Journal articles on the topic 'Painters Indonesia'
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Miedema, Hessel. "Philips Angels Lof der schilder-konst." Oud Holland - Quarterly for Dutch Art History 103, no. 4 (1989): 181–222. http://dx.doi.org/10.1163/187501789x00167.
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AbstractPhilips Angel's Lof der schilder-const (In Praise of Painting, 1642) is one of the few pieces of writing we have as a source of notions on the theory of painting in the Netherlands. Yet it was not intended as an art-theoretical treatise: Angel read the text at a St. Luke's feast as part of the activities that were being undertaken to acquire guild rights for Leiden painters. In order to assess the value of the theoretical notions on which the paper is based, it is therefore necessary to analyse as far as possible the circumstances of its writing. First the Angel family is examined. Orginally from Antwerp, the Angels moved north in the 1590s, probably because of the Eighty Years' War, settling in Middelburg and Leiden. They were fairly prosperous middle-class citizens, mostly schoolteachers, painters and small shopkeepers. Both the Middelburg and Leiden branches produced painters called Philips Angel. The Middelburg Philips, almost certainly identical with a painter called Philips Angel who was active in Haarlem, is known to have produced quite a lot of paitings. Only one small etching by the Leiden Philips has survived; nothing is known of any paintings by him. The Leiden Philips, the author of Lof der schilder-const, had a turbulent career. He joined the painters who pressed for guild rights in Leiden, to which end he held his speech in 1641. As early as 1645, though, he gave up painting and travelled as an employee of the United East-Indian Compary to Indonesia. From there, promoted to the high rank of chief merchant, he was sent to Persia. He was dismissed on grounds of embezzlement, but managed to procure the post of court painter to the Shah. By 1656, however, he was back in Batavia (Jakarta), where he again obtained a number of highly regarded positions. Fired again for mismanagement and defalcation, his end was inglorious. The Lof der Schilder-const shows evident signs of a general tendency among Dutch painters of the mid-seventeenth century to claim a higher status for their profession. The text is duly meant less as a theoretical treatise than as a rhetorical amplificatio of the painter's profession. The author seems to have been reasonably well-read, although by no means scholarly; nor was he very conversant with the Italian art theory of his day. Scrutiny of the text reveals his superficial and undiscerning paraphrases of the few sources at his disposal (mainly Karel van Mander's Schilder-boeck and the Dutch translation of Franciscus Junius' De pictura veterum). Much of his eulogy is a summing-up of the distinguished characteristics a painter ought to have. The remarkable thing is that not one of those characteristics provides specific insight into the professional practise of the Leiden painters around 1641. As far as they are at all relevant to what was being painted in Leiden at that time - take the Leiden 'Precise School' of Gerard Dou's circle -, his remarks provide little more insight than a superficial consideration of the paintings would arouse in any layman.
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Susanto, Mikke, and Irwandi Irwandi. "Sejarah dan Makna Fotografi Karya Pelukis Istana, Dullah." Rekam 16, no. 1 (June 8, 2020): 1–14. http://dx.doi.org/10.24821/rekam.v16i1.3847.
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History and Meaning of Photography of a Palace Painter, Dullah. The existence of Dullah the painter is equal with other famous painters, such as Affandi, Basoeki Abdullah, S. Soedjojono and Hendra Gunawan. In 1950 to 1960, he was appointed by President Sukarno as a palace painter. Apart from painting, he also liked to take pictures. His object was around his work as a palace painter and President Sukarno's figure. Reviewed from the historical approach and the meaning explored in it, the photos have an interesting connection. Those photos hold important narratives, especially in the field of history for the Indonesian people. Dullah's photography was able to record the life of President Sukarno while at the palace and outside the presidential palace. The photos clearly illustrate the human side of Sukarno, as a father, a leader, and an art lover. By knowing the connection,, photographs of Dullah's work need to be socialized to the public and can be used as a means of national education for Indonesia, especially for prospective leaders. ABSTRAKEksistensi pelukis Dullah sejajar dengan pelukis ternama lain, seperti Affandi, Basoeki Abdullah, S. Soedjojono, dan Hendra Gunawan. Pada tahun 1950 hingga 1960, ia ditunjuk Presiden Sukarno sebagai pelukis istana. Selain melukis, ia juga hobi memotret dengan objek sekitar pekerjaannya sebagai pelukis istana dan figur Presiden Sukarno. Setelah dikaji dari pendekatan sejarah dan digali makna di dalamnya, foto-foto tersebut memiliki simpul menarik. Foto-foto tersebut menyimpan narasi penting, khususnya dalam bidang sejarah bagi bangsa Indonesia. Fotografi Dullah mampu merekam kehidupan Presiden Sukarno pada saat di istana dan di luar istana presiden. Sisi kemanusiaan Sukarno digambarkan dalam foto-foto tersebut, baik sebagai ayah, pemimpin, maupun penyuka seni. Dengan mengetahui simpul tersebut, foto-foto karya Dullah ini perlu disosialisasikan kepada publik dan dapat digunakan sebagai sarana pendidikan kebangsaan bagi Indonesia, terutama bagi para calon pemimpin.
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Alya, Shopia Himatul. "Lukisan Pemandangan: Teknik Spon Dalam Karya Seni Lukis Jelekong." Aksara: Jurnal Ilmu Pendidikan Nonformal 7, no. 1 (January 2, 2021): 103. http://dx.doi.org/10.37905/aksara.7.1.103-110.2021.
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<p>Nature is a theme that is always present in the development of art in the world, both Western and Asian arts, such as China and Indonesia. The visualization can be a literal or abstract representation. Nature can be an additional element to a painting to convey depth, or perspective. However, the depiction of nature in a painting can also be the main focus of a work of art. In Indonesia itself, there is an Art Village, precisely Jelekong Art Village, where hundreds of people work as painters and some have made nature the main focus of their work. The uniqueness of the Jelekong painter's work lies in the method used and the materials used. So that the authors are interested in further researching the uniqueness of this Jelekong technique. The purpose of this research is to examine the comparison of natural visualization techniques and aspects of Jelekong painting which represent nature in terms of methods and materials. The samples in this study were paintings by Jelekong artists and Western artists. The qualitative descriptive method is considered the most appropriate for analyzing Jelekong painting. The result of this research is that the superiority of the art technique of Ugong painting is the sponge technique created by one of its residents. This technique can create shadow, middle tone, and highlight in a painting. Jelekong's paintings can become the identity of the community in cultivating the local potential of the region</p>
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Santosa, Budi, Ali Rosidi, Herlisa Anggraini, Zahra Maharani Latrobdiba, Fitriani Nur Damayanti, and Heru Santoso Wahito Nugroho. "Mask Protection Against Lead Exposure and Its Correlation with Erythropoiesis in Automotive Body Painters at Ligu District, Semarang, Indonesia." Journal of Blood Medicine Volume 13 (March 2022): 113–19. http://dx.doi.org/10.2147/jbm.s335557.
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Musri, Muhapril. "VISUALISASI KALIGRAFI ISLAM PADA MEDIA SENI RUPA DI INDONESIA (ANALISIS ETIKA, ESTETIKA, DAN NILAI-NILAI)." Tabuah 26, no. 1 (May 30, 2022): 11–20. http://dx.doi.org/10.37108/tabuah.v26i1.682.
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The presence of art as an expression can be assumed as a characteristic of the soul's life which is overflowing and arid from values. That is why, the artists try to find the values of life that are full of values, by pouring their ideas and ideas in the form of works of art. The method used in this research is descriptive qualitative with literature and field studies. Two Islamic calligraphers were involved as resource persons. As a result, the current strong influence of modern art has caused Islamic calligraphy to be affected. This can be seen from the emergence of various tendencies of Muslim artists in processing Islamic calligraphy into various media. Previously, calligraphy had not been realized as a form of personal expression, but now this awareness has emerged in the form of the phenomenon of calligraphy painting. Calligraphy painting as a reflection of the modern spirit of Muslim artists has provided fresh air for the development of Islamic art and culture in Indonesia. Uniquely, in Indonesia, calligraphy painting was born in the hands of conventional painters who had not previously been in the world of Islamic calligraphy directly.
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Rachmiarti Kusumah, Judiatin. "BUSINESS DIFFERENTIATION STRATEGY OF ANTIMICROBIAL PRODUCTS IN THE COVID-19 PANDEMIC." Dinasti International Journal of Economics, Finance & Accounting 1, no. 3 (July 29, 2020): 444–54. http://dx.doi.org/10.38035/dijefa.v1i3.423.
