Kampung Boy Sebenarnya Animasi Terbaik Dari Malaysia

Adakah anda masih lagi mengingati cerita animasi atau komik Kampung Boy karya Dato Lat (Mohd Nor Bin Khalid) ini? Sekarang zaman animasi Upin dan Ipin bukan? Tapi percayakah anda bahawa animasi Upin dan Ipin belum setanding lagi dengan animasi Kampung Boy walau pun animasi Upin dan Ipin menggunakan tenik CGI yang lebih moden.

Kartun-kartun lakaran Dato Lat ini semuanya mengambarkan suasana kampung, kebudayaan dan tradisi yang ada di Malaysia. Orang Jerman siap cakap dorang mengenali Malaysia melalui animasi Kampung Boy.

Kampung Boy satu-satunya karya anak jati Malaysia yang berjaya membawa warna warni kemakmuran negara Malaysia dimata dunia. Tira berharap Upin dan Ipin akan mampu menjadi generasi animasi yang menyambung kejayaan Kampung Boy ini. Malaysia Boleh!

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Fakta: Tahukah anda bahawa watak utama di dalam Kampung Boy adalah seorang budak yang bernama Mamat. Karekter ini diinspirasikan oleh Dato Lat daripada saudara kandungnya sendiri iaitu Mamat Khalid seorang pengarah filem tempatan (Zombie Kampung Pisang dan Hantu Kak Limah Balik Rumah).

Sumber: http://ceritatira.blogspot.com/2011/02/kampung-boy-sebenarnya-animasi-terbaik.html

DI MANA BOLEH DAPAT BUKU NI?

Tragedi Nadra (1989)

Penulis: Haja Maiden

Sesiapa yang ada buku ini? Boleh jual kat saya tak?...

Ulasan:

Bagaimana kita boleh mengaitkan semangat persaudaraan dan kekitaan sesama insan yang bangkit menentang pihak yang cuba mempermainkan agama, mengecilkan hati pihak yang terbabit dengan memandang rendah keupayaan pihak yang lain.

Seingat saya dahulu, ada filem seputar kisah Nadra berjudul Jasmin 1 dan Jasmin 2 yang saya ingat turut dilakonkan oleh Rosnani Jamil. Masih kecil ketka filem ini ditayangkan dipanggung, sekitar 1980-an. Carian di Youtube tidak berhasil. Malah Google tidak banyak membantu. Stesen tv tidak lagi menayangkan, mungkin merasa ia isu sensitf. Tetapi mengapa tidak djiual secara terhad, atau dipaparkan kembali ruang bicara mengenai filem ini (jika tidak mahu menyentuh isu Nadra secara terus)?

Di mana boleh saya dapatkan salinan filem ini? Boleh bantu?

Dewan Masyarakat dalam 7 keluaran / bulan pada 1989 hingga 1990

Sumber: http://norziati.blogspot.com/2009/07/buku-tragedi-nadra.html

MOTIF UKIRAN TRADISIONAL JAWA (BAHAGIAN 1)

UKIRAN MOTIF JEPARA

Motif Jepara

CIRI-CIRI UMUM DAN KHUSUS:

Bentuk–bentuk ukiran daun pada motif ini berbentuk segitiga dan miring. Pada setiap ujung daun biasanya terdapat bakal bunga ataupun buah dengan bentuk melingkar. Bentuk lingkaran ini tidak hanya tunggal, tetapi bentuknya lebih dari satu atau bertingkat. Lingkaran pada pangkal lebih besar, semakin ke hujung semakin mengecil. Ada juga putik bunga atau buah berbentuk lingkaran besar yang dikelilingi beberapa lingkaran kecil.

BENTUK MOTIF :

1. DAUN POKOK.

Daun pokok motif ini mempunyai corak tersendiri, iaitu merelung-relung dan melingkar. Pada penghabisan relung tersebut terdapat daun yang menggerombol.

Bentuk ukiran daun pokok merelung-relung ini bila diiris berpenampangprisma segitiga.

2. BUNGA DAN BUAH.

Bunga dan buah pada motif Jepara ini berbentuk cembung (bulatan) seperti buah anggur atau buah wuni yang disusun berderet atau bergerombol. Bunga ini sering terdapat pada sudut pertemuan relung daun pokok atau terdapat pada ujung relung yang dikelilingi daun-daunnya,sedangkan bunganya mengikuti bentuk daunnya.

