TOPIK 1.KONSEP PENDIDIKAN SENI VISUAL
DEFINISI SENI VISUAL
* Menjurus kepada seni tampak & tidak merujuk kepada seni lain spt. Seni muzik seni tari,seni sastera,& seni mempertahankan diri.
Pendidikan Seni Sekolah Rendah merangkumi 4 bidang:-
- Menggambar
- Membuat Rekaan & corak
- Membentuk & membuat binaan
- Kraf tradisonal
MATLAMAT
- Untuk membentuk keperibadian generasi M’sia yg celik budaya,punyai nilai-nilai estetik yg tinggi,imaginative,kritis,kreatif,inovatif & inventif .
OBJEKTIF PSV:- M/M dapat
1. menunjukkan penghargaan terhadap keindahan alam ciptaan tuhan
2. memupuk budaya penyelidikan dlm proses penghasilan karya seni visual
3. meningkatkan pengetahuan,daya kreatif,inovasi,displin serta kemahiran dalam
bidang seni visual yg dpt diamalkan dlm kehidupan & kerjaya.
4. mengguna pelbagai kemahiran,media, teknik & teknologi utk mereka cipta
barangan kraft & produk seni visual yg berkualiti
5. membuat diskripsi,analisis,interprasi & penilaian terhadap karya seni visual.
6. menunjukkan nilai tambah dlm displin sains,teknologi & m/pel. Lain
7. menunjukkan penghargaan terhadap sumbangan & pengaruh tokoh-tokoh seni
visual dlm konteks perkembangan sejarah seni visual di M’sia & antarabangsa.
8. menjadikan bidang seni visual sbg. Prospek kerjaya
9. menunjukkan kesedaran dlm persekitaran & kaitan dgn kesedaran hidup
10 menunjukkan semangat bina jati diri kea rah pembentukan Negara bangsa.
Maklumat lanjut Assignment ini sila email saya at
admin@inaionline.ws
Bayaran Pos RM5.00 diperlukan. TQ
Friday, November 6, 2009
Pengukuran dan Penilaian
1. Pengenalan
Guru memainkan peranan yang penting dalam mengesan perkembangan, kebolehan, kemajuan dan pencapaian murid. Guru menentukan hasil pembelajaran yang hendak dinilai, merancang dan membina instrumen penilaian, melaksanakan penilaian, merekod hasil penilaian dan membuat tindakan susulan. Melalui penilaian guru dapat memastikan perkembangan potensi pelajar secara menyeluruh dan bersepadu dari segi intelek, rohani, emosi dan jasmani selaras dengan kehendak dan matlamat Falsafah Pendidikan Kebangsaan.
Dalam kerja kursus ini, perkara yang akan dibentangkan ialah langkah-langkah dan tertib dalam mentadbir ujian dan menentukan item yang telah diuji samada ianya boleh diterima berdasarkan indeks kesukaran dan indeks diskriminasi
Dalam menentukan kejayaan kajian ini, saya telah menguji seramai 25 orang murid Tahun 5 di Sekolah Kebangsaan Selidap, Meradong sebagai landasan dan objek bagi memastikan kebolehpercayaan dan kesahan instrumen yang telah dibina. sebelum saya meneruskan dengan kajian mengenai items berdasarkan pencapaian pelajar, terlebih dahulu saya ingin menghuraikan konsep Pengujian, Pengukuran dan Penilaian.
2. Konsep Penilaian
Penilaian merupakan proses membuat pertimbangan atau keputusan dalam memberikan nilai, mutu, kualiti atau harga bagi sesuatu benda atau perkara. Melalui penilaian kita boleh membuat anggaran, sama ada matlamat yang telah ditetapkan seperti menguasai kemahiran membaca, menulis dan mengira di kalangan pelajar tercapai atau tidak. Stufflebeam et al. (1971:xxv) telah menyatakan bahawa penilaian adalah proses delineating, mencari dan memberikan maklumat yang berguna dalam mempertimbangkan
alternatif-alternatif keputusan.1
Gay (1985) pula berpendapat bahawa penilaian adalah satu proses yang sistematik semasa mengumpul dan menganalisis data bagi menentukan sesuatu objektif yang telah ditetapkan tercapai. Melalui penilaian, guru juga boleh membuat keputusan yang tepat berhubung dengan pengajaran dan pembelajaran. Selain itu, penilaian juga merupakan proses pembelajaran yang penting sekiranya ianya menggalakkan murid memperbaiki pencapaiannya. Penilaian dalam bilik darjah bleh dibuat dalam bentuk kualititatif, kuantitatif atau kedua-duanya sekali. Melalui data kuantitatif penilaian boleh dinyatakan dalam bentuk gred ( A, B, C, D atau E ), begitu juga dengan data kualitatif ianya juga boleh diberikan dengan bentuk kualitatif. Data kualitatif boleh diperolehi daripada rekod peristiwa dan rekod pemerhatian tngkahlaku seseorang pelajar atau individu. Penilaian di sekolah boleh dilaksanakan dalam lima peringkat iaitu persediaan ujian, pentadbiran ujian, pemeriksaan jawapan ujian, menganalisis ukuran dan interpretasi atau membuat tindakan susulan. Proses tersebut ditunjukkan seperti dalam Rajah 1.
