YOUTH TOURISM CONFERENCE:

Perspectives and Prospects Palm Garden Hotel, Putrajaya, MALAYSIA 3 to 5 May 2005
PAPER 4

THE DEVELOPMENT OF KANDIS RESOURCE CENTRE AS A REFERENCE CENTRE FOR MALAY ARTS, CRAFTS AND WOODCARVING: ITS IMPLICATIONS ON EDUCATIONAL TOURISM

ROSNAWATI OTHMAN Director of Kandis Resource Centre, Kelantan, MALAYSIA

This paper focuses on program offered by Kandis Resource Centre (KRC) which is an institution for the reference of the arts of woodcarving in Malaysia. KRC aim is to foster interest, dialogue, discourse and understanding on the art of woodcarving amongst her visitors and guests such as students, researchers, artists and craftsmen. Her main concerned is of loosing this art, heritage and knowledge if it is not preserved and passed on to the younger generation. Though her active involvement in organizing and holding exhibitions, lectures, workshops, competition and seminars since the year 2000 and publishing the book Spirit of Wood and the art of woodcarving, a lot of awareness had been generated both local and internationally. By establishing a physical infrastructure and planning programs here in Kg. Kandis, visitors are now able to see and experience the beauty and the uniqueness of KRCs collection. A wide range of interrelated activities have been planned to conserve, generate interest and develop the arts for the future generation.

INTRODUCTION This paper will try to bring everyone present today to the insight of Kandis Resource Centre (KRC) development. What began from a mans dream, vision and love for his work and art, finally materialized into an art centre and an institution. The spirit and man behind all this is the late Nik Rashiddin Hj. Nik Hussein who passed away on 21st August 2002. Since the early 1970s a lot of students, researchers and visitors, both local and international have been visiting the eastern coast of the peninsular, principally Kelantan and Terengganu to witness and study the arts and crafts of the local people. These range from the fine batik art and design, wood and silver carving, songket weaving, shadow play and kite making. However, despite the presence of a few masters in their field, and some good work by individual researchers and agencies, there is no source of definitive reference, and information available is inconsistent. The gradual loss in the knowledge and skills of these arts and crafts is of great concern. In short, this time honored traditions and cultures are in danger of being lost forever. In view of the above, there was a need for a centre to be set up, for artists, craftsmen, researchers and art lovers to gather and exchange information and knowledge for the preservation of the Malay culture and traditions. Artifacts, both antiques and contemporary

Address correspondence to Rosnawati Othman, Director of Kandis Resources Centre, Lot 225, Kg. Kandis, Telong, 16310 Bachok, Kelantan, Malaysia. Email: rosnawatiothman@yahoo.com.sg

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that illustrate the true traditional designs and motifs, recordings and videos of craftsmen sharing their knowledge and demonstrating their craft, and a library of all available literature and publications touching on these areas will be assembled. Kandis Resource Center was then set up in the year 2000 to raise funds and contribution from organization, society and individual for the project Spirit of Wood exhibition and book. Nik Rashiddin Hj. Nik Hussein and Norhaiza bin Nordin, an experienced woodcarver, who was his student together with Datin Waveney Jenkins, an artist and a sculpture who is very actively involved in the Badan Warisan Malaysia planned and organized the project, full filling Nik Rashiddins dream of a Malay arts institution particularly on the art of Langkasuka (Pattani, Kelantan, Terengganu) from extinction in the process of Malaysias rapid development Kandis Resource Center is developed on a six acre piece of land in a seaside village at Kampong Kandis, Bacok, Kelantan. Kandis Resource Center took its name from the village, that is Kampong Kandis and the name of the village came from a local tree with sour fruit which when dried is used in cooking curry. It is here that Nik Rashiddin built his home and workshop with a vision for the future generation.

