Major Project 1 - Task 1 : Proposal Development

 03/02/2025 - 17/02/2025 ( Week 1 - Week 3 )

Ho Winnie / 0364866 

Major Project 1  / Bachelor's of Design Honors In Creative Media 

Task 1 : Proposal Development

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1. Task 1 : Proposal Development

2. Feedback 

3. Reflection

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Task 1 : Proposal Development

Instructions : 

Fig 1.1 Expected Deliverables For Task 1

Progress : 

A. Forming Team & Discussing Topic

In Week 1 of Major Project 1, Mr. Kannan conducted a briefing to outline the deliverables and expectations for the module. Unlike traditional lecture-based courses, this module will adopt a consultation-based approach, emphasizing weekly progress updates and one-on-one feedback from our assigned supervisors.

We were instructed to form teams of four, ensuring that all members belong to the same specialization to maintain coherence in skill sets and project focus. The objective is to encourage in-depth collaboration within specialized fields and leverage our collective expertise to tackle complex project challenges effectively.

In response to these requirements, I formed a team comprising Lin Si Yan, Lew Guo Ying, and Melvin Yung, all of whom specialize in UI/UX design. As the team leader, my role is to coordinate our efforts, manage progress, and ensure that our objectives align with the module’s expectations. Our assigned supervisor for Major Project 1 is Dr. Chui Yin Wong, who will provide guidance and constructive feedback during our weekly consultations.

During our topic discussion for Major Project 1, our team unanimously agreed to focus on a goal that aligns with the United Nations Sustainable Development Goals (UNSDGs). After thorough consideration and deliberation, we decided to adopt the theme of "Safeguarding Disappearing Cultural Heritages."

This theme was chosen due to its relevance and urgency in preserving the rich and diverse cultural identities that are increasingly at risk of being forgotten. By addressing this theme, we aim to create a project that not only highlights the importance of cultural preservation but also inspires awareness and action among our audience.

Our team dedicated time to shortlisting a selection of disappearing cultural heritages to refine the focus of our Major Project 1. The goal was to identify cultural elements that are at significant risk of being forgotten, ensuring that our project would address a meaningful and urgent issue aligned with the theme of "Safeguarding Disappearing Cultural Heritages."

To present our ideas more effectively, I took the initiative to create a slide that highlights the key cultural heritages we shortlisted, including their historical significance, current threats, and potential approaches for preservation.

 

Following our consultation with Dr. Chui Yin Wong, we received valuable feedback on our shortlisted cultural heritages. Dr. Wong found the themes of Baba Nyonya and Shadow Puppets particularly interesting and worth exploring further. However, she advised us to focus on localized versions of Shadow Puppets instead of the versions from China.

This suggestion emphasizes the importance of highlighting unique aspects of local heritage that are less recognized but equally rich in history and significance. By concentrating on regional interpretations and styles of Shadow Puppets, we can create a more authentic and relatable experience for our audience, aligning our project more closely with the goal of preserving endangered cultural traditions.

Fig 1.2 Individual Research Before Finalising The Cultures

B. Confirming Topic & Carrying Out Research

To streamline our research efforts, our team decided to narrow down our focus to two specific cultural heritages: Baba Nyonya and Wayang Kulit. I divided the team into two groups to ensure a more detailed and effective exploration of each culture.

Melvin and I are focusing on the Baba Nyonya culture, while Si Yan and Guo Ying are concentrating on Wayang Kulit. To cover different perspectives comprehensively, we further divided tasks within each pair. One member is responsible for researching traditional crafters and their techniques, while the other focuses on understanding the opinions of enthusiasts and the general audience regarding these cultural practices.

For the Baba Nyonya culture, our focus areas include:

• Kasut Manik (beaded slippers): Exploring the craftsmanship, design patterns, and cultural significance.
• Lanterns: Understanding their symbolism and traditional making processes.
• Kebaya Nyonya outfits: Researching the fabric, embroidery techniques, and the evolution of this attire.

For Wayang Kulit, the focus areas are:

• Performances: Studying the storytelling aspects, music, and traditional settings of the shows.
• Design of the Puppets: Investigating the materials, carving techniques, and symbolic elements in the puppets.

This structured approach allows us to gather both qualitative and quantitative data, ensuring that our project reflects a well-rounded understanding of these cultural heritages. As we proceed, we plan to conduct interviews and research with traditional crafters and enthusiasts to gain deeper insights and authentic perspectives for our project.

We created a figjam where we document our research on both the cultures. For mine, I focused more on researching on kasut manik and lantern while Melvin covered the kebaya nyonya .