3. PECAHAN.

Pada pecahan ukiran daun motif ini terdapat 3 pecahan garis yang mengikuti arah bentuk daun, sehingga tampak seperti sinar.

4. KETERANGAN: Ukiran motif Jepara ini kebanyakan alas atau dasarnya dibuat tidak begitu dalam,bahkan sering dibuat dengan dasar (tembus), ukiran ini sering disebut ukiran krawangan atau ukiran dasar tembus. Ukiran motif Jepara ini sering dipakai untuk menghias barang-barang seni.

MOTIF PEJAJARAN

Motif Pejajaran

Motif Pejajaran ini dapat ditinjau dari dua ciri yaitu ciri-ciri umum dan ciri-ciri khusus.

Ciri-ciri umum

Motif Pejajaran ini mempunyai semua bentuk ukiran daun mulai dari daun pokok, daun patran, daun trubus, bunga, buah dan sebagainya berbentuk cembung (bulat).
Ciri-ciri Khusus
AngkupMotif Pejajaran ini mempunyai beberapa angkup yaitu:
a. angkup besar pada daun pokok
b. angkup tanggung pada daun sedang
c. angkup kecil pada daun trubusan kecil

CulaCula pada motif ini mempunyai bentuk tersendiri yaitu melengkung menghadap ke depan

Endong
Bentuk ukiran yang tumbuh berd

ampingan di belakang daun pokok dengan ikal yang terdapat pada penghabisan ukiran daun endong tersebar.

Simbar
Motif Pejajaran ini mempunyai simbar sebagai pemanis ukiran daun pokok dengan bentuk yang khas pula.

Benangan
Benangan pada ukiran daun

pokok berbentuk timbul seperti tangkai yang terdapat di muka ukiran daun pokok, sedangkan benangan garis terdapat pada ukiran daun yang masih muda.

Pecahan
Pecahan garis berfungsi sebagai pemanis, menjalar pada daun pokok, dan pecahan cawen pada daun patran serta pecahan pada ukiran daun yang lain, terdapat pada motif ini.

MOTIF MATARAM

Motif Mataram

MOTIF MATARAM

Motif Mataram merupakan motif ukiran tradisional yang berkembang dan digemari di daerah Jawa. Sama halnya dengan motif Majapahit dan motifBali yang erat hubungannya dengan pemberian nama-nama kerajaan yang pernah ada di Jawa. Motif ini juga dapat dipandang dari dua hal yaitu ciri-ciri umum dan ciri-ciri khusus,

Ciri-ciri umum:

Motif Mataram ini mempunyai semua bentuk ukiran daun baik daun pokok maupun daun yang kecil-kecil berbentuk cekung. Cekungan ini dalam istilah ukiran tradisional disebut krawingan. Bentuk ukiran daun motif ini berbentuk daun patran, pada bagian ujung daun ada yang mempunyai ikal dan ada pula yang tidak berikal. Susunan daun moptif Mataram biasanya bergerombol hingga menyerupai daun alam.

Ciri-ciri khusus:

1. Benangan motif ini dibagi menjadi 2 macam, yaitu (a) benangan timbul, dan (b) benangan garis.

2. Daun Trubus pada motif ini merupakan bentuk daun yang kebanyakan berbentuk bongkok. Daun Trubus ini biasanya tumbuh di muka benangan dan berhenti di bawah ikal daun, seolah-olah menahan ikal daun tersebut.

3. Pecahan pada motif Mataram kebanyakan berbentuk pecahan cawen. Di samping pecahan cawen juga terdapat pecahan garis yang terdapat pada bagian yang menarik dari bentuk daun motif ini. Bentuk pecahan pada motif ini memang kelihatan lebih variatif dibandingkan pada bentuk-bentuk motif yang lainnya.

ISU PENDIDIKAN SENI

Isu dalam Pendidikan Seni merangkumi pelbagai bidang dan disiplin, ada kalanya ia berkaitan terus dengan seni seperti penciptaan, kritikan, sejarah dan nilai estetika. Tetapi ada kalanya, ia menyimpang daripada seni seperti isu hak kesamarataan gender (lelaki & perempuan), kepelbagaian budaya dan isu-isu sosial lain seperti status darjat, walaupun kadang kala sepatutnya ia difikirkan secara berasingan. Isu-isu berkaitan dengan feminis sebagai contoh, timbul persoalan bagaimana ilmuan seni telah dipengaruhi isu-isu oleh pemikir pasca moden.