HISTORY OF THE FOUNDER The late Nik Rashiddin was born in 1955 and grew up in Kota Bharu within a traditional Malay architecture and built environment. Traditional craft activities including silk and gold thread weaving, batik, fine metal craftsmanship and wood carving were part of his everyday experience since young. He was exposed to various Malay artifacts such as the coconut scrapers, quail traps, bird cages, wood carving panels and kerises that were found in houses and palaces in Kota Bharu. That was where he developed his interest in wood carving. Scenes of antique dealers selling Malay artifacts to foreigners in the 1970s made him frustrated for not being able to prevent the artifacts from being sold and lost forever. He began finding ways to purchase those artifacts in order to keep them within the country for future generation. He began collecting keris hilts at various level of completion so as to learn the art and craftsmanship of keris making. Meeting the old folks and senior woodcarvers in Kota Bharu or Patani was an enjoyable session for him in enriching and broadening his knowledge in the Malay arts and craft. Research and site visits were incomplete without doing some sketches and hearing first hand information from the craftsmen. Being able to purchase some Malay artifacts during the visit was a great joy. The Malay artifacts collected then had become an invaluable assets and became his reference or text book especially the Keris Tajong. Today with the knowledge and works that he had left behind such as the wood panels, gateways, mimbars, furnitures and kerises, all have become references locally and the country nation wide. From where he began carving under his fathers home in Kampong Langgar, followed by Kampong Cherang, Kota Bharu and finally in Kampong Kandis, Bachok, he had thirty years of experience behind him. He started doing lots of carving project and contract as a means of earning but later decides to free himself from all those so that he could concentrate on making his loved subject that is the keris. The move to Kampong Kandis brought a new meaning to his life. Leaving Kota Bharu where all the business action was, is a sacrifice. Nevertheless this is nothing compared to the true pleasure and sure enjoyment he gets of making the keris. For a true artisan like him the paradigm shift was considered vital then. As a result he was able to produce the best carvings ever in his life time, in Kampong Kandis, Bachok.

THE DEVELOPMENT OF KANDIS RESOURCES CENTRE AS A REFERENCE CENTRE FOR MALAY ARTS, CRAFTS AND WOODCARVING: ITS IMPLICATIONS ON EDUCATIONAL TOURISM

The late Nik Rashiddin was a man full of passion, love and pride for his work. He was very much concerned for the threat on the art of traditional Malay woodcarving which is in the danger of becoming a dying art. Concerned for the civilization and future of the next generation, he got involved with exhibitions showcasing his collections and works internationally and nationwide. He managed to attract writers, photographers, designers to write on his loved subject. As a result the book The Spirit of Wood and the Art of Malay Woodcarving produced by Periplus International sprang in the market. The book and exhibition manage to unveil the knowledge underlying the collection and works of Nik Rashiddin Hj. Nik Hussein and his protg Norhaiza Nordin. . The lost of Nik Rashiddin tragically and unexpectedly after a short struggle with cancer made it more imperative to record, showcase and disseminate his art and knowledge in the form reachable to the public and future generations. Nik Rashiddin was the magnet for every visit to his home by individuals, groups, students, artisan and researchers. Though physically he has left us, his spirit still lives on in us at KRC to continue his struggle and his believe in the art. He left behind tangible evident of works, artifacts, materials and tools, a life time research, data and information, drawings, photos for the understanding of the Malay civilization.

OBJECTIVES OF KRC 1. To be a centre of reference in the field of arts and crafts in the Malay culture, but specializing in woodcarving 2. To create awareness and to educate the local population, especially the younger generation, on the importance and the benefits of the arts, which reflect the Malaysian image and cultural identity. 3. To provide a centre for the introduction and appreciation of this knowledge to the rest of the world. 4. To be a centre for the future development of Malay art and design using the concepts of Langkasuka. 5. To be a centre for artists and craftsmen to meet for the improvement and upgrading of their product for the international marketplace. 6. To generate published work on related subjects so that benefits and international recognition can be appropriately derived. 7. To run courses for researchers, postgraduate students and university in all aspects of Malay design, traditional architecture and landscape. 8. To train the young to ensure the preservation of traditions in these arts. 9. To network with and complement the work of other institutions in this field. 10. To provide the financial means to permanently support the Centre.

