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1
Dawami, Angga Kusuma. "Pop Art di Indonesia." Jurnal Desain 4, no. 03 (October 17, 2017): 143. http://dx.doi.org/10.30998/jurnaldesain.v4i03.1356.
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Dhani, Kurnia Rahmad. "EMPTY BENCH IN INDONESIAN PERFORMING ARTS STUDIES: AUDIENCE." TONIL: Jurnal Kajian Sastra, Teater dan Sinema 18, no. 2 (September 13, 2021): 83–91. http://dx.doi.org/10.24821/tnl.v18i2.5886.
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Many Indonesian performing art experts have stated that audience studies were conducted in minimal numbers. However, the exact number of research on performing art audiences in Indonesia remains unclear. The factors that influence it are still not known in detail. This paper used a literature review on seven nationally accredited performing arts journals from art institutes in Indonesia over the past ten years. The results showed that only 3 out of 1034 journal titles focusing on performing art audiences in the last ten years. From these findings, we can conclude that the study on the audiences is so scarce. This research theme is not interesting for performing art experts in Indonesia. Indonesian performing art experts and academicians have left the importance of audience studies. This paper also discusses the factors that influence the negligible of performing arts audience studies in Indonesia.
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Murwanti, Aprina. "Mapping Strategy of Practicing Visual Art for Academic Purpose: a Perspective from Indonesia." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 291–96. http://dx.doi.org/10.18844/prosoc.v4i11.2884.
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Practice-based research was formally introduced in western academic institutions after the emergence of PhD visual art practice in early 1980 in Australia. This practice-based research approach became an alternative for artists to claim equality of art practice as research for academic purposes. Utilising Graeme Sullivan’s framework, ‘Art Practice as Research’, this paper maps visual art practice perceived as research in Indonesia. Interviews and focus group discussions from a total of 27 participants were analysed to map the symptoms of practice-based research approach in Indonesian visual art practice. This paper gives the strengths and weaknesses in the way participants (artists, curator, lecturer, undergraduate and postgraduate students as well as art manager) in Indonesia approach the practice of visual art in the academic context. Through this research, traces on how visual art is practiced in the academic context reveal the distinct Indonesian visual art practice at the higher education institution level. Keywords: Practice-based research, visual art practice, academic.
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Aubert, M., A. Brumm, M. Ramli, T. Sutikna, E. W. Saptomo, B. Hakim, M. J. Morwood, G. D. van den Bergh, L. Kinsley, and A. Dosseto. "Pleistocene cave art from Sulawesi, Indonesia." Nature 514, no. 7521 (October 2014): 223–27. http://dx.doi.org/10.1038/nature13422.
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Kurniawan, Iwan Jaconiah. "Intercultural Interaction: Indonesia and Soviet Society in the Sphere of Art Paintings in the Second Half of the XXth Century." Contemporary problems of social work 6, no. 2 (June 29, 2020): 65–71. http://dx.doi.org/10.17922/2412-5466-2020-6-2-65-71.
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the paper studies the problem of defining an intercultural interaction. The authors analyzed scientific works to identify and classify the Indonesian social realism art painting. In the second half of the XXth century, Indonesian artists had a close relationship with the Soviet Society in the sphere of fine art. The true influence can be found in the social-realism art movement between 1950–1965s in Indonesia during the first President Soekarno era. But the social-realism art movement was no longer because of the horizontal political conflict on September 30, 1965 as well-known as revolution. During the President Soeharto regime (1965–1999), all social realism fine art was destroyed. Socialist and communist ideology was banned in Indonesia. That’s why they represented socialism and communism style not growing freely until now. However, some paintings can be saved abroad by Russian scientists and art collectors. Since 2016, more than 30 Indonesian social-realism paintings were conserved, served, and shown into a historical exhibition in the State Museum of Moscow Oriental Art. These paintings became important in Indonesian social realism art history
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Novenanty, Wurianalya Maria. "THE LEGAL ASPECT OF CREDIT WITHOUT COLLATERAL IN INDONESIA (ASPEK HUKUM KREDIT TANPA AGUNAN DI INDONESIA)." Veritas et Justitia 4, no. 1 (June 28, 2018): 111–30. http://dx.doi.org/10.25123/vej.2838.
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Using a legal normative approach,it can be stated that Act no. 10 of 1998 (amending Act No. 7 of 1992 re. Banking), in the event Bank considers loans or other financial schemes application, they are under the obligation, in accordance with Art. 8 of Act no. 10 of 1998, conduct a thorough analysis of the debtor’s good faith, financial ability and willingness, and on that basis determine the risk of non-payment. In short, implement due care principles. The elucidation of Art. 8 elaborated on the bank’s duties: to decide wisely with due care in order to minimize the risk of default, that is by evaluating debtor’s character, capital in his/her possession, collateral offered, and economical/financial condition. In legal practice, however, it is possible for Banks to offer loans without collateral. In such case, only two articles of the Indonesian Civil Code (arts. 1131 and 1132) would be applicable to offer protection against possible default. This paper discusses the above legal discrepancy in light of the role and function of collateral as protection against non-payment.
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Larassati, Hana, Riwanti Estiasari, Reyhan E. Yunus, and Paul M. Parizel. "State-of-the-Art Review: Demyelinating Diseases in Indonesia." Multiple Sclerosis International 2021 (June 23, 2021): 1–13. http://dx.doi.org/10.1155/2021/1278503.
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Demyelinating diseases are more common in Indonesia than previously believed. However, it is still a challenge for a country such as Indonesia to implement the scientific medical advances, especially in the diagnostic process of demyelinating diseases, to achieve the best possible outcome for these groups of patients, within the constraints of what is socially, technologically, economically, and logistically achievable. In this review, we address the 4 major classes of demyelinating disease: multiple sclerosis (MS), neuromyelitis optica (NMO), anti-MOG-associated encephalomyelitis (MOG-EM), and acute disseminated encephalomyelitis (ADEM), and discuss their prevalence, demographics, clinical diagnosis workup, and imaging features in the Indonesian population, as well as the challenges we face in their diagnosis and therapeutic approach. We hope that this overview will lead to a better awareness of the spectrum of demyelinating diseases of the central nervous system in Indonesia.
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Küster, Volker. "The Christian Art Scene in Yogyakarta, Indonesia." International Bulletin of Mission Research 40, no. 2 (March 25, 2016): 133–51. http://dx.doi.org/10.1177/2396939316638339.
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GEORGE, KENNETH M. "ETHICS, ICONOCLASM, AND QUR’ANIC ART IN INDONESIA." Cultural Anthropology 24, no. 4 (November 2009): 589–621. http://dx.doi.org/10.1111/j.1548-1360.2009.01041.x.
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Novitasari, Dwi, and Putu Satria Udyana Putra. "PERANCANGAN PORTABLE ART DISPLAY STMIK STIKOM INDONESIA." Jurnal Patra 2, no. 1 (May 2, 2020): 1–6. http://dx.doi.org/10.35886/patra.v2i1.57.
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Pameran merupakan salah satu kegiatan penting bagi mahasiswa desain grafis agar mendapat apresiasi serta kritik dan saran, dari hasil proses pembelajaran beberapa mata kuliah seperti ilustrasi, fotografi, digital vector, nirmana, dan lain- lain. Saat ini keterbatasan tempat dan ruang merupkan faktor utama yang mempengaruhi kurangnya kegiatan pameran karya desain grafis di kampus STMIK STIKOM Indonesia. Penelitian ini bertujuan untuk merancang sarana berupa display atau tempat untuk memajang karya yang efektif, sebagai solusi keterbatasan ruang yang ada. Portable art display merupakan stand pameran yang di fungsikan untuk memajang karya dengan desain sederhana, mudah di bongkar pasang dan pindah tempat (moveable) namun tidak menggangu fungsi ruang di sekitarnya. Metode penelitian yang digunakan berdasarkan metode Bryan Lawson dari tahap first insight hingga tahap Verification dengan konsep modern minimalis yang disesuaikan dengan bangunan kampus STMIK STIKOM Indonesia sehingga menghasilkan rak lipat dan standing panel yang dapat mewadahi kebutuhan ruang serta tempat untuk memajang beberapa karya saat pameran berlangsung.Kata Kunci: Perancangan, Portable art display, STMIK STIKOM Indonesia
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Husein, Asmar, Santoso Tri Raharjo, and Eva Nuriyah Hidayat. "The Art Of Social Work In Indonesia." Jurnal Ilmu Sosial Mamangan 10, no. 1 (June 1, 2021): 19–29. http://dx.doi.org/10.22202/mamangan.v10i1.4830.