Isu hak kesamarataan serta peluang antara lelaki dan perempuan telah menjadi suatu isu yang besar dalam era pasca moden, menjurus kepada isu-isu yang kurang membina, perlambangan, pasca strukturalis dan teori-teori kritikan lain. Isu ini mempengaruhi semua bidang termasuk bidang seni. Pentafsiran-pentafsiran sebelum ini tentang feminis telah dikaji oleh ilmuan-ilmuan seni untuk dijadikan teori dan praktikal. Sandell (1991) mendapati bahawa kefahaman tentang feminis amat perlu untuk perubahan bagi mengatasi keperluan-keperluan sosial dan pembangunan komuniti.

Hagaman (1990) menyatakan, bahawa wujud hubungan yang jelas antara ketiga-tiga bidang iaitu sejarah seni, kritikan seni dan estetika. Pengkaji menuntut untuk mendapatkan peluang kepada wanita untuk berkarya dalam bidang seni, di samping menyerlahkan peranan dan memberi pendapat dalam bidang seni (sama ada yang nyata atau abstrak). Selain itu, pemikir feminis juga mengambil sikap kurang membina, menyatakan pembabitan wanita dalam bidang seni masih secara tradisional (pemikiran yang kolot) dan ini merupakan satu isu juga.

Dia menegaskan bahawa karyawan, sejarah seni dan kriteria kritikan dikaji secara berterusan, berpenilaian dan dalam konteks yang spesifik.

Garber (1990), menyimpulkan implikasi kritikan tentang seni feminis dapat dilihat dalam pendidikan seni:

“Melalui kritikan pasca strukturlisme, Marxism (Fahaman Komunis), isu kesamarataan ini merupakan isu utama untuk mencapai hak kesamarataan status. Asas-asasnya berlandaskan sosial analisis, arena politik dan pengetahuan kendiri. Iaitu yang memberi kesan kepada sistem tentang bagaimana wanita digambarkan dan bergantung kepada bagaimana sesuatu kefahaman dasar-dasar politik berkenaan hak-hak wanita dan bagaimana kepercayaan serta pengalaman seseorang itu.”

Korzenik (1990) pula berpendapat, penerimaan dan kepercayaan tentang kekuatan seseorang wanita mampu menarik perhatian, sikap ingin tahu, kepedulian (prihatin), tidak seperti dengan pendapat yang sudah-sudah. Membuatkan kehidupan lebih bermakna dan perasaan kita berada di tahap keinginan tertinggi disebabkan wujudnya wanita sebagai inspirasi.

Garber (1990) juga ada menyatakan bahawa kritikan tentang hal ini amat sukar diubah dan masih berterusan bergantung kepada kesedaran persekitarannya.

Bahasa yang dipilih dalam percakapan dan penulisan juga menyebabkan sikap berat sebelah dalam membincangkan topik feminis ini. Perbezaan jantina yang ketara dan penggunaan bahasa dapat menyatakan sejauh mana pendapat memihak atau tidak memihak kepada sesuatu jantina, pengabaian dan pemesongan. Kadang-kadang seseorang itu berpendapat berbeza pada asalnya namun kemudiannya menyatakan pandangan lain atas dasar simpati. Sebagai peranan seseorang penulis dalam mempastikan keseimbangan jantina, dicadangkan hendaknya tidak memasukkan isu-isu yang sensitif dalam sesuatu tulisan dan memberi peluang mengetengahkan karya masing-masing tanpa mengira jantina (Turner, 1990). Pandangan ini bukan sahaja perlu tetapi mesti dipraktikkan dalam amalan pembelajaran di setiap kelas.