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The Covid-19 pandemic that has struck the world worldwide has had a major impact, particularly on the economic and socio-cultural conditions of every person in every country. No exception in Indonesia, which has not escaped and is also affected by the global pandemic. There is a slowdown in the growth process in the economic and financial sectors. This is the result of efforts to stop the spread of the virus with a lock-down action country in the world, and the implementation of the WFH (Work From Home) program and the PSBB (Large-Scale National Limitation) in Indonesia is having an effect for most industrial companies to slow down the business. This situation has a major impact on conditions in almost all companies where business is slowing down. There has also been a decline in activity in manufacturing companies producing paints, as consumer demand for paint products has been drastic due to the many delays in the process of building and building, and the process of painting houses and buildings has been stopped by painters. PT XYZ Raya, a national paint company that realizes competitive advantages between paint manufacturers, develops a differentiation strategy for paint products that meets the conditions and needs of paint consumers under the current pandemic conditions, namely antimicrobial paint products that can prevent this and inhibit the growth of viruses, germs and bacteria on the walls of our houses. So that family health can be maintained by using these antimicrobial wall paint products. The product differentiation strategy, in this case wall paint, is an embodiment of one of the company's competitive strategies according to Michael Porter's generic strategy
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Rajudin, Rajudin, Miswar Miswar, and Yunis Muler. "METODE PENCIPTAAN BENTUK REPRESENTASIONAL, SIMBOLIK, DAN ABSTRAK (STUDI PENCIPTAAN KARYA SENI MURNI DI SUMATERA BARAT, INDONESIA)." Gorga : Jurnal Seni Rupa 9, no. 2 (September 9, 2020): 261. http://dx.doi.org/10.24114/gr.v9i2.19950.
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AbstrakPenelitian ini adalah penelitian dasar (basic research) yang mencoba untuk mengkaji metode penciptaan karya seni murni bentuk representasional, simbolik dan abstrak. Kajian dilakukan terhadap beberapa seniman lukis, grafis dan patung di empat kota dalam wilayah Sumatera Barat, Indonesia. Penelitian ini menggunakan metode deskriptif kualitatif. Teknik pengumpulan data utama dilakukan melalui observasi dan wawancara dengan sumber primer, yaitu seniman. Sedangkan data tidak langsung dikumpulkan melalui jurnal, buku, video foto, katalog pameran, karya-karya seniman, dan dokumen-dokumen terkait. Teknik analisis data dilakukan sebelum di lapangan dan di lapangan. Temuan penelitian ini adalah berupa metode yang spesifik, lebih operasional dan teknis tentang penciptaan karya seni murni bentuk representasional, simbolik dan abstrak. Kata Kunci: Metode, Representasional, Simbolik, Abstrak.AbstractThis research is a basic research which tries to examine the method of creating pure works of representational, symbolic and abstract forms. The study was carried out on several painters, engravers and sculptors in four cities in the West Sumatra region of Indonesia. This study used descriptive qualitative method. The main data collection techniques are carried out through observation and interviews with primary sources, namely artists. While indirect data is collected through journals, books, videos, photos, exhibition catalogs, works of artists, and related documents. Data analysis techniques were carried out before on the field and in the field. The findings of this study are in the form of specific, more operational and technical methods about the creation of pure works of representational, symbolic and abstract forms. Keywords: Method, Representational, Symbolic, Abstract.
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Nayoan, C. R., and A. H. Q. Thalib. "Risk factors of chronic rhinitis in furniture workers of West Palu, Central Sulawesi." IOP Conference Series: Earth and Environmental Science 1075, no. 1 (November 1, 2022): 012023. http://dx.doi.org/10.1088/1755-1315/1075/1/012023.
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Abstract Chronic Rhinitis is an inflammatory disease of the nose characterized by sneezing, snotty and nasal congestion, intermittently or persistently. The prevalence of rhinitis in the United Kingdom reaches 29%, in Indonesia is not known clearly. The types of work that cause rhinitis are chronic like farmers, laboratory workers, carpenters or painters, food industry workers and, health workers. Chronic Rhinitis can affect the quality of the worker’s life, and it can reduce work productivity Objective: To determine the risk factors for chronic rhinitis on the workers in wood furniture which was contacted by sawdust in the West Palu area Method: This study uses analytical research methods with a cross-sectional approach. The sampling technique is total sampling, and the total sample in this study is 27 workers. Results: The study showed a significant relationship with the incidence of rhinitis to the carpenters who work on wooden furniture in the western Palu on age (p = 0.027), duration of exposure (p = 0.041. There was no significant relationship between the use of PPE (p = 0.100) Conclusion: The factors that can influence the incidence of chronic rhinitis to furniture workers are age and duration of exposure
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Iswahyudi. "Towards Remediation of Indonesian New Fine Arts." Britain International of Linguistics Arts and Education (BIoLAE) Journal 2, no. 3 (November 12, 2020): 797–809. http://dx.doi.org/10.33258/biolae.v2i3.332.
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Modern Indonesian painting mainly developed from the situation of the Dutch East Indies and Mooi-Indie art that was dominant at that time. The independence of the Republic of Indonesia became a very important milestone in the development of modern Indonesian painting. This is inseparable from the occurrence of a high dynamics and change through various political regimes in power starting from the leadership of Sukarno, Suharto and subsequent presidents. Each of these political regimes also played an important role in the development of modern art that occurred so as to bring out its own characteristics. Until the early 1990s, talking about art was something that seemed synonymous with painting. Although works of art with a combination of mediums have been included in exhibitions since the 1970s, but works in the form of paintings are still very dominant, even in some writings on art the imaginary boundary between painting and other art is discussed explicitly, but the term "Painting" is usually interchangeable with the term "fine art". The development of art that has become increasingly hybrid has helped to shape the climate and new audience, affirming real ideas that are at odds with painting that has already been established. Being different from established art knowledge, hybrid art agents become newcomers who find a place in the struggle in the realm of Indonesian art. Western characters which are an important consideration for painters become subject to change in the fourth phase. This change is caused by a variety of things, including the emphasis on the use of traditional forms, symbolic and decorative, because as a reaction to the political situation. Since 1942-1965, Indonesians have produced more figurative art. The pioneers in this field are artists who when abroad are like in the United States, Europe, and Japan already acquainted with traditional non-Western art in the arena of modern and international circuits.
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Kencana Wati, Ni Kadek Emy, I. Nyoman Putu Budiartha, and I. Ketut Sukadana. "Hak Cipta Karya Seni Lukis Sebagai Jaminan Fidusia." Jurnal Konstruksi Hukum 2, no. 1 (March 1, 2021): 32–36. http://dx.doi.org/10.22225/jkh.2.1.2963.32-36.
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The use of copyright for painting artworks in the Intellectual Property Law system in Indonesia provides many benefits for painters as copyright owners or copyright holders. A creator or copyright holder has Economic Rights on his work which includes the right to duplicate, display, and lease his work to third parties. Copyright Law No. 28/2014 states that copyright can be used as an object of Fiduciary security. This study aims to determine the characteristics of the copyright of painting works that can be used as fiduciary guarantees to get credit in banking and to analyze the execution of copyright guarantees of painting works if the debtor defaults The method used is normative legal research with a statutory approach and a conceptual approach, and the sources of legal materials used are primary and secondary legal materials with literature collection techniques which are analyzed in descriptive analytical form. Based on the results of the study, it can be concluded that the characteristics of copyright in painting are providing protection for works of art and providing economic rights for the creators or copyright holders and moral rights for the creators. The execution of copyright guarantees can be done by executorial method in accordance with article 29 of the Fiduciary Law.
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Yektiningtyas, Wigati, Ruth Naomi Nancy Wompere, Niko Kobepa, and Tri Apniani Sunarsih. "Engaging students to write procedure texts through the culturally-relevant activity of bark painting." JOALL (Journal of Applied Linguistics and Literature) 8, no. 1 (January 5, 2023): 41–58. http://dx.doi.org/10.33369/joall.v8i1.22577.
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For most EFL students, writing in English is a boring and challenging skill; therefore, creative and attractive media such as bark painting is needed. Bark painting is one of the cultural heritages that has not been valued and recognized by Papuan young people as a culturally important medium. This study aimed at exploring the ways of engaging students to write procedure texts using bark painting and finding the importance of infusing bark painting in teaching procedure text. This descriptive-qualitative study took place in Jayapura, Papua, Indonesia, between January and March 2021. There were students of the Social Science program, 5 Senior High School teachers, 3 tribal chiefs, 3 elders, 3 bark painters, and 2 cultural practitioners involved as the participants. The data were collected by using observation, interview, and FGD (Focus Group Discussion). From the data analysis, the study found that by engaging the students in learning writing procedure text using bark painting, they could effectively and enthusiastically learn the social functions, generic structure, and linguistic features of writing procedure text with a media which is culturally close to them, and they could learn and indirectly disseminate cultural heritage as well as learn the good character of the elders.
