TABLE OF CONTENTS

Page

ABSTRACT i

ABSTRAK ii

ADVISOR APPROVAL iii

STUDENT DECLARATION iv

DEDICATION v

ACKNOWLEDGEMENT vi

LIST OF APPENDIXS vii

LIST OF TABLES viii

LIST OF FIGURES xi

1.0 INTRODUCTION

1.1 Introduction 4

1.2 Teaching and Learning Reflection in the Classroom 6

1.3 Reflection of Education Value 7

1
2.0 RESEARCH OBJECTIVES

2.1 The General Objectives 11

2.2 The Specific Objectives 11

2.3 Research Questions 12

3.0 FOCUS STUDY 14

3.1 Problem Statement 14

3.2 Literature Review 14

4.0 LIMITATIONS OF RESEARCH 18

5.0 ACTION CARRIED OUT 21

5.1 Planning (research methods, instruments) 15

5.2 Action 25

5.3 Observation 20

5.3.1 Demonstration activity 26

5.4 Reflection 28

5.5 Data Collection 2

29

5.6 Data Analysis 33

5.6.1 Pre Test 35

 5.6.2 Pre Test 36

5.6.1.2 Findings 38

5.6.2 Questionnaires 39

5.6.2.1 Data 40

5.6.2.2 Findings 41

5.6.3 Interview 43

5.6.3.1 Data 43

5.6.3.2 Findings 45

6.0 REFLECTION OF RESEARCH

6.1 Review about the research 46

6.2 Limitations of research 46

6.3 Suggestions for future research 48

7.0 CONCLUSION 50

8.0 REFERENCES 51

9.0 APPENDIXS 3
56
1.0 INTRODUCTION

1.1 Introduction

“The Art Curriculum for Primary Schools aims to equip people with basic artworks skills

to enable them to be creative and innovative in a variety of contexts that is appropriate to

the pupils’ level development” (Julaihi, 2011).

Limited exposure to arts skills in the pupils personal environment and educational setting

could be a cause leading to poor and declining achievement of art education among

Malaysian pupils. This study is designed to address teacher’s problem in teaching visual

arts subject in primary schools. In the new Kurikulum Standard Sekolah Rendah (KSSR),

the visual arts topics consist of four aspects which are exploration, production process,

the notion of art as a whole, and criticism. Under the production process, one of the

challenging skills to achieve is the weaving skill. In addition to build the pupils’ skills and

to instill values during the learning of arts and crafts in school, students need to have

knowledge on artworks and crafts. Lacking of knowledge may cause many pupils face

difficulties in the weaving activities thus failing them to accomplish

4
their weaving in the

given time.
Rodman and Hyams (2003) emphasized that the creativity of a student is affected by a

variety of factors such as age, motivation, talent and whether the learner has prior

knowledge towards art education. All these factors could possibly be the reasons why the

creativity of Malaysian pupils is below par. In fact, the existence of KSSR will replace

the existing primary school integrated curriculum (KBSR), which was first introduced in

1983, and subsequently reviewed in 2003.

“Learning will be made more fun and the approaches used include it being project and

activity based and problem based learning, with ICT components introduced as early as

Year One” (Julaihi, 2010). The emphasis of KSSR would promote creative and critical

thinking and innovation among pupils. One of the most common problems that Malaysian

pupils face in mastering art education is in making use weaving.

It is anticipated and prominent that this research will inform the intervention that will be

used in line with the chosen topic and will have implication for teachers of Art to

Malaysian pupils.

5
1.2 Teaching and Learning Reflection in the Classroom

The researcher identified that many pupils had difficulties in weaving especially in Year

3. Based on researcher’s experiences during practicum 1 and 2, pupils had learnt on how

to weave as what required in curriculum standard for Year Three. They tend to get

confused on how to weave by using the correct procedure. The researcher used the

traditional methods of teaching which were drilling and rote-learning. After several

lessons, the researcher realised that the pupils seemed to know the pattern of Kelarai Siku

Keluang weaving using colored paper only by memorising, not by knowing and

understanding the pattern itself. This is because they were given examples in the form,

but not on the meaning and application of weaving in many contexts.

Thus, pupils understanding of the weaving pattern is a surface one and not in depth. The

pupils may be able to answer the questions in the exercises correctly but not when

applying the knowledge in practicality. In fact, most of the pupils were not able to

complete the exercise on how to weave “Kelarai Siku Keluang” art piece. For example,

the pupils would see and copy from what they see as they do not really understand the

main concept. 6
The pupils need to guess the suitability to weave by guessing at the necessary places. It

will give prolonged misconception and it will affect in their creativity and art work This is

because they are required to have a greater level of accuracy and the correct technique to

weave becomes an indication not only of mastery of the weaving skill but the exactness

in thought and expression.

This is most probably because of the mode or teaching and learning that focus too much

on rote learning and memorising. The pupils were not introduced to teaching and learning

activities that were interactive and demand more of their interactive participation in

learning art.

