Audience Audience Interpretation of Contemporary Visual Representations of Iban Folklore: A Practice-Based Study of Ensera Wat Bujang Sugi
Interpretasi Audiens terhadap Representasi Visual Kontemporari Folklore Iban: Kajian Berasaskan Praktik Studio dalam Ensera Wat Bujang Sugi
DOI:
https://doi.org/10.24191/idealogy.v11i2.972Keywords:
Cerita Rakyat Iban, Interpretasi Audiens, Penyelidikan Berasaskan Amalan, Seni Visual Kontemporari, Warisan Budaya Tidak Ketara., Iban Folklore, Audience Interpretation, Practice-Based Research, Contemporary Visual Art, Intangible Cultural HeritageAbstract
This study examines the audience’s interpretation of present visual representations from an Iban oral narrative related to Sarawak’s heritage, namely Ensera Wat Bujang Sugi (EWBS). This study, embedded in qualitative practice-based research, investigates the artistic transmutation of elements of EWBS into contemporary visual forms and how selected audiences interpret the created artworks. The research combines narrative analysis, artistically produced practice, expert consultation, audience evaluation, semi-structured interviews, observational feedback, and reflective artistic documentation. The study participants were 48 people, including 4 visual artists, 4 folklorists, 20 students, and 20 community members, selected through purposive sampling. The qualitative data were analysed thematically to identify the main themes in participants’ interpretations’ themes were identified during the analysis: symbolic interpretation, emotional engagement, cultural recognition and identity representation, and the accessibility of folklore through contemporary visual representation. The participants viewed the final artworks through diverse cultural, symbolic, emotional, and aesthetic lenses, and those with cultural familiarity showed greater recognition of ritual and indigenous references. Rather than presenting contemporary visual art as a replacement for oral storytelling, the results underscore the importance of artistic translation in creating an additional interpretive space for audiences to experience and engage with EWBS. The study contributes to discussions of practice-based research, audience interpretation, visual culture, and the contemporary representation of Iban folklore, emphasising the importance of culturally sensitive approaches to translating indigenous narratives into visual forms.
Keywords: Iban Folklore, Audience Interpretation, Practice-Based Research, Contemporary Visual Art, Intangible Cultural Heritage
References
Byrne, D. (2022). A worked example of Braun and Clarke’s approach to reflexive thematic analysis. Quality and Quantity, 56(3). https://doi.org/10.1007/s11135-021-01182-y
Candy, L., & Edmonds, E. (2018). Practice-Based Research in the Creative Arts. Leonardo, 51(1).
Civallero, E. (2007). Traditional games, music and oral tradition: Intangible tools in multicultural libraries. IFLA Satellite Meeting 2007. Conference on Innovative Multicultural Library Services for All.
Frey, L. R., & Sunwolf. (2004). The symbolic-interpretive perspective on group dynamics. In Small Group Research (Vol. 35, Issue 3). https://doi.org/10.1177/1046496404263771
Ji, Y. (2024). Artistic Alchemy: Exploring the Fusion of Art Theory and Film Aesthetics in Visual Storytelling. Herança, 7(2). https://doi.org/10.52152/heranca.v7i2.785
John W. Creswell, & Cheryl N. Poth. (2018). Creswell and Poth, 2018, Qualitative Inquiry 4t Edition. SAGE Publication.
Kedit, P. M. (1989). An overview of Iban traditional cultural values and social norms, and their implications for contemporary Sarawak. Sarawak Museum Journal, Special Issue, 40(61 Part 4).
Md Arif, M. F. (2022). Art Practice-Based Research Paradigm. Environment-Behaviour Proceedings Journal, 7(SI9). https://doi.org/10.21834/ebpj.v7isi9.3934
Mumford, D. J., & Hands, A. S. (2020). Preaching Justice through Art. Homiletic, 45(2). https://doi.org/10.15695/hmltc.v45i2.4997
Mustafa, N., & Abdullah, N. (2013). Preservation of cultural heritage in Malaysia: an insight of the National Heritage Act 2005. … Malaysia, 4-5 February …, 2005(February).
Masanat, F. E., Shanat, M., & Razali, R. (2025). Dynamic Collaboration Between Artist and Culture: Interactive Art Applied in Wat Bujang Sugi Folklore As a New Dimension. Idealogy Journal(https://doi.org/10.24191/idealogy.v10i2.591).
Masanat, F. E., Merman, H., Razali, R., & Rehman, S. (2025). Psychology And Art: Exploring Drawing As Of Interaction Counter-Reaction & Self Healing To Traumatic Experience. Idealogy Journal(https://doi.org/10.24191/idealogy.v10i2.779).
Pietrobruno, S. (2009). Cultural Research and Intangible Heritage. Culture Unbound. https://doi.org/10.3384/cu.2000.1525.09113227
Salau, J. A., Donna, Q., Abdullah, L., Hamid, A., & Jali, A. (2018). Developing a Conceptual Framework of Street Arts Project in Preserving the Malaysian Culture (Membangunkan Rangka Konseptual Yang Berkaitan Dengan Projek Seni Jalanan Bagi Pemeliharaan Budaya Malaysia). Journal of Business and Social Development.
Smeets, R. (2022). From Folklore to Living Heritage: On the Development of UNESCO’s Contribution to the Safeguarding of the Intangible Cultural Heritage. Narodopisna Revue, 2, 99–113.
Unesco. (2020). Basic texts of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage. Living Heritage Entity.
Downloads
Published
Issue
Section
License
Copyright (c) 2026 UiTM Press
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
UiTM Press (the Publisher) has agreed to publish the undersigned author’s paper in Idealogy Journal. The agreement is contingent upon the fulfilment of a number of requirements listed below.
1. The undersigned author warrants that the paper entitled below is original, that it is not in any way libellous or unlawful in Malaysia, that it does not infringe any copyright or other proprietary right. The undersigned hereby represents and warrants that he/she is the author of the paper, except for material that is clearly identified as to its original source, with permission notices from the copyright owners where required. The undersigned represents that he/she has the power and authority to sign and execute this agreement.
2. The undersigned author warrants that the paper entitled below has not been published elsewhere, and also it will not be submitted anywhere else for publication prior to acceptance/rejection by this Journal.
3. By submitting the paper entitled below, the undersigned author agrees to transfer the rights to publish and distribute the paper in an international e-journal (entitled above) to Publisher.
4. The undersigned author agrees to make a reasonable effort to conform to Publisher's submission guidelines and to liaise with the editor to ensure that the requirements of these guidelines are met to a reasonable degree.
5. The corresponding author signs for and accepts responsibility for releasing this material on behalf of any and all coauthors. This agreement is to be signed by at least one of the authors who has obtained the assent of the co-author(s) where applicable. After submission of this agreement signed by the corresponding author, changes of authorship or in the order of the authors listed will not be accepted.