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Levin, Cecelia, and Astri Wright. "Soul, Spirit, and Mountain: Preoccupations of Contemporary Indonesian Painters." Pacific Affairs 69, no. 1 (1996): 140. http://dx.doi.org/10.2307/2760912.
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Gautama, Kurniawati. "Membedah Karya Erica Hestuwahyuni Melalui Studi Bahasa Rupa." JURNAL RUPA 2, no. 2 (August 1, 2018): 104. http://dx.doi.org/10.25124/rupa.v2i2.1006.
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Bahasa Rupa (picture-writing) is an invention of Prof.Dr. Primadi Tabrani to analize the specific character of Eastern tradition which is different from Western. It is a visual communication study in modern and traditional picture-writing system. The modern (western) bahasa rupa uses ‘close up’ format which recognized universally, whereas the traditional (eastern) system such as the relief of Borobudur Temple, Wayang Beber (scroll-painted picture presentations), Balinesse Painting, have specific drawing technique.
This essay, will analize an Indonesian and international recognized female painter, Erica Hestuwahyuni, whose artworks show childlike character.
As introduction this essay will elaborate the differences between painting and drawing, also Bahasa Rupa theory and character of children drawings.
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Adnyana, I. Wayan. "Tiga Tipe Praktik Sosial dan Gaya Visual Pelukis Barat di Bali." Jurnal Kajian Bali (Journal of Bali Studies) 9, no. 1 (April 27, 2019): 55. http://dx.doi.org/10.24843/jkb.2019.v09.i01.p03.
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This article studies the social practices of Western painters in Bali based on Orientalism perspective, a Western style for dominating, restructuring, and having authority over the Orient. The painters who were sampled were those who represented in each wave of arrival: (a) 1930-1940s (Spies, Bonnet, Hofker and Le Mayeur), (b) 1950-1980s (Blanco, Smit and G. Couteau), and (c) 1990-present (Hirst, Sciascia and Bickerton). Three types of social practices were found: (1) consciously decide to dissolve with the interaction of Balinese painters, which further produce visual artistic appropriations between the two parties; (2) make Bali only as their work studios based on various specific considerations, the visual style of the work becomes the dominant discourse—Bali is only a mere object or locus; (3) decide to marry Balinese women, some even become Indonesian citizens, established authority over mini Bali in the families they build, visual styles tended to be Bali portraits.
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Donzelli, Aurora. "Material words: The aesthetic grammar of Toraja textiles, carvings, and ritual language." Journal of Material Culture 25, no. 2 (July 9, 2019): 167–95. http://dx.doi.org/10.1177/1359183519858378.
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This article examines the intersections between ritual speech, woodcarving, and painted sacred cloths among the Toraja of upland Sulawesi, Indonesia. The author argues that the longstanding division between studies of speechmaking and material culture has obfuscated significant overlaps between what in fact are related systems of semiotic expressions in Indonesia and beyond. By bringing within a single analytic field the forms of ritual speech, textiles, and woodcarving she documented during long-term intermittent fieldwork in Sulawesi (2002–2018), the author highlights fundamental commonalities in how these different semiotic codes operate and in the local conceptions of authorship and craftsmanship. She shows how key aspects of Toraja vernacular semiotics, aesthetics, and hermeneutics are embedded in a materialist ideology of language and suggests that a joint approach to meaning-making practice across different modalities, channels, and media may further our understanding of Indonesian figurative languages and help delineate the larger cultural poetics underlying Austronesian artistic productions.
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Jupitar, Jupitar, Susiana Susiana, and Febrianti Lestari. "Tingkat pemanfaatan ikan kaci-kaci (Diagramma pictum) pada perairan Mapur yang didaratkan di Desa Kelong, Kabupaten Bintan, Indonesia." Akuatikisle: Jurnal Akuakultur, Pesisir dan Pulau-Pulau Kecil 4, no. 1 (May 31, 2020): 1. http://dx.doi.org/10.29239/j.akuatikisle.4.1.1-6.
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Mapur waters is one of the potential areas for demersal fish distribution in Bintan waters. The purpose of this study was to investigate the effort of catching painted sweetlips fish (Diagramma pictum), Maximum Sustainable Yield of Painted Sweetlips Fish and investigated the amount of Painted Sweetlips Fish catches allowed (JTB). The research method used is the survey method, which is direct observation at the research location by recording fishing operations such as fishing gear and catches through direct interviews with fishermen working in fish storage warehouses. Data taken in the form of primary data and secondary data. The results showed that the effort of catching Painted Sweetlips Fish on Mapur waters was 314.00 units, with the MSY value was 713,016 kg/unit. So that the amount of catch allowed (JTB) is 80% from MSY which is equal to 570.41 kg/unit, with the utilization rate of Painted Sweetlips Fish on which is equal to 89%.
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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.
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Yuwono, Edi, and Stefanny Irawan. "THE MAN AT THE SELF-PAINTED WINDOW." K@ta Kita 5, no. 1 (July 18, 2017): 39–46. http://dx.doi.org/10.9744/katakita.5.1.39-46.
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This creative project is an autobiographical novel that tells the story of Hero Widjaja, a Chinese Indonesian man who embarks on his journey to Hong Kong, Macau, and Mainland China to find his true identity. Having raised in a pretty conservative Chinese Indonesian family background, Hero learns that there is an unfinished business in finding his identity as a Chinese Indonesian man. His parents unconsciously indoctrinate him to identify himself just like Mainland Chinese people. On the other hand, Hero surely does not have Chinese citizenship or even speak Mandarin. One morning, his father offers him a free trip to visit his relatives in Mainland China. Keeping the desire to find his true identity, Hero decides to take the trip and prove it himself whether he is eligible to regard himself as Chinese. I decide to use Erikson’s stages of psychosocial development to identify Hero’s identity crisis. This theory aims to help me create problems and believable characterization for my characters to represent the identity crisis that Chinese Indonesian people may have in real life. As for the genre, I decide to choose biographical novel as the genre of my creative work. I mix my personal family experiences as a Chinese Indonesian man with fictional elements so that I can still catch my readers’ attention from the beginning to the end.
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Wulandari, Sari. "Ornamen Indramayu sebagai Ragam Hias pada Becak Jakarta." Humaniora 5, no. 2 (October 30, 2014): 571. http://dx.doi.org/10.21512/humaniora.v5i2.3114.
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Indramayu ornaments that are painted on Jakarta’s pedicabs have an exotic impression and a special attraction to the foreign tourists. The decorative ornament has the potential to be a valuable asset for the improvement of Indonesia art and design. The study was conducted with a qualitative research method of determining the location of culture through the stages of research, determination of informants, data collection and data analysis that were done by organizing, sorting, classifying and categorizing the data. Categorization is done based on the body parts of tricycles and obtained a variety of motives according to the space of placement the ornaments. By documenting and studying these ornaments, it can be improved due to nowaday needs, which would certainly enriches Indonesian decorative ornaments and utilized in broader needs.
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Ilamsyah, Ilamsyah, Dona Listyanto Pangestu, and Reza Zulian Pramana. "SISTEM PEMBUATAN BARCODE BARANG BERBASIS WEB PADA PT. CHUGOKU PAINTS INDONESIA." Journal CERITA 2, no. 1 (February 1, 2016): 1–7. http://dx.doi.org/10.33050/cerita.v2i1.205.
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T.CHUGOKU PAINTS INDONESIA is a private company engaged in the manufacture of paints for industrial needs with the quality and formulation of Japan. A company that produces various types of paint for the plant. Ranging from the manufacture of special paint ships, power plants, steel and wood to meet customer needs in the field of industri.di where this company. Still barcode creation process is still manual and not integrated with a web so that it can facilitate the manufacture and control in the manufacture of barcode goods. Technological developments in the computer system enables improvement in all branches of production, such as the manufacture of goods still manual barcode, barcode creation process is slow and depends on the conditions. Due to the manufacture of barcode system that has been using the web will bring an ease to the company to be able to indulge easily. The use of computer systems is very important in supporting a company's development in today. Computer use can also facilitate and expedite the processing, storing important data even as the company's own material. The methodology used is a method ofresearch that began by conducting surveys, interviews, and analysis according to the theory of the books that can support the design manufacture goods barcode. From these results, PT. CHUGOKU PAINTS INDONESIA can improve produtivitas and performance of the company to be competitive in the business world that is increasingly tight. In addition, with this research the company has a better ability to present and future.
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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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-, Rino, and Maman Novian. "Analysis of the Application of Customer Purchase Mining Data on Paint Sales Using Apriori Algorithm (Case Study: PT Indowarna Cemerlang Indonesia)." bit-Tech 2, no. 3 (November 9, 2020): 131–40. http://dx.doi.org/10.32877/bt.v2i3.161.
