UPSI Digital Repository (UDRep)
Start | FAQ | About

QR Code Link :

Type :thesis
Subject :TK Electrical engineering. Electronics Nuclear engineering
Main Author :Naimah Musa@Zakaria
Title :Preserving Mak Yong for aesthetic experience in Intangible Cultural Heritage through digital technology
Place of Production :Tanjong Malim
Publisher :Fakulti Seni, Komputeran dan Industri Kreatif
Year of Publication :2023
Corporate Name :Universiti Pendidikan Sultan Idris
PDF Guest :Click to view PDF file
PDF Full Text :Login required to access this item.

Abstract : Universiti Pendidikan Sultan Idris
Mak Yong, a Malaysian performing art, is one of the Intangible Cultural Heritage (ICH) awarded by UNESCO in 2005. The Mak Yong’s declination was due to several issues including state government restrictions and prohibitions, lack of financial support and sponsorship, diminishing of elder performers, and the rise of digitalisation era. The advancement of digital technology and media seems to have a positive impact to the preservation of ICH. Therefore, this study is set to discover the level of acceptance for digistising Mak Yong amongst novice and expert practitioners, as well as to explore the potential of motion capture technology in order to digitally preserve the Mak Yong facial expressions, and to propose a new model of Aesthetic Experience (AX) that can improve the digital experience of Mak Yong. This study has adopted the Design Thinking model with five stages; emphatise, define, ideate, prototype and test. The Design Thinking research approach is based on alteration and non-linear properties that are suitable for the development and design of stimulus prototype. Qualitative methods are also used in this research including a semistructured interview with four Mak Yong experts and a focus group discussion (FGD). The FGD was attended by sixteen participants with educational backgrounds in theater and performance, and divided into two different virtual discussions. By utilizing the Atlas.ti 8 software for data analysis, this study uncovered the three themes as the main findings namely digital preservation through; expert’s verification, social media promotion and the potential of new media applications. The findings have also revealed that digital preservation has a significant impact on Mak Yong's performing art and AX during the transmission process. The theory of AX and diffusion of innovation were discussed, which has led to the formation of a new framework called the Diamond model of AX.

References

Albourae, A. T., Armenakisa, C., & Kyan, M. (2017). ARCHITECTURAL HERITAGE VISUALIZATION USING INTERACTIVE TECHNOLOGIES. International Archives of the Photogrammetry, Remote Sensing & Spatial Information Sciences, 42.  

 

Alivizatou-Barakou, M., Kitsikidis, A., Tsalakanidou, F., Dimitropoulos, K., Giannis, C., Nikolopoulos, S., ... & Grammalidis, N. (2017). Intangible cultural heritage and new technologies: challenges and opportunities for cultural preservation and development. Mixed reality and gamification for cultural heritage, 129-158.  

 

Álvarez, I. (2012). Artistic value and spectators’ emotions in dance performances. 

Ambrose, G., & Harris, P. (2009). Basics design 08: design thinking. Bloomsbury Publishing. 

 

Anderson, G. (1990). Fundamentals of educational research. London: The Falmer Press. 

 

Aristidou, A., Stavrakis, E., Charalambous, P., Chrysanthou, Y., & Himona, S. L. (2015). Folk Dance Evaluation Using Laban Movement Analysis. Journal on Computing and Cultural Heritage,m8(4), 1-19. doi:10.1145/2755566. 

 

Aswara Dance Company. (2012). Malaysian Traditional Dance - Mengadap Rebab [ Youtube]. Malaysia. Retrieved from https://www.youtube.com/watch?v=iPupY30oDVo 

 

Bachelor of Multimedia (Hons) Animation. (2020). MMU University. Retrieved from https://www.mmu.edu.my/programmes-by-faculty-all/programmes-by-faculty-fcm/bachelor-of-multimedia-hons-animation/ 

 

Baltrusaitis, T. (2014). Pattern Recognition, (861), 220. In Tan, H., & Zhang, Y. (2006). Automatic Facial Expression Analysis. In C. Ghaoui (Ed.), Encyclopedia of Human Computer Interaction (pp. 60-67). IGI Global. https://doi.org/10.4018/978-1-59140-562-7.ch010.  

 

Barton, R., & Sellers-Young, B. (2017). Movement: Onstage and off. Routledge. 

Beardsley, M. C. (1969). Aesthetic experience regained. The Journal of Aesthetics and Art Criticism, 28(1), 3-11. 

 

Biaggio, M. K., & Supplee, K. A. (1983). Dimensions of aesthetic perception. The Journal of Psychology, 114(1), 29-35. 

 

Berleant, Arnold. (2013). — What is Aesthetic Engagement?. Contemporary Aesthetics. 11. 

 

Bernama. (2017 Sept 21). Unesco want Kelantan to lift ban on Mak Yong. MalayMail. Retrieved from November 20, 2021 from https://www.malaymail.com/news/malaysia /2017/09/21/ unesco-wants-kelantan-to-lift-ban-on-mak-yong/1470181 

 

Bhandari, M. S. (2011). Preserving Intangible Cultural Heritage : A Case Study from Nepal. Training Course for Safeguarding of Intangible Cultural Heritage 2011, 1–5. 

