International Journal of Art & Design, University Teknologi MARA Cawangan Selangor

Visual/Critical/Formal Analysis of Malay Traditional Games through Si Jantan and Teng-Teng Artwork

Visual/ Critical/ Formal Analysis of Malay Traditional

Games Through Si Jantan and Teng-Teng Artwork

Najwa Natasha Mohd Fauzi

College of Creative Arts, Universiti Teknologi MARA Cawangan Selangor, Kampus Puncak Alam, Selangor
Email: 2022786825@student.uitm.edu.my

Nurul Iezzah Diana Eddie

College of Creative Arts, Universiti Teknologi MARA Cawangan Selangor, Kampus Puncak Alam, Selangor
Email: 2022950251@gmail.com

ABSTRACT

The discusses and explores the artwork by Asyraf Hidayat and Wan Ahmad Idham, which is Si jantan, and
Teng-Teng, by the concept of traditional Malay games. This study is mainly focused on the structure and
composition of the Malay traditional games concept by Wan Ahmad Idham and Asyraf Hidayat artwork.
This artist's purpose in producing works on the theme of traditional games is to partially relive his childhood
memories while also introducing the public to how traditional games are disappearing in modern society
and the documentation of Malay identity content, in terms of games and cultural aspects. They applied the
Malay traditional game concept in the painting to enhance it by using Malay design, motifs, patterns,
culture, and architecture. Because of this, each element of the work is examined using Edmund Feldman's
theory in receiving information about works related to traditional games. The researcher used the four-step
structure by Edmund Feldman (1993, p.100) of the criticism of art consisting of description, analysis,
interpretation, and judgment. Furthermore, every artwork that is analyzed has an intellectuality towards
the concept of Malays because every object in the artwork has a role and an implicit meaning about
Malayness and traditional games. Their artwork has aesthetic value and is very intellectual in highlighting
the message by applying the concept of tradition, culture, and religion. However, their artwork should be
documented for general reference purposes. Especially for the younger generation to reveal and help them
improve their understanding, and communication ability, and stimulate critical thinking and intellectualism
in society.

Keywords: Malay Traditional Games, Wan Ahmad Idham, Asyraf Hidayat, Culture.

INTRODUCTION

This paper aims to identify the role of art criticism in using Feldman Edmund's theory, which
undoubtedly plays an important role in enriching artistic creativity and is easy to understand. This paper
aims to identify the steps of art criticism from Feldman's perspective in the artworks of ASyraf Hidayat (si
Jantan, 2022) and Wan Ahmad Idham (Teng-Teng, 2021) by developing a four-step method to be able to
interpret, assess and evaluate the work art. Art criticism by Edmund Feldman is based on well-known
methodological methods and steps, because the process of criticism is not just an evaluation of artworks, it
also requires a broad and deep knowledge of analyzing works, as well as the elements and styles of art. this
is in addition to knowledge of materials, tools, and techniques used in the artwork.
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The traditional games of the Malay community are increasingly marginalized by the younger
generation. Some of them are completely unaware of the existence of this traditional game that was once
popular a while ago. The artworks of Asyraf Hidayat and Wan Ahmad Idham were selected based on the
implementation of traditional Malay game concepts. Interestingly in this paper, the similarity of the artwork
concept from Asyraf Hidayat and Wan Ahmad Idham is in the form of traditional Malay games, the
difference may be from the technical point of view and also the storyline, therefore the use of theory from
Edmund Feldman can help in making it easier for the reader to understand each character that is in the
subject. The theoretical framework of this analysis is by Edmund Feldman (1993, p.100) which is the four
steps of the structure of criticism which consists of description, analysis, interpretation, and consideration.
It is hoped that to encourage the public's appreciation and understanding of the concept of beauty in the
context of the Malay game tradition of visual arts, this study is expected to approach the audience and
further become a bridge that connects the public's understanding with visual matters. Art shines a light on
Malay symbolism in addition to a greater appreciation of the elements of Malay meaning behind an artist's
efforts.