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Social work is a unique relief profession as unique as individuals, groups and societies. Social relations as the main media in performing the art of social work practice. The art of social work practice is an expression of intuition results that creates creativity in dealing with social problems. In this century, it is necessary to show a brand new model of social work practice along with the emergence of contemporary social problems. So that in the Indonesian context, a unique character and characteristic are needed. This journal is a literature review from various sources that aims to present the new concept of the art of social work practice in Indonesia. So far, the science of social work has not been sufficient in dealing with social problems. Here is the urgency and connection between science and the art of social work practice. Thus, the relationship between the two cannot be separated. Because, basically, within the practice of social work lies an art.
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Husein, Asmar. "The Art Of Social Work In Indonesia." mamangan 10, no. 1 (June 1, 2021): 19–29. http://dx.doi.org/10.22202/mamangan.v10i1.4830.g1949.
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Kasiyan and Nomusa Makhubu. "Art, art education, creative industry: Critique of commodification and fetishism of art aesthetics in Indonesia." Cogent Arts & Humanities 6, no. 1 (January 1, 2019): 1586065. http://dx.doi.org/10.1080/23311983.2019.1586065.
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Gozali, Amir. "DIMENSI SPIRITUAL DALAM SENI LUKIS ABSTRAK KONTEMPORER INDONESIA: SEJARAH DAN WACANA." Acintya Jurnal Penelitian Seni Budaya 11, no. 1 (November 11, 2019): 1–15. http://dx.doi.org/10.33153/acy.v11i1.2609.
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AbstractAbstract art through its abstraction mode is an attempt to explore the essence and existence of humanityin the dimension of spirituality. Abstraction is able to present a deeper meaningful space because of theopen dialogue between artists - works - spiritual observers. This research was conducted to explore andexplore the transcendental and spirituality dimensions especially in contemporary Indonesian abstractpainting as part of the expression and reflection of the search for the essence of the artist. In addition,historical aspects and discourse dynamics will also be analyzed in order to obtain a comprehensiveunderstanding in understanding the development of abstract art in Indonesia. This study uses qualitativemethods by optimizing studies on written sources and literature relating to the study of contemporaryIndonesian abstract painting by further analyzing the historical aspects and dynamics of discourse. Datawere analyzed using content analysis method. This study is expected to be a reference material for learningabstract art, artists, and art lovers.Keywords: spiritual, abstract painting, contemporary art, Indonesia
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Leihitu, Irsyad, and Raden Cecep Eka Permana. "Looking For a Trace of Shamanism, in the Rock Art of Maros-Pangkep, South Sulawesi, Indonesia." Kapata Arkeologi 14, no. 1 (July 30, 2018): 15. http://dx.doi.org/10.24832/kapata.v14i1.496.
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Gambar cadas adalah fenomena arkeologi yang tersebar di seluruh dunia. Umumnya, seni prasejarah ini terdiri atas berbagai bentuk, motif, dan juga makna. Artikel ini membahas gambar cadas Indonesia, khususnya di wilayah Maros-Pangkep, Sulawesi Selatan. Menurut teori David Lewis-Williams dan David S. Whitley tentang pendekatan neuropsikologi terhadap gambar cadas, mereka mendeskripsikan "beberapa" motif sebagai penggambaran tahapan atau metafora dari Altered State of Consciousness (ASC) yang berhubungan dengan shamanisme. Tujuan dari penelitian ini adalah untuk menunjukkan bagaimana teori ASC dapat diuji dalam gambar cadas Maros-Pangkep, dan juga menunjukkan indikasi keberadaan shamanisme dalam gambar cadas Indonesia. Metode penelitian ini menggunakan analogi formal dan studi komparatif tentang motif-motif gambar cadas terpilih di kawasan Maros-Pangkep dengan gambar cadas di Afrika, Siberia, dan juga gambar cadas di Amerika. Hasilnya menunjukkan bahwa teori ASC dapat diterapkan dalam gambar cadas Indonesia dan ada beberapa indikasi shamanisme dalam gambar cadas di wilayah Maros-Pangkep.Rock art is an archaeological phenomenon which spread all over the world. Generally, this prehistoric art consists of various forms, motifs, and also meanings. This article discusses Indonesian rock art, particularly the Maros-Pangkep region in South Sulawesi. According to David Lewis-Williams and David S. Whitley’s theory about the neuropsychology approach to rock art, they describe “some” motifs as a depiction of stages or metaphors of the Altered State of Consciousness (ASC) that relates to shamanism. The aim of this study is to demonstrate how the ASC theory can be tested in Maros-Pangkep Rock Art, and also shows an indication of the existence of shamanism in Indonesian rock art. The research methods are formal analogy and comparative studies on the selected motifs of rock art in the Maros-Pangkep region with African, Siberian, and also American rock art. The result shows that the ASC theory can be applied in Indonesian rock art and there are some indications of shamanism in rock art motifs in the Maros-Pangkep region.
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Sudianto, Lande, and Petrus Simon. "The Encyclopedia of Virtual Art Carving Toraja - Indonesia." MATEC Web of Conferences 164 (2018): 01025. http://dx.doi.org/10.1051/matecconf/201816401025.
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The unity of local culture in Indonesia is the national culture which represented the identity of Indonesia. There are many cultural resources of our nation which needs to preserved and improved to maintain the national identity of Indonesia. The art of crafting from Toraja contains value and philosophy which based on the values of local wisdom as the part of Toraja and national culture. The application of Virtual Encyclopedia of Toraja Crafting Art which based on information and communication technology (ICT) is developed in order to integrate the culture in education for preservation, improvement, and education of cultural noble values for Indonesia especially the culture of crafting art in Toraja. There are 128 kinds of Toraja crafting which are divided into four groups: i) Garontok Passuraq; ii) Passuraq iii) Todolo; iv) Passuraq Malollek; v) Passuraq Pakbarean. Toraja crafting has denotative and connotative meaning. The explicit and implicit meanings in Toraja cultural make the Toraja culture become very interesting and challenging. The explicit meaning of Toraja crafting is called denotative meaning which is objective. Meanwhile, the implicit meaning of Toraja crafting is called connotative meaning which is subjective.
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Dawami, Angga Kusuma, Martinus Dwi Marianto, and Suwarno Wisetrotomo. "The Art Form of Wedha’s Pop Art Portrait (WPAP)." International Journal of Creative and Arts Studies 8, no. 1 (June 28, 2021): 1–12. http://dx.doi.org/10.24821/ijcas.v8i1.5375.
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Wedha's Pop Art Portrait (WPAP) has become one of the most popular visual arts in Indonesia since Wedha Abdul Rasyid decided on this style in 2010. A decade later, WPAP became part of visual arts in Indonesia, used by many millennial designers, sheltered by the chapter community in regions; Jakarta chapter, Jogjakarta chapter, Surabaya chapter, etc. Visual arts-based on faces is a strong characteristic of WPAP. Only a few have achieved the WPAP form in accordance with the art form that Wedha first brought up. Economic motives became the biggest influence on the change in orientation from WPAP art to commodity. Therefore, the art form in WPAP tends to follow market trends. This paper tries to define the existing art in WPAP, with the formulation of the problem: what is the art form in WPAP in Indonesia? The formal approach to art is an important part of knowing art in WPAP. Through descriptive-analytic, an explanation of the art form in WPAP according to the Wedha’s experience is presented in this paper. The analysis is using an analysis of interactions between members of the WPAP community in several chapters which already have a "chapter" community. The art form in WPAP has almost the same characteristics as Wedha's work in the early appearance of WPAP. Wedha had a past that grapples with artwork; making illustrations, making magazine covers, making comics, and so on. The makers of WPAP in the WPAP community also have an art form in WPAP that is the same in pattern, because it is based on WPAP that was initiated by Wedha at the beginning of its appearance. The art form in WPAP has characteristics in color and line drawing. Bentuk Seni dari Wedha’s Pop Art Portrait (WPAP) Abstrak Wedha's Pop Art Portrait (WPAP) menjadi salah satu seni visual yang banyak digemari sejak Wedha Abdul Rasyid memutuskan gaya ini pada tahun 2010. Satu dekade berikutnya, WPAP menjadi bagian dari seni visual di Indonesia, digunakan oleh banyak desainer milenial, dinaungi oleh komunitas chapter yang ada di wilayah-wilayah; chapter Jakarta, chapter Jogjakarta, chapter Surabaya, dll. Seni visual berbasis pada wajah, menjadi ciri khas yang kuat pada WPAP. Hanya sedikit yang mencapai bentuk WPAP yang sesuai dengan bentuk seni yang Wedha munculkan pertama kali. Motif ekonomi menjadi pengaruh terbesar pada perubahan orientasi dari seni WPAP menjadi komoditi. Sehingga bentuk seni dalam WPAP cenderung untuk mengikuti tren pasar. Tulisan ini mencoba untuk mendefinisikan seni yang ada dalam WPAP, dengan rumusan masalah: Bagaimana bentuk seni dalam WPAP menurut komunitasnya di Indonesia? Pendekatan formal seni menjadi bagian penting untuk mengetahui seni dalam WPAP. Melalui diskriptif-analitik, penjelasan tentang bentuk seni dalam WPAP menurut komunitasnya disajikan dalam tulisan ini. Analisis yang digunakan adalah analisis interaksi antar anggota komunitas WPAP di beberapa chapter yang telah memiliki komunitas “chapter”. Bentuk seni dalam WPAP memiliki ciri khas yang hampir sama dengan karya Wedha pada awal-awal kemunculan WPAP pertama kali. Wedha memiliki masa lalu yang bergulat dengan pekerjaan seni; membuat ilustrasi, membuat cover majalah, membuat komik, dan lain sebagainya. Pembuat WPAP di komunitas WPAP juga memiliki bentuk seni dalam WPAP yang sama secara pola, karena memang berbasis pada WPAP yang dicetuskan oleh Wedha pada awal kemunculannya. Bentuk seni dalam WPAP memiliki ciri khas dalam warna, tarikan garis, pemilihan pallet, konstruksi wajah.