 

Bouwer, W., & Human, F. (2017). The impact of the uncanny valley effect on the perception of animated three-dimensional humanlike characters. The Computer Games Journal, 6(3), 185-203. 

 

Bratitsis, T., & Kandroudi, M. (2014). Motion sensor technologies in education. EAI Endorsed Transactions on Serious Games, 1(2). 

 

Brinck, I. (2018). Empathy, engagement, entrainment: the interaction dynamics of aesthetic experience. Cognitive processing, 19(2), 201-213. 

 

Britannica (n.d.). Virtual Reality. In Britannica. Retrived from October 25, 2022 from https://www.britannica.com/technology/virtual-reality 

 

Bryman, A. (2012). Social research methods. Fourth edition. Oxford University Press 

Bundy, P. (2003). Aesthetic Engagement in the Drama Process. Research in Drama Education: The Journal of Applied Theatre and Performance, 8(2), 171–181. 

  

Cambridge Dictionary. (n.d) Culture. In Cambridge Dictionary. Retrieved from October 25, 2020, from https://dictionary.cambridge.org/dictionary/english/culture 

 

Cambridge Dictionary. (n.d).Aesthetic. In Cambridge Dictionary. Retrieved from October 25, 2020, from http://www. dictionary.cambridge.org 

 

Chan, M., Au, W. T., & Hoyan, C. (2019). Exploring theater experiences among Hong Kong audiences. Cogent Arts & Humanities, 6(1), 1588689. 

Chan, M. K., & Au, W. T. (2016). Developing and Validating a Theater Experience Scale. Empirical Studies of the Arts, 35(2), 169–193.  

 

Chao, H., Delbridge, M., Kenderdine, S., Nicholson, L., & Shaw, J. (2018). Kapturing kung fu: Future proofing the Hong Kong martial arts living archive. In Digital echoes (pp. 249-264). Palgrave Macmillan, Cham. 

 

Chen, T.L. & Pan., F.M (2020). Exploration of Design Thinking in General Knowledge Courses. International Journal of Education and Research Vol. 8 No. 7 July 2020 

 

Chilkovsky, N. (1961). Techniques for the Choreologist. Ethnomusicology, 5(2), 121-127. 

 

Combi, M. (2016). Cultures and Technology: An Analysis of Some of the Changes in Progress—Digital, Global and Local Culture. In: Borowiecki, K., Forbes, N., Fresa, A. (eds) Cultural Heritage in a Changing World. Springer, Cham. 

 

Constantinidis, D. (2016). Crowdsourcing culture: Challenges to change. In Cultural heritage in a changing world (pp. 215-234). Springer, Cham. 

 

Convention for the Safeguarding of the Intangible Cultural Heritage (2003). Retrieved from http://portal.unesco.org 

 

Costelloe, T. M. (2013). The British Aesthetic Tradition: From Shaftesbury to Wittgenstein. Cambridge University Press. 

 

CUCKOVIC, A. (2011). Rise of the Aesthetic Experience and the Process of Globalization. Serbia: University of Novi Sad. 

 

Cuthbert, A. (2011). Understanding cities: method in urban design. Routledge. 

Croasmun, J. T & Ostrom., L (2011) Using Likert-Type Scales in the Social Sciences, Journal of Adult Education Volume 40, Number 1. 

  

Dawes, J. (2008). Do data characteristics change according to the number of scale points used? An experiment using 5-point, 7-point and 10-point scales. International journal of market research, 50(1), 61-104. 

 

Denscombe, M. (1999). Critical incidents and learning about risks: the case of young people and their health. In Researching School Experience (pp. 195-210). Routledge. 

Deshmukh, R., & Scholar, M. E. (2017). A comprehensive survey on techniques for facial emotion recognition. International Journal of Computer Science and Information Security (IJCSIS), 15(3). 

 

De Marinis, M. (2011). New Theatrology and Performance Studies: Starting Points towards a Dialogue. TDR/The Drama Review, 55(4), 64-74. 

 

Dickie, G. (1997). Introduction to aesthetics: An analytic approach. 

Digital meets Culture.(2015). Digital meets Heritage. Retrieved from https://www.digitalmeetsculture.net/article/digital-meets-heritage/ 

 

Donaldson, M. (2017). Plutchik’s Wheels of emotion.6 seconds. The emotional intelligence network. Retrieved from https://www.6seconds.org/2017/04/27/plutchiks-model-of-emotions 

 

Dufrenne, M. (1973). The phenomenology of aesthetic experience. Northwestern University Press. 

 

Marques, I. C. D. S., Theiss, L. M., Johnson, C. Y., McLin, E., Ruf, B. A., Vickers, S.  

M., ... & Chu, D. I. (2021). Implementation of virtual focus groups for qualitative data collection in a global pandemic. The American Journal of Surgery, 221(5), 918-922. 

 

Edward, L., Dakpe, S., Feissel, P., Devauchelle, B., & Marin, F. (2012).  

Quantification of facial movements by motion capture. Computer Methods in Biomechanics and Biomedical Engineering, 15(sup1), 259-260.  