LITERATURE REVIEW

Malay Traditional Games

Traditional Malaysian games are frequently associated with culture and involve physical activity,
while others require the use of critical thinking and strategy. Traditional games refer to cultural games that
have been practiced by a certain community for a certain period of time, such as in the case of our society,
top games, Cockfights, and Teng-Teng become traditional games. It was a way for people in the past to
entertain themselves because at that time there were no electronic media that could entertain them.
Furthermore, traditional games seem to be fading away from the interest of the Malay community.
Therefore, here’s a throwback to our parents’ favorite games when they were recent. Cockfighting is an
age-old practice in which two or more specially bred birds, known as gamecocks, are placed in an enclosed
pit to fight for the primary purposes of gambling and entertainment. Ketinting game, often referred to as a
"game for stone house," "Tingting," and "Ciak Tingting," is a Malay cultural tradition that is still
popular nowadays. It's a children's game that is entertaining and beneficial for the mental and physical
players. This game was practiced especially by rural communities that still maintain their ancestral heritage.

Culture

Culture can be an abstract set of principles depicting a group's customary thoughts and behavior.
Nonetheless, in carrying out this study, the researcher was bound by the notion of culture as defined by
cognitive anthropologists; that is, “culture is acquired knowledge, including beliefs, concepts, and
standards, organized by cognitive structures that people use to function properly in a cultural context (Quinn
& Holland, 1987, p. 136). Additionally, views in the context of the present study refer to personal opinions,
beliefs, and ideas.

RESEARCH METHODOLOGY

Primary Data (Theory Edmund Feldman (1993)

There are many philosophies on how to analyze and interpret Art. Fortunately, Edmund Feldman
(1993) created a simple four-step structure of the criticism of art consisting of description, analysis,
interpretation, and judgment. This theoretical framework statement, about art criticism and evaluation
specifically for students, is easy to follow and understand. At this point, the critics analyze the artwork's
message in detail. The ability to explain the information found in a piece of art in an informed manner
depends significantly on the critic's understanding of the principles of design and the elements of art.
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The Feldman system of criticism uses an inductive approach to draw generalizations (conclusions)
from the evidence available (particulars). His four-stage model of criticism has been used as a guide for
expressing opinions about works of art. Teachers of art appreciation have employed it under the underlying
premise that students who master it can think and converse intelligently about art while using this
method. Feldman thinks that students will know and appreciate art more if they can discuss it and think
intelligently about it (Feldman, 1982). The following is Feldman’s method of criticism model for the
students to use in art-critical

performance:

Image 1: The Feldman Model

a) Description

A description is the first step in the process of critiquing art (Feldman, 1994). During the description
process, critics make observations about what they see. Descriptive words and artworks are like pointers,
they draw attention to something worth seeing. These observations must be factual, with no inferences or
expressions of personal opinion No adjectives of beauty or disapproval should be used. These are the thing
that should have in the description, what is the written description on the label or in the program about the
work? What is the title and who is (are) the artist(s)? When and where was the work created? Describe the
elements of the work (i.e., line movement, light, space) and describe the work's technical aspects (i.e., tools,
materials, instruments).

b) Analysis

The analysis is the second step in the art critiquing process (Feldman, 1994). At this point, the critics
analyze the artwork's message in detail. The ability to explain the information found in a piece of art in an
informed manner depends significantly on the critic's understanding of the principles of design and the
elements of art. It also reveals the decision-making process of the artist, who wants the viewer to make
certain connections within the artwork. To describe how the work is organized as a complete composition
the critic should ask the following questions: How is the work constructed or planned (i.e., acts, movements,
lines)? Identify some of the similarities throughout the work (i.e., repetition of lines, two songs in each act).
Identify some of the points of emphasis in the work (i.e., specific scene, figure, movement) and If the work
has subjects or characters, what are the relationships between or among them?” (Jones, 2008)

c) Interpretation

Interpretation is the third step of the critiquing process (Feldman, 1994). Interpretation is the meaning
of the work based on the information in steps one and two. The artist is trying to say by describing what it
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means to them, how it makes them feel, or what expressive qualities the piece has and the critics only
express their opinion about what they think the artworks. and the critics should be in terms of the question?
Does the work remind you of other things you have experienced (i.e., analogy or metaphor)? How does the
work relate to other ideas or events in the world and/or in your other studies? (Jones, 2008)

d) Judgment

Judgment, the final step, is often the first statement that is expressed about an artwork before it has
really been examined. Judgment, in that case, is neither informed nor critical but simply an opinion. The
following questions were used to determine whether the piece of art was successful or unsuccessful. the
question should ask, what qualities of the work make you feel it is a success or failure? What criteria can
you list to help others judge this work? How original is the work? Why do you feel this work is original or
not original? (Jones, 2008)