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Adyatmaka, Irene, and Jilen Patel. "Caries burden and suitability for atraumatic restorative treatment among schoolchildren in Indonesia." Journal of Global Oral Health 3 (November 19, 2020): 77–81. http://dx.doi.org/10.25259/jgoh_12_2020.
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Objectives: Dental caries remains among the most prevalent chronic conditions in childhood and remains highly prevalent among schoolchildren in Indonesia. Globally, atraumatic restorative treatment (ART) has been used to good effect in the management of carious lesions among high-risk cohorts, particularly in challenging environments. However, in settings, where labor, time, facilities, and materials are particularly limited, strategic triaging of teeth suitable for ART restorations may be valuable to better direct public health expenditure. Therefore, this study aims to (i) describe the prevalence of dental caries among Indonesian schoolchildren and (ii) evaluate the proportion of lesions indicated for ART. Materials and Methods: A cross-sectional cohort study of elementary schoolchildren from West Java, Indonesia, was examined and categorized according to Hellman’s dental development stages (Groups 1–4 corresponding to the early mixed dentition through to complete permanent dentition). Descriptive statistics and proportional analysis were conducted with the following variables being evaluated: Teeth with early caries (EC), late/advanced caries (LC), recurrent caries (RC), and total caries experience (TC = EC+ART+LC+RC). In evaluating the suitability for ART, additional variables of ART indicated carious lesions (ART) and lower molars with lesions indicated for ART (LM) were assessed. Results: A total of 437 children ranging from 8 to 14 years of age were examined. Out of 8882 teeth examined, 996 had active carious lesions and only 57 had received satisfactory restorative treatment. Children in Hellman’s Group 1 stage of development had the highest prevalence of EC (62%) and ART indicated caries (32%). Meanwhile, older children in Group 4 experienced the highest portion of advanced caries (15%). The proportion of lower molars indicated for ART was 87%, 76%, 70%, and 67% in Groups 1–4, respectively. Conclusion: Indonesian schoolchildren face a high burden of untreated dental caries from a young age. The younger the developmental stage, the higher the prevalence of early and ART-indicated lesions with the majority being found in lower permanent molars. Although ART and preventive strategies show the highest potential in the early mixed dentition, they alone cannot completely meet the dental needs of populations such as this where the severity and disease burden are extremely high.
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Lee, Doreen. "A Troubled Vernacular: Legibility and Presence in Indonesian Activist Art." Journal of Asian Studies 74, no. 2 (March 23, 2015): 303–22. http://dx.doi.org/10.1017/s002191181400223x.
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Activist art and political resistance became popular aesthetics in the work of Indonesian artists after the fall of the New Order in 1998. In subsequent years, more art alternatives have emerged in cities and small towns across Indonesia, including diverse and vernacular modes of artistry such as street art and community-based international festivals. Where artists formerly focused their energies on critiquing the state, present art initiatives have become far more diffuse, counter-establishment, and localized in their approach. Local artists started the Jogja mural movement to rebrand Yogyakarta as a city of murals, while Jatiwangi Art Factory, an arts collective founded in a semi-industrialized village in West Java, has become a haven for performance arts and community-based projects for Indonesians and foreign artists in residence. This article looks at such experiments of legibility and presence as a new means of redefining publics and broadening the domain of political participation in Indonesia.
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Oktaviana, Adhi Agus, Peter Van Lape, and Marlon NR Ririmasse. "Recent Rock Art Research on East Seram, Maluku: A key site in the rock art of West Papua and South East Maluku." Kapata Arkeologi 14, no. 2 (December 31, 2018): 135. http://dx.doi.org/10.24832/kapata.v14i2.534.
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Gambar cadas di Indonesia mulai diteliti sejak sebelum abad 20. Sejumlah publikasi ilmiah sebelumnya mencatat keberadaan situs gambar cadas di Pulau Seram, Provinsi Maluku yaitu di tebing Sawai dan Sungai Tala. Survei arkeologi terkini di kawasan Seram Timur dan Seram Laut yang dilakukan oleh gabungan Tim Peneliti Indonesian-American berhasil menemukan Situs gambar cadas baru di pesisir Seram Timur. gambar cadas ini terlukiskan di permukaan dinding tebing bernama lokal tebing Watu Sika. Gambar cadas di Situs Watu Sika tampak mirip dengan sejumlah situs gambar cadas lainnya di Indonesia Timur yang sebagian besar terlukis di dinding tebing karst sepanjang wilayah pesisir. Penelitian ini menggunakan metode perekaman verbal dan piktorial dibantu aplikasi Dstretch untuk memperjelas gambar-gambar agar mudah diidentifikasi. Penelitian ini menganalisis sejumlah pola figuratif dan non figuratif pada motif-motif gambar cadas di Situs Watu Sika. Hasil identifikasi terhadap sejumlah motif gambar cadas di situs ini diketahui terdapat motif gambar cadas berbentuk figur manusia, hewan, ikan, perahu, hand stencils negatif, dan pola geometris. Penelitian ini juga membahas analisis latar belakang konteks sosial terhadap tradisi gambar cadas di wilayah sekitarnya, yaitu wilayah Laut Banda. Berdasarkan jaringan persebaran temuan gambar cadas di Indonesia Timur, maka menghasilkan pengetahuan baru bahwa analisis data sementara ini menunjukkan Situs Watu Sika merupakan kunci penghubung jalur persebaran gambar cadas yang berasal dari wilayah barat ke dua jalur, pertama jalur ke arah Timur Laut, yaitu wilayah Papua dan Jalur ke Selatan, yaitu ke arah Kepulauan di sekitar Laut Banda.Rock art in Indonesia has been investigated before the 20th century. A number of previous scientific publications noted the existence of rock art sites on Seram Island, Maluku Province, which was on the cliff of Sawai and Tala River. Recent archaeological surveys in the area of East Seram and Seram Laut conducted by a joint Indonesian-American Research Team discovered a new rock art site in the coast of East Seram. The rock art is painted on the cliff wall which is called by the locals as Watu Sika. Rock art on the Watu Sika Site is similar to a number of rock art at other sites in Eastern Indonesia which were mostly painted on karstic cliffs along the coast. This study used verbal and pictorial recording methods using the Dstretch application to clarify images to support identification. This study analyzed a number of figurative and non-figurative patterns of rock art motifs at Watu Sika Site. The results of the identification of a number of rock art motifs on this site show that there are several patterns including figures of human, animal, fish, boats, negative hand stencils, and geometric patterns. This study also discussed an analysis of the social context background of rock art tradition in the surrounding region, particularly at the Banda Sea region. Based on the distribution network of rock art findings in eastern Indonesia, new insights are generated that this interim data analysis show that Watu Sika Site is the key to connecting the distribution path of rock art originating from the western region into two lanes. The first lane to the Northeast, which is the Papua region and South Lane, expanding towards the Islands around the Banda Sea.
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Sucitra, I. Gede Arya. "Transformasi Sinkretisma Indonesia dan Karya Seni Islam." Journal of Urban Society's Arts 2, no. 2 (October 10, 2015): 89–103. http://dx.doi.org/10.24821/jousa.v2i2.1446.