 

Ekman, P. (1992). An argument for basic emotions. Cognition & emotion, 6(3-4), 169-200. 

 

Emmons, R. A. (2020). Joy: An introduction to this special issue. The Journal of Positive Psychology, 15(1), 1-4. 

 

Engländer, F. (June 30, 2014). The Uncanny Valley. Retrieved from https://www.animatorisland.com/the-uncanny-valley/?v=75dfaed2dded, 2014. 

 

Essén, A., & Östlund, B. (2011). Laggards as Innovators? Old Users as Designers of New Services & Service Systems. International Journal of Design, 5(3), 89-98. 

 

Europeana (2013). Website. Retrieved from http://www.europeana.eu/portal 

 

Falip, S. V., Castells, J. D., & Escudero, D. F. (2009). Facial animation and motion capture: Key role for the communication. IMSCI 2009 - 3rd International Multi-Conference on Society, Cybernetics and Informatics, Proceedings, 2, 134–139. https://doi.org/10.1016/j.socec.2009.05.009 

 

Fayn, K., MacCann, C., Tiliopoulos, N., & Silvia, P.J. (2015). Aesthetic Emotions and Aesthetic People: Openness Predicts Sensitivity to Novelty in the Experiences of Interest and Pleasure. Frontiers in Psychology, 6. 

 

Fingerhut, J., & Prinz, J. J. (2020). Aesthetic Emotions Reconsidered. The Monist, 103(2), 223–239. https://doi.org/10.1093/monist/onz037. 

 

Fluck, W. (2003). Aesthetic Experience of the Image. In Iconographies of Power The Politics and Poetics of Visual Representation. Heidelberg. 

 

Friberg, C. (2001).The Importance of Aesthetic Experience. Nordic Journal of Aesthetics 13(24). 

 

Foley, K., & Kahn, S.M. (2012). Staging Raja Tangkai Hati at Istana Budaya: Modernizing Malaysian Mak Yong. Asian Theatre Journal 29(2). 

 

Goodrich, R (February 26, 2013) What is Crowdsourcing? BusinessNewsDaily Contributor, Retrieved from https://www.businessnewsdaily.com/4025-what-is-crowdsourcing.html. 

 

Grudens-Schuck, N. ,Allen, B. L, & Larson, K. (2004). Focus Group Fundamentals -- Methodology Brief. Methodology Brief.  Iowa State University 

 

Gu, S., Wang, F., Patel, N. P., Bourgeois, J. A., & Huang, J. H. (2019). A model for basic emotions using observations of behavior in Drosophila. Frontiers in Psychology.  

 

Guarnera, M., Hichy, Z., Cascio, M. I., & Carrubba, S. (2015). Facial expressions and ability to recognize emotions from eyes or mouth in children. Europe's journal of psychology, 11(2), 183. 

 

Guest, G., Namey, E., & McKenna, K. (2016). How Many Focus Groups Are Enough? Building an Evidence Base for Nonprobability Sample Sizes. Field Methods, 29(1), 3–22.  

 

Hayn-Leichsenring, G. U., Vartanian, O., & Chatterjee, A. (2022). The role of expertise in the aesthetic evaluation of mathematical equations. Psychological research, 86(5), 1655–1664.  

 

Hadzigeorgiou, Y. (2016). Imaginative science education: The central role of imagination in science education. Imaginative Science Education: The Central Role of Imagination in Science Education, 1–283.  

 

Hagman, G. (2005). Aesthetic Experience. Netherland: Rodopi.B.V. 

Hanson, B. (2017). Aging musically: tangible sites of intangible cultural heritage In The Routledge companion to intangible cultural heritage. Routledge/Taylor & Francis Group. 

 

Hassani, F. (2015). Documentation of cultural heritage; techniques, potentials, and constraints. ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences,XL-5/W7, 207-214. doi:10.5194/isprsarchives-xl-5-w7-207-2015. 

 

Hegarini E., Dharmayanti E., & Syakur A., “Indonesian traditional dance motion capture documentation”, 2nd International Conference on Science and Technology-Computer (ICST), 2016, 108-111. 

 

Heikkilä,A (2017) .KineAesthetics in Dance – Aesthetic Qualities and Value in Bodily Movements .MA Thesis in Aesthetics Philosophy, History and Culture.Department of Art Studies,University of Helsinki. 

 

Heiland, T. L. (2016). Special Issue : Pedagogy in Theory and Practice in Laban Studies Special Issue : Pedagogy in Theory and Practice in Laban Studies, 3(1). 

 

Hikayat by Kakiseni (2019). Preserving the graceful Mak Yong. Retrieved from  

https://www.facebook.com/watch/?v=2397926433777005. 

 

Hosoya, G., Schindler, I., Beermann, U., Wagner, V., Menninghaus, W., Eid, M., et al. (2017). Mapping the conceptual domain ofaesthetic emotion terms: a pile- sort study. Psychol. Aesthet. Creat. Arts 11, 457–473. 

 

Idris, M. Z., Mustaffa, N. B., & Yusoff, S. O. S. (2016). Preservation of intangible cultural heritage using advance digital technology: Issues and challenges. Harmonia: Journal of Arts Research and Education, 16(1), 1-13. 

