prof. emeritus dato’ dr. hood salleh - jmm hood 2.pdf · prof. emeritus dato’ dr. hood salleh...

PROF. EMERITUS DATO’ DR. HOOD SALLEH SEMINAR ‘MUZIUM UNTUK MASYARAKAT LESTARI’

4 OGOS 2015

“Bagaimana Muzium Harus Berperanan Dalam Melestarikan Masyarakat Dan Alam Persekitaran Yang

Terdedah Kepada Tekanan Perubahan Dan Arus Pembangunan Khususnya Terhadap Kelompok Masyarakat Asal”.

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

JAH HET LUBOK WONG

JAKUN TASIK CHINI

TEORI PERUBATAN SEMELAI 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

1 Cekor (leaf) (J) Cekor 2 Payong (umbrella) Payung 3 Gajah ribut (elephant) Gajah angin 4 Aleu (squirrel) (G) Tupai 5 Tampang (tree) (G) Pokok Tampang 6 Roy (fly) (G) Lalat 7 Sialang beFng (fly) Lalat 8 Kudak benFron (horse) (G) Kuda burung 9 Linang (liKle people) (G) Orang kecil 10 Tilan (fish) (G) Ikan 11 Timun (cucumber) (J) Timun 12 Anglaung (bridge) (J) TiF 13 Jerem (rapids) (J) Jeram 14 Bihong (frog) Katak 15 Rion (frog) (J) Katak 16 Gabong (frog) (G) Katak 17 MaFanak (woman) (G) Woman 18 Pandan (leaf) (J) Daun 19 Hayam (bird) (G) + (J) Ayam 20 Perahuk (boat) Perahu

PERJALANAN PUYANG

21 Keralai (insect) (J) Serangga 22 Gasing (top) Gasing 23 Bebaling (windmill) Kincir angin 24 Belong tawar (creeper) (G) Akar memanjat 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) Hantu gila 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

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

PERJALANAN PUYANG Perjalanan Payang Mencari Semangat Pesakit.

Bebelian.



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) Babi 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

PERJALANAN PUYANG Perjalanan Payang Mencari Semangat Pesakit.

Bebelian.



70 Kudak Luar Bandar (horse) (T) (G) Kuda 71 Kulam (pond) Kolam 72 Paneng (magician) (G) Bomoh 73 Pepanir ('saint') (G) Pakar agama 74 Gunung Pepanir (mountain) Gunung 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

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

LOCAL HERITAGE SITES

MAORI, NEW ZEALAND

SEKIAN, TERIMA KASIH

prof. emeritus dato’ dr. hood salleh - jmm hood 2.pdf · prof. emeritus dato’ dr. hood salleh...

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