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Tulisan ini membahas aspek sosio-historis dan pencapaian kebudayaan pada masa peradaban seni (rupa) Hindu dan Islam di Indonesia, perkembangan terkini seni rupa kontemporer Islami, dan karya seni KH. M. Fuad Riyadi, seniman dan Kyai Kontemporer yang aktif sebagai pelaku kesenian dalam seni sastra, musik dan seni rupa. Karya seni selalu merupakan cerminan pengamatan serta perasaan dan pikiran pembuatnya. Karya seni terlahir dari proses pergulatan panjang yang kompleks atas berbagai unsur kebudayaan yang saling mempengaruhi. Pada tahapan ini terjadilah transformasi budaya melalui proses sinkretisasi yang membentuk tradisi seni di Indonesia sesuai dengan peranan unsur budaya terutama persentuhan dengan agama yang datang dari luar. Tulisan ini dikaji melalui studi sejarah, transformasi budaya dan estetika. Berdasarkan penelitian dapat disimpulkan bahwa karya seni yang diciptakan seniman tidak berdiri sendiri atas nafas tunggal konsep dan dogtrin agama namun sudah dielaborasi dengan kebutuhan budaya setempat serta local genius masyarakat yang ditempati. This paper is intended to discuss the socio-historical aspect and the cultural achievement of the civilization of Hinduism and Islamic fine art in Indonesia, the updated development of Islamic contemporary fine art, and the artwork of KH. M. Fuad Riyadi, artists and contemporary mufti who are active as art doers of literary art, music, and fine art. The artwork is always a reflection of the observations and feelings and thoughts of the author. The artwork was born by the long struggle of complex processes on various cultural elements which influenced to each other. At this stage there was a cultural transformation through the process of syncretization which formed a tradition of art in Indonesia in accordance with the role of cultural elements, especially the contiguity with the religion coming from the outside. This paper was analyzed through the historical study, cultural and aesthetics transformation. Based on the research it can be concluded that the artworks created by the artist do not stand alone based on the single breath of concept and religion doctrine but the ones which have been elaborated with the needs of the local culture and the local genius of that intended society.
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Surahman, Sigit. "Determinisme Teknologi Komunikasi dan Globalisasi Media Terhadap Seni Budaya Indonesia." REKAM: Jurnal Fotografi, Televisi, dan Animasi 12, no. 1 (November 21, 2016): 31. http://dx.doi.org/10.24821/rekam.v12i1.1385.
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AbstrakPenelitian ini berfokus pada pengaruh terpaan teknologi komunikasi dan globalisasi media terhadap seni budaya Indonesia. Determinasi teknologi komunikasi atau terpaan teknologi komunikasi hadir di tengah-tengah masyarakat dan memengaruhi cara pandang dan perilaku manusia dalam kehidupan sehari-hari. Teknologi komunikasi dan media merupakan dwitunggal yang tidak dapat dipisahkan karena keduanya hadir saling melengkapi. Perkembangan media ini semakin pesat dan canggih seiring dengan perkembangan teknologi komunikasi saat ini. Terpaan teknologi dan media ini memengaruhi seni budaya dan perilaku masyarakat atau bangsa Indonesia. Analisis deskriptif kualitatif merupakan metode pengkajian yang digunakan dengan tujuan mengungkap fakta, keadaan, fenomena, variabel, dan keadaan yang terjadi saat penelitian berjalan dan menyuguhkan apa adanya. Variabel dalam penelitian ini adalah teknologi komunikasi, globalisasi media, dan seni budaya Indonesia. Dengan menggunakan analisis deskriptif kualitatif pengkajian ini akan mengungkap pengaruh terpaan teknologi dan globalisasi media terhadap seni budaya Indonesia. AbstractThe Determinism of Communication Technology and Media Globalization Towards Arts and Indonesian Culture. This study focuses on the effect of the exposure of media communications technology and the globalization of the art and culture in Indonesia. Determination of communications technology or the exposure of communications technology present in the midst of society and influence the worldview and human behavior in everyday life. Communication technology and media are a duumvire that cannot be separated, both present complementary. The increasingly rapid development of media and its advancement are along with the development of communication technology. The exposure of media and technology affects art and culture as well as the behavior of people or the Indonesian. Qualitative descriptive analysis is the method of assessment used to uncover the facts, phenomena, variables and circumstances that occurred while running the research and presenting it as what it is. The variables in this study are technology, media globalization, and Indonesian arts and culture. By using qualitative descriptive analysis, this study will reveal the influence of technology and media globalization exposure to the art and culture of Indonesia .
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Rahmi, Novita. "WUJUD BAHASA ARAB DALAM MEMPERKAYA KEBUDAYAAN INDONESIA." Al-Fathin: Jurnal Bahasa dan Sastra Arab 1, no. 2 (January 22, 2019): 150. http://dx.doi.org/10.32332/al-fathin.v1i2.1287.
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Arabic language influence Indonesian culture along with the arrival of Arab traders to Indonesia in the 7th century Masehi, the first time they entered Indonesia through India (Gujarat) to trade, then continues as a propagator of Islam. Although Indonesia experienced an acculturation process with Hindu-Buddhist, Dutch, Japanese and other cultures, Arabic also made a huge contribution to the growth of Indonesian as a national language. Until now the form of Arabic can still be seen in various aspects of culture in Indonesia. In terms of language, there are many words that come from the Arabic words Likewise with art, Arabic is written with beautiful writing / calligraphy until now is used to decorate the mosque building and become one of the branches of MTQ. Customs in Indonesia are also heavily influenced by Arabic, sekaten ceremonies, ruwahan, etc. are evidence of Arabic acculturation in Indonesia.
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Harini, Setyasih. "Sekar Jagad Art Studio as An Agent of Citizens’s Diplomacy (Study Of Women’s Participation In Intercultural Relations)." SALASIKA: Indonesian Journal of Gender, Women, Child, and Social Inclusion's Studies 1, no. 2 (July 31, 2018): 103–16. http://dx.doi.org/10.36625/sj.v1i2.18.
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Communication technology could increase opportunities for Indonesians to develop sociocultural relations with people from other countries. Nowadays interrelations of citizens can support government policy. Sekar Jagad art studio is group of women from Sukoharjo regency, central Java who has interest of traditional art and often make international performances. This activity has the purpose to strengthen national identity and national character. The other purpose of this activity is to support diplomacy of government. It is important to promote one of Indonesian culture (Javanese art) in international level. Promoting culture in international performance is one way to increase the positive image of Indonesia. The purpose of this research is to explain how women’s intercultural engagement can be an agent of citizens’ diplomacy. The subjects of the research were the women who are members of Sekar Jagad art studio. As a qualitative project, the data was collected from documentation and interview. The result of this research shows that the women of Sekar Jagad Art Studio promote Javanese culture through international performances. These activities can be seen to represent citizens’ diplomacy and support the diplomatic efforts of the Indonesian government aimed at strengthening relationships with other countries. In summary, this research shows how Sekar Jagad Art Studio as an agent for citizens’ diplomacy has promoted Javanese culture to foreign countries in order to strengthen national identity and promote a positive image of Indonesia.
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Obadiah, Jason. "The Application of Binaural System on Virtual Reality Technology Through the Animation of Wayang Kulit Yogyakarta Performance." IMOVICCON Conference Proceeding 2, no. 1 (July 6, 2021): 87–94. http://dx.doi.org/10.37312/imoviccon.v2i1.97.
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Binaural system is an audio technology which relatively easy to apply these days. This was due to the growth in technology developments of the audio recording system. The application of this system is not well known in Indonesia. This was aligned with public assumption where Wayang Kulit performance are one of many unappreciated forms of arts in Indonesia. The main problem that occurred is that whether the binaural system conjoined with the Virtual Reality (VR) System can make the public more appreciate the art form of Indonesian Wayang Kulit. By using the theory of perception conjoin with the binaural technology, it can be assumed that the audience can have a new experience from the performance through the VR thus elevating their appreciation for the art itself. This research will be divided into three stages. The first stage focused on the application of the binaural system on Wayang Kulit Animation through VR system. The second stage will focus on the product assessment whether it can elevate the appreciation of the audience for the art itself. The third stage will focus on applying the binaural system on other Indonesian art form. This year, the research will begin at the first stage.
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Logita, Embang. "(DARI SEGI STRUKTUR, KONTEKS PENUTURAN, KO-TEKS DAN FUNGSI) DAN PELESTARIANNYA SEBAGAI BAHAN AJAR BAHASA INDONESIA SERTA BAHAN AJAR PELATIHAN EKSTRAKULIKULER DI SMA." Bahtera Indonesia; Jurnal Penelitian Bahasa dan Sastra Indonesia 4, no. 2 (September 1, 2019): 149–59. http://dx.doi.org/10.31943/bi.v4i2.55.