KRC PAST ACTIVITIES . KRC began its activity with the exhibition project Kayu dan Semangat followed by the book project titled Spirit of Wood. Both projects showcase the collections, works and sketches by both artisan held at Badan Warisan Malaysia, Kuala Lumpur from 18th August to 16th September 2000. It was launched by Her Royal Highness Seri Paduka Baginda Raja Permaisuri Agong Tuanku Siti Aishah. His Royal Highness Sultan Sharafuddin Idris Shah, Sultan of Selangor graced the launching of the book on 22nd September 2003. The exhibition was next held at the Asian Civilizations Museum, Empress Place Singapore from 5th September until 30th November 2003, which was officially launch by His Excellency Dato N. Parameswaran, High Commissioner of Malaysia.

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The Brunei Gallery, School of Oriental & African Studies, University of London, London became the next venue for the exhibition which was held from 20th January until 19th March 2004 and was officially opened by His Excellency Dato Abdul Aziz Mohammed, High Commissioner of Malaysia. A home coming exhibition was then held in the Gallery 2, Department of Museums and Antiquities Malaysia, Kuala Lumpur from 16th May until 17th July 2005. It was officially launched by His Royal Highness Tuanku Sharafuddin Idris Shah, The Sultan of Selangor. The five year traveling exhibition before finally rest in Kampong Kandis, made its last appearance at the Terengganu State Museum, Losong, Kuala Terengganu. It was officially opened by YB. Dato Hj. Din Adam. All the exhibitions were very well received and were a success. The book was a bonus and booster to the exhibitions.

KRC CONCEPT PLANNING AND DESIGN Now after five years our young organization is still struggling for a complete physical infrastructure. Plans and activities have been going on ever since at a very modest and manageable scale. Though the development process was slow and not easy due to insufficient funding and budget, Nik Rashiddins vision for an art centre focusing on woodcarving particularly the art of the region Terengganu, Kelantan and Pattani in the east coast of Malaysia referred to as the Art of Langkasuka finally came to fruition. The approach to KRC development is in the holistic and balance concept towards its physical design and planning and all aspect of programs and activities. These include physical, mental and spiritual considerations. To illustrate, the physical consideration are observed in the planning layout and design of the site. These include placing of private and public spaces, orientation of building to kiblah (Makkah), wind route and best view, designing to cater for the tropical humid climate of the East Coast and seaside village, public services and amenities needed.. Existing physical considerations can be seen in the planning and design of the Terengganu Malay traditional houses bought and adapted on site for the museum, where the four elements or factors of nature that is earth, water, light and air are well incorporated. Earth or land for the building site is crucial for the health, safety and harmony of the user. Land or earth for the building foundations is stable and strong. Sited on a stable and high ground, away from the strong Westerly wind route, protected from the strong Monsoon wind, the location was chosen as it has a good feng sui. The element of water is next, for everyday usage either for cleaning and purification process. Clean and fresh non chlorinated water is obtained from dug out well. Availability of good clear drinking water on site is crucial for the health and well being of the user. Here in KRC we have four wells on site. Therefore fresh mineral water is abundant. Light or fire is the following element where enclosures in walls are balance with opening to let in light and air for the health and comfort of the occupant. These are via doors, windows and openings through carvings in the wall of the building. Openings of the pierced through carvings provide soft and subtle light in as contrast to the very bright and glaring outdoors. The best visual impact that can be enjoyed in a traditional house is to see the silhouette of carvings in the daytime from inside and the reverse during nighttime.
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THE DEVELOPMENT OF KANDIS RESOURCES CENTRE AS A REFERENCE CENTRE FOR MALAY ARTS, CRAFTS AND WOODCARVING: ITS IMPLICATIONS ON EDUCATIONAL TOURISM