Introduction: The Value Dimension in Art Education Part 2

(MS 20) It is quite clear from the data that cultural influences appear early and have a strong effect on the overall style of children’s drawing… generalizations about particular stages of development from scribbling toward representation is not an automatic result result of maturation, or even of experience with drawing. Children are often content to play underline successful art in different cultures will have to be generative rules rather than absolute determinants of form (1983, p. 214)

# In this essay I have described the various strands of knowledge that are relevant to a viable and effective art education. I began by reviewing scientific knowledge about human development in general, and then moved to a consideration of findings about human development from an artistic perspective . I sought to integrate this body of information with emerging insight about effective educational practices in different domains of knowledge. This review documented the challenge faced by student who seek to synthesize various forms of knowledge, ranging from sensori-motor and intuitive forms of understanding, to craft skills that can evolve to an exquisite level of mastery, to the notational and formal bodies of knowledge that are usually emphasized in the school . I argued that, in the case of the arts, the development of these latter forms of knowledge should not occur at the expense of well – established educational regimens. In particular , it is important to honor those craft skills for which there is a long tradition of effective training, and which many feature – and foster – those ways of knowing that find their special genius – and their natural home – in the arts .

While my review of the literature does not lead directly to recipes for arts education, it does suggest certain promising approaches. In the work undertaken with my colleages over the past several years, and in many studies of “situated learning,” one encounters convincing evidence that students learn effectively when they are engaged by rich and meaningful projects; when their artistic learning is anchored in artistic production; when there is an easy commerce among the various forms of knowing , including intuitive, craft, symbolic, and notational forms; and when students have ample opportunity to reflect on their progress. Some of this reflection can be readily built into a system of informal classroom assessment, where it is most likely to be of use to the individual student. In addition, it appear possible to develop at least rough-and-ready assessment systems that can address issues of accountability for the wider community.

It is on the basis of our synthesis of knowledge about human development in the arts, and about the challenges of stimulating human learning, that we designed—and are continuing to redesign—an experiment approach to arts education. Beyond question, the approach in Arts PROPEL represents one of the multiple ways in which effective arts education can be developed. Far from wanting to question other efforts, framed in terms of differing theories, we welcome experiments in arts education from the most diverse quarters. There is little question that the whole field will learn from such efforts, much reason to think that superior art education is most likely to emerge as a result of accumulated knowledge about what works and what does not work under a variety of assumptions and in a variety of settings.

While researchers into human development and learning have acquired considerable knowledge in the past century, their studies have been conducted from a limited perspective. Thus we know far more about skills and knowledge of importance in the sciences than we do about comparable facets of the arts. And within the arts, far more is known about the natural development of artistic aesthetic forms of knowledge. It would be misleading to suggest that our findings dictate a certain educational approach. At most, they suggest that certain paths are more likely to be productive, while others are more likely to encounter pitfalls. Similarly our limited experience in educational experimentation hardly suffices to suggest which attempts at intervention are more likely to “take hold.”

Still, my recent experience in the realities of educational experimentation has convinced me that the even the most brilliant curricular innovations will fail to be effective in the absence of two additional factors. First of all, it is imperative to have a cadre of teachers who themselves “embody” the knowledge that they are expected to teach. Unless teachers are in sympathy with, and feel some ownership of, the curricula materials, any educational efforts are doomed—be they discipline-based, Arts PROPEL, progressive, or conservatives. Second, in the current educational climate, it is equally essential that there exist viable means of assessing what has been learned. Absent such measures, it is simply unrealistic to expect that communities will continue to support arts education, under whatever label it marches. Thus, if my study holds any implication for policy, it centers around the necessary trio of viable curricular materials, excellent teacher training, and suitable modes of assessment. This trio scarcely constitutes an original recipe, but it is one which bears repeating today.

At the same time that I encourage a wide range of educational experiments, I also want to stress how much can be learned by careful observation, documentation, and analysis of the practices that are already being implemented in settings around the world. In many ways, educational experimenters are at a disadvantage compared with other researches because we cannot carry out the kinds of controlled studies that we may envision in our dreams; but we have the great advantage that the world as a whole has already mounted countless educational experiments, many of which can still be observed, recorded, and analyzed today. Different value systems, practices, and institutions abound and are there for our examination and study. Indeed, while some of the aspects of Chinese arts education are not particularly to my liking, I have learned a great deal as a result of my own observations in Chinese art classrooms; and some of the very procedures that I recommend, and that are being tried out in our own experiments, grow directly out of the lessons that I learned in Chinese classrooms (Gardner, 1989a, 1989b).