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“A Song wedding as Saweran Sundanese tradition (From Side Sctructure, speech context, co-text,Fungtion) and Instructional Material Indonesian Language along with Instructional Material As a preservation From Extracurricular Training in School”. Background: young generations are not interested in existence of the saweran in wedding Sundanese performance art, they thought that it is old tradition. The research problem: how is form of Saweran art in Sundanese wedding performance, structure of the text, context,co- text, function and form of preservation in high school? The purpose of the study: to describe art saweran art in Sundanese wedding tradition performance, presenting definition guide book Indonesian language and guide book extracurricular training in high school. This research use qualitative descriptive method. Data collection techniques: Triangulasi. Data analysis result: saweran art Sundanese wedding tradition performance, shape, semantic and sound formula, co-text ,context, function of songs Saweran art performance and preservation in high school.Research in oral tradition is advetage about saweran wedding saweran in Sundanese tradition very use for having power Indonesian language from region language”.
“Lagu Saweran dalam Pernikahan Adat Sunda (Dari Segi Struktur, Konteks Penuturan, Ko-teks dan Fungsi) dan Pelestariannya Sebagai Bahan Ajar Bahasa Indonesia Serta Bahan Ajar Pelatihan Ekstrakurikuler. Latar belakang: keberadaan pertunjukan saweran dalam pernikahan adat Sunda yang hampir tidak diminati oleh generasi muda yang beranggapan merupakan kesenian yang bertradisi lama. Masalah penelitian: Bagaimana bentuk pertunjukan saweran dalam pernikahan adat Sunda, struktur teks, ko-teks, konteks, fungsi dan bentuk pelestarian di SMA? Tujuan dari penelitian: mendeskripsikan pertunjukan saweran dalam pernikahan adat Sunda, menyajikan ancangan buku ajar Bahasa Indonesia dan buku panduan pelatihan ekstrakurikuler di SMA. Penelitian ini menggunakan metode deskriptif kualitatif. Teknik pengumpulan data: Triangulasi. Hasil analisis data: mengenai pertunjukan saweran dalam pernikahan adat Sunda, bentuk, semantik dan formula bunyi, ko-teks dan konteks, fungsi dari lagu-lagu pertunjukan pertunjukan saweran dalam pernikahan adat Sunda, dan pelestariannya di SMA Penelitian dalam tradisi lisan sangat bermanfaat untuk memperkaya bahasa Indonesia dari bahasa daerah”.
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Macrae, Graeme. "Negotiating Architecture Worlds in Indonesia: The Work of Eko Prawoto." Copenhagen Journal of Asian Studies 29, no. 1 (February 28, 2013): 92–119. http://dx.doi.org/10.22439/cjas.v29i1.4022.
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The notion of 'art worlds' is useful for thinking about meetings of meaning in art, and by implication architecture, across boundaries of nation, culture and identity. Because architecture is less easily separated than some other arts from the conditions of its material production, it inevitably sits, often uneasily, between these material conditions and its status as 'art'. The aim of this article, which began life as an exploration of the relationship between contemporary architecture and national identity in Indonesia, is to adapt the notion of 'art worlds' to architecture and to use it to consider the production of contemporary architecture in Indonesia, especially by reference to the approach of one architect who explicitly thinks and speaks of his work in terms both of 'art' and 'worlds'.
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Rohmad, Muhammad Ali. "THE ROLE OF ISLAMIC ART IN ENHANCING THE SPIRITUALITY OF INDONESIAN YOUNG GENERATION." Teosofia 9, no. 1 (April 28, 2020): 63. http://dx.doi.org/10.21580/tos.v9i1.5376.
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<em>Islamic art is radiant beauty of the Islamic spiritual. The young generation must be able to be the front guard in preaching a beautiful religion. The public abandoned Islamic art because it was considered ancient and inferior to the conventional art, which was increasingly innovative. But lately, Islamic art has become popular in Indonesian people again as a phenomenon which is widely discussed, namely the pesantren literary art, represented by the novel Hati Suhita by Khima Anis. While, Islamic music art represented by Sabyan Gambus. As long as Islamic art can maintain quality and continue to innovate, Islamic art can break the dominance of conventional art in Indonesia. With the increasing interest of young people towards Islamic art, of course, it will increase their spirituality.</em>
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Kalu, Kingsley Anele. "Characteristics and potentials of Batak art-crafts in Indonesia." Journal of Korean Traditional Costume 22, no. 4 (December 31, 2019): 143–57. http://dx.doi.org/10.16885/jktc.2019.12.22.4.143.
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Acciaioli, Greg. "Culture as art: from practice to spectacle in indonesia." Canberra Anthropology 8, no. 1-2 (April 1985): 148–72. http://dx.doi.org/10.1080/03149098509508575.
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Ilma, Dede Amar Udi, Fadia Fitriyanti, Faqih Ma’arif, Nasrun Baldah, and Bambang Utoyo. "STATE OF THE ART PERSELISIHAN KONTRAK KONSTRUKSI DI INDONESIA." INERSIA: lNformasi dan Ekspose hasil Riset teknik SIpil dan Arsitektur 16, no. 2 (December 24, 2020): 158–70. http://dx.doi.org/10.21831/inersia.v16i2.36901.
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ABSTRAKPaper ini membahas tentang state of the art penyelesaian sengketa konstruksi di Indonesia yang meliputi jenis sengketa, indikasi potensi sengketa, dan perbandingan peraturan penyelesaian sengketa jasa konstruksi. Metode yang digunakan adalah mix method yang terdiri dari expert judgment, studi literatur dengan memperbandingkan riwayat penyelesaian perselisihan kontrak konstruksi mengacu kepada UU No.02/2017, Perpres No.16, UU No. 30 / 1999, dan PP No. 22/2020, dan Dispute Resolution Management Matrix (DRM-Matrix). Hasil analisis menunjukkan bahwa dua hal pokok penyelesaian sengketa yaitu pilihan penyelesaian sengketa dan penyelesaian sengketa di luar pengadilan (litigasi dan non litigasi). Penyempurnaan diberlakukan dalam PP No.22 Tahun 2020 yang menjelaskan tentang tahapan penyelesaian sengketa yang menyangkut mediasi, konsiliasi, dan arbitrase, juga terkait dengan penunjukkan dewan sengketa.Kata kunci: kontrak, konstruksi, perselisihan, state of the art ABSTRACTThis paper discusses of state of the art construction dispute resolution in Indonesia, which includes types of disputes, indications of potential disputes, and comparison of construction service dispute resolution regulations. The proposed method is a mixed-method consisting of expert judgment, literature study by comparing the history of construction contract dispute settlement referring to Law No. 02/2017, Presidential Decree No. 16, Law No. 30/1999, and PP. 22/2020, and the Dispute Resolution Management Matrix (DRM-Matrix). The results show that there are two main issues for dispute resolution, namely the choice of dispute resolution and dispute resolution outside the court (litigation and non-litigation). Improvements are enforced in Government Regulation No.22 of 2020 which explains the stages of dispute resolution involving mediation, conciliation and arbitration, as well as the appointment of a dispute board.Keywords: contract, constructions, dispute, state of the art
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Kusumawardhani, Mega Iranti, and Muhammad Cahya Mulya Daulay. "Studi Literatur Surealisme di Indonesia." Ultimart: Jurnal Komunikasi Visual 14, no. 1 (June 21, 2021): 78–88. http://dx.doi.org/10.31937/ultimart.v14i1.2021.
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This article aims to trace back the Surrealism style in Indonesia through literature. The literature studies are done in two phases, aiming at two different goals. In the first phase, we accessed literature collections about Surrealism through Modern Art frameworks and context. In the second phase, we used two online directories that index open access journals; DOAJ (Directory of Open Access Journals) and Garuda (Garba Rujukan Digital). The result is a list of analyses on how the Surrealism discussion appears through the Indonesian language journal articles. Through the list of findings, we also try to determine our upcoming research. We will try to expand the surrealism discussion through moving image mediums in Indonesia.
Keywords: Surrealism; Indonesia; literature studies; painting; moving image
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Harissman, Harissman, Elvis Elvis, and Rica Rian. "ARBY SAMAH : MAESTRO SENI PATUNG ABSTRAK DI INDONESIA." Gorga : Jurnal Seni Rupa 8, no. 2 (December 28, 2019): 445. http://dx.doi.org/10.24114/gr.v8i2.16143.