1.3 Reflection on Education Value

KSSR syllabus for art curriculum was planned in accordance to the aims of FPK

(Falsafah Pendidikan Kebangsaan) to enhance the quality of primary students. In this

case, teachers act as the most vital role model to determine the product of a student in the

context of knowledge, behaviour and skill. The main role of art teachers are to expand a

student’s cognitive domain, affective and psychomotor. In7 this case, the students should

be equipped with adequate knowledge regarding arts and craft as well as the inculcation

of moral values in the art lessons. In fact, it would stimulate student’s development in the
aspect intellect, emotional, spiritual and physically balanced and harmonic (JERI) in line

with Malaysia National Education Philosophy (FPK). Such an effort is designed to

produce a student who are knowledgeable and competent, who possess high moral

standards and who are responsible and capable of achieving high level of personal well

being. In this research, the researcher follows all the guidelines stated in the syllabus in

order to produce a better student in the suitability of current KSSR format.

The effectiveness of students is based on belief, knowledge, skills and teacher’s ability in

delivering the lesson. The students’ skills are based on the educators design on how they

portrayed the lesson ( Abas, 2010).

In an effort to restructure and improve the current curriculum, KSSR brings in the

standards formula to ensure the students who achieved these standards are well-equipped

with the relevant knowledge, skills and values to face the challenges present in this

modern age of the 21st century. The standards are divided into two main categories

namely the content standards and the learning standards where students, across the

schooling years, will be required to achieve these standards.

8
This fresh breath into our education curriculum creates a more progressive learning

environment for the students. This shift towards continuous learning substantiates Adler’s

(1982) opinion where all genuine learning is active, not passive. It is a process of

discovery in which the student is the main agent, not the teacher. This new learning

approach comes together with a new way of evaluation known as School-Based

Assessment (SBA) where after each standards were taught, students will be evaluated

formatively instead of monthly test or any other form of summative evaluation. This

ensures an effective and active learning process for students in the classroom.

This fresh take into education gave rise to new and improved art syllabus named as Dunia

Seni Visual or Visual Art World. In the Dokumen Standard Dunia Seni Visual stated that

art is aimed at developing the next generation of Malaysians who are literate about culture

and the arts. Weaving is one of the art elements that are emphasized in the KSSR Dunia

Seni Visual syllabus. Divided into four domains, the first domain named Menggambar or

Picturing, is where pupils are exposed to art as an artwork where weaving is concerned.

Hence, it can be said that weaving is especially important in the visual art education

syllabus.

9
Art is concerned with the implication of such choices (Carter and McCarthy, 2006). In

Malaysian syllabus, art is a part of the elements that pupils need to master as they are

exposed to it in Year 3 of schooling.

This communicative aspect of art is the essence of visual art education which inspires the

art component in the KSSR curriculum. Children have different ways of making meaning

of the world around them and expressing their ideas and feelings, therefore the medium of

art affords children the opportunity to make their thoughts and emotions known to the

adult world (Anning, 1999). By understanding, how visual young learners are, art

teachers can mould their pupils into appreciating art as well as developing pupils with

refined personalities. Therefore, due to many researches pointing towards the importance

of weaving, art teachers have to renew their resolve and pay attention into the technical

aspect of visual art and in this context, weaving skills.

10
2.0 RESEARCH OBJECTIVES / RESEARCH QUESTIONS

2.1 The General Objectives

The researcher found out that the area of art issue (weaving) could be related with

misconception on how they weave with the correct technique. This is because most of the

pupils were unable to differentiate on the weaving process of Kelarai Siku Keluang in

context. This is because the teacher should be highlighting that the form of the art

depends on the pattern of the weaving. Pupils who are learning art often find it

complicated and confusing. There are two reasons for this: mismatch between form and

function as well as exceptions to the rule (Harmer, 2009). This issue is completely

relevant to the research area that the researcher needs to invent a new method of teaching

in order to teach weaving effectively.

2.2 The Specific Objectives

The objectives are then detailed into a few specific objectives as listed below:

1. Discover the use of diagram to improve pupils’ mastery 11

in weaving correctly.

2. Investigate whether the pupils are motivated to learn correct technique of weaving by

using diagram.
There are two goals to be achieved by the implementation of this study. One is to detect

the effectiveness of using line technique called "imaginary line" where the emphasis is on

understanding the concept art lighting. Light is essential to produce shadows lighter or

darker shades which eventually will show the tones. The existence of tones will be

generated so as the artwork will not be seen as monotonous where the art will look "alive"

and in 3D. The study also focuses on the factors that affect the production of tone in an

artwork.

2.3 Research Questions

As for this action research, the researcher will focus on searching the answers to two

research questions.

1) Can the use of diagram on weaving assist the participants to use correct procedure in

weaving?

2) Is the diagram effective to motivate participants to learn on weaving?

During the course of study, observation will always be made to ensure the effectiveness of

the diagram in weaving. The researcher will do the best to12teach the technique as well as

ensuring that students can understand the concept of weaving to allow them to imagine

the position of the imaginary line.

In addition, researcher will observe the factors that affect pupils' skills in weaving. Based

on the work of ten respondents of different gender and acceptance of the concept, an

analysis can be made to determine the success of the techniques introduced.

13
3.0 FOCUS STUDY

3.1 Problem Statement

This issue was identified when the researcher carried out practicum in a school. Based on

researcher’s experiences, the participants had problems in weaving knowledge. Basically,

this is the most common problem faced among young learners. In overall, all of his

participants had problems in art area. The participants still could not master the art

knowledge taught by their teacher in Year 3. The ‘weaving’ system is one of the art areas

which the participants often make mistakes. This could be the result of rote learning

method used by the teacher. Therefore, diagram intervention was introduced as a teaching

technique to make participants understand the weaving art of Kelarai Siku Keluang.