Observations in remote and even exotic settings, like China, remind one of something that must never be lost sight of in education: the importance of one’s values systems. The Chinese esteem high degrees of proficiency in their traditional art forms, even as they fear experiments in contemporary Western forms, and so their entire system is rooted in this nexus of desires and anxieties. American “progressives” are searching for ways to enhance expression, originality, and cultivation of individuality; hence, they stress certain materials and practices in their classrooms. Contemporary neoconservatives lament the loss of basic skills and core cultural values in the young of today, and so they call for educational practices that are anchored in the classical literacies and that elevate certain conanical texts. The kinds of education fashioned by these different interest groups will invariably reflect their values and their goals, and there is no way in which a “value-neutral” science can mediate among them. What scientific discovery and educational experimentation can furnish is some sense of how best to achieve one’s stated goals, to demonstrate that success to others, to enumerate the costs involved in pursuit of a particular path, and, if one is fortunate, to minimize those costs. And it is just possible that a combination of the lessons learned from experiments at different points on the globe can suggest what set of the values might be appropriate not only for given society but for humanity as a whole.

Introduction: The Value Dimension in Art Education Part 1

All discussions of educational issues entail considerations of values, and this truism has been embodied in the often controversial domain of art education. Plato viewed education in the arts dangerous to the social fabric of society; religious and political leaders provided (and occasionally withdrew) support for the ateliers of the most gifted artists during the Renaissance; totalitarian governments in the twentieth century immediately insert themselves into the arts classroom; and even in democratic societies, there are heated and unresolved debates about whether public funds should be used to support art schools, particularly if some of the student produce works which offend the social or political mores of segments of the community.

In most cases, the values and priorities of a culture can be readily discerned in the way in which its classroom learning is organized. If one ventures into the art class in an elementary school anywhere in contemporary China, one sees youngsters bent over their desks producing paintings and drawings in a classical ink-and-brush- style, in much the same manner that this approach has been inculcated over the centuries. Models of the “correct schema” are posted around the room and in the textbook; the teacher himself will have produced a “textbook” version of the desired “end product” on the front wall; and the students will work assiduously until “their” version has become virtually indistinguishable from the others on display. There is little opportunity (and apparently, little desire) to fashion works in an alternative style, and no trace of abstract designs, which are generally forbidden. Nor is there any discussion of the history, meaning, or purpose of these works, in times past or in the contemporary era. As in many other traditional cultures, art classes in China are dedicated to the transmission of the skills needed to produce exemplars of the most valued works and genres from the past (Gardner, 1989). (For an intriguing exception see Ho, 1989).

Education policy in the United States is set at the local level, and so it is less feasible to anticipate what will be observed in different schools, even when they are located in nearby communities (Jones, 1989; National Endowment for the Arts, 1988; Stake, 1989). Still, some generalizations are relatively feasible.

During the early years of schooling, students have considerable latitude with respect to what they may do when given a surface on which to make marks. Only infrequently is an adult model’s work on display; and only rarely does the child’s own teacher provide that model. Instead, consistent wit h a progressive ethos which continues to hold sway in the arts, young children are simply provided with lots of inviting materials and encouraged to draw or craft whatever they like. The resulting collection of works is often technically of indifferent quality, but in contrast with China, there will be a wider range, including at least some works that are abstract in flavour and some works that stand out for imaginative flavour or idiosyncratic originality. Children may be encouraged to talk about their own feelings or purposes in creating a particular work, bur for the most part, there is unlikely to be discussion of historical or aesthetic matters. At older ages, art classes wane in frequency, except for those youngsters who have special interest in, or aptitude for, the arts. Even in these latter cases, the emphasis falls very much on artistic production: historical, reflective, or aesthetic issues have seldom figured as a significant component of American precollegiate education in the visual arts.

In the light of such contrasting vignettes, it is relatively straightforward to surmise the different attitudes that dominate visual arts education in two countries. In China, it is assumed that cultivation of the “best” from the past is the principal goal of art education; children have the potential to become participants in a venerable tradition. Indeed, the goal of education in the schools is to enlist children in these practices as early and as readily as possible. Talk about art and exposure to alien art practices are not (and never have been) considered a priority. In contrast, in the United States, study of the artistic practices of the past has not been considered relevant to youthful production, and such activity has been infrequent even during secondary education. Nor have technical skills in rendering been deemed a priority. Instead, like other art forms, the visual arts are thought to provide opportunities for younger children to explore media, to invent their own forms, and to express ideas and feelings that they deem important. As older students become interested in representing reality with accuracy, they may well be introduced to suitable techniques (or discover them even without explicit tutelage). But except for those who choose to become involved in visual arts in a vocational or a seriously avocational way, little effort is made to inculcate technical facility, to teach youngsters how to render “beautiful” works, or to familiarize students with traditional approaches, values, or historical considerations in the visual arts. Whether, in the wake of recent initiatives, this picture will change, it is too early to tell.

