EDUCATION

1. PROMOTING
CULTURALLY
RESPONSIVE
PEDAGOGY MODULE
THOUGHT THE
ELEMENT OF
MULTICULTURAL
CALLIGRAPHY FOR
SECONDRY SCHOOL
Prepared By :
NurolHasnahBintiIsmail– 2014623726
Email: art_rule@yahoo.com

2. Introduction
 Malaysia is a country whose population consists of diverse
cultures. The main ethnic groups in the country are Malay,
Chinese and Indian communities as well as in Sabah and
Sarawak as Dusun, Murut, Bajau, Kadazan, Iban, Dayak and
others. Every race in Malaysia have their own culture which has
been practiced since ancient times until now. Adopted and
inherited culture whether in the arts, languages, customs,
music, religion, faith or law has its own unique character of
each community. All forms of cultural and all other religions are
always respected. Therefore, efforts should be made by all
parties to cultural traditions in all races not disappear from
public life now as a result of the modernization.

3. Background of Study
 This research is a study to develop of interactive
multimedia in the teaching for culturally responsive
pedagogical module for the element of traditional
multicultural calligraphy in visual art education for
secondary school.

4. Problem of Statement
 This cultural responsive teaching teacher are able to
teach Visual Art Education through element of
multicultural in calligraphy from Chinese and India
communities in Malay craft traditional calligraphy
 According to SitiZuraidaMaaruf (2013), she has stated in
Huraian Sukatan Mata Pelajaran Pendidikan Seni Visual
(2002) that Malaysia’s visual art subject only focuses on
elements of Malay traditional craft only. This hinders the
true goal of the subject of visual arts in Malaysia

5. Research Objective
 To design and develop culturally responsive pedagogy
module the element of multicultural calligraphy in
visual art education for secondary school.
 To identify the instructional materials that can be used
by teachers in the process of teaching and learning the
element of multicultural calligraphy in culturally
responsive pedagogy.
 To identify suitable learning strategies that can be
implemented in the culturally responsive pedagogy
module for multicultural calligraphy in visual art
education for secondary school systems.
 To identify the level of usability of culturally responsive
pedagogy module based on an evaluation panel.

6. Research Question
 The research questions are:
 What are the processes involved in design and development of
culturally responsive pedagogy module in multicultural of calligraphy
for secondary schools?
 What are the instructional materials that can be apply by teachers in
the process of teaching and learning of multicultural calligraphy in
culturally responsive pedagogy?
 What are the suitable strategies of learning that can be implemented in
the culturally responsive pedagogy module of multicultural calligraphy
inVisual Art Education for secondary schools?
 What are the levels of usability of culturally responsive pedagogy
module based on an evaluation panel?

7. OPERATIONAL DEFINITIONS
 Responsive culturally
 Pedagogy
 Multimedia
 ICT
 Calligraphy arts
 Calligraphy Chinese, India, Islamic
 Types of calligraphy
1.6 LIMITATIONS
1.7 SIGNIFICANCE OFTHE STUDY

8. Literature Review
INTRODUCTION
-DEVELOPMENTOF CALLIGRAPHY
-TYPES OF CALLIGRAPHY ( Islam, China, and India )
-CALLIGRAPHYAND ITS SPRITUAL
-Perspective of Islam
-Perspective of Far East (China,Japan,Taiwan ,India
and Korea)
-CALLIGRAPHY EDUCATION
-ROLE OF CALLIGRAPHY IN ART EDUCATION
-THE ROLE OF CULTURAL RESPONSIVE INART EDUCATION
-THE HISTORY OF CHINESE,TAMILAND ISLAMIC
CALLIGRAPHY
-CONCLUSIONS

9. Research Methodology
 The questionnaire for the surveys were
constructed in order to proceed to the
second phase of Developmental and Design
Research (DDR).
 Surveys were distributed to all samples that
consisted of expertise in the various field of
arts and design.

10. Delphi Technique
 Delphi technique is used to verify this module of
learning.This is because the study involves many
experts in the area of visual arts.To obtain the finest
data, the researcher chose the Delphi technique
because it is the best method that could produce an
agreement between experts in visual arts for the
purpose of determining learning tools as well as
teaching strategies that are suitable to be
implemented in the culturally responsive pedagogy
module.

11. Population
Population No. of Sample Sampling Technique Research Method
Calligraphy artist/
lecturers at
Faculty Art &
Design
8 Purposive Interview
Visual art lecturers
at Faculty
Education
8 Purposive Interview
Teachers ofVisual
Art in Secondary
School
14 Purposive survey
Open –ended
question
TechniqueDelphi

12. Population No. of Sample Sampling
Technique
Research Method
Calligraphy artist/
lecturers at Faculty
Art & Design
3 Purposive Interview
Visual art lecturers
at Faculty
Education
2 Purposive Interview
Teachers ofVisual
Art in Secondary
School
2 Purposive Interview

13. THEORITECAL FRAMEWORK
PROMOTING CULTURALLY RESPONSIVE
PEDAGOGY MODULE THOUGHT THE
ELEMENT OF MULTICULTURAL
CALLIGRAPHY FOR SECONDRY SCHOOL
BANDURA
PROSES OF MODELLING
LEYVYGOTSKY
Development of cognitive is influenced by
environment and cultural ADDIEMODEL
TEACHER
PEER P & P