3.2 Literature Review

Art education is considered to be an important constituent since art structures bear

meaning and express ideas. Weaving procedure is not taught in a natural environment,

thus there is no systematic art learning without learning art14through good and efficient art

exercises.
Teaching weaving includes not only learning the rules, but learning how to manipulate the

features, to express certain meanings and connection. Teaching art communicatively

means that the teacher should present the language in real situations in which it is used,

and he/she must control the activities that follow, allowing learners to practice it in a

controlled situation and finally in demonstrative activities like using the diagram.

The theory related to art teaching is about the approaches in teaching art education. Most

of the teachers have their own style of teaching as the researcher wants to integrate

explicit approach with diagram in order to diminish the traditional way of teaching. Other

than that, several studies which used explicit instruction and approach together with the

focus of the structure have reported better learning outcomes (Norris, 2011).

This is because the explicit instruction in teaching art would allow the pupils to know the

use and functions of weaving in context. They will be able to discover the rules by

themselves and apply it correctly.

The practical approach to art teaching, which emphasizes attention to the message rather

than merely to form, has been used for the last decade 15
with positive results regarding

creativity, but with less positive results with respect to creativity accuracy (Harley, 2005).
Being based on a systemic theory, it starts with more general features and then proceeds

step by step as to become even more specific. The general orientation is "from general to

specific approach". Each element in the given art is explained by reference to its function

in the total art system of weaving.

The research on the use of diagram in influencing pupils’ ability to weave in simple

artwork is done in one of the primary schools in Johor. The research setting is a primary

school in a small town area with expected low-intermediate to high-intermediate levels of

proficiency of the pupils. The proficiency levels of the pupils are expected to be in that

range based on the early report and analysis done by the researcher in the school and its

achievement art assessment. The target group is pupils who have learnt or are going to

learn weaving by using diagram. The participants of the action research are expected to

have not learnt about weaving using diagram, which is the intervention of the research

issue.

The researcher aims to use diagram as the medium of intervention since the use of

diagram promotes a more interactive teaching and learning session, especially in art

lessons which are usually considered as a boring and dry

16
lesson as it mostly involves

formulae and rules of weaving.

Besides, as supported by (Kathleen,2011), positive strategies in teaching include using

diagram such as interactive learning by modelling and not direct teaching by focusing on

the three Rs; repetition, rewarding and reinforcement.

The researcher believes that the integration of diagram would trigger the excitement and

effectiveness of teaching art to the pupils. The realization that the learners’ errors are

potentially important for the process of art learning, and consequently the designing of the

course, is a current focus in the art on modern language teaching.

Looking at previous researches that had been done, there are many researchers that

highlight the use of demonstrative activities in teaching and learning of weaving. It can

spark pupils’ interest on the lesson as they will participate actively in the lesson (Sigríður,

2010). It is because pupils’ participation in a lesson really does play a significant role to

ensure the effectiveness of the lesson. The research highlighted that, it is very important

to get the pupils’ attention throughout the lesson because an art lesson requires pupils’ full

engagement so that they can comprehend the intricate input of art knowledge given by the

teacher. In order to gain the pupils’ active participation, the lesson should be interesting

and attractive to attract the pupils’ interest. Diagram tools may

17
be a great tool for teaching

art in urban, modern schools (Abas, 2010).

4.0 LIMITATIONS OF RESEARCH

The research participants were chosen from pupils of Year 3 of Sekolah Kebangsaan

Senai, Senai, Johor. The pupils were selected due to their second year of formal

introduction to art after Year 2. The research was particularly focusing on how to weave

“Kelarai Siku Keluang”. At the same time, the researcher wanted to test whether the

previous lessons of art especially regarding weaving were effective or not. The research

participants were selected particularly because of their previous knowledge in learning

weaving. The diagnostic test was conducted to validate the existence of problems. As a

result, 74 percentage of pupils were having problems in using weaving skill correctly. It

was to ensure that less basic input needs to be given so that the researcher can focus on

the enrichment and development of the content as well as to see whether the intervention

really works on the research participants. The research participants were taken from the

second class.

Before conducting the research, the researcher had faced a number of problems. One

major limitation that the researcher faced is time constraint. The researcher would like to

extend the research to other coloring skills. With enough time, the researcher will be able
18
to plan the stages of intervention and widen the scope of the use of the diagram technique.
As the researcher were only required to carry out a cycle of the action research, the next

research cycle should be carried out in order to find out the extent of the effectiveness of

weaving technique in various art element besides tone.

Given enough time, the researcher also would like to suggest on researching the effects on

explicit weaving instruction. This is because the researcher had made weaving instruction

explicit in order to make the participants aware of the use of the correct weaving

technique which in this case is the use of diagram technique and also the use of the right

colors to produce effective tone in order to make their artworks more interesting and

beautiful. With a deeper understanding on the need of explicit weaving instruction, the

researcher’s research will be relevant and applicable to both international and local

context. This would really put this research on top of its validity.

Furthermore, the researcher also had problems in preparing the presentation materials

regarding the weaving technique. This is due to the lack of existing research to be referred

to as guideline in planning the intervention stages. Hence, the researcher could try and

present her intervention using the right teaching aids such as cards, flyers or even videos

to be part of the teaching instruction for future art lessons. The researcher had to find

ways to get the pupils attention and to ultimately motivate them in participating coloring
19

tasks.
Finally, the researcher also encountered the difficulty in researching for materials and

references regarding the weaving technique itself. Although there are some researches on

the use of diagram technique in art classes, there are still a lot of questions to be answered

in the research. Besides that, the researcher found out that the number of research in

weaving technique in the local context of Malaysian classroom is scarce. Therefore, the

researcher hoped to do her best even though there are some limitations that were faced in

this research.