 

Idris, M.Z., & Musa, N. (2020). Beyond Digitalisation: Facial Motion Capture for Mak Yong through the Perspective of Aesthetic Experience and Uncanny Valley. Journal of Image and Graphics, 37-41. 

 

Ipsos. (2021). TikTok Drives Advertiser Brand Value Delivering Ad Recall and Strong Call to Action. Retrieved from https://www.ipsos.com/en-sa/tiktok-drives-advertiser-brand-value. 

 

Jacobsen, T., & Beudt, S. (2017). Stability and Variability in Aesthetic Experience: A Review. Frontiers in psychology,8, 143.  

 

Johnsons, R. (2010) Likert Items and Scales. University of Strathclyde. SURVEY QUESTION BANK: Methods Fact Sheet 1 (March 2010). 

 

Joshi, A., Kale, S., Chandel, S. and Pal, D. (2015) Likert Scale: Explored and Explained. British Journal of Applied Science & Technology, 7, 396-403.  

 

Khalid, M. S., & Chowdhury, M. S. A. (2018). Representation of intangible cultural heritage of Bangladesh through social media. Anatolia, 29(2), 194–203.  

 

Kico, I., Grammalidis N., Christidis, Y., & Liarokapis, F. 2018 “Digitization and visualization of folk dance in cultural heritage: a review”. Inventions, 3(4), 72, MDPI AG. Retrieved from https://dx.doi.org/10.3390/inventions3040072. 

 

King, L., Stark, J. F., & Cooke, P. (2016). Experiencing the Digital World: The Cultural Value of Digital Engagement with Heritage. Heritage & Society, 9(1), 76–101.  

 

Kiss, L. B. D. F. (2009). Preserving Tangible and Intangible Heritage Shared Heritage-Common Responsibility. 

 

Konie, R. (2011). A Brief Overview of Laban Movement Analysis. Movement Has Meaning, 1–6. Retrieved from http://movementhasmeaning.com/wp-content/uploads/2010/09/LMA-Workshop-Sheet.pdf 

 

Kowalska, M., Wróbel, M. (2020). Basic Emotions. In: Zeigler-Hill, V., Shackelford, T.K. (eds) Encyclopedia of Personality and Individual Differences. Springer, Cham.  

 

Krueger, R. A. (2014). Focus groups: A practical guide for applied research. Sage publications. 

 

Kumari, J., Rajesh, R., & Pooja, K. M. (2015). Facial Expression Recognition: A Survey. Procedia Computer Science, 58, 486–491.  

 

Laban, R. V. & McCaw, D. (2011). The Laban sourcebook. New York: Routledge. 

 

LaMorte, W. W. (2019). Diffusion of innovation theory. Boston University School of Public Health, 4. 

 

Leder, H., Belke, B., Oeberst, A., & Augustin, D. (2004). A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology, 95(4), 489–508.  

 

LeDoux, J. (1998). Fear and the brain: Where have we been, and where are we going? Biological Psychiatry, 44(12), 1229–1238.  

 

Lenzerini, F.(2011). Intangible Cultural Heritage: The Living Culture of Peoples, European Journal of International Law, Volume 22, Issue 1, February 2011, Pages 101–120.  

 

Leyton, M. (2006). The Foundations of Aesthetics. Science, 313, 1–24. 

 

Lin, P.-H., Lu, C.-C., & Yeh, M.-L. (2011). Design for Aesthetic Experience, 322–331. https://doi.org/10.1007/978-3-642-21660-2_36 

 

Strand, E. A., Lindgren, S., & Larsson, C. (2016, October). Capturing our cultural intangible textile heritage, MoCap and craft technology. In Euro-Mediterranean Conference (pp. 10-15). Springer, Cham. 

 

Locher, P., Overbeeke, K., & Wensveen, S. (2009, April). A framework for aesthetic experience. In Proceedings of Conference on Human Factors in Computing Systems.  

 

Lowood, H. E. (2021). Virtual Reality. In Encyclopedia Britannica. Retrieved from January 2, 2021, from https://www.britannica.com/technology/virtual-reality. 

 

Ludden.,G.D. S, Hekkert.,P. & Schifferstein.,H N.J. (2006) Surprise & emotion, 

Eaton, M. M. (2001). Merit, aesthetic and ethical. Oxford University Press on Demand. 

 

Manaf,A., Arshad, M. R & Bahrin (2020). Team Learning In Motion Capture Operations And Independent Rigging Processes. In International Journal of Scientific & Technology Research 9(02):2545 

 

Masadeh, M. A. (2012). Focus Group: Reviews and Practices. International Journal of Applied Science and Technology Vol. 2 No. 10; December 2012. 

 

Mazel A., Corsane, G., Thomas, R., and James, S.(2017) From the Bottom Up: the Identification and Safeguarding of Intangible Cultural Heritage In Guyana In Stefano, M. L., & Davis, P. The Routledge companion to intangible cultural heritage. London ; New York, Ny Routledge. 

 

McConachie, B (2008) . Social Cognition in Spectating. Cognitive Studies in Literature and Performance book series. Palgrave MacMillan. 