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Sales transaction data is one thing that can be used for making business decisions. Most sales transaction data is not reused, and is only stored as an archive and only used for making a sales report. Paint sales data is one science that can be applied in cases like this. Sales transactions that are not utilized properly can be extracted and reprocessed into useful information using data mining techniques. Using one of the data mining methods, namely the a priori algorithm, sales transaction data can be reprocessed so that it can produce a consumer buying pattern. This consumer buying pattern will later help companies make business decisions. PT Indowarna Cemerlang Indonesia is a company engaged in the paint trade, where the main activity is selling various wall paints, oil / wood paints, NC paints (car paints), epoxy paints (floor paints), depo-proof (anti leaked). PT Indowarna Cemerlang Indonesia does not reuse sales transaction data resulting from its sales activities. This data is only used as a reference for making sales reports and as an archive only, causing accumulation of data and unknown paint brands that are often sold or those that are of interest to customers. Therefore, the author takes the title application of data mining analysis of customer purchase patterns in paint sales using a priori algorithm. By doing this research, it is expected to provide results in the form of information that can be useful for related parties and can design sales strategies to increase company turnover.
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Suhadak, Ahmad, Anak Agung Gde Rai Arimbawa, and Lisa Sidyawati. "Cerita pada ornamen medalion di relief candi Penataran sebagai ide penciptaan batik lukis." Imaji 20, no. 2 (October 6, 2022): 157–71. http://dx.doi.org/10.21831/imaji.v20i2.51492.
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Ornamen medalion pada bangunan Candi Penataran memiliki cerita dan nilai filosofis yang terkandung di dalamnya. Secara historis keberadaan ornamen medalion pada bangunan Candi Penataran terjadinya proses akulturasi antara kebudayaan India dan Indonesia. Namun sayangnya banyak wisatawan tidak mengerti sejarah dan makna simbolisasi yang terkandung didalamnya. Berdasarkan permasalahan tersebut penciptaan batik lukis ini memiliki tujuan untuk memaparkan pencarian sumber ide yang berasal dari ornamen medalion sebagai karya batik lukis, memberikan gambaran proses penciptaan batik lukis dari cerita ornamen medalion, dan menghasilkan karya batik lukis yang bersumber dari cerita pada ornamen medalion di relief Candi Penataran. Metode penciptaan yang digunakan terdiri atas tiga tahapan yaitu eksplorasi, perancangan, dan perwujudan. Hasil penciptaan batik lukis menghasilkan tiga buah karya. Tiga karya tersebut bercerita tentang Tinarunge Wisnu lan Hiranyaksa, Sabung Ayam Raja, dan Airawata Mabur Kayangan. Keseluruhan karya batik lukis ini dapat memberikan wawasan mengenai nilai kepahlawanan, cinta kasih dan pengorbanan yang perlu untuk ditanamkan dalam kehidupan masyarakat. Kata Kunci: Ornamen Medalion, Relief, Candi Penataran, Batik Lukis The story of the medalion ornament in the relief of Penataran temple as an idea for painting batik Abstract The medallion ornament on the Penataran Temple building has a story and philosophical value contained in it. Historically, the existence of medallion ornaments on the Penataran Temple building occurred an acculturation process between Indian and Indonesian cultures. But unfortunately many tourists do not understand the history and meaning of the symbols contained therein. Based on these problems, the creation of painted batik has the aim of explaining the search for ideas originating from the medallion ornament as a painted batik work, providing an overview of the process of creating painted batik from the story of the medallion ornament, and producing painted batik works that are sourced from the story on the medallion ornament in the temple reliefs. Upgrading. The creation method used consists of three stages, namely exploration, design, and embodiment. The results of the creation of batik painting resulted in three works. The three works tell the story of Tinarunge Wisnu and Hiranyaksa, the King's Cockfighting, and Airawata Mabur Kayangan. All of these painted batik works can provide insight into the values of heroism, love and sacrifice that need to be instilled in people's lives. Keywords: Ornament, Medallion, Relief, Penataran Temple, Batik Painting
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O'Connor, Sue, Mahirta, Daud Tanudirjo, Marlon Ririmasse, Muhammad Husni, Shimona Kealy, Stuart Hawkins, and Alifah. "Ideology, Ritual Performance and Its Manifestations in the Rock Art of Timor-Leste and Kisar Island, Island Southeast Asia." Cambridge Archaeological Journal 28, no. 2 (December 4, 2017): 225–41. http://dx.doi.org/10.1017/s0959774317000816.
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Painted rock art occurs throughout the islands of the Western Pacific and has previously been argued to have motif and design elements in common, indicating that it was created within the context of a shared symbolic system. Here we report five new painted rock-art sites from Kisar Island in eastern Indonesia and investigate the commonalities between this art and the painted art corpus in Timor-Leste, the independent nation that forms the eastern part of the neighbouring island of Timor. We examine the motifs in the Kisar art and suggest that, rather than being Neolithic in age, some of the figurative motifs more likely have a Metal Age origin, which in this region places them within the last 2500 years.
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Sudaryanto, A., S. Takahashi, S. Tanabe, M. Muchtar, and H. Razak. "Occurrence of butyltin compounds in mussels from Indonesian coastal waters and some Asian countries." Water Science and Technology 42, no. 7-8 (October 1, 2000): 71–79. http://dx.doi.org/10.2166/wst.2000.0554.
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The green mussel (Perna viridis) samples were collected from Indonesian coastal waters and some other Asian countries in the period of 1997–1998 to elucidate the present status of marine pollution by butyltin compounds (BTs) including mono- (MBT), di- (DBT), and tributyltin (TBT). BTs were detected in all the mussel samples from Indonesian coastal waters in the range of 3.7 to 64 ng/g wet wt as total butyltins (SBTs = MBT+DBT+TBT). The highest concentrations were found in green mussels from Jakarta Bay and Surabaya coastal waters. Relatively higher concentrations of BTs were detected in the mussels from adjacent areas of high maritime activities such as marina, harbour and fishing port. This suggests pollution of BTs arising from TBT usage in antifouling paints. BTs were also detected in mussels from aquaculture areas, implying TBT usage for fisheries activity. The composition of butyltin derivatives in green mussels from Indonesian coastal waters were in the order of TBT>MBT>DBT, suggesting fresh input of TBT in the marine environment. The contamination levels of BTs in green mussels from Indonesia were comparable or lower than those from other Asian developing countries. The elevated concentrations of BTs were found in mussels from some areas of Thailand, Philippines, India and Malaysia where residue levels of BTs were comparable to those in developed nations.
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Krauss, Werner. "Chinese Influence on Early Modern Indonesian Art ? Hou Qua : a Chinese Painter in 19th-century Java." Archipel 69, no. 1 (2005): 61–86. http://dx.doi.org/10.3406/arch.2005.3928.
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Ernawati, Tri, Asep Priatna, and Fayakun Satria. "BIOLOGICAL REFERENCE POINTS OF PAINTED SPINY LOBSTER Panulirus versicolor (Latreille, 1804) IN KARIMUNJAWA WATERS, INDONESIA." Indonesian Fisheries Research Journal 25, no. 2 (December 31, 2019): 91. http://dx.doi.org/10.15578/ifrj.25.2.2019.91-101.
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A biological reference point is a term used to explain of stock status using a biological approach as a basic of fisheries management. Biological reference points of painted spiny lobster Panulirus versicolor are limited in Karimunjawa waters. This study aims to investigate the stock status of P. versicolor and management options to ensure the sustainability of the resources. The research was conducted in Karimunjawa islands of the Java Sea by collecting lobster from local fishers from March to November 2016. A total of 495 lobster were measured, weighed, and their maturity status assessed to allow the size at maturity and selectivity of the fishery to be estimated. The size at maturity L50 (62.2 mm CL) and L95 (82.0 mm CL) were larger than SL50 (48.2 mm CL) and SL95 (75.0 mm CL), respectively. Natural mortality (M) which was 0.579 year-1 is lower than fishing mortality (F). The current spawning potential ratio (SPR) of P. versicolor is 19% at the current F of 0.82, which is below SPR limit of 20% and target reference point of 40%. Hence, to increase SPR level to 40%, the fishing mortality should be reduced by about 40% to 60%. Closed season, legal size, and defining no take zone are options to consider by fishery manager with appropriate surveillance control. Single or combining those measures can reduce its fishing mortality and take back the stocks to the level of target reference point.