20
5.0 ACTION CARRIED OUT

5.1 Planning

Research Methods

A study conducted by the researcher to gain solid understanding regarding qualitative and

quantitative method. Qualitative methods were used to measure non numeric data

including data sources such as journals, field notes, interviews, maps, audio and video

recordings. The quantitative methods applied to obtain data that can be measured and

numeric. Quantitative data collection techniques include data sources such as

questionnaires, attitude scales, teacher made tests, school generated tests and the results

of student achievement reported on statewide assessment tests.

Plan Inventing the intervention to overcome the problem stated

Action The execution of planed intervention
Observation Observing all the responses and behaviour of students
Reflection The reports of the whole intervention process (post test)

21
 Figure 1 Adapted in Kemmis’s Action Model Research (1986)

Phase 1

Phase 2

In week one, the researcher was able to introduce

and identify the research area based on the chosen participants (Year 3). The researcher
reflected on her own teaching experiences by relating why most of the pupils have
problems in art particularly in weaving. Meanwhile, the interview session had been
conducted with the subject teacher to discuss on participant’s prior knowledge. The
method of teaching art was also discussed. Many of the findings using verbal reports are
convincing, both in terms of their own merits, and also correspond with one’s own

In week two, the focus of the research area had been narrowed on the specific
problems that the pupils were having. The issue had been correlated with the other area of
art as pupils did not know how to differentiate the correct technique in weaving. The
researcher discovered more theories related to reflect the best strategies in teaching
grammar and also the significance of using technology in classroom. The analysis was
made based on the criteria selection such as workability, practicality and relevance to
22
school.
 In week three and four, the researcher stated the objectives and research questions
to show the relevance of the issue. At the same time, the target group was selected based
on some factors such as level of proficiency, educational background, age and prior
knowledge about grammar. The participants were chosen as they have learned on articles
and the research was relevant to be conducted.

In the following weeks (week five and six), the action was conducted by
delivering a lesson specifically for the target group. The types of instruments were chosen
and the data were collected as well as analysed. The data were analysed based on the
findings and effectiveness of the intervention used. In week six, the research was based
on how the researcher conducted the action plan by providing Gantt chart. The
practicality of Gantt chart was in line with the time given and then the report was
concluded at the end of week seven.

In this research, the researcher had decided to use Kemmis’s model for his action

research. The model consists of four steps: planning, acting, observing and reflecting. The

diagram shows the four steps; the movement from one critical phase to another, and the

way in which progress may be made through the system.

23
Research Instruments

There are several instruments used in this study:

a) Pre-test

b) Post-test

c) The questionnaire

d) Interview

The comparison of the results before and after the intervention shown through a statement

after assessing the results of analysis of the respondents involved.

a) Pre Test

Pre test is used as an indicator to test students’ prior knowledge about weaving. It is to

ensure whether the problem is valid or not to be conducted. In this research, pre test plays

an important role as it highlights the students’ misunderstanding about Kelarai Siku

Keluang. Based on pre test, all of the respondents have problems in weaving correctly.

b) Post Test

Post test is used as the instruments to show the effectiveness of an intervention at the end

of the test. It will also determine the products of the 24respondent’s artwork. In this

research, post test would also show whether the intervention assist to overcome students’

problem or not.
c) Questionnaire

The questionnaire was given to the respondents to obtain a basic knowledge of their

feedback and interest towards the art lesson. It allows coverage of a representative sample

in a cost effective manner (Goh, 2013). As for the questionnaire used in this research, the

researchers used agree or disagree response for fixed response questions.

d) Interview

The interview session was conducted as qualitative instrument in this research. It is used

to attain respondents’ responses regarding the execution of intervention. The researcher

carried out an interview with 5 selected participants. Cohen, Manion and Morrison (2000)

defines interview as “ a two-person conversation initiated by the interviewer for the

specific purpose of obtaining research-relevant information, and focused by her on

content specified by research objectives of systematic description, prediction or

explanation”.

25
Observation

The interview sessions were made at the end of the research. The purpose is to obtain the

responses of the respondents during the period of pre test, treatment process, post test and

interview. This is to attain the the report on the effectiveness of intervention used and the

techniques used by the teacher. The willingness of the students to learn is vital in order to

determine the acceptability of methods and concepts taught. It is also to ensure that the

intervention used is understood wholly by the students.

Sample size

There are 10 pupils altogether in the class with balanced gender contribution which

consist of 5 boys and 5 girls. 10 participants had been selected from the experimental

group to learn articles using the intervention. Most of the pupils have positive attitudes

towards learning through observation made by the researcher and an interview with 5

selected participants. The interview was conducted orally; the researcher rewrote the

questions and answers as the evidence of the statement.

26
5.2 Action

After the researcher attained information from the questionnaires and the tests conducted,

the researcher began to conduct the planned intervention methods using the diagram. The

method of demonstration and drilling were used in order for students to understand the

concept of weaving explicitly. Each treatment took about an hour.

Treatment Process

In the treatment process, the respondents have undergone a three weeks treatment period.