Fig 1.3 Research on Kasut Manik

Fig 1.4 Research on Lantern

C. Field Research To Malacca +  Attending Local Wayang Kulit Events + Carrying Out Interviews

I have planned a trip to Malacca with my team from 13th to 15th February to conduct interviews with traditional crafters as part of my research for Major Project 1. I have already prepared a set of questions to gather detailed insights into their crafts, techniques, and the cultural significance of their work.

One of my stops will be at Ts Lim Trading, where I’ll interview an elderly craftsman who specializes in making Nyonya shoes. I’m particularly interested in understanding the intricate beading techniques, design inspirations, and the challenges he faces in keeping this traditional craft alive. The conversation will also explore his journey as a craftsman and the evolving demand for Nyonya shoes in modern times.

Another significant visit will be to the Cheng Hoon Teng Temple. I plan to learn more about the traditional lanterns displayed there and, if possible, connect with the craftsmen who create them. My goal is to uncover the materials, symbolism, and methods involved in lantern-making, as well as the cultural and religious significance these lanterns hold.

These interviews are crucial for capturing authentic perspectives and preserving the stories behind these disappearing cultural heritages. The insights I gather will help shape the direction of my project, ensuring it resonates with both the traditional crafters and a broader audience interested in cultural preservation. 

Below are some snippets of the interview while will be further broken down using Affinity Diagram later on. 

Fig 1.5 Field Research In Malacca

After returning from Malacca, I joined my team in attending Wayang Kulit events like "Waye Kito" at Sunway University and "Fusion Wayang Kulit" at GMBB. I felt that, as the team leader, it was essential for me to gain a comprehensive understanding of both Baba Nyonya and Wayang Kulit cultures, especially since our project will involve exploring and presenting these cultural heritages in depth.

These events provided valuable insights into the storytelling techniques, musical elements, and intricate puppet designs that define Wayang Kulit. Observing the performances firsthand allowed me to appreciate the cultural significance and the craftsmanship behind each aspect of the art form. It also helped me identify key elements that could be incorporated into our project to make it more authentic and engaging.

Fig 1.6 Wayang Kulit Events In KL

D. Interview Analysis + Proposal Development 

As the team member primarily responsible for interviewing traditional crafters, I conducted in-depth interviews with three individuals who possess significant expertise and cultural knowledge. My goal was to capture authentic perspectives on their crafts, the challenges they face, and the cultural significance of their work. The insights gathered will be synthesized using affinity diagrams to uncover key themes and inform our project direction effectively.

Here are the crafters I interviewed:

1. Mr. Mao Xing Shen
   A 52-year-old traditional lantern craft maker based in Malacca. During the interview, I explored the intricate processes involved in lantern-making, the symbolism behind different designs, and the challenges he faces in keeping this craft alive amidst modern competition. His insights on the fading appreciation for traditional lanterns provided valuable context for our project's focus on cultural preservation.

2. Mr. Lim Tian Seng
   A 65-year-old master of kasut manik (beaded slippers) who runs T.S Lim Trading on Jonker Street with his wife. His vast experience in crafting and selling Nyonya shoes offered a deep understanding of the techniques, materials, and market dynamics involved. I also discussed the evolution of design preferences and the difficulties in sourcing traditional materials, which highlighted the urgent need for preserving this craft.

3. Ms. Amanda
   A 27-year-old Baba Nyonya descendant from Malacca who is skilled in making kasut manik and has a rich understanding of Baba Nyonya culture. Her perspective was particularly insightful as she bridges the gap between traditional practices and modern adaptations. We discussed the cultural meanings embedded in Nyonya attire, the role of these traditions in contemporary settings, and the efforts required to pass on this knowledge to younger generations.

Through these interviews, I gained a comprehensive view of the challenges and aspirations of traditional crafters in Malacca. By organizing their responses into affinity diagrams, I aim to identify common themes and actionable insights that will guide our project in a direction that authentically represents and preserves these disappearing cultural heritages.

Fig 1.7 Interviews Conducted

I proceeded to develop the final proposal for Major Project 1, ensuring it comprehensively captures the scope and direction of our project. The proposal includes several key components designed to provide a clear roadmap for our work and effectively communicate our vision to our supervisor, Dr. Chui Yin Wong.

The main elements of the proposal are as follows:

1. Theme and Project Title
   I outlined the theme, "Safeguarding Disappearing Cultural Heritages," and developed a project title that reflects our focus on preserving the Baba Nyonya and Wayang Kulit cultures. This section highlights the significance of our project in aligning with the UN Sustainable Development Goals (UNSDG) and addresses the urgency of preserving these cultural practices.