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AbstrakPenelitian ini membahas tentang penelusuran Arby Samah yang dikenal sebagai pelopor seni patung abstrak di Indonesia, serta mengungkap alasan Arby Samah memilih berkarya patung. Tujuan penelitian ini adalah untuk mengetahui sosok Arby Samah sebagai perintis seni patung abstrak di Indonesia, dan sangat berjasa dalam perkembangan seni patung di Indonesia serta Sumatera Barat khususnya. Kajian teori menggunakan seleksi dan fokus gejala berdasarkan jiwa zaman, menitikberatkan pada perspektif historis mempunyai dua dimensi: aspek masa kini, dan Aspek masa lampau. Metode yang digunakan dalam penelitian ini adalah kualitatif dengan pendekatan deskriptif analisis. Adapun teknik pengumpulan data dilakukan melalui teknik observasi lapangan dan wawancara, pengambilan dokumen yang terkait. Hasil penelitian menunjukkan bahwa Arby Samah berkarya seni patung abstrak dilatarbelakangi oleh faktor: 1) Budaya di Sumatera Barat yang membuat seni patung sulit berkembang. 2) Adat di Sumatera Barat yang mengikat setiap ruang gerak masyarakatnya. 3) Masyarakat di Sumatera Barat mayoritas memeluk Islam yang sangat mengikat dengan hadis dan Al-quran yang melarang membuat patung dalam wujud realis.Kata Kunci: arby samah, patung abstrak, budaya.AbstractThis research discussed about a person namely as Arby Samah that has known as a pioneer of art sculpture in Indonesia, it was also to reveal the reason of Arby Samah why choosing sculpture as his work of art. The aim of the research was too see the figure of Arby Samah as a pioneer of art sculpture in Indonesia, and also his contribution to the growth of art sculpture in indonesia especially in west sumatera province. Theory of the research used the selection and observation of the nature symptom. This research focused to the historic perspective that consist of two dimensions, present aspect and past aspect. The method that used in this research was qualitative with descriptive analysis approach. The technique that used in collecting data were field observation, interview and taking the related documents. The result showed that when in producing abstract art sculpture, Arby Samah was influenced by factors: 1) West Sumatera culture that made art sculpture difficult to growth. 2) the tight tradition or the custom of West sumatera, it limited the people to create art sculpture. 3) Islam is the majority religion of the people in west sumatera were in Al Qur’an and Al Hadist has stated that creating sculpture in realist form was prohibited. Keywords: arby samah, abstract sculpture, culture.
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Adityo. "ART INTERVENTION IN THE SUB-URBAN AREA VISUAL CHARACTERISTIC." Undagi : Jurnal Ilmiah Jurusan Arsitektur Universitas Warmadewa 7, no. 2 (January 28, 2020): 66–74. http://dx.doi.org/10.22225/undagi.7.2.1563.163-171.
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Indonesia Art Institute of Yogyakarta is one of well- known art college in Indonesia. This institution has graduated many Indonesian famous artists. Located at Sewon, Bantul, this institution has a significant effect on the suburban area development of the institution surrounding area. The art atmosphere of surrounding area shaped by Art-activities that happened there. Many formal or informal artspace also located there stimulate the activities to become intense and sustain. Beside that One thing that enriching the art atmosphere is mural drawing that done in private properties in the public spaces. The mural drawing spreading around the suburban area surrounding the college building. 20 mural has been recorded only in one village, and its enrich the visual aspect of the sub-urban area and beautifully blending to the suburban area. The mural draws also expresses a message for people who have seen it as a sightseeing object and makes the suburban area as a public artwork gallery. This research aims to know the factors how the mural drawing can be blend to the area and strengthen the place identity of the area by knowing the relationship between mural drawing and where it is made. Observation has been done in the sub-urban area surrounding the Indonesia art institute of Yogyakarta. The concept of the mural is contextual to the site. Its usually represent the social or environmental issue that happens there. The space and sensitivity of selection the mural drawing theme not only make the artwork blended naturally with the area but improve place-identity of the area. Furthermore the phenomena have potential to be a theme of this suburban area development.
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Mujabuddawat, Muhammad Al, and Godlief Arsthen Peseletehaha. "A Latest Discovery of Austronesian Rock Art in the North Peninsula of Buano Island, Maluku." Kapata Arkeologi 16, no. 1 (June 16, 2021): 13–26. http://dx.doi.org/10.24832/kapata.v16i1.13-26.
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Gambar cadas merupakan salah satu tradisi yang tertua dan paling banyak tersebar di penjuru dunia. Gambar cadas menjadi bagian dari data penting dalam mempelajari masa lalu, karena gambar cadas kemungkinan mengandung makna pada pemikiran simbolik manusia yang membuatnya. Gambar cadas di Indonesia merupakan budaya yang berlangsung berkesinambungan sejak periode awal gelombang migrasi manusia di Kepulauan Indonesia sekitar puluhan ribu tahun hingga kedatangan penutur budaya Austronesia yang membuka periode Neolitik sekitar ribuan tahun lalu. Gambar cadas di Kawasan Kepulauan Maluku Bagian Tengah pada khususnya secara umum dikenali berciri Tradisi Gambar Austronesia atau lebih dikenal dengan sebutan APT (Austronesian Painting Tradition). Penelitian ini melaporkan temuan baru gambar cadas di di Situs Tanjung Bintang, Pulau Pua, Pesisir Utara Pulau Buano. Penelitian ini menerapkan metode kualitatif dan analitis dalam mendeskripsikan objek motif gambar cadas berdasarkan kajian literatur terkait referensi-referensi yang merujuk pada kajian gambar cadas di Maluku. Penelitian ini mengenali bahwa gambar cadas di Situs Tanjung Bintang berciri Tradisi Gambar Austronesia. Kajian ini merupakan yang pertama kali melaporkan keberadaan Situs Tanjung Bintang, gambar cadas di Pesisir Utara Pulau Buano, Kepulauan Maluku.
Rock art is one of the oldest and most widespread traditions around the world. Rock art is part of essential data in studying the past because rock art has the potential to tell us something of the symbolic concerns of the people that created it. Rock art in Indonesia is a culture that has been ongoing since the early period of the wave of human migration in the Indonesian Archipelago for about tens of thousands of years until the arrival of the Austronesian speaker’s culture who opened the Neolithic period around thousands of years ago. Rock art in the Central Maluku Islands Region in particular, is generally recognized as characterized by the Austronesian Painting Tradition. This research reports new rock art findings at Tanjung Bintang Site, Pua Island, North Coast of Buano Island. This research applies qualitative and analytical methods in describing the object of rock art motifs based on a literature review related to references that refer to the study of rock art in Maluku. This research recognizes that the Tanjung Bintang Site is characterized by the Austronesian Painting Tradition. This study is the first record of the Tanjung Bintang Site rock art in the North Coast of Buano Island, Maluku.
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Astuti, Machya, and Sri Issundari. "Desa wisata sebagai aset soft power Indonesia." Masyarakat, Kebudayaan dan Politik 29, no. 2 (April 1, 2016): 64. http://dx.doi.org/10.20473/mkp.v29i22016.64-74.
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Tourism village plays significant role for strengthening Indonesia soft power. The experience of Daerah Istimewa Yogyakarta (DIY) province proves that the development of tourism villages contribute in promoting “the power” of Indonesia through art, culture, custom and food to international society. Tourism Villages that located at Sleman, Bantul, Gunungkidul, Kulonprogo and city of Yogyakarta (called as tourism kampong) succeeded in attracting foreigners to stay and live as villagers, enjoy villagers daily live and learn Javanese culture. The study was conducted by observation and interviews. Data were analyzed with descriptive qualitative techniques. Data categorized and given a qualitative analysis of narrative. This research showed that tourism village is a new kind of tourism object that produce a new close relationship between Indonesian people and foreigners, functioned as a tool to make foreigners love Indonesia, prolong their stay in Indonesia, and promote Indonesian culture when they come back to their country. DIY’s experience is a best practice for other provinces in Indonesia to develop and promote its own distinctive tradition and culture through tourism villages. Finally, this effort will contribute in supporting Indonesia soft power.
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Erstiawan, Martinus Sony. "Penerapan SAK-EMKM Pada Kesenian Jaranan Turonggo Bimo Kertosono Sebagai Simbol Budaya." BIP's JURNAL BISNIS PERSPEKTIF 12, no. 1 (January 31, 2020): 47–54. http://dx.doi.org/10.37477/bip.v12i1.25.
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Art groups that have the soul of art in Indonesia are a group of micro, small, and medium entities (EMKM) that can use financial accounting standards for micro, small, and medium entities (SAK-EMKM). One of them is the art group which is still a symbol of cultural preservation, namely jaranan art. Financial management (recording, presentation, and disclosure) in the art of the networking requires the intention and practice as often as possible, so as to produce a simple financial report following accounting standards in force in Indonesia. This essay has the purpose of using a descriptive study of the application of SAK-EMKM to be applied to arts groups in Indonesia.
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Saidi, Acep Iwan. "Narrative Patterns in Indonesian Fine Art." Britain International of Linguistics Arts and Education (BIoLAE) Journal 3, no. 1 (March 26, 2021): 77–87. http://dx.doi.org/10.33258/biolae.v3i1.411.