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Herbig, U., G. Styhler-Aydın, D. Grandits, L. Stampfer, U. Pont, and I. Mayer. "DIGITAL WORKFLOWS FOR RESTORATION AND MANAGEMENT OF THE MUSEUM AFFANDI - A CASE STUDY IN CHALLENGING CIRCUMSTANCES." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 18, 2017): 329–34. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-329-2017.
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The appropriate restoration of architectural heritage needs a careful and comprehensive documentation of the existing structures, which even elaborates, if the function of the building needs special attention, like in museums.<br><br> In a collaborative project between the Universitas Gadjah Mada, Yogyakarta, Indonesia and two universities in Austria (TU Wien and the Danube University Krems) a restoration and adaptation concept of the Affandi Museum in Yogyakarta is currently in progress. It provides a perfect case study for the development of a workflow to combine data from a building survey, architectural research, indoor climate measurements and the documentation of artwork in a challenging environment, from hot and humid tropical climate to continuous threads by natural hazards like earthquakes or volcanic eruptions. The Affandi Museum houses the collection of Affandi, who is considered to be Indonesia's foremost Expressionist painter and partly designed and constructed the museum by himself. With the spirit of the artist still perceptible in the complex the Affandi Museum is an important part of the Indonesian cultural heritage. Thus its preservation takes special attention and adds to the complexity of the development of a monitoring and maintenance concept.<br><br> This paper describes the ongoing development of an approach to a workflow from the measurement and research of the objects, both architectural and artwork, to the semantically enriched BIM Model as the base for a sustainable monitoring tool for the Affandi Museum.
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George, Kenneth M. "Soul, Spirit, and Mountain: Preoccupations of Contemporary Indonesian Painters. By Astri Wright. Kuala Lumpur: Oxford University Press, 1994. xxiv, 270 pp. $105.00." Journal of Asian Studies 54, no. 2 (May 1995): 646–48. http://dx.doi.org/10.2307/2058846.
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., Hajriansyah. "SPIRITUALITAS LUKISAN AMANG RAHMAN JUBAIR." Al-Banjari : Jurnal Ilmiah Ilmu-Ilmu Keislaman 16, no. 1 (May 30, 2017): 1. http://dx.doi.org/10.18592/al-banjari.v16i1.1054.
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This study focusedon the spirituality values in paintingsof Amang Rahman Jubair, particularly from the perspective of the sufi aesthetics. Amang Rahman (1931-2001) was an Indonesian painter which has a deeply awareness of God's presence, and have a concept of art which he called Jamal, Kamal and Jalal—embodied by the sweat, blood and tears, which means sacrifice, devotion and love to the Creator and His creatures. Forms of this study is a qualitative field research by using descriptive analytical method and approach of Sufi Aesthetics. The sources is the family and closest-friends of Amang Rahman, a few paintings and journalistic articles and Indonesian art critics writings of his works. This study suggests that Amang Rahman is a sufi in a modern world. Experiences and attitudes totality of his life proving his devotion to both the art and life itself intact. In the works of his art reflected awareness of space and the cosmos that represents nature imajinal ('alam al-khayal), traditions and symbols of Sufism.
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Adhayanto, Oksep, and Fithriatus Shalihah. "Politics of law affirmative action on empowerment of laut tribes in Lingga regency." Linguistics and Culture Review 5, S3 (November 4, 2021): 1090–98. http://dx.doi.org/10.21744/lingcure.v5ns3.1669.
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Indonesia is a country that has cultural diversity, ethnicity, religion, and regional languages. Indonesia, with its diversity, has much ethnic powerlessness, so that it affects and creates disparities in society. Therefore, the government needs to be encouraged to approach formulating policies to empower tribal communities in Indonesia. This study aims to find out how the legal politics of affirmative action towards the empowerment of the Laut tribe in Lingga Regency. This research is a qualitative descriptive study with a normative juridical and empirical juridical approach. Primary data or materials in this study were obtained directly from informants through field research. The types of data used are library research, interviews, and focus group discussions. The data were analyzed using the Miles and Huberman models, namely by data reduction, tabulation of data, presentation of data, and concluding. The results in empowering the marine tribal community required local regulations to improve the community's welfare in various aspects of life. The empowerment of the Lingga marine tribe can be painted by involving collaboration between the government, the private sector, and the community.
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., Dharsono. "Batik Klasik: Aspek, Fungsi, Fiosofis dan Estetika Batik dalam Pandangan Budaya Nusantara." Jurnal Budaya Nusantara 1, no. 1 (June 1, 2014): 64–73. http://dx.doi.org/10.36456/b.nusantara.vol1.no1.a297.
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Batik is a painting or drawing on mori cloth created by using a tool called "canting ". People painting or drawing or writing on mori cloth with canting is called by membatik. It produces various forms and motifs of Batik and has special properties possessed by batik itself. The emergence of printed batik although it’s not as soft as handiwork batik, is enough to maintain the contained value of traditional batik. The Subsequent developments, batik is no longer used to accelerate the process, but accelerate the depiction of patterns and coloring, so the result of fabric batik is really similar to batik . This batik cloth is called " printing batik " . The dynamics of the Batik develop- ment divert the attention of Batik consumers. People turn to Batik motif textiles while Indonesian bourgeoisie was clothed in handiwork batik for the purposes of official events and formal parties. This dynamics will bring batik ( handiwork Batik) exclusively to the throne . Batik becomes a source of exaltation later on, then it will be a role model (philosophy) and a source of inspiration for the manufacture and further development of batik. Batik in a view of the archipelago culture alongside of its beautifulness (aesthetics), It’s also a guidance (teaching) painted on motives / classic batik pattern. That’s why that batik is a masterpiece heritage of the nations in the world from Indonesia, and It is now recognized widely as intangible and tangible heritage.
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Satrya HD, Dharma. "FROM EUROPE TO LOMBOK: THE DISCOURSE OF LOMBOK TOURISM IN THE NOVEL MEDULLA SINCULASIS." LiNGUA: Jurnal Ilmu Bahasa dan Sastra 15, no. 2 (December 31, 2020): 99–110. http://dx.doi.org/10.18860/ling.v15i2.10088.
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This article discusses the discourse of Lombok tourism in Paox Iben's novel Medulla Sinculasis. In Lombok, discourse on tourism was initiated by Tuan Guru Bajang, a religious scholar, after he was elected the governor of West Nusa Tenggara, Indonesia, in 2008. Within this context, the novel Medulla Sinculasis is discussed. The novel constructs an understanding of Lombok as a tourism destination, beginning with Europe. In this story, Nuruda is driven to visit Lombok after seeing a painting titled Medulla Sinculasis being auctioned at the Van Gogh Museum in the Netherlands. After returning to Indonesia from Europe, Nuruda decides to travel directly to Lombok and meet Husin Nanang, the painter. His meeting with Husin Nanang, as well as the situation in Ampenan City, leads Nuruda on a transformation from tourist to social activist, fighting to protect the rights and promote the interests of marginal groups. Nuruda's struggle is ultimately unsuccessful, and he is killed in a hit-and-run. The Lombok in this novel is part of the discourse from the 2000s and 2010s, a period that was dominated by the economisation of Lombok. The novel Medulla Sinculasis may be seen part of this dominant discourse, and thus having the economisation of Lombok as part of its agenda.
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Christianna, Aniendya. "Javanese Women Hybridity: Postcolonial Study of Nyonya Muluk in Damar Kurung Paintings." International Journal of Creative and Arts Studies 7, no. 1 (July 27, 2020): 33–48. http://dx.doi.org/10.24821/ijcas.v7i1.4164.