Secondary Data (Interview Artist)

The researcher obtained information through secondary data methods such as interviews and observations,
where the interview session was held with the painters of Wan Ahmad Idham and Asyraf Hidayat. by using
social media (Instagram) as a place to get information, we also use google form method as a facility for
artists to answer questions from us.

Asyraf Hidayat, (Si Jantan) Wan Ahmad Idham (Teng-Teng)

(17 October 2022) (10 December 2022)

Social Media (Instagram) Social Media (Instagram)

Method (Google Form) Method (Google Form)

(17 October 2022) Si Jantan

On 17 October 2022 by approaching and contacting the artist through social media (Instagram) and
(WhatsApp) to explain the task of writing two 2 paragraph descriptions & persuasive writing, through the
data process I got information related to Asyraf Hidayat's work (Si Jantan) and agreed to cooperate in
further developing my writing.

(10 DEcember 2022) Teng-Teng

On 10 October 2022 by approaching and contacting the artist of Teng-Teng through social media which is
to explain the task of writing two 2 paragraph writing descriptions & persuasive writing. Based on
information from Wan Ahmad Idham, who has inspired by his experience through (Teng-Teng) is an art
product related to traditional games in Malay culture, therefore, the second information we obtained from
an artist interview was through the latest social media platform information from the artist is also a form of
authentic and referable information.
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FINDINGS

Table 1 Method of Art criticism-The critical process by Theory Edmund Feldman (1993)

Artworks 1

Title: SI JANTAN
Medium: mix media on canvas
Size: 84.1 cm x 118.8 cm
Year:2022

Description Muhammad Asyraf Hidayat bin Zulkarnain is the artist for the title of the artwork "
Si Jantan". The work of art was created on July 31, 2022, and it uses mixed media
on canvas as its technical medium. On the canvas, the artwork was painted in
portrait-style shapes. A chicken and a heritage house are the two things I noticed in
this piece of art. This image contains a subject matter, which is the gaming scene.

Analysis This artwork has some of the principal elements. It's interesting that the important
subject matter of the artwork, which can be seen in the foreground, features a
rooster. It became a representation of the title "Si Jantan" of this piece of art. Other
than that, in the mid-ground of the artwork we have seen a game traditional which
is cock fighting and in the background of this work we have seen an attractive
heritage house. The use of hot colors which as red and yellow in the background
make this painting part of a sign of warning, and firmness. Besides that, in the
foreground, we have seen the contrasting color make a difference between the
subject front and back. This painting is livelier with the use of color. Impressively,
in this artwork of "Si Jantan" there are has a sense of perspective that makes this
artwork a balanced proportion which is in the eyes of the subject a rooster.
Interestingly, there are special techniques employed which is, the hatching
technique uses a ball pen to get a fine line to get a shadow.
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Interpretation The relationship between the title and the painting can be seen in the artwork, from
the front subject, middle, and background, they are related to each other because the
rooster and the cockfighting game make a way of storytelling and experience in a
work. The Jawi calligraphy in this piece of art also serves as a symbol of the Malay
people. Amazingly what I noticed first in this artwork on the subject of Cockfighting
moved to a rooster it make me think of the relation in games tradition in the Malay
world. I was also attracted to the Jawi calligraphy which make me feel some advice
to all who have seen this artwork. The story from the painting makes me think of
this game was banned since the event has been related to cases of other criminal
activities.