Air is the final element which is necessary for the comfort of everyone concerned. Clean and fresh air is available from the natural environment with lots of trees and vegetations through windows and carved openings. Raised platform or floors allow air to flow through underneath and above the building. With no ceiling and high roof space, maximum flow of air is possible to cool interiors besides the function of windows and openings in the walls. Pierced through carvings are available on the faade allowing maximum cross ventilation. Windows being position at non standard level provide flexible use of space. Quantity and size of window openings which vary according to function and space are well adapted to the Malay culture and customs. Physical structure is kept to a small and modest scale. With minimal maintenance and ease of management, programs can be focused. Services and amenities are simple and basic in keeping within its natural setting and context. Minimal adjustment is made to the natural kampong atmosphere but maximum consideration is given to the site potentials. A small river flows on the east. Beyond is the view of the beautiful horizon and South China sea. On the west is an open field and up north is our coconut plantation, while down south is the access and road to the site. The traditional Malay society lives very close to nature and they respect their environment well. This provides peace, harmony and comfort for living. Nature is explored to their fullest potential yet maintains it balance and ecosystem without creating problems. The result is a stress free setting for everyone to enjoy if the visitors can spend a night here. Visitors and guest to the site will be very relief and temporarily cut off from normal work oriented atmosphere. They will be very relaxed and away from their daily routine and become very aware and appreciative of nature and its wonderful gifts. Their senses open and their heart feel for nature in the truest sense. The varied native vegetations such as the coconut, nipah, bamboo and pandanus trees are there to be seen, touched and enjoyed. The smell of fresh green undergrowth and wild plants will calm you. The sound and sight of wild birds and insects flying about freely is a joy to watched and listened. The changing weather, day and night, wet and dry, hot, humid and breezy air are to be felt and experienced. This is how the environment makes its impact to the livelihood of traditional wood carvers. Nature has always been part of their life and a great inspiration and problem solver for them. By being mentally, physically and spiritually aware of the life of the Malays, one can understand the behavior and character of the traditional Malay society and how they interact. Social values like thrust worthy, truth, sincere, love, care, gentle, humble and respect of nature are observed in their way of life, environments and beliefs. These are some examples of characters of the Malay artisan, indirectly taught through their knowledge, practice and understanding of the arts and crafts. Mental consideration with respect to the development of KRC is observed in the design and planning of the overall program. The programs are focused and centered towards understanding the Malay arts and worldview through its collection of artifacts, resource materials, data and informations. This is to ensure that knowledge disseminated via lectures, workshops or courses will be clearly understood by the visitors and guests and spiritually enlightening too. The spiritual consideration of KRC planning and design is made in motivating goodness, truth and beauty in every aspect of its activity and program. These values are applied in the day to day activity and become a guide in life, family and neighborhood. These are only possible through peace of the inner soul and physique. Islam as the belief of the Malays enhances those values mention above and become their custom and way of life which helped them to live in harmony with nature and society.

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Sandwich between the local mosque on one end and the cemetery on the other, we are always reminded spiritually to be close to Allah the creator. Nik Rashiddin used to say, If one looks to the cemetery, one is always reminded of death at the end of mans life and journey and must attend to the mosque. The reverse is when one looks to the mosque; one is reminded to fulfill ones responsibility as a Muslim where eventually we will all end up at the cemetery. KRCs program is never intended to be isolated from its neighborhood. The kampong communities are encouraged to participate in our activities such as providing home stay accommodation for the guests, small businesses such as selling souvenirs, farm produce and fishermen catch product. Maintenance and services business by the kampong community are also required by KRC. This will provide opportunity for the locals to set up their own related business and thus increase income earning for the family. The younger generations need not go out of their kampongs seeking for jobs in the big cities but can stay and work close to home and family.

KRC PROPOSED PROGRAMS Programs at KRC have been running since its establishment. Our approach of understanding the art of Malay woodcarving, have created interest amongst the various local and overseas institution. The programs planned for KRC are categorized into these four main themes. They are: Educational program Architectural program Landscape program Environmental program

Educational program Visits most popular to KRC is the museum and the art gallery. There is also the workshop, storage of wood source, library and resource centre. First hand and visually enriching experience is what the visitors will find here. The museum is an adaptive reuse traditional Terengganu Malay house of 180 years old. Consist of three buildings built of cengal wood, houses all the collections of the late Nik Rashiddin. Temporarily the art collection shares the same exhibition space with the collection of Malay carving artifacts in the museum. Guided tours are given to visitors to increase understanding, awareness and deep interest in the exhibition display. Lectures on woodcarving topics are given upon request. Tertiary level students have shown most interest as the programs and lectures had direct relevance to their studies and projects. Such topics include: Carving in Malay artifacts Origin of motifs of woodcarving Philosophy and design of Malay kerises Gateway and similar design Carving in traditional Malay houses Scale and proportion in wood carving Geometry and spiral design in carving Woodcarving in interior design Woodcarving in landscape Being a coastal state with ports along the South China Seas, Kelantan and the society historically had been exposed to other civilization of the world including China, India and Arab. Through cross cultural influences, assimilation and adaptation in their arts, they were
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THE DEVELOPMENT OF KANDIS RESOURCES CENTRE AS A REFERENCE CENTRE FOR MALAY ARTS, CRAFTS AND WOODCARVING: ITS IMPLICATIONS ON EDUCATIONAL TOURISM

