Payong
Gajah ribut
Aleu
Tampang
Roy
Sialang beFng
Kudak benFron
Linang
Tilan
Timun
Anglaung
Jerem
Bihong
Rion
Gabong
MaFanak
Pandan
Hayam
Perahuk
(leaf)
(umbrella)
(elephant)
(squirrel)
(tree)
(fly)
(fly)
(horse)
(liKle people)
(fish)
(cucumber)
(bridge)
(rapids)
(frog)
(frog)
(frog)
(woman)
(leaf)
(bird)
(boat)
AnFdote (A)
AnFdote/ Blessing (AB)
Enemy (E)
Trials (T)
Weapon/ Transport (W/T)
Place (P)
Guide/ Journey (G/J)
(J)
(G)
(G)
(G)
(G)
(G)
(G)
(J)
(J)
(J)
(J)
(G)
(G)
(J)
(G) + (J)
Malay
Cekor
Payung
Gajah angin
Tupai
Pokok Tampang
Lalat
Lalat
Kuda burung
Orang kecil
Ikan
Timun
TiF
Jeram
Katak
Katak
Katak
Woman
Daun
Ayam
Perahu
PERJALANAN PUYANG
Perjalanan Payang Mencari Semangat Pesakit.
Bebelian.
No.
Name
AnFdote (A)
AnFdote/ Blessing (AB)
Enemy (E)
Trials (T)
Weapon/ Transport (W/T)
Place (P)
Guide/ Journey (G/J)
Malay
21 Keralai
(insect)
(J)
22 Gasing
(top)
Serangga
Gasing
23 Bebaling
(windmill)
Kincir angin
24 Belong tawar
(creeper)
(G)
25 Kures
(disease)
Penyakit
26 Belong bisa
(creeper)
Akar memanjat
27 Hubik sentawar
(root)
(G)
Ubi
28 Tukas
(leaf)
(J)
Daun pokok
29 Balai metong mangsir
(hall)
Dewan
30 Pakrek
(tall-­‐spirit)
Hantu Fnggi
31 Sekok laklak
(mad spirit)
(G)
32 Balai pening
(hall)
Dewan pening
33 Kalang
(bird)
Burung helang
34 Pinang kalang
(tree)
(J)
Pokok pinang helang
35 Kok
(monkey)
(G)
Beruk
36 Pinang kok
(tree)
(J)
Pokok
37 Selai
(bird)
(G)
Burung
38 Langsir
(bird)
(J)
Burung
39 Tarom
(mountain)
Gunung
40 Kawong (malam)
(bird)
(G)
Burung
41 Kojor
(bird)
(G)
Burung
42 Perkang
(frog)
(G)
Katak
43 Nibong
(palm)
(J)
Pokok Nibung
44 Pelawan
(tree)
Pokok
45 Bageh
(monkey)
(G)
Lotong
Akar memanjat
Hantu gila
PERJALANAN PUYANG
Perjalanan Payang Mencari Semangat Pesakit.
Bebelian.
No.
Name
AnFdote (A)
AnFdote/ Blessing (AB)
Enemy (E)
Trials (T)
Weapon/ Transport (W/T)
Place (P)
Guide/ Journey (G/J)
Malay
45 Bageh
(monkey)
(G)
Lotong
46 Limau calong
(fruit)
(J)
Buah
47 Nagak mambang
(dragon spirit)
(J)
Naga
48 Petai
(tree)
(G)
Pokok
49 Sekok sawang
(spirit)
(G)
Hantu
50 Rinjunai
(spirit)
Hantu
51 Hantu air
(water spirit)
Hantu air
52 Kerbau rinjunai
(animal)
(J)
Haiwan
53 Raramak
(buKerfly)
(J)
Rama-­‐rama
54 Reban Gayak Panai
(hall)
(J)
Dewan ilmu
55 Gunung Helalang
(mountain)
Gunung
56 Gunung seligik
(mountain)
Gunung
57 Gunung Sirai
(mountain)
Gunung
58 Gunung Sanum
(mountain)
Gunung
59 Belatok
(bird)
(J)
Burung
60 Perah
(tree)
Pokok
61 Jalu bandar
(pig)
(J)
62 Papan buaian ribut
(tree)
(J) + (G)
Pokok
63 Padang
(field)
(J)
Padang
64 Lempesut
(dragon)
Naga
65 Birah
(yam)
Ubi Keladi
66 Keledek
(root)
Keledek
67 Rangut
(bird)
(AB)
Burung
68 Ding
(bamboo)
Buluh
69 Gajah Benkilai
(elephant)
(J)
Gajah
Babi
PERJALANAN PUYANG
Perjalanan Payang Mencari Semangat Pesakit.
Bebelian.
No.
Name
AnFdote (A)
AnFdote/ Blessing (AB)
Enemy (E)
Trials (T)
Weapon/ Transport (W/T)
Place (P)
Guide/ Journey (G/J)
Malay
70 Kudak Luar Bandar
(horse)
(T)
(G)
71 Kulam
(pond)
Kuda
Kolam 72 Paneng
(magician)
(G)
Bomoh
73 Pepanir
('saint')
(G)
Pakar agama
74 Gunung Pepanir
(mountain)
75 Gerangak
(mad woman)
(J)
Perempuan gila
76 Puyuh
(bird)
(J)
Burung puyuh
77 Kawong pagi
(bird)
Burung
78 Keleleng
(milipede)
(G)
Gongok
79 Pasuk Gading
(liquor tank)
(J)
Tangki arak
80 Bujang Gelemet
(snake)
(G)
Ular
81 Pinang Penungkai Siang
(tree)
(J)
Pokok
82 Beruang
(bear)
(G)
Beruang
83 Kelidang
(tree)
(G)
Pokok
Gunung
BARIO
7 PIECES ON BARIO Introduc;on Bario: the li=le community Bario: tradi;ons and a vision of change A way forward. Ques;ons of relevance Tradi;onal knowledge (tk): what can we do with it for Bario? A geopark status for Bario? The ICT quest in Bario and their supporters The ;me in Bario References BARIO
BARIO
LOCAL HERITAGE SITES
LOCAL HERITAGE SITES
LOCAL HERITAGE SITES
MAORI, NEW ZEALAND SEKIAN, TERIMA KASIH

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