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ABSTRACTDamar Kurung is a typical lantern of Gresik, made in the 16th century. In 2017 Damar Kurung was declared an intangible cultural heritage by the Indonesian Ministry of Education and Culture. Masmundari (1904-2005) was a female artist who painted Damar Kurung based on skills learned from her ancestors. Among Masmundari's many paintings, Nyonya Muluk is the most frequently painted. Nyonya Muluk is described as a big woman wearing a dress and wings. Many people say that Nyonya Muluk is a picture of Queen Wilhemina that Masmundari has seen directly. To uncover Nyonya Muluk's identity, it is necessary to explain the image and meaning of this traditional art, the author uses Bahasa Rupa method (Tabrani, 2012), which analyzes the contents of the wimba, cara wimba, tata ungkapan and how to read wimba. Then, analyzed using postcolonial theory, specifically using the concepts of hybridity and mimicry to find out the identity of Nyonya Muluk. Finally, this research is to produce (1) A description of the relationship between the two cultures (East and West/invaders and colonized) which is manifested in the figure of Nyonya Muluk. (2) Nyonya Muluk is a representation of Javanese women's hybridity that illustrates the hopes and dreams of Masmundari (as an East representative) to be similar to the West.Hibriditas Perempuan Jawa: Studi Poskolonial Figur Nyonya Muluk Di Lukisan Damar KurungABSTRAKDamar Kurung adalah lentera khas Gresik, dibuat pada abad ke-16. Pada 2017 Damar Kurung dinyatakan sebagai warisan budaya tak bendawi oleh Kementerian Pendidikan dan Kebudayaan Indonesia. Masmundari (1904-2005) adalah seniman perempuan yang melukis Damar Kurung berdasarkan keterampilan yang diperolehnya secara turun temurun. Di antara banyak lukisan Masmundari, Nyonya Muluk adalah yang paling sering dilukis. Nyonya Muluk digambarkan sebagai perempuan berukuran besar yang mengenakan gaun dan memiliki sepasang sayap. Banyak orang mengatakan bahwa Nyonya Muluk adalah gambaran Ratu Wilhemina yang langsung dilihat Masmundari. Untuk mengungkap identitas Nyonya Muluk, perlu menjelaskan gambar dan makna seni lukis tradisi ini, penulis menggunakan metode Bahasa Rupa (Tabrani, 2012), yang menganalisis isi wimba, cara wimba, tata cara dan cara membaca wimba. Kemudian, dianalisis menggunakan teori postkolonial, khususnya menggunakan konsep hibriditas dan mimikri untuk mengetahui identitas Nyonya Muluk. Akhirnya, penelitian menghasilkan (1) Deskripsi hubungan antara dua budaya (Timur dan Barat/penjajah dan terjajah) yang dimanifestasikan dalam sosok Nyonya Muluk. (2) Nyonya Muluk adalah representasi dari hibriditas perempuan Jawa yang menggambarkan harapan dan impian Masmundari (sebagai perwakilan Timur) untuk menjadi serupa dengan Barat.
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Yulistyorini, Anie, Harits Ar Rosyid, Kusuma Refa Haratama, Diederik Rousseau, and Mohammad Musthofa Al Ansyorie. "Raising Environmental Awareness in Kampong Tridi and Kampong Warna-Warni (Malang, Indonesia) through Digital-Based Workshop on Constructed Wetlands." Jurnal Pengabdian kepada Masyarakat (Indonesian Journal of Community Engagement) 8, no. 2 (June 29, 2022): 65. http://dx.doi.org/10.22146/jpkm.54607.
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Kampong Tridi and Warna-Warni are two small communities in Malang, Indonesia, which have started efforts to realize a sustainable environment within a broader national movement to eliminate slum areas. Colourful artwork and painted murals have made them popular tourist spots that attract 150 tourists per day on average, which helps boost the local economy. However, both kampongs are still lacking sanitation service. Blackwater and greywater generated from inhabitants’ activities are directly dumped into the Brantas River, negatively impacting water quality. A workshop was organized to increase the participants’ awareness of environmental issues, particularly in water resource sustainability, and obtain a commitment to adopt constructed wetlands as sustainable, nature-based solutions for wastewater treatment. Two types of the questionnaire (pretest and posttest) were distributed to 50 participants to identify perception differences generated through the workshop. A digital game and a 3D simulation were developed to educate the participants on constructed wetlands as wastewater treatment systems in fun, attractive, and effective ways. Participants’ awareness of environmental issues in water resources increased from 67% to 76%, and the workshop had motivated the participants to adopt constructed wetlands in their neighbourhood.
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Ali Iqbal, Muhammad, Ahmad Badawi Saluy, and Asep Yusuf Hamdani. "THE EFFECT OF WORK MOTIVATION AND WORK ENVIRONMENT ON EMPLOYEE PERFORMANCE MEDIATED BY JOB SATISFACTION (AT PT ICI PAINTS INDONESIA)." Dinasti International Journal of Education Management And Social Science 2, no. 5 (July 2, 2021): 842–71. http://dx.doi.org/10.31933/dijemss.v2i5.942.
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The effect of work motivation and work environment on employee performance is mediated by job satisfaction (at PT. Ici Paint Indonesia). The research used is descriptive analysis and causality of the population. The respondents of this research were 105 population samples, this analysis method used path analysis, coefficients, and inter-dimensional analysis. The results here show (H1) Work motivation has a positive and significant effect on job satisfaction, (H2) Work environment on job satisfaction has a positive and significant effect, (H3) Work motivation on employee performance has a positive and significant effect, (H4) Work environment on employee performance positive and significant effect, (H5) Job satisfaction on employee performance has a positive and significant effect, (H6) Work motivation on performance through job satisfaction has a positive and significant effect, (H7) the work environment on employee performance through job satisfaction has a positive and significant effect. The independent variable (x) is work motivation (x1) and work environment (x2). The dependent variable is job satisfaction (y1) and performance (y2), from the research it is proven from the hypothesis that has been researched and calculated through the Spss 23 application.
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Setyanto, A., A. B. Sambah, D. Widhiastika, Soemarno, D. G. R. Wiadnya, and C. Prayogo. "Population structure and biological aspects of lobster (Panulirus spp.) of the Madura Strait landed in Situbondo of East Java, Indonesia." IOP Conference Series: Earth and Environmental Science 919, no. 1 (November 1, 2021): 012015. http://dx.doi.org/10.1088/1755-1315/919/1/012015.
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Abstract Lobster is an important economic fishery resource in domestic and international trade. The high economic value of lobster due to increasing market demand has led to its intensive exploitation. The enactment of specific regulations on lobster proves the urgency of its management. Madura Strait is one of the unique biogeographical sea regions of East Java. This research was conducted in January-March 2021 at Pasir Hitam Beach, Situbondo. The purpose of this study was to determine the species composition of lobsters, the frequency distribution and the growth form, and the sex ratio. The analysis applied is class distribution of length and weight classes, regression analysis, and chi-square. The lobster catches consist of 4 species, namely Scalloped spiny lobster (Panulirus homarus), Ornate spiny lobster (P. ornatus), Painted spiny lobster (P. versicolor), and Mud spiny lobster (P. polyphagus). P. homarus is the most dominant species. The frequency distribution of carapace length and weight of P. homarus, P. ornatus, and P. versicolor has met the minimum size limits rules. The length and weight relationship of P. Homarus and P. ornatus were negative allometric, while P. versicolor isometric. Lobster sex ratio is in a balanced condition.
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Febra, Alta, Sugiyanto Sugiyanto, and Agus Kristiyanto. "Cultural and Traditional Sport Pacu Jalur Location In Regency Of Quantan Singingi Riau Province." International Journal of Multicultural and Multireligious Understanding 5, no. 4 (May 6, 2018): 278. http://dx.doi.org/10.18415/ijmmu.v5i4.293.
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This research was conducted in Kuantan Singingi Regency of Riau Province. This research is descriptive qualitative interpretative research with the subject of research is the origin of culture and traditional sport pacu jalur, traditional tour and sport of the pacu jalur, and what values are contained in the traditional sport of the pacu jalur. Data collection techniques include observation, in-depth interviews, and documentation of records. The results are summarized as follows: 1) The origins of traditional culture and sport, have existed since the Dutch era. Initially Pacu Jalur was held in villages around the Kuantan River to commemorate the big day of Islam, such as the Prophet's Mawlid, Idul Fitri and the Islamic New Year. However, after the Dutch entry into Indonesia, Pacu jalur changed the function that is to commemorate the Queen's Anniversary Wihelmina. The pacu jalur was not held during the Japanese colonial era. After the era of Indonesian Independence, Pacu jalur was again held to commemorate the Independence Day of the Republic of Indonesia. Therefore, Pacu Jalur always held around August every year. Pacu jalur has become the official agenda of the Regional Government (Pemda) and has been included in the national tourism calendar. Initially this pacu jalur is only commemorated at religious events only, namely the religious event of Islam maulid prophet. But with the development, the pacu jalur is no longer displayed at religious events only. 2) The tours contained in the culture of pacu jalur is the night market, pacu jalur expo, festipal art area. 3) What values are contained in the pacu jalur, the value of adaptation to nature, where the pacemakers must adapt to the river, the value of art and culture is evident from the carvings, track paints and clothing or uniforms of the pacu jalur, the economic value seen at the time of manufacture the pacu jalur that does not cost a bit and the value of sport is seen from the movement of the paddle paddle racing boy and the strength of arms and hands with great enthusiasm. Keywords: Pacu Jalur; Values; Culture Tour; Sport Traditional; River; Taluk Kuantan
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Newsinger, John. "War, Empire and the Attlee government 1945–1951." Race & Class 60, no. 1 (June 29, 2018): 61–76. http://dx.doi.org/10.1177/0306396818779864.