able to create, refine and perfect their art as we see it today. Particularly in woodcarving, Hindu Buddhist elements were adapted but when Islam was accepted, the arts were redefined and reinterpreted to follow the principles of Islam. Such example can be seen in the gateways, boats, household implements and the kerises of the Malays. Stupa, padma, Mount Meru, Bhodi tree, naga and garuda were concepts common before the coming of Islam. These later became buah butong, teratai, gunungan and pohon budi. Naga and garuda were mythological creatures which later became unpopular within the Malay art. Figurative and zoomorphic images were avoided and motifs now became abstracted and stylized into vegetative and floral motifs. What we further hope to achieve is to encourage the schools to visit us as we like to begin this interest in the Malay woodcarving and arts at a much younger age. Programs are planned to excite them rather than just passive viewing of the collections and works and listening to lectures. These include art and craft workshop which are related to the Malay culture and custom. Competitions of traditional Malay games such as congkak, kite flying and top spinning and traditional team events are more dynamic and attractive to them. All this gives added value to their visit and stay. The introductions of co-curriculum activities as part of their school syllabus have created interest amongst the children. Learning outside the classroom environment and knowledge acquired from nature can be very exciting and challenging. First hand experience arouses the senses and encourages learning and questions. Their five senses are made aware and active with fun activities planed in nature. Love for nature, culture and arts will be developed amongst these children if these are introduced very early in life. Art and craft activities for the primary and secondary school level may include: Experience with nature involving sand, water, wind and light. Project examples include creative sand building, water follies, chime design and lantern making. Craft from nature such as tree bark, stems or twigs, leaves, flower and seeds. Project examples include card design, book markers, photo frames, pencil holders and multi purpose container. Craft from the sea and beach using available materials such as sand, sea-shells, seeds and pods, rope, coconut shell and drift wood. Projects examples include jewel box, flower design, picture frame and interior decoration. Crafts from recycled material such as paper, plastic, tin cans, bottles, cartons and cloths. Project examples include flower design, mask, decorative items, musical instruments, house or boat models and toys. Objects from natural leaves of coconut, pandanus, mengkuang, baru, rubber and banana. Projects examples include trumpet, bird and boat design, keris, ketupat and local cake packaging, mat, rope, basket, ball and musical objects. Art work such as collage with facial expression themes, starch and color pigments for pattern design, wax and paint, leaves and color pigments, sketching of Malay artifacts, landscape drawing and painting, building drawing and painting. Object from softwood block or wood pieces for making rehal and gayong design. Object from bamboo for kite, coin box and chime making Object from coconut shell for key chain, container, animal and flower design Another building available for visit is the wood workshop. It is an open shed with benches and work area for panel carvings. It is located next to the museum. Housed within the workshop is the storage space for wood source including cengal, merbau, kemuning, angsana, nangka, halbam and etc. They are naturally dried, in an airy, cool, roofed area away from direct sunlight. ools for carving are also available in the store such as the pisau wali, adze, chisels, files, sharpening stones and mallet.

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The library and the resource centre houses the documentation and data base of artifacts, photographic and library collection, drawings as well as materials such as tools and selection of woods used for carving and architecture. It is proposed to be built together with the art gallery and office building in the next phase. Temporarily it is available upon request only. These data bases are important assets to KRC as the knowledge that can be extracted from it is endless.