The duration is short so that it can avoid boredom among the respondents. The duration of

treatment also takes into account the factor of time constraints faced by the researcher, the

respondents and the activity conducted by the school.

The intervention was created to improve student’s skills to weave correctly and to

enhance their understanding in Kelarai Siku Keluang. The teacher would show steps by

steps process by using diagram given so that it can be followed by the respondents. In this

research, the researcher carried out pre test for both experimental and control group. After

that, the researcher moved to the next step which is intervention.

27
5.3 Observation

5.3.1 Demonstration activity

Steps Activity Notes

Step 1: Teacher shows the example of Kelarai Teacher explains about the
Introduction Siku Keluang by using LCD and real characteristics of Kelarai
artwork. Siku Keluang.

Step 2: Teacher introduces intervention created. Teacher explains about the

Progression Teacher demonstrates on how to weave weaving technique and the
by using the template. Teacher shows imaginary lines to assist
step by step by cutting the blades of students to weave at the
weaving. right place.
Picture 1:Intervention and artwork

Table 1: Demonstration Activity

Table 2 below shows the details of weaving activity using diagram.

Steps Activity Notes

Step 1:
Teacher distributes Teacher explains about the
Introduction drawings that included the28 lines in the template and
template in weaving how to use them as
activity. Teacher distributes guidelines.
the blades of weaving to all
the students.
 Step 2:
Students weave their Teacher highlights the
Progress drawings by following the importance of imaginary
correct technique according lines to determine the areas
to teacher’s instructions. that needed to weave.
Teacher guides students to
weave correctly.

Table 2: Weaving activity using the template given

Post test

Table 3 shows the details on how teacher executes the post test using the diagram

Steps Activity Notes

Step 1: Teacher distributes another Teacher explains about the

Introduction plain drawing to all the example of weaving
students and explains about artwork and asks students to
the test. imagine about the
imaginary lines.

Step 2: The students weave the Teacher observes students’

Progression artwork on their own. behaviour and their artwork.

Table 3: Post test Activity

5.4 Reflection

Post test

Reflection is the process of remembering and reflecting on the process that had been
carried out in the beginning, during and after the intervention of an action research. After
29
the data were analysed, the researcher had to reflect in terms of the advantages and
disadvantages of the intervention carried out. Results from the intervention (post test) and
changes to the participants demonstrated the effectiveness of the intervention. Students
were able to weave correctly. Changes made by the participants gave a final decision
whether the method is effective or otherwise. Respondents were assessed by observation
of their behaviour, artworks and interviews. Comparisons were made to measure whether
demonstration and drilling exercises able to help student’s ability to understand about
weaving of Kelarai Siku Keluang.

Conclusion

After all the interventions have been conducted using demonstration, exercises and

intervention, the researcher discovered that students were able to upgrade their skills in

weaving of Kelarai Siku Keluang. It can also raise their confidence level and understand

the concept explicitly. In fact, all the respondents had given positive feedback during the

intervention session. This is because all the respondents felt they were appreciated and the

teacher gave her full attention in their practice and behaviour. They were given positive

reinforcement as they could weave well.

5.5 Data Collection

Data for the test

Table 4: Comparison between pre and post test

30
No Participants Performance in the Pre and post test
Pre test (%) While test (%) Post test (%) Differences
(%)

1. P1 70 100 90 20
2. P2 10 100 80 70
3. P3 60 100 100 40
4. P4 60 70 70 10
5. P5 60 70 100 10
6. P6 20 40 60 40
7. P7 30 100 80 50
8. P8 60 90 90 30
9. P9 50 90 90 40
10. P10 20 100 80 60

Based on the pre test and post test score above, the researcher found the difference of both

test to show the difference and improvement. This indicated that there was positive

improvement after the intervention as every pupil improved at least 10%. The highest

improvement would be 70% as the pupil scored 10% in pre test and scored 80% in post

test.

Table 5: Result for the Pre Test

Band Scores Number of Percentage (%)

Participants
Low 0-39 4 40.0
Sufficient 40-59 1 10.0
Good 60-79 5 50.0
High 80-100 0 0

Based on the table 4, most of the participants scored below the high scores and most of

them were in good band (50%). Another 50 percentage of31the participant scored less that

60%. The results show that almost half of the selected participants have problems in

weaving in art subject. None of the participant is able to score high mark which is
between 80-100.

Table 6: Result for the Post Test

Band Scores Number of Percentage (%)

Participants
Low 0-39 0 0
Sufficient 40-59 0 0
Good 60-79 30 30.0
High 80-100 70 70.0

Based on table 5, no one scores in low and sufficient band. That means all participants

were able to score 60 and above after the treatment was carried out. In the good range, it

decreased from 50% to 30%. As a result, the excellent range (80-100) increased from 0%

to 70% and the numbers were increased from 0 to 7 pupils.

5.5.1 Comparison between Pre and post test (good and high marks)

Figure 2: The comparison between Pre and Post test

80

70

60

50
Good
40
High
30 32
20

10

0
Pre test Post test
In figure 3, the bar chart in blue indicates the pupils’ results who scored good marks (60-

79) while the bar chart in red indicates the pupils’ results who scored high marks (80-

100). The number of pupils who scored 60 to 79 are 5 whereas none of them was able to

score high mark in the pre test. The other 5 pupils scored in low and sufficient band. It

showed that pupils were having problems in weaving. The bar chart in post test section

showed increasing pattern as 7 of 10 pupils scored in high marks (80-100). It showed

positive increment after the implementation of the intervention.