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In this article, adapted from a speech delivered at a conference on reparative history, the author challenges the dominant view of the progressive radicalism of the postwar Attlee government by exposing the brutality of its imperial adventures. Examining British involvement in Vietnam, Indonesia, Greece, Malaya, Kenya, India, Palestine, Iran and Korea, the piece paints a very different and bloody historical narrative from the dominant one. It argues that the welfare state was accompanied by the creation of the warfare state and that it was the Labour Party which cemented the ‘special relationship’ with the United States, which today the vast majority of the parliamentary Labour Party would still like to see hold sway in terms of foreign policy and questionable foreign interventions.
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Klaehn, Jeffery. "'I'll just say two words ‐ "East Timor"': An interview with Norm Breyfogle1." Studies in Comics 10, no. 2 (November 1, 2019): 349–56. http://dx.doi.org/10.1386/stic_00009_7.
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Abstract Norm Breyfogle (27 February 1960‐24 September 2018) is widely recognized for his six years (1987‐93) spent illustrating various Batman titles for DC Comics, most notably Detective Comics, Batman and Batman: Shadow of the Bat. He also illustrated several prestige edition one-shots set within the Batman narrative universe, including Batman: Birth of the Demon (1992), which he hand-painted, and the 'Elseworlds' stories, Batman: Holy Terror (1991), Batman: The Abduction (1998) and Batman: Dreamland (2000). In this interview, undertaken in 2007, he discusses his approach to cover design and interior art; the comic industry; how he came to work on Batman; his collaborations with writer Alan Grant; reflections on the character of Anarky; details on an unpublished three issue Anarky storyline involving East Timor and US arms sales to Indonesia; how Batman has changed over the decades; as well as his thoughts on how Jim Aparo, Marshall Rogers and Frank Miller drew Batman.
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Irawati, Desi. "WAYANG PURWA SEBAGAI OBJEK LUKIS KACA KARYA RETNO LAWIYANI : Sebuah Kajian Visual Ornamentik." Ornamen 18, no. 2 (July 22, 2021): 110–23. http://dx.doi.org/10.33153/ornamen.v18i2.3705.
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ABSTRAK Wayang merupakan karya adiluhung Bangsa Indonesia yang dapat dikembangkan dari berbagai sisi, salah satunya adalah wujud visual wayang yang diterapkan pada karya lukis kaca. Retno Lawiyani adalah seniman lukis kaca yang menggunakan wayang purwa sebagai ide gagasan dalam setiap karya lukis kacanya. Ide gagasan tersebut sangat menarik untuk diteliti, terkhusus dari sisi estetikanya. Penelitian ini bertujuan mendiskripsikan 1) latar belakang kekaryaan Retno Lawiyani, 2) proses kreatif Retno Lawiyani pada karya lukis kaca, 3) wujud visual lukis kaca Retno Lawiyani. Penelitian ini menggunakan metode penelitian kualitatif yang menghasilkan data diskriptif analisis, dengan alur pengumpulan data, reduksi data, analisis data, dan simpulan. Objek penelitian adalah 5 karya lukis kaca Retno Lawiyani yang dipilih menggunakan tekhnik purposive sampling. Jenis pendekatan yang digunakan adalah pendekatan biografi, pendekatan kreativitas, dan pendekatan estetika menurut teori A.A.M Djelantik. Menurut A.A.M Djelantik, terdapat 3 unsur estetika yaitu wujud/rupa, bobot/isi, dan penampilan, ketiga unsur tersebut kemudian digunakan untuk menganalisis karya lukis kaca Retno Lawiyani.Kata kunci : lukis kaca, wujud visual, ornamentik. ABSTRACTWayang is a valuable work of the Indonesian people that can be developed from various sides, one of which is a visual form of wayang which is applied to glass painting. Retno Lawiyani is a glass painting artist who uses wayang purwa as an idea in each of her glass painting works. The ideas are very interesting to study, especially in terms of aesthetics. This study aims to describe 1) thebackground of Retno Lawiyani's work, 2) Retno Lawiyani's creative process in glass painting, 3) the visual form of Retno Lawiyani's glass painting. This study uses qualitative research methods that produce descriptive analysis data, with data collection flow, data reduction, data analysis, and conclusions. The research objects were 5 Retno Lawiyani's glass paintings which were selected use of technique purposive sampling. The type of approach used is the biography approach, creativity approach, and aesthetic approach according to A.A.M Djelantik's theory. According to A.A.M Djelantik, there are 3 aesthetic elements, namely appearance, weight / content, and appearance, these three elements are then used to analyze Retno Lawiyani's glass painting.Keywords : painted glass , a form of visual, ornamental.
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Rina, Ratna Cahaya. "Arjuna Visualizations in Three Javanese Wayang." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 240–48. http://dx.doi.org/10.18844/prosoc.v4i11.2880.
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Arjuna, the third Pandava character in Mahabharata story which originated from India, has different characterisation when it spreads and develops in Java, Indonesia. This character is lovely, delicate, loves to dress up, smart in smooth talking, though mentioned as the most masculine character in the story. In the three different Wayang theaters which play the Mahabharata story such as Wayang Kulit (shadow puppet), Wayang Beber (illustrations on scroll-painted fabrics) and Wayang Wong (theatrical performance by humans), there is a distinct pattern to visualise Arjuna masculinity. The purpose of the research is to show how those three Wayangs visualise Arjuna’s masculinity. In doing so, we observe the artefact of Arjuna character in Wayang Kulit, Wayang Beber, and costume worn by Arjuna cast in Wayang Wong. The result shows that those three Wayang have a similar strategy to visualise Arjuna, they tend to emphasise on the physical subtlety of Arjuna, the softness of his behaviour and speech. It seems that to convey the masculinity of Arjuna, and there is a consistency to visualise it similar to the characteristic of a woman. Keywords: Arjuna, visualisation, character, Wayang, Javanese
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Ramdhani, R., L. Sulmartiwi, and S. Andriyono. "Molecular identification and potency of scalloped spiny lobster (Panulirus homarus) study from Kodang Merak Beach, South Malang." IOP Conference Series: Earth and Environmental Science 1036, no. 1 (July 1, 2022): 012112. http://dx.doi.org/10.1088/1755-1315/1036/1/012112.
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Abstract Lobster is one of the commodities from the fisheries sector that has high economic value. The problem faced is that there is still limited biological information on lobster species in Indonesia, including identifying genetic diversity. The purpose of this study was to determine the potential ofscalloped spiny lobster. Lobster identification was carried out morphologically and molecularly on the most dominant lobster species at Kondang Merak Beach, Malang. The method in this study used observation and experimental methods. The results of recording data on natural lobster catch from local fishermen from Kondang Merak,scalloped spiny lobster is the most dominant species compared to other types of lobster (painted spiny lobster, ornate spiny lobster). Morphologically, the most dominant lobster sample (MAL-01) obtained from this research location was Panulirus homarus. The lobster has a color pattern and meristic characteristics that are in accordance with the morphological identification reference used. Molecular identification of scalloped spiny lobster (DNA barcoding) has shown that the lobster specimen is a scalloped spiny lobster (Panulirus homarus) which has the same sequence as KF548574 (100%) in the BLASTN results with the Genbank Database.
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Sarjono, Gunawan Sri, Titik Ismiyati, and Endang Wahyuningtyas. "The effect of paint types toward iris color changes of ocular prosthetics." Majalah Kedokteran Gigi Indonesia 6, no. 1 (July 15, 2020): 60. http://dx.doi.org/10.22146/majkedgiind.38706.
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Ocular prosthetics are mainly created to meet the aspect of esthetic consideration. The paint application in ocular prosthetics construction is remaining an option for Prosthodontist. This study aims to examine the effect of types of paint toward iris color change of the ocular prosthetics. Three black types of paint: oil paint (Maries Oil Color, China), automotive paint (Avian, Indonesia), and acrylic paint (Sakura, Japan) were used to paint paper disc to produce 27 iris ocular prosthetics. Chromameter was used to examine the first and the final color after acrylic processing using themicrowave. The measurement results in the process using Commission Internationale de l’Eclairage. One-way ANOVA test showed significant differences between the three types of paints on ocular prosthetics (p<0.05). The LSD test revealed that oil paint groups had more significant results than the automotive paint group and acrylic paint group, while the automotive paint group did not have significant differences with the acrylic paint group (p>0.05). Thus, it is conclusive that oil paint influences the iris color change of the ocular prosthetics.
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Abdullah, Ahmad, and Amin Rahmawati. "Eksplorasi Etnomatematika Pada Batik Kayu Krebet Bantul." UNION: Jurnal Ilmiah Pendidikan Matematika 9, no. 2 (July 30, 2021): 163–72. http://dx.doi.org/10.30738/union.v9i2.9531.