Architectural package The biggest artifact available at KRC is the 180 year old traditional Terengganu Malay house which has been adapted and reuse as the museum building. It houses all the Malay carving artifacts under KRC. Architectural programs include lectures on design concept, space, structure, construction and details of this traditional building and the other buildings on site which have traditional ideas and concepts applied. Architectural topic includes: Timber joinery and construction Malay artifact design - a woodcarvers concept and approach Features of traditional Malay architecture Space and structure of traditional Malay house. Proportion and scale of kembong and janda berhias panels Composition of wall panels design and opening of traditional architectural faade Design concepts in Malay artifacts Langkasuka motifs and design in architecture Shapes and form in Malay design Forms and motifs in jebak puyuh, mimbar and pintu gerbang design Similarities of forms and motifs in Al- Quran illumination Carving in Malay traditional architecture Scale and proportion in traditional architecture Wood in interior and landscape design Such architectural programs and lectures planned within one to three days at KRC achieved best result as it is like doing a studio session but outside campus and a change of studio environment to stimulate and motivates student. They interact actively due to availability of physical evident and research materials first hand. Activities planned by both KRC, the host and participating party and monitored carefully can arrive to maximum result. The coastal village atmosphere and environment is an experience in itself and a program at the beach and a dip in the sea will be a great fun and break for the students. Great results were obtained by International Islamic University Malaysia and Kolej Kemahiran Tinggi Malaysia students when they were last here.

Landscape package The idea of coming up with this package is drawn by the lack of garden and landscape design which may be considered local in concept such as a Malay garden and landscape design. The existing concepts or trends which are very popular are the Chinese, English and Japanese garden and landscape. Now Bali landscape is the in thing. The question is do we not have our own Malay design and landscape? We at KRC believe we have. Therefore we have plans for such a concept and design from our own interpretation and approach. Glimpses, hints, clues and guides are presently available in our Malay literature such as pantun, gurindam, syair, hikayat etc. to help us understand our landscape and garden of
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THE DEVELOPMENT OF KANDIS RESOURCES CENTRE AS A REFERENCE CENTRE FOR MALAY ARTS, CRAFTS AND WOODCARVING: ITS IMPLICATIONS ON EDUCATIONAL TOURISM

yesteryears. Malaysia, located in a rich and green tropical rainforest and environment, have a lot to offer on ideas and design from nature for the local landscape and garden design. In the traditional Malay house compound, plants and trees are not planted at random but rather they are reasons for their location and differentiated according to their usage and function. Function is a vital element for consideration besides beauty. Plants found behind kitchen were traditionally herbal plants used for cooking or for remedies of illnesses. Nothing is readily available in the form of pill, capsule or mixture but instead they have to be freshly picked from the garden and prepared. These herbs include sireh, pinang, serai, lengkuas, kunyit, cekor, daun limau purut, asam limau nipis, pandan, henna, etc. Well water is use for either cleaning or cleansing purposes. Around the well, located normally behind or close to the house one will find vegetations which require lots of water are planted. These include sireh, pandan and sweet smelling flowering plants such as melor, kenanga, melati, mawar, cempaka, tikam seladang. Their purpose is for cleansing from illness, for beauty and maintenance and for aromatherapy. The front of the traditional Malay house compound is normally planted with decorative and colourful plants and trees. These include bunga melor, bunga cina, bunga raya and jambu penawar tree. Around the sides of the houses fruit trees will be more popular such as mangoes, rambutan, nona, durian belanda, sentol, cermai, katak puru, asam jawa, kekabu, pisang, sukun and coconut. For creative projects with the visitors, activities related to landscape and gardens elements are planned. Activities will include: Making potpourris from scented flowers and leaves Press local flowers and leaves design Local flower arrangements Stuff toys from kekabu/ kapok tree fruit Health drinks for body maintenance Skin and hair care product preparation Henna paste preparation and application Medicinal or herbal remedies for illnesses Preparation of herbal ulam/salads with local appetizer such as sambal pauh, sambal belacan, sambal buah kecupu, kerabu timun, kerabu beco, kerabu pauh, kerabu pegaga, kerabu betik, penyicah lada, penyicah budu and penyicah air asam Cooking of plain white, yellow, black or blue and saut/tumis nasi kerabu Besides dealing with soft landscape elements the hard landscape are not forgotten. The introduction of timber in the landscape, enhanced with simple carving will be of interest to the guest. Elements such as signage, gateways, fence, dividers, bollards, pathways, seats, rest and activity shelters will have a Malay design detail and an overall Malay garden concept.