 

Menninghaus, W., Wagner, V., Wassiliwizky, E., Schindler, I., Hanich, J., Jacobsen, T., & Koelsch, S. (2019). What are aesthetic emotions? Psychological Review, 126(2), 171–195. https://doi.org/10.1037/rev0000135 

 

Merriam-Webster. (n.d.). Enjoyment. In Merriam-Webster.com thesaurus. Retrieved February 6, 2022, from https://www.merriam-webster.com/thesaurus/enjoyment 

Moreau, J.L. (2014). Is it beautiful Aesthetics in theatre education. Retrieved from https://schooltheatre.org/ 

 

Määttänen, P. (2015). Emotionally Charged Aesthetic Experience. Aesthetics and the Embodied Mind: Beyond Art Theory and the Cartesian Mind-Body Dichotomy, 73, 85–99.  

 

Magid, A., & Mohammed, M. I. (2017). The Tree of Emotions : Exploring the Relationships of Basic Human Emotions. The International Journal of Indian Psychology, 5(1).  

 

Mancini, G., Biolcati, R., Agnoli, S., Andrei, F., & Trombini, E. (2018). Recognition of Facial Emotional Expressions Among Italian Pre-adolescents, and Their Affective Reactions. Frontiers in Psychology, 9.  

 

Marin, J., Blanco, T., & Marin, J. J. (2017). Octopus: A design methodology for motion capture wearables. Sensors (Switzerland), 17(8), 1–24. https://doi.org/10.3390/s17081875 

 

Markovic, S. (2012). Components of aesthetic experience: Aesthetic fascination, aesthetic appraisal, and aesthetic emotion. I-Perception, 3(1), 1–17.  

 

Martin B., Wallraven C., Cunningham D. W., & Buelthoff H. H., “Combining 3D scans and motion capture for realistic facial animation”, Eurographics, 2003. 

 

Mastandrea, S. (2015). How emotions shape aesthetic experiences. The Cambridge Handbook Of the Psychology of Aesthetics and the Arts, (January 2015), 500–518.  

 

Mastandrea, S., Bartoli, G., & Carrus, G. (2011). The automatic aesthetic evaluation of different art and architectural styles. Psychology of Aesthetics, Creativity, and the Arts, 5(2), 126. 

 

Matusky, P. (2015). Within Periodicity. Malaysian Journal of Performing and Visual Arts, 1, 73. 

 

Mayya, V., Pai, R. M., & Manohara Pai, M. M. (2016). Automatic Facial Expression Recognition Using DCNN. Procedia Computer Science, 93(September), 453–461.  

 

MCMC Annual Report (2020). Malaysian Communications and Multimedia Commissions. Retrieved from https://www.mcmc.gov.my/skmmgovmy/media/General/MCMC-Annual-Report-2020_HiRes_Pages.pdf 

 

Menolotto, M., Komaris, D., Tedesco, S., O’Flynn, B., & Walsh, M.J. (2020). Motion Capture Technology in Industrial Applications: A Systematic Review. Sensors (Basel, Switzerland), 20. 

 

Reid, A., & Miller, M. (2005). Why is Aesthetic Awareness Important for Design Students?. 

 

Miller, E. (2004). Aesthetics Introduction. Rowan University Retrieved from http://users.rowan.edu/~millere/Introduction%20to%20Aesthetics.htm. 

 

Mohamad, Z. (2012). Report: The Mak Yong Spiritual Dance Heritage Conference, Performances, and Workshops. Asian Theatre Journal, 29(2), 445–460.  

 

M.,Mori, “The uncanny valley,” IEEE Robotics and Automation Magazine, vol. 4, no. 7, pp. 98-100, 2012. 

 

Mündermann, L., Corazza, S., & Andriacchi, T. P.(2006) The evolution of methods for the capture of human movement leading to markerless motion capture for biomechanical applications. Journal of NeuroEngineering and Rehabilitation, 2006. 

 

Musa, N., Idris, M. Z., Hashim, M. E. A. H., Othman, A. N., & Kim, L. C. (2020). Digital preservation for malay folk dance expression: developing a framework using motion capture, aesthetic experience and laban theory approach. J. Adv. Res. Dyn. Control Syst, 12(01), 995-998. 

 

Mustafa, N.A & Abdullah, N.C. (2013). Preservation Of Cultural Heritage In Malaysia: An Insight Of The National Heritage Act 2005, Proceedings of International Conference on Tourism Development, Faculty of Law, Universiti Teknologi Mara. MALAYSIA. 

 

Mustafa, N. A. binti, & Abdullah, N. C. (2021). Intangible Cultural Heritage as Right to Livelihood. International Journal of Academic Research in Business and Social Sciences, 11(11), 2079–2092. 

 

Mustaffa, N., & Idris, M. Z, Accessing Accuracy of Structural Performance on Basic Steps in Recording Malay Zapin Dance Movement Using Motion Capture Accessing Accuracy of Structural Performance on Basic Steps in Recording Malay Zapin Dance Movement Using Motion Capture, (January), 2017. 

 

Mustaffa, N., & Idris, M. Z. (2020). Analysing Step Patterns on the Malaysian Folk Dance Zapin Lenga. Journal of Computational and Theoretical Nanoscience, 17(2), 1503–1510. https://doi.org/10.1166/jctn.2020.8832. 