Figure 3: Mean of Pre test and Post test

Mean of the score

Pre, 44

Pre
Post

Post, 81 33
The results from the analysis showed that there are improvements after the intervention

executed. The use of diagram showed positive improvement after the interventions. The

researcher received positive improvement by calculating the mean score of the

participants.

5.6 Data analysis

The researcher analysed the data collected using mixed method. Johnston (2007) stated

that, it is a type of research which researcher combines the elements of qualitative and

quantitative approaches. Mixed method is a combination of both quantitative and

qualitative data analysis. The data were analyses by comparing the results of pre test and

also post test of the participants. The collected data were presented
34
in a table and also bar

chart of percentage showing the differences of the results. Based on the data collected, the

researcher made an analysis of the marks on each worksheet and identified the
improvement between the tests. Powell (2006), stated that the statistical analysis can be

quite involved in a research action.

In this research, the researcher used some mathematical techniques in order to make his

evaluation data more understandable called descriptive statistic as they assisted to

describe new data.

These methods included:

a) Numerical count of frequencies

b) Percentages

c) Measures of central tendency (mode, median, mean)

In analyzing quantitative data, the researcher used some formula to find out the

effectiveness of using diagram in teaching weaving. 35

In order to find the mean score of pre art intervention and post art intervention test, the
researcher calculated the average score by using the formula as follows

X=  ×

X= Mean score X= The sum of all score

N= The total number of participant

5.6.1 Pre Test

36

Picture 1
 Picture 2

Picture 3

a) Pre test

In this study, the tests were conducted to show the problem encountered by the students

before the intervention was conducted. This is also a proof to compare the effectiveness

of intervention used in order to solve the problem stated in this research. Based on the pre

tests, all of the respondents were unable to weave correctly. This is due to their

misconception of their understanding of Kelarai Siku Keluang.

37
The pre test is a valid test

to be conducted as the respondents have problems in weaving correctly. After the tests

were conducted, a comparison will be made based on post test. The pictures (1,2 and 3)
are shown as the evidence of students’ artworks (before the treatment).

5.6.2 Post test

Picture 4 Picture 5

38

Picture 6
b) Post test

Post tests were executed to determine whether the intervention is successfully done or

not. Based on the pictures shown, the respondents were able to understand the concept of

weaving Kelarai Siku Keluang correctly. This is because all of the respondents were able

to weave based on the demonstration given by the teacher. In fact, all the respondents

managed to score with good marks (80-100) for post test although they have no imaginary

lines. The results of the post test show that respondents explicitly understood the

techniques on how to weave properly.

5.6.1.2 Findings

The multiple choice items and subjective questions tests were analyzed in this

quantitative score did not have any missing data. The participants answered all the 10

items given. Table 5.2, 5.3 and 5.4 showed the overall results
39
of the two tests constructed

which depicts the scores of the participants before and after they were given the

information. In general, the findings have shown great improvement in both tests so that
the researcher could conduct the intervention by using the correct procedure and analyse

all the data obtained. This is due to the huge differences in improvement whereby it could

stimulate student’s interest in order to do more weaving artwork in future.

Based on the findings, it can also show positive motivation for students to be interested in

art process. The action procedure could also highlight the effectiveness of intervention

used in order to compare the results obtained based on pre and post intervention art tests.

The mean score would also focusing the changes that happened during the action research

process.

5.6.2 Questionnaires

The chart is the evidence that showed positive improvement for participants in

understanding on how to weave “Kelarai Siku Keluang” in the art lesson. The pie chart

showed the differences of mean score by indicating that blue

40
represents the mean for pre

intervention art test (44.00) and red for post art intervention test (81.00). The difference

which is 37.00 is a positive enhancement with the aid of the intervention. All the
experimental participants managed to improve their score after the intervention.

41
No Questionnaire Participant Total
1 2 3 4 5 6 7 8 9 10 A D
1 Do you want to learn weaving A A A A A A A A A A 10 0
by using diagram?
2 Do you feel that diagram is A A A A A A A A A A 10 0
helpful for your art learning in
class?
3 Do you want to enhance your A A A A A A A A A A 10 0
weaving skill with diagram?
4 Does learning weaving with A A A D A A A A A A 9 1
diagram is easier than learning
from the textbook?
5 Do you want to spend more A A A A A A D A A D 8 2
time learning art with
diagram?
6 I enjoy learning weaving. A A A A A A A A A A 10 0

Table 6: The questions in questionnaire

5.6.2.1 Data

Table 6 showed the responses given by the participants for each item in the questionnaire

distributed. There were 6 items which had been presented in the questionnaire in the table

above. In the item number 1, all participants agreed to the statement given which is “Do

42 wanted to learn art by using

you want to learn weaving by using diagram?”. All of them

diagram.
For item number 4, one of the participants disagreed to the statement of “Does learning

art with diagram is easier than learning from the textbook”. In addition, two of the

participants disagreed to the statement “Do you want to spend more time learning

weaving with diagram?”.

Similarly, for item number 6, all of the participants agreed that they enjoyed learning art.

It showed that the pupils really enjoy learning weaving using diagram. This is supported

by the agreement of all participants for items 2 and 3. The item number 2 stated that all

participants agreed that they feel diagram was helpful for their art learning. In fact, they

also agreed for item number 3 which is they wanted to enhance their weaving skill by

using diagram.