Judgment The artist was successful to express his experience game of Cockfighting through
the painting. He is also successful in bringing the way of storytelling from the use
of subjects that are accurate and easy to understand, the use of color has also played
a role in the viewing audience as a piece of advice. The artist was successful in
bringing of balanced composition. Other hence, in my overview the artist wants to
recall his memory through their artworks, he also wants to introduce the Malay
games that once used to be a phenomenon about the source of income for ancient
people. Therefore, this kind of game is attractive to him but leads to harm all around.
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Table 2 Method of Art criticism-The critical process by Theory Edmund Feldman (1993)

Artworks 1

Title: Teng-Teng
Medium: Ballpoint Pen and Acrylic
Size: 90cm x 120cm
Year: 2021

Description Teng-Teng, 90cm x 120cm using a ballpoint pen and acrylic on canvas made by
Wan Ahmad Idham in 2021 and takes five days to complete it. Besides that, the
inspiration for this painting is to tribute to the traditional game that he played with
his friends

Analysis The background of this painting has ‘gelanggang’ of the teng-teng that has nine
compartments(petak). The back of the ‘gelanggang’ has nine lines that make a
rectangular shape. Besides that, on the mid-ground three people can be look in this
painting it is one man, one boy, and one girl. Their position looks like they are
playing the teng-teng and it’s the man's turn to throw(baling) the gundu and another
two kids are waiting beside the left and right of the men. The foreground of this
painting has various elements of line, shape, and pattern.

Interpretation Firstly, the relationship between the title and the painting can be seen in the artwork,
from the situation of playing the teng-teng with friends. Not also that, the first thing
that can be noticed is the ‘gelanggang’ of teng-teng in the background because of
the highlights of green colors. The story of this painting is a to tribute the traditional
game that most people played in their childhood time. Furthermore, this painting
also represents the exciting feeling of playing and waiting for the turn to play the
teng-teng.
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Judgment The artist is successful to express the game of teng-teng in the painting. He also
success to put the ‘gelanggang;’ of teng-teng as the subject matter in the artwork.
On the other hand, the artist’s artwork is a little bit off when placing the pattern,
line, and shape. The color of the painting is a bit distracting in the center because of
too many varieties of colors are using.

CONCLUSION

Regarding the artist’s artwork, the concept of Malaysian traditional games is a priceless heritage for
Malaysian people. Its needs to be preserved from one generation to the next generation because of the
intriguing symbols of the nation’s customs, culture, and identity. This researcher aims to give exposure to
the young generation to appreciate the young artists who apply the concept of traditional Malay games in
their artwork. This artist’s artwork should be given the appreciation and attention that it should deserve due
to the uniqueness and difference given by them. Regarding the artist's artwork, the concept of Malaysian
traditional games is a priceless heritage for Malays people. Its needs to be preserved from one generation
to the next generation because of the intriguing symbols of the nation's customs, culture, and identity. The
uniqueness of Malay traditional games is from the game itself, which needs to use human critical thinking
and creativity. This researcher aims to give exposure to the young generation to be more appreciative of the
young artists who apply the concept of traditional Malay games in their artwork. This artist's artwork should
be given the appreciation and attention that it should deserve due to the uniqueness and difference given by
them.
The purpose of artists using this concept are to introduce and spread Malay traditional game to the
people and world. It also can attract more people to interact with Malay culture and community.
Furthermore, this researcher is using the Feldman theory because of the specifications structure of criticism
from four main components; Description, Analysis, Interpretation, and Judgement. This theory can use to
evaluate any artwork based on the fundamental principles and elements of art and design. Besides that,
Feldman’s theory is considered the judgment step that becomes the most straightforward way to assess an
artwork. In overall artworks, the artist's objective in creating artwork in the theme of this traditional game
is to preserve information and memories of the game that once upon a time became a phenomenon in
strengthening friendships. Not only that, in this paper, we can also see, the results of element analysis by
using Edmund Feldman's theory make it easier for the reader to get information and understand the way of
looking from the point of view of art production. Therefore, each result from the work has impacted
different views on the way this theory is used.
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IJAD International Journal of Art and Design. (n.d.). University Technology MARA Melaka. Retrieved
October 11, 2022, from https://melaka.uitm.edu.my/ijad/index.php/current-paper?start=12

Journal article with DOI

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