 

Mustapha, A. I., Nwani, C., Atmaja, F. F., Mba, M. A. H., Ali, M., Jamshed, S., ... & Nazri, M. (2018). Arabian Journal of Business and Management Review (Kuwait Chapter). Arabian Journal of Business &, 7(1). 

 

Nanay, B. (2015). Using Philosophy of Perception in Aesthetics. Aesthetic Investigations, 1(1), 174–180. 

 

Nasuruddin, M. G (1995). The Malay Dance. Dewan Bahasa dan Pustaka.  

Nasuruddin, M.G. (2017). Mak Yong Malaysian Legacy World Heritage. The Department of National Heritage 

 

National Heritage Act 2005.(2006). The Commissioner of Law Revision, Malaysia under the authority of the revision of Law Act 1968. Law of Malaysia. In collaboration with Percetakan Nasional Malaysia Bhd 

 

NewStraitTimes (2016) Healing spirits of Malay traditional dance by Datuk Dr Mohamed Ghouse Nasuruddin. July 10, 2016. 

 

Nikonova, A. A., & Biryukova, M. V. (2017). The Role of Digital Technologies in the Preservation of CulturalHeritage. Museology & Cultural Heritage/Muzeologia a Kulturne Dedicstvo, (1).  

 

Nogueira, P. (2001). Motion Capture Fundamentals A Critical and Comparative Analysis on Real-World Applications, 5–18.  

 

Ocnarescu, I. C., Labrune, J., Bouchard, C., Pain, F., Sciamma, D., & Aoussat, A. (2012). An initial framework of Aesthetic Experience over Time. Design and Emotion Conference2012, (September). 

 

Ortony A. (2022). Are All "Basic Emotions" Emotions? A Problem for the (Basic) Emotions Construct. Perspectives on psychological science : a journal of the Association for Psychological Science, 17(1), 41–61.  

 

Oxford Dictionaries. (n.d.).Culture. In English Oxford Living Dictionaries. Retrieved from October 25, 2020, from https://en.oxforddictionaries.com/definition/culture 

 

Paíno Ambrosio, A., & Rodríguez Fidalgo, M. I. (2020). Past, present and future of Virtual Reality: Analysis of its technological variables and definitions. Culture & History Digital Journal, 9(1), 010.  

 

Perumal, T. (2010). CMRM6103 Research Methodology / GMRM5103 Research Methods in Competitive Intelligence. Centre for Instructional Design and Technology Open University Malaysia. Retrieved from file:///C:/Users/HP/Downloads/2011-0021_22_research_methodology.pdf 

 

Petronela, T. (2016). The Importance of the Intangible Cultural Heritage in the Economy. Procedia Economics and Finance, 39(January 2011), 731–736.  

 

Philip C. Watkins, Robert A. Emmons, Madeline R. Greaves & Joshua Bell(2017): Joy is a distinct positive emotion: Assessment of joy and relationship to gratitude and well-being, The Journal of Positive Psychology.  

 

Pitzalis, D., Kaminski, J., & Niccolucci, F. (2011). 3D-COFORM: Making 3D documentation an everyday choice for the cultural heritage sector. Virtual Archaeology Review, 2(4), 145.  

 

Pitica, I., Susa, G., & Benga, O. (2013). Finding the Angry Face in the Crowd: A Comparison Between Preadolescents and Adolescents with an Emotional Visual Search Task. Procedia - Social and Behavioral Sciences, 84, 416–420. 

  

Ploder, A., & Eder, A. (2015). Semantic Differential. International Encyclopedia of the Social & Behavioral Sciences: Second Edition (Second Edi, Vol. 21). Elsevier.  

 

Pramartha, C. Davis, J.G., Kuan, K.K. Y. (2017). Digital Preservation of Cultural Heritage: An Ontology-Based Approach. Australasian Conference on Information Systems Hobart, Australia 

 

Puvenesvary, M., Radziah Abdul Rahim, R. Sivabala Naidu, Mastura Badzis, Noor Fadhilah Mat Nayan, Noor Hashima Abd Aziz. (2008). Qualitative research: Data collection & data analysis technique. Sintok: Universiti Utara Malaysia. 

 

Ragab, R. M. (2018). Facial Animation Analysis. A Thesis Submitted to Computer Science Department, Faculty of Computer and Information Sciences, Ain Shams University, Cairo, Egypt, in Partial Fulfillment of the Requirements for the Degree of Master in Computer Science Department. 

 

Raj, S., & Morgan, R. (2016). 127 Sumathi Raj and Raja Morgan, 127–141. 

Ramlan, M., & Quayum, M. A. (2010). Mapping the history of Malaysian theatre: an interview with Ghulam-Sarwar Yousof. Asiatic, 4(2), 155–168. 

 

Reisenzein, R., Meyer, W. U., & Niepel, M. (2012). Encyclopedia of Human Behavior. 

 

Reason, M., Jola, C., Kay, R., Reynolds, D., Kauppi, J.-P., Grobras, M.-H., . . . Pollick, F. E.   (2016). Spectators’ aesthetic experience of sound and movement in dance performance: A transdisciplinary investigation. Psychology of Aesthetics, Creativity, and the Arts, 10(1), 42-55. 