Guru memainkan peranan yang penting dalam mengesan perkembangan, kebolehan, kemajuan dan pencapaian murid. Guru menentukan hasil pembelajaran yang hendak dinilai, merancang dan membina instrumen penilaian, melaksanakan penilaian, merekod hasil penilaian dan membuat tindakan susulan. Melalui penilaian guru dapat memastikan perkembangan potensi pelajar secara menyeluruh dan bersepadu dari segi intelek, rohani, emosi dan jasmani selaras dengan kehendak dan matlamat Falsafah Pendidikan Kebangsaan.
Dalam kerja kursus ini, perkara yang akan dibentangkan ialah langkah-langkah dan tertib dalam mentadbir ujian dan menentukan item yang telah diuji samada ianya boleh diterima berdasarkan indeks kesukaran dan indeks diskriminasi
Dalam menentukan kejayaan kajian ini, saya telah menguji seramai 25 orang murid Tahun 5 di Sekolah Kebangsaan Selidap, Meradong sebagai landasan dan objek bagi memastikan kebolehpercayaan dan kesahan instrumen yang telah dibina. sebelum saya meneruskan dengan kajian mengenai items berdasarkan pencapaian pelajar, terlebih dahulu saya ingin menghuraikan konsep Pengujian, Pengukuran dan Penilaian.
2. Konsep Penilaian
Penilaian merupakan proses membuat pertimbangan atau keputusan dalam memberikan nilai, mutu, kualiti atau harga bagi sesuatu benda atau perkara. Melalui penilaian kita boleh membuat anggaran, sama ada matlamat yang telah ditetapkan seperti menguasai kemahiran membaca, menulis dan mengira di kalangan pelajar tercapai atau tidak. Stufflebeam et al. (1971:xxv) telah menyatakan bahawa penilaian adalah proses delineating, mencari dan memberikan maklumat yang berguna dalam mempertimbangkan
alternatif-alternatif keputusan.1
Gay (1985) pula berpendapat bahawa penilaian adalah satu proses yang sistematik semasa mengumpul dan menganalisis data bagi menentukan sesuatu objektif yang telah ditetapkan tercapai. Melalui penilaian, guru juga boleh membuat keputusan yang tepat berhubung dengan pengajaran dan pembelajaran. Selain itu, penilaian juga merupakan proses pembelajaran yang penting sekiranya ianya menggalakkan murid memperbaiki pencapaiannya. Penilaian dalam bilik darjah bleh dibuat dalam bentuk kualititatif, kuantitatif atau kedua-duanya sekali. Melalui data kuantitatif penilaian boleh dinyatakan dalam bentuk gred ( A, B, C, D atau E ), begitu juga dengan data kualitatif ianya juga boleh diberikan dengan bentuk kualitatif. Data kualitatif boleh diperolehi daripada rekod peristiwa dan rekod pemerhatian tngkahlaku seseorang pelajar atau individu. Penilaian di sekolah boleh dilaksanakan dalam lima peringkat iaitu persediaan ujian, pentadbiran ujian, pemeriksaan jawapan ujian, menganalisis ukuran dan interpretasi atau membuat tindakan susulan. Proses tersebut ditunjukkan seperti dalam Rajah 1.
Tuesday, May 12, 2009
Malaysian Politics
Hi there!