5.6.2.2 Findings

Figure 4 Questionnaire analyses in percentage

120
100
80
Agree
60
Disagree
40
20
0
Q1 Q2 Q3 Q4 43Q5 Q6
Agree 100 100 100 90 80 100
Disagree 0 0 0 10 20 0
 Table 7

The questionnaire analysis in figure 4 indicated the analysis in percentage. For questions

number 1, 100% of the participants agreed to the statement given. The same goes to

Questions number 2 and 3. However, there were 10% of the participants who disagreed to

the statement given for Question number 4 and 5 respectively. In question number 6, all

participants agreed to the statement given as they enjoyed learning art

lesson.

Q1 Do you want to learn art by using diagram?

Q2 Do you feel that diagram is helpful for your art learning in weaving?
Q3 Do you want to enhance your weaving skill with diagram?
Q4 Does learning art with diagram is easier than learning from the textbook?
Q5 Do you want to spend more time learning art with diagram?
Q6 I enjoy learning weaving by using diagram.

Table 7 indicates the questions asked to the selected participants in order to get their

feedback about the use of diagram in learning weaving.

In overall, the findings show that the questions in questionnaire prove that students were

able to give positive responses about their perception towards the intervention used. This

is because the students felt more confident to weave in order

44
to complete the task given

by the teacher.
5.6.3 Interview

It was an oral interview, thus, the researcher rewrote the questions posed to the teacher, as

well as the teacher’s responses to the questions. There were five questions asked by the

researcher to the teacher which involved the problem area and academic background of

the pupils.

5.6.3.1 Data

The interview was conducted to identify whether the problems of using correct technique

in weaving is an area of concern among pupils and could be chosen and carried out as the

focus of action research. Chamblis and Schutt (2012), stated that interview is a way to

collect qualitative data that includes the interaction between two persons to give

information to each other. The researcher used semi-structured interview. It is informal to

ensure the pupils feel comfortable answering and the researcher can ask other relevant

information despite the guided ones. By carrying out the interview, the researcher knew

about the advantages and disadvantages of the intervention

45
carried out. It has also shows

a great improvement in motivating the students to be more active in art lesson

.
The researcher used interview in this research to collect qualitative data (motivation) that

included the interaction between the researcher and the pupils to provide information and

get findings after the interventions. The researcher wanted to compare the different

opinions regarding the intervention that the researcher had carried out on them. In this

research, five pupils were involved in this interview session.

Based on all the responses reported, all of the participants had given positive responses in

order to depict and reflect the positive improvement in the sense of motivation. This is

due to their excitement and joy regarding on the intervention used while conducting the

artwork process.

Interview on interest with diagram

Question 1: Are you interested in learning weaving by using diagram?
P1: Yes. I enjoyed it.
P2: I like the model of diagram.
P3: I like the lesson.
P4: It is better.
P5: Diagram is exciting.

Figure 5: The sample of interview question

46
5.6.3.2 Findings

In this research, the pupils were motivated to learn art as the responses gathered from the

interview done with five participants. Motivation is the most powerful determinants of

student’s success or failure in school (Mark, 2008, p.240). All of them gave positive

feedback in order to learn weaving by using diagram. In educational research, motivation

theories are most often used to explain student’s activity choice, engagement, persistence,

help seeking, and performance in school (Ames and Archer, 2011).

In fact, all participants agreed that they prefer to use diagram as it offers clear method on

how to weave correctly and be more confident to produce an artwork after the

intervention is executed. All of them agreed that they enjoyed learning to weave by using

the diagram. This is one of the indicators that support the evidence that pupils were

motivated to learn art in this research.

In conclusion, the pupils were motivated to learn art especially in weaving as the

participants responded with positive answers in the interview

47
session. Motivation is

among the most powerful attributes for achievement outcomes in school systems today.

The study is related to the research question because results showed motivation is highly
correlated with self-efficacy, and academic achievement.

6.0 REFLECTIONS

6.1 Review About The Research

This research took 8 weeks to be completed. The researcher carried out one cycle of the

research according to Kemmis and Mc Taggart Model of Action Research. A total of 10

participants were chosen to be the subject of the research. The data collection methods

used is Pre Test and Post Test, questionnaires and interview. After analysing the data, the

researcher found out that the use of diagram technique definitely improved the

participants’ weaving skill and the intervention also managed to motivate the participants

to enhance their weaving skills.

6.2 Limitations of the research

After conducting this research, the researcher knew that they were still a lot of rooms for

improvement. One major limitation that the researcher faced is time constraint. As the

researcher also had to rush the syllabus and also complete

48
the research on time, the

researcher fell back behind the yearly plan to teach the subject because of the research.
However, the research did somehow improved on the weaving skills of the participants

which was very beneficial for the students as they progress into different contents of the

syllabus. Given enough time, the researcher would be able to divide the time properly to

enable full focus on the research as well as imparting knowledge as a teacher.

The researcher also faced critical problems in finding related literature on weaving

technique. There were only a handful of researches done on improving weaving skills.

Most of the researches focused on the development of the participants based on the

approach in teaching arts in the classroom. Although quite different, the researcher

managed to synthesise information that she needed and finally came up with a research

supported by other researches. These are some limitations that the researcher faced during

the execution of the research.