 

Ríos, J., Bernard, A., Bouras, A., & Foufou, S. (Eds.). (2017). Product Lifecycle Management and the Industry of the Future: 14th IFIP WG 5.1 International Conference, PLM 2017, Seville, Spain, July 10-12, 2017, Revised Selected Papers (Vol. 517). Springer. 

 

Ritter, D. (2018). The Ethics of Aesthetics. Springer, 22(2), 227.  

Ronen, D. (1977). Theatre as Structures of Experience. Performing Arts Journal 2(1), 58-66. https://www.muse.jhu.edu/article/654794. 

 

Rosenberg, B. D., & Navarro, M. A. (2018). The SAGE encyclopedia of educational research, measurement, and evaluation. The SAGE Encyclopedia of Educational Research, Measurement, and Evaluation (Issue January 2017). SAGE Publications, Inc.. https://doi. org/10.4135/9781506326139. 

 

Rouhi, J. (2017). Definition of cultural heritage properties and their values by the past, Asian Journal of Science and Technology, 08 (12), 7109-7114. 

 

Savas, E. B., Verwijmeren, T., & van Lier, R. (2021). Aesthetic Experience and Creativity in Interactive Art. Art and Perception, 1–32.  

 

Saxena, S. K. (2018). The Aesthetic Attitude. Philosophy East and West, 28(1), 81–90. 

 

Scarpina, F. (2020). Detection and Recognition of Fearful Facial Expressions During the Coronavirus Disease (COVID-19) Pandemic in an Italian Sample: An Online Experiment. Frontiers in Psychology, 11.  

 

Scherer, K. R. (2005).What are emotions? And how can they be measured? Social ScienceInformation, 4, 693–727. 

 

Schindler I, Hosoya G, Menninghaus W, Beermann U, Wagner V, Eid M, et al. (2017) Measuring aesthetic emotions: A review of the literature and a new assessment tool. PLoS ONE 12(6): e0178899.  

 

Seitsonen, O. (2017). Crowdsourcing cultural heritage: public participation and conflict legacy in Finland. Journal of Community Archaeology and Heritage, 4(2), 115–130.  

Simmons, R., & Nourbakhsh,I. (2016).Expression and Gaze. [PDF Slides}. http://www.cs.cmu.edu/~illah/16-467/handouts/ 

Simms, L. J., Zelazny, K., Williams, T. F., & Bernstein, L. (2019). Does the number of response options matter? Psychometric perspectives using personality questionnaire data. Psychological Assessment, 31(4), 557–566.  

 

Singer, G. G. (2011) The Importance of the Intangible Cultural Heritage. University & Heritage - Unesco World Heritage Centre. http://www.unesco.org/culture in: Terrae Antiqvae, January 5, 2011  

 

Smith, P. F. (1976). A Psychological Model for Aesthetic Experience. Leonardo,9(1), 25. doi:10.2307/1573295 

 

Stefano, M. L., & Davis, P. (2017). The Routledge companion to intangible cultural heritage. Routledge/Taylor & Francis Group. 

 

Suaib, N. M., Ismail, N. A. F., Sadimon, S., & Yunos, Z. M. (2020). Cultural heritage preservation efforts in Malaysia: A survey. IOP Conference Series: Materials Science and Engineering, 979, 012008.  

Stewart, D.W. & Shamdasani, P. N. (1990). Focus groups: Theory and practices. Newbury Park: Sage 

 

Sumpeno, S., Hariadi, M., & Purnomo, M. H. (2011). Facial Emotional Expressions of Life-like Character Based on Text Classifier and Fuzzy Logic - Sumpeno, Hariadi, Purnomo - 2011.pdf, (May). 

 

Sundaily. (2015). A thespian’s journey. Retrieved from https://www.thesundaily.my/archive/1632747-CSARCH341302 

 

Survey questions. (n.d). In Businessdictionary. Retrieved from January 15, 2021,  from http://www.businessdictionary.com/definition/questionnaire.html 

 

Tavares, D. S  & Alves, F. B & Vásquez,I. B.(2021). "The Relationship between Intangible Cultural Heritage and Urban Resilience: A Systematic Literature Review," Sustainability, MDPI, vol. 13(22), pages 1-16, November. 

 

Taherdoost, H. (2019). "What Is the Best Response Scale for Survey and Questionnaire Design; Review of Different Lengths of Rating Scale / Attitude Scale / Likert Scale," Post-Print hal-02557308, HAL. 

 

Tarnowski, P., Kolodziej, M., Majkowski, A., & Rak, R. J. (2017). Emotion recognition using facial expressions. Procedia Computer Science, 108, 1175-1184. 

 

Tinwell, A., Grimshaw, M., Nabi, D. A., & Williams, A. (2011). Facial expression of emotion and perception of the Uncanny Valley in virtual characters. Computers in Human Behavior, 27(2), 741–749.  

 

Tracklab (2022). Retrived from https://tracklab.com.au/dynamixyz/ 

Turabzadeh, S., Meng, H., Swash, R., Pleva, M., & Juhar, J. (2018). Facial Expression Emotion Detection for Real-Time Embedded Systems. Technologies, 6(1), 17. 