Today I just feel please to express my opinions about Malaysian politics. For me politics is just a ticket to govern. This includes governing a family to the most a country. What's make me feel irritating enough is when a small country like Malaysia so involve in politicking. We have to many political party and waste most of the time, 12 months in a year, creating political sentiment. Everyone has a say even the taxi driver. Sometime I wonder when at a certain occasion some Malaysian claim that Malaysian is not a democratic nations. Please take some time to think deeply. Do we need to do all this thing over and over, year after year telling negative notion about the government. The government is there because the rakyat wanted them to be there. So just be a little patience to wait for the next election.
As a country of multi racial, peace is the first thing to care. The Chinese should be proud to be Malaysian from where they got the wealth. The Indian should look back to the history of colonization and the Malays should be given the credit for accepting other race living together in this country. Living together of the major races in the world, Chinese, Indian and Malays (for Malaya are part of the Malay archievepelago).
Please let us live in peace and be responsible and accountable to all other races including the minorities.Respecting others will never make us bankrupt.So to all Malaysian, be patriotic and serve the nations as a rakyat!
The US, she has only two major political party. Do you think they are more democratic then us?
Just a simple thought!
Today I just feel please to express my opinions about Malaysian politics. For me politics is just a ticket to govern. This includes governing a family to the most a country. What's make me feel irritating enough is when a small country like Malaysia so involve in politicking. We have to many political party and waste most of the time, 12 months in a year, creating political sentiment. Everyone has a say even the taxi driver. Sometime I wonder when at a certain occasion some Malaysian claim that Malaysian is not a democratic nations. Please take some time to think deeply. Do we need to do all this thing over and over, year after year telling negative notion about the government. The government is there because the rakyat wanted them to be there. So just be a little patience to wait for the next election.
As a country of multi racial, peace is the first thing to care. The Chinese should be proud to be Malaysian from where they got the wealth. The Indian should look back to the history of colonization and the Malays should be given the credit for accepting other race living together in this country. Living together of the major races in the world, Chinese, Indian and Malays (for Malaya are part of the Malay archievepelago).
Please let us live in peace and be responsible and accountable to all other races including the minorities.Respecting others will never make us bankrupt.So to all Malaysian, be patriotic and serve the nations as a rakyat!
The US, she has only two major political party. Do you think they are more democratic then us?
Just a simple thought!
Tuesday, February 24, 2009
Sunday, February 8, 2009
Yong Mun Sen - Pre Merdeka Artist
He was born on 10 January 1896 in his father’s coconut estate in Kuching, Sarawak with the original name of Yen Lang. He went to Tai-Pu in the Kwangtung province of China in 1901 for formal education in the proper use of brush and calligraphy, He returned to Kuching in 1910. The experience of watching a Japanese artist painting with watercolours left an unforgettable impression on him.
In 1914, he visited China where he painted grandiose pictures of lions and tigers which were much loved by the warlords of the time. Two years later, he married 16 years old Lam Sek Foong who was to bear him five children. He returned to Sarawak in 1917.
He could have settled for a life of ease as a wealthy planter but he chose to answer the call of art. Knowing full well that an artist’s fate was endless toil, strife and frustration for which there could never be real compensation, he bravely accepted his destiny.
In 1918, he was employed by a bookshop in Singapore and served at a school bookshop counter. He developed a love for Singapore urban scene which he later depicted in numerous water colours.In 1920, he was transferred to the Penang branch of the bookshop in Carnarvon Street. He saw the lovely island and was captivated by its beauty and charm.
In 1922, he changed his name to Yong Mun Sen and set up Tai Koon art studio in Chulia Street. He took up photography seriously and executed some plaster-of-paris sculpture. In 1930,he moved his studio to Penang Road and renamed it Mun Sen studio. He was so successful in his career that he opened an additional studio the next year, at an old mansion at Northam Road. Around this time, he became acquainted with the work of European artists through books, particularly those on Van Gogh and Gauguin. The latter particularly had a very strong influence on the development of his style, especially in his oil paintings.
Around 1936, several Penang artists discovered each other and decided to form the Penang Chinese Art Club, with Mun Sen as the Vice President. He became the President the following year. With the advent of the Second World War in 1939,the Penang Chinese Art Club was disbanded never to be reformed again. The period of the Japanese Occupation of Malaya from 1941 to 1945 was the most unproductive period of his life. He had to turn to farming for survival.