As one surveys regimens of art education around the world, one encounters a variety of educational stances and procedures, reflecting the range of historical factors and value considerations at work in diverse cultures (Ott and Hurwitz, 1984). Indeed, given the dramatically different conceptions of aesthetics in different cultures, this diversity seems more likely to occur in the visual arts, in say mathematics or foreign language instruction. But from a scientific perspective, it is appropriate to ask whether the approaches and practices in art education are (or could be) infinitely varied; or whether, instead, the principles that govern human development place meaningful structures on the course of art education: on what can be taught, on how it can be taught, and on what the educational outcomes can be. While the answer to his research question is exceedingly difficult to determine and cannot in itself dictate the optimal course for art education, an examination of scientific findings about human development can help to delineate the options from among which educators can make informed choices.

# Developmental Perspectives in the Arts: The Theoritical Basis

Initially Goodman’s inquiry began asa philosophical analysis, once descending linearly from the earlier efforts by Langer, Cassier and other semioticians. Like certain of his predecessors, however, Goodman became interest in the psychological implications of different kinds of symbolic competences. In fact, in his classic study Languages of Art (1986), Goodman speculated that different symbolic systems might well call for different skill profiles might prove to have edicational consequences in the arts and in other disciplines as well. As he put it:

(MS 8) Once the arts and sciences are seen to involve working with-inventing, applying, reading, transforming, manipulating-symbol systems that agreeand differ in certain specific ways, we can perhaps undertake pointed psychological investigation of how the pertinent skills inhibit or enhance one another; and the outcome might well call for changes in educational technology (Goodman, 1986, p. 265).

# Developmental Perspectives in the Arts: Some Empirical Findings

(MS. 15) Early investigations revealed that, in the absence of tutelage, young children exhibit impower-ished and often faulty conceptions of the arts (Gardner, Winner and Kircher, 1975). They believe that works of art are produced by machines or have always existed; they feel that the merit of a work cab be judged by its size, its subject matter, or (exclusively) in the costs of the materials; they fail to appreciate the reasons why someone might produce a work of art; and they seem unable to find any connection between their own artistic activities and the kinds of “high artworks” on display in museums or reproduced in books.

# Most studies of traditional societies yield portraits of early production similar to those put forth over the last century by Western investigators. It was of special importance when the American anthropologist Alexander Alland had the opportunity to study the beginnings of drawing in a number of remote societies, including those where children had not drawn before. While the discovered some parallels, Alland was more impressed by the differences across populations and by the ways in which the values and atmosphere of those culture were reflected in the first drawing:

SEKOLAH SENI OH SEKOLAH SENI.. RUMAH SIAP PAHAT BERBUNYI...

Sistem penggredan didakwa tidak diiktiraf Kementerian Pengajian Tinggi

070311.BH.JOHOR BAHRU: Lebih 100 pelajar perintis dua sekolah seni kendalian Kementerian Pelajaran yang kini berada dalam Tingkatan Lima, dijangka berdepan masalah memohon kemasukan institusi pengajian tinggi (IPT) kelak berikutan sistem penggredan digunakan dalam peperiksaan mata pelajaran kesenian mereka didakwa tidak diiktiraf Kementerian Pengajian Tinggi.

Status itu dikatakan mencetus kebimbangan pelbagai pihak, khususnya ibu bapa dan guru, terhadap nasib serta hala tuju pelajar dua sekolah seni yang ditubuhkan sejak Januari 2007, iaitu Sekolah Seni Johor Bahru (SSeJB) dan Sekolah Seni Kuching (SSK).

Menurut sumber rapat dengan pengurusan sekolah seni itu, sistem penilaian dan penaksiran subjek kesenian yang diambil pelajar terbabit adalah dalam bentuk Band merangkumi Band I hingga VI, berbeza dengan sistem untuk mata pelajaran akademik.