2. Project Development Timeline
   A detailed timeline was created to map out each phase of the project—from initial research and interviews to design development and final presentation. This timeline ensures that our team remains on track and allows us to allocate resources and efforts efficiently.

3. Project Development Plan
   This section outlines our strategies for research, design, and implementation. It includes the division of tasks among team members, methodologies for gathering and analyzing data, and the tools we will use for prototyping and testing our designs.

4. Interview Questions and Field Research
   I included the interview questions I prepared for traditional crafters, focusing on their techniques, challenges, and the cultural significance of their crafts. The field research findings were summarized, highlighting key insights from my interviews with Mr. Mao Xing Shen, Mr. Lim Tian Seng, and Ms. Amanda.

5. Affinity Diagrams
   Using the data gathered from interviews and field observations, I created affinity diagrams to identify common themes and patterns. This method helped in synthesizing diverse responses into actionable insights that will guide our design decisions.

6. Analysis of Common Patterns and Insights
   In this section, I analyzed the recurring themes identified through the affinity diagrams, such as the challenges of material sourcing, declining appreciation for traditional crafts, and the need for modern adaptations to keep these traditions alive. The analysis also explored potential design directions to address these challenges effectively.

Submission : 

Major Project 1 - Ho Winnie by Winnie Ho

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2. Feedback

Week 1 :

In Week 1 of Major Project 1, during our consultation with Dr. Chui Yin Wong, she provided valuable feedback on our initial project direction. Dr. Wong recommended that we narrow our focus to emphasize local cultures instead of exploring overseas traditions. She highlighted the importance of preserving and showcasing local heritage as a way to make our project more impactful and relevant to the community.

She also expressed approval of our decision to focus on Wayang Kulit and Baba Nyonya cultures, describing them as strong and meaningful choices.

Week 2 : 

In Week 2 of Major Project 1, Dr. Chui Yin Wong provided further insights on how we can effectively synthesize our interview data. She emphasized the importance of categorizing responses based on the interviewees' familiarity and engagement with the culture—specifically distinguishing between enthusiasts and the general audience.

Dr. Wong highlighted that these two groups may exhibit distinct perspectives, preferences, and motivations, which could lead to the development of different personas. For instance, enthusiasts might offer deeper insights into the craftsmanship, symbolism, and preservation challenges, while the general audience could provide a broader view of cultural appreciation and accessibility.

Week 3 : 

In Week 3 of Major Project 1, during our consultation with Dr. Chui Yin Wong before the submission, she emphasized the importance of identifying common patterns from our interview data. She advised us to focus on uncovering underlying reasons for the decline of traditional crafts, such as the lack of appreciation among younger generations, challenges in sourcing traditional materials, and competition from mass-produced alternatives.

Dr. Wong also encouraged our team to go beyond merely presenting the problems. She suggested that we propose feasible solutions or ideas to address these challenges effectively. This could include initiatives such as educational workshops, digital platforms to showcase traditional crafts, or collaborations with modern designers to make these crafts more appealing to younger audiences.

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3. Reflection

Observation : 

Throughout the process of gathering and synthesizing interview data for our Major Project 1, I observed the significant gap between the traditional crafters’ perspectives and the general audience's understanding of their crafts. Traditional artisans, such as those specializing in Nyonya shoes and lantern-making, expressed deep concern about the sustainability of their crafts, citing challenges like dwindling material sources, lack of apprentices, and limited appreciation from younger generations. In contrast, the general audience, while appreciative of the cultural aesthetics, often lacked awareness of the intricate processes and cultural significance behind these crafts. This disparity highlighted the need for more effective storytelling and educational efforts to bridge this understanding gap.

Experiences : 

Conducting interviews with traditional crafters was an eye-opening experience that provided valuable firsthand insights into the realities and struggles of preserving cultural heritage. Engaging directly with craftsmen like Mr. Lim Tian Seng and Ms. Amanda allowed me to capture the passion and dedication they have towards their craft, despite the numerous challenges they face. This experience not only enriched my understanding of the cultural and historical context of Baba Nyonya and Wayang Kulit traditions but also emphasized the urgency of our project’s theme—safeguarding disappearing cultural heritages. Additionally, applying techniques like affinity diagrams to organize the data helped in making sense of the diverse perspectives we gathered.

Findings : 

From the interviews and subsequent data synthesis, several key findings emerged. One of the most prominent was the influence of modernization and mass production on the decline of traditional crafts. Younger generations' preference for more contemporary and less time-intensive hobbies also contributed to the diminishing interest in these traditions. Moreover, the lack of digital presence and marketing strategies among traditional crafters was identified as a critical barrier to reaching broader audiences. These findings suggest that integrating traditional crafts into modern platforms and educational initiatives could be a feasible solution.