Environmental package KRC is strategically located and is along the main coastal route between Kuala Terengganu and Kota Bharu. It is also very close to areas such as Tok Bali, an international fishing port and jetty and other interesting coastal destination. Pulau Perhentian is a popular holiday destination and visitors can get a boatride from Tok Bali jetty. Melawi is also famous for its beach and holiday activities. A lot of chalets and resorts are located along the coast with sea food stalls, restaurants, holiday and recreation facilities. Beach and camping activities under

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the pine trees are very popular amongst the young while others may prefer fishing and other water sport activities. Surrounded by coconut plantation, plucking coconuts by the monkeys will be an interesting activity to look out. Tasting the juice and flesh of young coconut direct from its shell without sugar added, is an experience to remember. Especially so in the hot humid afternoon, after a heavy kampong style lunch with the sea breeze blowing and the sound of coconut leaves rubbing against each other. Also do not forget coklat nesan and air tuak, from the coconut tree product. Fish farm visit in the Semerak River is also an exciting destination. River mouth will be full of fishing boats and the wave breaker is a common sight to prevent siltation and erosion. The beach and sea activities by the locals are being carried out through out the year except during the Monsoon season in mid November to mid January. Fishing, catching crabs and squids are most popular. Kepah, remis and udang ketak are favorites amongst the kids at the beaches. The ladies may prefer to shop for goodies from the sea such as variety of salted and dried fish, budu, belacan and pekasam are available. The all time favorite will be the wet and dry fish crackers to take home. Mengkuang or pandan mat weaved from the local vegetation by the ladies of the village must not be forgotten. Visit to the coast and village is not complete without a view of the inland slightly further away. Here visitors will find water channels, rivers with aquatic marine life and nipah plants in abundant. The Gelang tree with bark which peels off easily is a source of wood for simple structure like the shed and fence. Tembusu tree is use for fencing and Cengal Pasir tree for building construction. The Terajang, Pena and Jembar are local tree which bear small bitter sweet fruits, popular amongst the kids. Tobacco, sweet potato, watermelon and other vegetable produce can be seen as far as the eyes can see. A combination of chicken, duck, goat, sheep and cow raring are a must in every family as a source of income and fast cash. All these produce will be sold at the nearby market in Jelawat town which is a popular destination too. Any visitors or guest to KRC can enjoy and extend their holidays at the Perhentian Island or join any of the local packages offering variety of fun and activities to suit their needs.

CONCLUSION Being an art and reference centre for Malay arts, crafts and woodcarving we at KRC would like to be an institution that shares the knowledge and expertise in this field with the rest of the world. Art, craft and culture are all interrelated and it must be viewed in total. Arts of the Malays are not an isolated subject but integrated in the web of the society and worldview of the Malays. The social, cultural and environmental factors shape the art and thus create an identity of the art. This artistic creation is important as it reflects the Malay worldview. Though the series of workshops, lectures and programs that had been planned, a vast spectrum of knowledge can be uncovered and obtained. Tourism industry plays the role to promote and facilitate the beauty and potentials that we have in our country. We at KRC have tangible materials and artifacts to be shared with everyone and can be used to promote the true Malay culture, arts and craft. The skill craftsmen and their creation are the source and asset of the country and they as well as their works are valuable for tourism. Only through the various discipline of knowledge can we then reach the first class mindset reinforced by our Prime Minister, towards a developed nation in the year 2020. Therefore knowledge delivered at KRC does not serve the purpose of pleasing anybody but to fulfill a mans dream and concerned for the future generation of Malaysia. If it is accepted by the tourist and the

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THE DEVELOPMENT OF KANDIS RESOURCES CENTRE AS A REFERENCE CENTRE FOR MALAY ARTS, CRAFTS AND WOODCARVING: ITS IMPLICATIONS ON EDUCATIONAL TOURISM

industry as educational tourism then may truth, goodness and beauty be reflected in all our effort.

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