Beliau mendakwa, sistem Band seumpama turut digunakan dalam penilaian Malaysian University English Test (MUET) yang diiktiraf kerajaan tetapi dalam konteks mata pelajaran kesenian di sekolah seni, ia belum diiktiraf Kementerian Pengajian Tinggi.

“Modul, sukatan pelajaran dan keputusan peperiksaan menggunakan sistem penggredan Band di sekolah seni dilaksanakan Bahagian Pembangunan Kurikulum (BPK) Kementerian Pelajaran.

“Bagaimanapun, masalah kini timbul apabila Lembaga Peperiksaan Malaysia (LPM) menyarankan pelajar ini mendaftar untuk menduduki peperiksaan subjek kesenian sekolah harian biasa bagi peperiksaan Sijil Pelajaran Malaysia (SPM) yang dijadualkan November depan.

“Kumpulan perintis sekolah seni ini meluangkan hampir 12 jam seminggu untuk mempelajari subjek kesenian mereka dan menerusi sukatan serta modul khas yang diikuti, pendidikan mereka boleh dianggap setaraf pengajian pelajar tahun pertama peringkat diploma.

“Jadi persoalan kini, berbaloikah usaha semua pelajar sekolah seni ini jika mendaftar mengambil peperiksaan sekolah harian biasa semata-mata untuk memastikan gred mata pelajaran kesenian mereka diiktiraf?” katanya.

Sumber itu berkata, isu berkenaan perlu diberi perhatian segera kerana pelajar sekolah seni terbabit bakal mendaftar mata pelajaran yang akan diambil dalam peperiksaan SPM pada akhir bulan ini.

“Masalah ini dikatakan sudah dikenal pasti sejak lebih setahun lalu dan dibincangkan dalam mesyuarat Kementerian Pelajaran dari semasa ke semasa.

“Namun sehingga kini difahamkan tiada sebarang penyelesaian diperoleh, sebaliknya memerlukan transformasi pada peringkat pelajar sendiri. Di manakah martabat sekolah seni jika keadaan sebegini berlaku?” katanya yang meminta BPK Kementerian Pelajaran dan Kementerian Pengajian Tinggi memandang serius masalah itu dan mengatasinya segera.

Beliau mendakwa sekiranya perkara itu berterusan dan mengundang masalah pada masa depan, tidak mustahil ibu bapa pelajar di sekolah itu memberhentikan anak kerana menganggap lebih baik mereka mengikuti pembelajaran di sekolah harian biasa.

Sementara itu, Yang Dipertua Persatuan Ibu Bapa dan Guru (PIBG) SSeJB, Selamat Omar, mendakwa perkara berkenaan sering dibangkitkan pada mesyuarat PIBG sejak tahun lalu, namun sehingga kini pihak sekolah dan ibu bapa masih belum menerima sebarang kenyataan rasmi daripada Kementerian Pelajaran mahu pun Pengajian Tinggi mengenainya.

“Mungkin bagi pelajar yang mendapat keputusan cemerlang dari segi akademik tidak bermasalah untuk memasuki IPT tempatan.

“Namun bagaimana pula dengan pelajar yang sederhana pencapaiannya, iaitu keputusan akademik dan kesenian masing-masing hanya 50-50, tentu peluang sukar untuk mereka memasuki IPT,” katanya.

Selain itu, Selamat berkata, ramai ibu bapa juga pernah mempersoalkan mengapa pelajar sekolah seni perlu memilih aliran sains atau sastera ketika memasuki Tingkatan Empat selepas mendapat keputusan Penilaian Menengah Rendah (PMR).

“Kami terkejut dengan keadaan ini. Dari awal lagi kami sudah bertanya ketika bermesyuarat, mengapa sekolah seni perlu mengikut format sekolah harian biasa? Apa yang kami risaukan sebelum ini kini sudah dapat dilihat sekarang,” katanya ketika dihubungi semalam.

SSeJB dan SSK diwujudkan kerajaan sebagai saluran kepada pelajar berbakat dan berpotensi dalam bidang kesenian untuk mendalami bidang yang mereka minati itu.

Sekolah berkenaan menawarkan pendidikan kesenian teater, muzik, pendidikan seni visual dan tarian, selain subjek wajib lain seperti Matematik, Bahasa Melayu serta Bahasa Inggeris.