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This paper aims to describe the structure and pattern of narratives in art, which in this case Indonesian fine art is used as a case study. This topic is important considering that the assumption that works of fine art have narrative characteristics has become common knowledge, but the structure and narrative patterns within the genre of work of fine art that can be used as a reference have not yet been formulated. By using a structural semiotic approach, studies in this paper have found that narrative patterns in fine art are a combination of denotative visual sign units presented as works on the syntagmatic axis of language (visual) interrelated to form associations or groups of narrative connotations on the paradigmatic axis (community knowledge system). This proposition, as well as several other formulations found in the analysis, has a significant contribution to the development of fine art, both theoretically and practically, both in Indonesia and the world.
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Lumampauw, Andreas, Rustono Farady Marta, Yohanes Nugroho Widyanto, Todd Lyle Sandel, and Sunny Lie. "The art of honing the conscience through bukalapak ads: barongsai Indonesia, juara hati membangun bangsa." International Journal of Visual and Performing Arts 3, no. 1 (June 19, 2021): 9–21. http://dx.doi.org/10.31763/viperarts.v3i1.342.
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Culture is one of the foundations for the existence of Indonesia as a nation, as it is expressed in the second stanza of her national anthem. The government has taken an initiative to prioritize national character building, which places character education to realize the vision of national development. One of the efforts to visualize this Indonesian is constructed through a Bukalapak advertisement entitled “Barongsai Indonesia, Juara Hati Membangun Negeri,” which presented the Kong Ha Hong lion dance group and was published via Youtube. This study aims to see that the character values of the Indonesian nation can be constructed through digital media, more precisely through an advertisement. This research employed a qualitative approach with a constructivist paradigm that sees facts as unique and has a special meaning. In addition, the analysis used Thomas Albert Sebeok's visual semiotics to depict several similar classifications to different visual symbols. It was found that every advertisement scene contained both visual and audio messages related to the adaptation of the culture and character of the Indonesian. The contribution and novelty of this research in its construction of the deep meaning of an advertisement are that the conscience has played a major role in the process of cultural adaptation in which the national characters have been honed through the actual actions in the heart-mind, body, and spirit. This research suggested that the character of the Indonesian nation can be formed through cultural adaptation, as proven by the Kong Ha Hong lion dance
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Kelamor, Ulyantraja. "IMPLEMENTATION OF THE INDONESIAN CULTURE DIPLOMACY TOWARD AUSTRALIA THROUGH INDOFEST PERIOD 2012-2016 (CASE STUDY: ADELAIDE AND CANBERRA)." Sociae Polites 19, no. 1 (June 20, 2018): 33–52. http://dx.doi.org/10.33541/sp.v19i1.1642.
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This journal discusses IndoFest activities which are conducted by Indonesia to Australia in 2012 to 2016 in Adelaide and Canberra. IndoFest was born in 2008, aims to introduce Indonesian culture in the international world. With the presence of IndoFest, it is also seen that cultural diplomacy continues to be done by Indonesia not only for improving good relations in both countries but also to introduce Indonesian art, culture, and exceptional food for more to the Australian people, in order to visit Indonesia. This journal also discusses Indonesia's cultural diplomacy towards Australia through IndoFest, as well as various activities in IndoFest to attract Australian tourists to come to Indonesia. As the research method, the qualitative method is used in this journal by library study, which is collecting the data from the literature related to the issue discussed. The results of the study stated that Indonesia successfully carried out its cultural diplomacy to Australia through IndoFest.
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Mustika, I. Wayan. "Exploring the Functions of Sakura Performance Art in West Lampung, Indonesia." SAGE Open 10, no. 4 (October 2020): 215824402097302. http://dx.doi.org/10.1177/2158244020973027.
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One of the traditional forms of performing arts in Lampung is Sakura. Although a considerable amount of research on Sakura performance art has been done and despite the importance of Sakura performance art, but to my knowledge no researcher has studied about the holistic understanding of this performance art in terms of its functions. This study is qualitative in nature in which the data were collected through observations, audio-recorded interviews, documents, and artifacts which were descriptively analyzed and interpreted. This study was conducted through intense and prolonged contact with informants in natural setting in four villages (Kenali, Kegeringan, Canggu, and Kuta Besi villages) in Batu Brak District, Liwa, West Lampung Regency as Sakura performance art cannot be found anywhere else. The key informants were purposively selected to take part in this study, including traditional Lampung elders, Sakura artists, and cultural experts from the four villages. Based on the results and discussion, it can be stated that the function of Sakura performance art was initially as a means of worship for harvest festival and village safety. Today, however, it has several functions such as a means of socialization, social solidarity, entertainment, and aesthetic presentation. Finally, some implications for the preservation of the Sakura performance art and recommendations for future research are also discussed.
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Suardiana, I. Wayan. "The Language Power, Acculturation Model towards Urban Society of Transmigration Region: Wayang Ménak Sasak Art Studies in Lombok." International Journal of Linguistics, Literature and Culture 2, no. 3 (September 2, 2016): 63. http://dx.doi.org/10.21744/ijllc.v2i3.199.
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The language (oral) was a tool for communicating with each other. Furthermore, through the language (both oral and written) a human was able to express their thoughts to be accepted environment. Therefore, the language as a tool, the human will keep their desire or their ideology unlike puppeteers in performing the Wayang Menak Sasak in Lombok. The language role was actualized by a puppeteer in term of briefing (the counter of Bourdieu theories (2004: 157) that stated the symbolic violence towards the culture, including the language), i.e. opened minded for the society in understanding a language beyond their mother tongue, especially, for the multi-cultural society, unlike Indonesia. In understanding, the local language out of mother tongue for Indonesian societies urged to be actualized as an effort to build a humanist society, i.e. the society who love their nation culture through the culture exchanging between Indonesian citizens forsaking the NKRI (The Unitary Country of Indonesia Republic). Other than language, the art understanding beyond an art that inherited by societies group (ethnic) in this archipelago was urgent to endorsed by the government. Understanding the language and the arts for a society citizen out of the mother tongue and ethnicity within the unitary state of Indonesia was expected that Indonesia citizen understood across culture to their own ethnic culture. Thus, a mutually understanding, mutual understanding to each other will be improved in a culture that was a peace togetherness unlike happened in Lombok.
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Iswanto, Agus. "UNDERSTANDING HADRAH ART AS THE LIVING AL-QUR’AN: THE ORIGIN, PERFORMANCE AND WORLDVIEW." EL HARAKAH (TERAKREDITASI) 21, no. 2 (December 3, 2019): 217. http://dx.doi.org/10.18860/el.v21i2.7296.
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<p><em>This article explores hadrah art in Lampung. Hadrah art actually becomes the most played religious music art among Indonesian Muslim in various areas. It focuses on the doctrinal basis of hadrah believed by Indonesian Muslim. By explaining the origin of the hadrah, its performances, tools and poems sung, with the living Qur’an concepts and interpretivism perspective, I found that hadrah is usually performed in religious rituals, then it is always contextual and connotative. Hadrah for Indonesian Muslim can be understood as the living Qur’an phenomenon because the underlying doctrine is shalawat from the Qur’an. As one of the phenomena of the living Qur’an, hadrah group, essentially, is reciting poems praising Allah and the Prophet of Muhammad, and they believe that it is as a command of the Qur’an. Thus, there has been acculturation between the teachings of the Qur’an with the local culture of society.</em></p><p><br /><em>Artikel ini membahas tentang seni hadrah di Lampung. Seni hadrah sebenarnya menjadi seni musik religius yang paling banyak dimainkan di kalangan Muslim Indonesia di berbagai wilayah. Artikel ini fokus pada dasar doktrinal hadrah yang diyakini oleh Muslim Indonesia. Dengan menjelaskan asal mula hadrah, pertunjukannya, alat-alatnya dan puisi-puisinya yang dinyanyikan, dengan menggunakan kerangka konsep Al-Qur’an yang hidup dan perspektif interpretivisme, terungkap bahwa hadrah biasanya dilakukan dalam ritual keagamaan, lalu selalu bersifat kontekstual dan konotatif. Hadrah bagi Muslim Indonesia dapat dipahami sebagai fenomena Al-Qur’an yang hidup, karena doktrin yang melandasinya adalah shalawat dari Al-Qur’an. Sebagai salah satu fenomena dari Al-Qur’an yang hidup, kelompok hadrah, pada dasarnya, melantunkan puisi yang memuji Allah dan Nabi Muhammad, dan mereka percaya bahwa itu adalah sebagai perintah Al-Qur’an. Dengan demikian, telah terjadi akulturasi antara ajaran Al-Qur’an dengan budaya masyarakat setempat.</em></p>
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Hidayatullah, Panakajaya. "Islam, National, and Local History in Tabbhuwan Walisanga Performance Art." Journal of Urban Society's Arts 7, no. 2 (December 13, 2020): 94–108. http://dx.doi.org/10.24821/jousa.v7i2.3827.