Following the death of his wife in 1941, he married the beautiful Yao Chew Mooi, the daughter of Yao Swee Lum from Ipoh ( a descendant of Kapitan China, Yap Ah Loy). She eventually gave birth to four sons and two daughters. After the war over, he was very productive and became well-known through his exhibitions in Malaya and Singapore and also through foreign contacts in Britain, U.S.A and Australia.
Mun Sen’s forte was landscape in watercolour. He did make frequent sallies into oil and Chinese traditional brush painting with success, but it was in the watercolour medium that he excelled. His uncomplicated landscapes were executed in fluid, full-blood washes. His work reflected conscious attempts to incorporate the Chinese artistic spirit. The influence of Chinese art resulted in his compositions being more airy and generalised in treatment, revealing a concern for linear properties and surface design. He was not interested in providing details or factual depiction of the landscape he observed. He controlled the watercolour and allowed transluscency and fluidity to render the rhythms.
The international contemporary art trend towards expressionism finally caught up with him in 1949 and the resultant heady ferment produced a series of abstract watercolours with surrealist undertone. In 1956, he had the first of several strokes and despite his physical infirmity, struggled on to paint. However, continued illness and financial hardship led to profound despair eventually. He died on September 29th 1962.
Ten years later, in March 1972,the National Art Gallery organised a Mun Sen Memorial Art Exhibition. With impartial and intelligent appraisal, his works will always retain the honoured place in Malaysia art they deserve.
In 1914, he visited China where he painted grandiose pictures of lions and tigers which were much loved by the warlords of the time. Two years later, he married 16 years old Lam Sek Foong who was to bear him five children. He returned to Sarawak in 1917.
He could have settled for a life of ease as a wealthy planter but he chose to answer the call of art. Knowing full well that an artist’s fate was endless toil, strife and frustration for which there could never be real compensation, he bravely accepted his destiny.
In 1918, he was employed by a bookshop in Singapore and served at a school bookshop counter. He developed a love for Singapore urban scene which he later depicted in numerous water colours.In 1920, he was transferred to the Penang branch of the bookshop in Carnarvon Street. He saw the lovely island and was captivated by its beauty and charm.
In 1922, he changed his name to Yong Mun Sen and set up Tai Koon art studio in Chulia Street. He took up photography seriously and executed some plaster-of-paris sculpture. In 1930,he moved his studio to Penang Road and renamed it Mun Sen studio. He was so successful in his career that he opened an additional studio the next year, at an old mansion at Northam Road. Around this time, he became acquainted with the work of European artists through books, particularly those on Van Gogh and Gauguin. The latter particularly had a very strong influence on the development of his style, especially in his oil paintings.
Around 1936, several Penang artists discovered each other and decided to form the Penang Chinese Art Club, with Mun Sen as the Vice President. He became the President the following year. With the advent of the Second World War in 1939,the Penang Chinese Art Club was disbanded never to be reformed again. The period of the Japanese Occupation of Malaya from 1941 to 1945 was the most unproductive period of his life. He had to turn to farming for survival.
Following the death of his wife in 1941, he married the beautiful Yao Chew Mooi, the daughter of Yao Swee Lum from Ipoh ( a descendant of Kapitan China, Yap Ah Loy). She eventually gave birth to four sons and two daughters. After the war over, he was very productive and became well-known through his exhibitions in Malaya and Singapore and also through foreign contacts in Britain, U.S.A and Australia.
Mun Sen’s forte was landscape in watercolour. He did make frequent sallies into oil and Chinese traditional brush painting with success, but it was in the watercolour medium that he excelled. His uncomplicated landscapes were executed in fluid, full-blood washes. His work reflected conscious attempts to incorporate the Chinese artistic spirit. The influence of Chinese art resulted in his compositions being more airy and generalised in treatment, revealing a concern for linear properties and surface design. He was not interested in providing details or factual depiction of the landscape he observed. He controlled the watercolour and allowed transluscency and fluidity to render the rhythms.
The international contemporary art trend towards expressionism finally caught up with him in 1949 and the resultant heady ferment produced a series of abstract watercolours with surrealist undertone. In 1956, he had the first of several strokes and despite his physical infirmity, struggled on to paint. However, continued illness and financial hardship led to profound despair eventually. He died on September 29th 1962.
Ten years later, in March 1972,the National Art Gallery organised a Mun Sen Memorial Art Exhibition. With impartial and intelligent appraisal, his works will always retain the honoured place in Malaysia art they deserve.
Subscribe to:
Posts (Atom)