  

UNESCO. (2003). Text of the Convention for the Safeguarding of the Intangible Cultural Heritage. Retrieved from https://ich.unesco.org/en/convention 

 

Vukadinovic, M., & Markovic, S. (2012). Aesthetic experience of dance performances. Psihologija, 45(1), 23–41. https://doi.org/10.2298/PSI1201023V 

 

Vukadinovic, M., & Markovic, S. (2017). The relationship between the dancers’ and the audience’s aesthetic experience. Psihologija, 50(4), 465-481.  

 

Wang, J., Miao, Z., Guo, H., Zhou, Z., & Wu, H. (2017). Using automatic generation of Labanotation to protect folk dance. Journal of Electronic Imaging, 26(1), 011028.  

 

Wenjing, N. (2017). Research and Application of Sports Demonstration Teaching System Based on Kinect. Published by Atlantis Press. 

 

Woodcock, A. (2014). Late adopters and laggards: should we care?. The International Journal of Design Management and Professional Practice, volume 7 (3): 53-61. http://ijgmpp.cgpublisher.com/product/pub.239/prod.46 

 

Woodward, A., Delmas, P., Gimel’farb, G., & Marquez, J. (2007, December). Low cost virtual face performance capture using stereo web cameras. In Pacific-Rim Symposium on Image and Video Technology (pp. 763-776). Springer, Berlin, Heidelberg. 

 

Wójcik, W., Gromaszek, K., & Junisbekov, M. (2016). Face recognition: Issues, methods and alternative applications. Face Recognition-Semisupervised Classification, Subspace Projection and Evaluation Methods, 7-28.  

 

Xia, S., Gao, L., Lai, Y. K., Yuan, M. Z., & Chai, J. (2017). A Survey on Human Performance Capture and Animation. Journal of Computer Science and Technology, 32(3), 536–554.  

 

Xie, I., & Matusiak, K. (2016). Discover digital libraries : theory and practice. Elsevier. 

 

Xu, Q., Yang, Y., Tan, Q., & Zhang, L. (2017). Facial Expressions in Context: Electrophysiological Correlates of the Emotional Congruency of Facial Expressions and Background Scenes. Frontiers in Psychology, 8.  

 

Yousof, G. (2017). The Mak Yong Dance Theatre as Spiritual Heritage : Some Insights. Journal of Archaeology and Fine Arts in Southeast Asia, 1, 1–9.  

 

Yousof G.S.(2018). Mak Yong Through The Ages: Kelantan’s Traditional Dance Theatre, Malaysia, Univerity of Malaya Press, pp.89. 

 

Yousof G.S (2019). Mak Yong World Heritage Theatre, Areca Books Asia Sdn Bhd, Malaysia.  

 

Yousof, G.S. (1976). The Kelantan Mak Yong dance Theatre: A study on performance structure. PhD Thesis in Drama and Theatre.University of Hawaii. 

 

Yunus, O.M., & Tambi,.A.M.A .(2013). Essentials of Research Method. UiTM Press. 

Yuzurihara, A. (2014). Historical and contemporary schrifttanz: Rudolf laban and postmodern choreography. Dance Chronicle, 37(3), 288–311.  

 

Zahari, R & Umar, S. R. S. (2011). Makyung The Mystical Heritage of Malaysia, Institut Terjemahan Negara Malaysia Berhad. 

 

Zainuddin, E. (2012). Reviewing Makyung Dewa Indera, Indera Dewa. Asian Theatre Journal, Vol. 29.University of Hawai'i Press. Retrieved from https://www.jstor.org/stable/23359523. 

 

Zamora., Y. H. (2017). An effective strategy for preserving the ICH must be built on mutual respect for communities, groups, and individual practitioners. In Stefano, M. L., & Davis, P. The Routledge companion to intangible cultural heritage. London ; New York, Ny Routledge. 

 

Zhang, M., Ihme, K., Drewitz, U., & Jipp, M. (2021). Understanding the Multidimensional and Dynamic Nature of Facial Expressions Based on Indicators for Appraisal Components as Basis for Measuring Drivers’ Fear. Frontiers in Psychology, 12. https://doi.org/10.3389/fpsyg.2021.622433. 

 

Zhu, L. (2012). Aesthetic Quality in Theatre as a Genre of Performance. International Journal of English Linguistics, 2(5), 55. 

 

Zurairi, A. R .(2017). Despite ban, Mak Yong has not breathed its last. themalaymailonline, Retrieved from https://www.todayonline.com/world/asia/despite-ban-mak-yong-has-not-breathed-its-last. 

 

 

 

 

 

 


This material may be protected under Copyright Act which governs the making of photocopies or reproductions of copyrighted materials.
You may use the digitized material for private study, scholarship, or research.

Back to previous page

Installed and configured by Bahagian Automasi, Perpustakaan Tuanku Bainun, Universiti Pendidikan Sultan Idris
If you have enquiries with this repository, kindly contact us at pustakasys@upsi.edu.my or Whatsapp +60163630263 (Office hours only)