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Tabbhuwân is a Madurese tradition of performing arts. In the present context, modern culture influences many young people. It has become a restlessness for the clerics who then think of strategies on how to incorporate Islamic values in the younger generation today. In 2015 in Situbondo, Wali Sanga boarding school established a tabbhuwân wali sanga art group. Tabbhuwân is considered a way of preaching according to the conditions and culture of the community of Madura Situbondo. The players consist of the santri of the younger generation of Islamic boarding schools. Tabbhuwân wali sanga features Islamic drama performances that elevate the play of Islamic history and Indonesia. The play included Islamic history (stories of the companions of the Prophet Muhammad), local history, the history of the entry of Islam on Java (walisanga), and the history of Indonesian independence, one of which was titled ‘Jihad Resolution.’ Besides, tabbhuwân also includes elements of Madurese culture, including language, traditional music, expression, decoration, and discourse. Tabbhuwân plays a role in the spread of Islam, preserving Madurese culture and instilling nationalism in society through historical themes. The lower-middle-class community assumes that tabbhuwân is a means to understand the historical, social, and cultural realities occurring today. Tabbhuwân also influences fostering a sense of nationalism through heroic historical values, especially to the younger generation. In this case, tabhuwân imagines Indonesia in the discourse of religious nationalism. Islam, Nasional, dan Sejarah Lokal dalam Seni Pertunjukan Tabbhuwan Walisanga. TabbhuwânadalahsenipertunjukantradisimasyarakatMadura.Dalamkontekskekinian, budaya modern banyak mempengaruhi kaum muda. Hal ini menjadi keresahan para ulama yang kemudian memikirkan strategi bagaimana memasukkan nilai-nilai Islam pada generasi muda saat ini. Pada tahun 2015 di Situbondo, Pondok Pesantren Wali Sanga mendirikan kelompok seni tabbhuwân wali sanga. Tabbhuwân dianggap sebagai cara dakwah yang sesuai dengan kondisi dan budaya masyarakat Madura Situbondo. Para pemainnya terdiri dari para santri generasi muda pondok pesantren. Tabbhuwân wali sanga menampilkan pertunjukan drama Islam yang mengangkat lakon sejarah Islam dan Indonesia. Lakon tersebut meliputi sejarah Islam (cerita para sahabat Nabi Muhammad), sejarah lokal, sejarah masuknya Islam di Jawa (walisanga), dan sejarah kemerdekaan Indonesia, salah satunya bertajuk ‘Resolusi Jihad’. Selain itu, tabbhuwân juga memasukkan unsur budaya Madura yang meliputi bahasa, musik tradisional, ekspresi, ragam hias dan wacana. Tabbhuwân berperan dalam penyebaran agama Islam, pelestarian budaya Madura dan menanamkan nasionalisme dalam masyarakat melalui tema sejarah. Masyarakat kelas menengah ke bawah menganggap tabbhuwân sebagai cara memahami realitas sejarah, sosial dan budaya yang terjadi saat ini. Tabbhuwân juga memiliki pengaruh dalam menumbuhkan rasa nasionalisme melalui nilai-nilai sejarah yang heroik, khususnya kepada generasi muda. Dalam hal ini, tabhuwân membayangkan Indonesia dalam wacana nasionalisme agama.
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Hastjarjo Sumardjan. "COCONUT STEM UTILIZATION IN INDONESIA." CORD 5, no. 01 (June 1, 1989): 34. http://dx.doi.org/10.37833/cord.v5i01.220.
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Coconut stem has been utilized in every coconut producing country in some form or other. Its utilization varies widely from small bridges to houses, furnitures and works of art. In Indonesia it is used mainly in Java, the most densely populated island. In other islands it is rarely used except for foot bridges because of two reasons. First, the farmers are reluctant to fell their coconut trees for its yield, however, small it is. Second, there is still enough supply of forest wood.
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McNeill, Desmond. "Norway and REDD+ in Indonesia: The Art of Not Governing?" Forum for Development Studies 42, no. 1 (January 2, 2015): 113–32. http://dx.doi.org/10.1080/08039410.2014.997791.
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Luis, Hendry, Wayan Dede Fridayantara, Pande Mahariski, Frank Stephen Wignall, Irwanto Irwanto, and Keerti Gedela. "Evolving ART crisis for people living with HIV in Indonesia." Lancet HIV 7, no. 6 (June 2020): e384-e385. http://dx.doi.org/10.1016/s2352-3018(20)30138-7.
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Kartashova, Tatiana Viktorovna, and Viktoriia Yurevna Antipova. "Cyclicity as a Leading Structural Parameter of Musical Compositions in Cultures of South and South-East Asia." Ethnic Culture, no. 1 (1) (December 26, 2019): 45–47. http://dx.doi.org/10.31483/r-64075.
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The article is devoted to the identification of conceptually identical perceptions of musical time in the cultures of India and Indonesia. The paper considers tala, the Indian category of time, in the context of structuring the parameters of musical compositions in Indian art. Gamelans (Indonesian ensembles of musical instruments) are described in detail as well as the basic principles of organizing musical material in the compositions they perform. The aim of the work is to compare the patterns of perception of the category of time in the cultures of India and Indonesia. The research methodology is based on the principles of an integrated approach that considers the musical traditions of these countries from theoretical and historical-cultural positions. In the process of working on this article, the key role was played by the experience of studying Indian and Indonesian cultures obtained by the authors during scientific internships in India and Indonesia (T.V. Kartashova – institute Shriram Bharatiya Kala Kendra in 2004–2006 and in 2009 (New-Delhi, India); V.U. Antipova studied at the Indonesian Institute of Arts in Yogyakarta under the Darmasiswa Indonesian Scholarship program in the 2017–2018 academic year). The result of the study is the identification of the cyclical nature of musical time in the art of India and Indonesia. It is concluded that in the coordinate systems of different civilizations there are certain intersection points, and often they appear at a conceptual level. The identification of common interpretations of various categories makes it possible to comprehend deep intercivilizational ties, which makes it possible to identify the relatedness of the basics of world understanding in the cultures of South and Southeast Asia.
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Tran Minh Thi, Pham. "DEFINING THE CONCEPT OF ARTS AND CULTURE IN HIGHER EDUCATION SYSTEMS IN INDONESIA." Imaji 18, no. 1 (April 30, 2020): 10–15. http://dx.doi.org/10.21831/imaji.v18i1.31636.
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An understanding of art and culture has often been known by many Indonesian students and also the community. These two words are always a pair of words in the vocabulary of the Language and Arts department in particular. there is art where the culture is, and vice versa culture is never released by the art. However, the definitions of "culture" and "art" require attention to be redefined towards supporting the new mental revolution held by the Indonesian government, and also to follow the world's advanced higher education system. In our opinion, it is better for the field of "culture" and the field of "art" to be understood as both becoming two scientific fields themselves. Then, understanding the arts in its position in relation to the cultural field from its elements related to awakening the cultural field occurs the need to develop a good arts education curriculum. Finally, Vietnamese character education is explained via the concept of mind relating to its culture and the characteristics of their nation. these problems will be discussed in this paper. Keywords: art, culture, mental revolution, art education
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A. R., Sirojuddin. "Peta Perkembangan Kaligrafi Islam di Indonesia." Buletin Al-Turas 20, no. 1 (January 29, 2020): 219–32. http://dx.doi.org/10.15408/bat.v20i1.3757.
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Abstrak Tulisan ini berkaitan dengan seni kaligrafi Islam di Indonesia. Permasalahan utama yang dikaji adalah mengenai perkembangan seni kaligrafi Islam di Indonesia sejak masuk Islam masuk di Nusatara. Metode yang digunakan dalam mengumpulkan data adalah metode pustaka dengan menelusuri dokumen terkait dan artefak karya kaligrafi yang dihasilkan oleh orang-orang di Nusantara. Hasil kajian menunjukkan bahwa perkembangan seni kaligrafi Islam di Indonesia telah menyusuri periode panjang melalui Angkatan Perintis, Angkatan Orang-orang Pesantren, Angkatan Pelukis dan Pendobrak, dan Angkatan Kader MTQ. Masing-masing periode memiliki khas dan warna tersendiri.---Abstract This article is discussing about Islamic caligraphy in Indonesia. The main problems that will be discussed here is about Islamic Caligraphic Art in Indonesia since the religion of Islam entered Nusantara. In collecting the data, this research uses library method by searching documents relating to it and the caligraphic work archeology resulted by people in Nusantara. The result of this research shows that the Islamic Caligraphic Art development in Indonesia had run through a long period via the New Order, the era of Islamic students (santri), the painter era, the revolutioner era, and the candidate era of MTQ. Each periode has its own characteristic and its nature.