49
6.3 Suggestions for further research

This research studies the effectiveness of using diagram to teach weaving steps of

“Kelarai Siku Keluang”. The researcher would like to make some suggestions for further

research. The teachers should be able to be versatile in the lesson so that it could stimulate

pupils’ interest to learn art. This is because we have to find more ways in order to attract

their interest in learning weaving theory such as the use of technology in teaching. We

should be able to be an effective teacher who has a lot of resources and able to explain art

rules in simpler ways. That is why this intervention is created as the pupils do not want

just to look at printed pages in order to memories all the rules stated. There must be two-

way interaction between the teacher and the pupil. As what highlighted in KSSR, the

teacher acts as a facilitator and the learning process is based on pupil centered. If we are

able to trigger pupil’s interest in learning grammar, we should also be able to be

consistent in delivering the lesson effectively. One of the ways would be integrating

technology in teaching and make use of the resources wisely. This is because diagram

could be modified easily according to the suitability of pupils’ level of proficiency.

50
The researcher sees that using diagram is very vital because it motivates pupils in learning

art. This is to alter their negative perception by assuming that weaving is difficult subject

in art. Moreover, the researcher discovered that pupils need more techniques to learn

weaving effectively. This intervention also highlights on the colored visuals in the

template given in order to enrich pupil’s skills and trigger excitement.

51
7.0 CONCLUSIONS

The researcher suggested the following recommendations to the Art teachers, consider

pupils’ individual differences and make the class a condusive environment for all pupils

to participate in the classroom activities to increase positive feelings towards art lesson.

Use the effective and appropriate content in art lesson to improve pupil’s understanding in

weaving theory. This is to develop and improve their fine art skill and weaving skill in

order to be a creative learner. The researcher also suggested to find appropriate activities

based on the intervention created to make the learning process achieve the objectives.

As revealed through the findings of the research, a majority of pupils basically have

problems in weaving correctly. In relation to this, it was revealed that pupils of Year 4 in

School X preferred explicit than implicit teaching in line with the intervention of diagram.

Therefore, teacher should use various techniques of teaching such as using colour-coded

visual in diagram to teach weaving. Nevertheless, it is possible for teachers to make a

positive contribution to learners’ knowledge in this important area. The present study

largely confirms the results of some of the earlier studies which

52
also showed that learning

of weaving is an extremely complex area. Thus, the use of diagram is one of the most

effective ways in order to teach weaving steps explicitly.

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Government Documents
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Alternbeg, E.P. & Vego, R.M. (2010). Art Lesson:Understanding the Basics.UK:
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Ames, C., & Ames, R. (1984). Systems of student and teacher motivation: Toward a
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Carter and McCarthy (2006). Formal instruction from 53a processing perspective: An
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Cohen, L., Manion, L. & Morrison, K. (2000). Research Methods in Education. (5th ed.).
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57
9.0 APPENDIX

APPENDIX A

Transcription of the interview with five selected participants

Question 1: Are you interested in learning weaving by using diagram?

P1: Yes. I enjoyed it.
P2: I like the intervention.
P3: I like the lesson.
P4: It is better.
P5: The diagram is cool.

Question 2: Do you feel that diagram is helpful for your art learning?
P1: Yes. I knew the rules of weaving.
P2: Of course. I can know how to use weave correctly.
P3: Yes. Now I know the meaning of Siku Kelarai
P4: I can understand now.
P5: Yes. It helps me a lot.

Question 3: Do you feel motivated in learning art by using diagram?

P1: Sure.
P2: Yes. I feel motivated now. 58

P3: Yes. I like it and more motivated now.

P4: Of course.
P5: Yes. I am clear now.

Question 4: Does learning weaving with diagram is easier than learning from the
traditional method?
P1: Yes. I can know the rules easily.
P2: Sure. I like it.
P3: Yes.
P4: Yes.
P5: Of course yes.
Question 5: Do you feel confident to use weave by using diagram?
P1: Yes I am.
P2: Of course. I knew the rules already.
P3: Sure.
P4: Yes. I feel confident.
P5: Yes.

59
APPENDIX B
Questionnaire Questions

Questionnaire on interest with diagram

Instruction: Put a tick ( /) for agree or disagree.

Disagree
Agree
Items

1. Do you want to learn weaving by using diagram?

2. Do you feel that diagram is helpful for your art learning in
class?
3. Do you want to enhance your weaving skill with diagram?
4. Does learning weaving with diagram is easier than learning
from the textbook?
5. Do you want to spend more time learning art with diagram?
6. I enjoy learning weaving.

60
APPENDIX C
No Questionnaire Participant Total
1 2 3 4 5 6 7 8 9 10 A D
1 Do you want to learn weaving A A A A A A A A A A 10 0
by using diagram?
2 Do you feel that diagram is A A A A A A A A A A 10 0
helpful for your art learning in
class?
3 Do you want to enhance your A A A A A A A A A A 10 0
weaving skill with diagram?
4 Does learning weaving with A A A D A A A A A A 9 1
diagram is easier than learning
from the textbook?
5 Do you want to spend more A A A A A A D A A D 8 2
time learning art with diagram?
6 I enjoy learning weaving. A A A A A A A A A A 10 0

Questionnaire Questions with Participants Feedback

61
APPENDIX D (TESTS)

NAMA :……………………………………… KELAS :………………..

62
63
* BILAH ANYAMAN *

64
65