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ABSTRAK Batik merupakan warisan budaya dunia yang dimiliki oleh Indonesia. Di dusun Krebet, Sendangsari, Pajangan, Bantul, Batik dilukis pada kayu atau dikenal dengan Batik Kayu. Batik Kayu ini menghiasai peralatan rumah tangga. Keberadaan batik kayu Krebet ini belum termanfaatkan secara maksimal dalam pembelajaran sains khususnya matematika. Padahal banyak sekali konsep-konsep matematika yang terkandung di dalamnya. Penelitian ini bertujuan mengeksplorasi konsep-konsep matematika pada Batik kayu khususnya materi geometri. Dalam penelitian ini, peneliti menggunakan penelitian eksploratif dengan pendekatan etnografi. Instrumen dalam penelitian ini yaitu human instrumen, di mana peneliti berhubungan langsung dengan penelitian serta berperan sebagai pengumpul data melalui observasi, pengumpulan data pustaka, dokumentasi, dan wawancara. Teknik analisis data dilakukan dengan analisis domain dan taksonomi. Hasil Penelitian menunjukkan bahwa batik kayu Krebet mengandung konsep-konsep geometri yang meliputi konsep garis dan sudut, segi empat dan segitiga, lingkaran, bangun ruang sisi datar dan sisi lengkung, kesebangunan dan kekongruenan, dan transformasi geometri. ABSTRACTBatik is a world cultural heritage owned by Indonesia. In Krebet village, Sendangsari, Pajangan, Bantul, Batik is painted on wood or known as wooden batik. This wooden batik decorates household appliances. Wooden batik of Krebet has not been maximally utilized in learning science, especially mathematics. Even though there are many mathematical concepts contained in it. This study aims to explore mathematical concepts in wooden batik, especially geometric materials. In this study, researchers used exploratory research with an ethnographic approach. The instrument in this research is the human instrument, where the researcher is directly related to the research and acts as a data collector through observation, library data collection, documentation, and interviews. Data analysis techniques are carried out by domain and taxonomic analysis. The results showed that wooden batik of Krebet contains geometric concepts including the concepts of lines and angles, rectangles and triangles, circles, solid geometry, congruence, and geometric transformation
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Aziz, Baso Indra Wijaya. "PENGEMBANGAN VIDEO PEMBELAJARAN SENI RUPA LOKAL: PELUKIS ABDUL KAHAR WAHID." TANRA: Jurnal Desain Komunikasi Visual Fakultas Seni dan Desain Universitas Negeri Makassar 5, no. 1 (May 1, 2018): 9. http://dx.doi.org/10.26858/tanra.v5i1.5791.
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Abdul Kahar Wahid has a name in the field of painting (art) in Indonesia proved with one of his works collected by the National Gallery in Jakarta. In South Sulawesi, he is known as a painter and art educator. It is appropriate that Abdul Kahar Wahid is used as one of the artists who become objects in the subject of Local Arts Studies. The purpose of this research is to complete the video program about Abdul Kahar Wahid that has been made before, by adding comments and testimony from artists and art educators and at the same time validating it. This research is conducted through Research and Development procedure, with field trial. Research development in education is a process for developing and validating educational products including materials and procedures and processes such as; teaching methods, learning management and including learning media. The sample of this study consists of students of Arts Education Studies Program Postgraduate Program of UNM Makassar Batch 2016 consists of 15 people, from students of Art Education Program (S1) 25 people. The results showed that the quality of video display showed a high percentage in both categories and excellent in all fields, such as the readability of text/writing very well (53%.) While the quality of presentation of the material, good and excellent category in all fields, and clarity of purpose learning is very good (53%) and ease of understanding material is good (60%). The product of this research deserves to be used as material and media of art learning especially for the subject of Local Art Study.
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Septiyani, Rizki Endi, Annisa R. Isyanti, Septi D. N. Aini, Bagus W. Pratama, Rudi T. Laksono, and Imron Imron. "Jejak Raden Jaka Prabangkara pada Kerajaan Majapahit Abad ke-15 M dalam Babad Jaka Tingkir." SULUK: Jurnal Bahasa, Sastra, dan Budaya 1, no. 1 (February 26, 2020): 43–50. http://dx.doi.org/10.15642/suluk.2019.1.1.43-50.
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Raden Jaka Prabangkara was the son of Brawijaya V, the last king of the Majapahit Kingdom. He was the king's son of an ordinary woman or concubine. During the reign of his father, which was around the 15th century, Raden Jaka Prabangkara had the role as a village chief in Sungging area. Besides, he was also given the task to become a palace painter because of his expertise in painting. This study aims to describe the traces of Raden Jaka Prabangkara's life during the reign of Majapahit Kingdom in the 15th century and the lessons that can be learned from the stories in Babad Jaka Tingkir. This study uses qualitative research method based on the literature review in the book of Babad Jaka Tingkir: Babad Pajang written by Sastronaryatmo (2011) which has been translated into Indonesian. The results of this study are (1) The background story of the birth of Raden Jaka Prabangkara in Babad Jaka Tingkir, (2) The role of Raden Jaka Prabangkara in the 15th century during the reign of Majapahit Kingdom in Babad Jaka Tingkir, (3) The chronology of the seclusion of Raden Jaka Prabangkara to China in Babad Jaka Tingkir, (4) The wisdom that can be learned from Raden Jaka Prabangkara's life. Overall, it can be seen that there are traces of Raden Jaka Prabangkara's life journey during the reign of Majapahit kingdom in 15th century based on the book of Babad Jaka Tingkir.
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Tabarev, A. V., A. E. Patrusheva, and N. Cuevas. "Burials in Anthropomorphic Jars in the Philippines." Archaeology, Ethnology & Anthropology of Eurasia 47, no. 2 (June 26, 2019): 40–47. http://dx.doi.org/10.17746/1563-0110.2019.47.2.040-047.
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The fi rst joint study by Russian and Philippine archaeologists addresses an unusual variant of a burial tradition distributed in Island Southeast Asia – burials in anthropomorphic clay jars, found in Ayub Cave (southern Mindanao Island, Philippines), excavated by specialists from the National Museum of the Philippines in 1991–1992, and tentatively dated to 500 BC to 500 AD. Of special interest are lids of jars shaped as painted human heads with individualized facial features and expressions. The fi nds suggest that Ayub Cave was a necropolis of the tribe elite, and that vessels were produced by a special group of potters using elaborate “prestige technologies”. The Ayub ceramic collection has various parallels relating to clay fi gurines and decoration including painting, among Late Neolithic and Early Metal Age assemblages from the Philippines (Luzon, Palawan, and Negros Islands), Indonesia (Sumba, Flores, and Bali Islands), and other regions of the Pacifi c Basin from Japan (Jomon) and Korea (Early Iron Age burials) to Vanuatu Islands (Lapita culture). These parallels suggest that the source of the anthropomorphic symbolism was the Austronesian migration with one of its routes passing from southern China via Taiwan, the northern Philippines, Mariana Islands, and further south to Melanesia and Polynesia.
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Zuliati, Zuliati. "Ikonografi Karya Sudjojono “Di Depan Kelamboe Terboeka”." Journal of Urban Society's Arts 1, no. 1 (April 10, 2014): 1–16. http://dx.doi.org/10.24821/jousa.v1i1.784.
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Tinjauan Ikonografi dalam Karya Sudjojono “Di Depan Kelamboe Terboeka”.Penelitian ini mengupas lukisan “Di Balik Kelamboe Terboeka” karya Sudjojonosecara ikonografi. Sebagai cabang ilmu sejarah seni, Ikonografi mempelajarimakna dari sebuah karya seni melalui kajian aspek internal dan eksternal. Aspekinternal sebuah karya seni seperti subject matter, gaya, dan aliran, sedangkan aspekeksternal berkaitan dengan situasi sosiohistoris yang melingkupi ketika karyaseni tersebut dibuat. Maka dengan menggunakan pendekatan ikonografi akandiperoleh pemaknaan yang lebih luas dari sebuah karya seni. Berdasarkan penelitiandapat disimpulkan bahwa “Di Depan Kelamboe Terbuka” menggambarkan jiwanasionalisme sebagai pemberontak estetika Mooi Indie yang telah mapan dalamkultur kolonial feodal. Karya tersebut menunjukkan pergulatan pemikiran dalamsuatu situasi sosial yang didominasi konsep estetika tertentu. Sudjojono mampumerumuskan konsep seni yang berasal dari kejujuran dan kepekaan dalam melihatrealitas sosial dan dikenal dengan kredo jiwa ketok. The Iconographic Study of Sudjono’s ‘Di Depan Kelamboe Terboeka’. Thisstudy discusses the iconography of ‘Di Depan Kelamboe Terboeka’, a painting createdby an influential painter in modern visual art of Indonesia, Sindudarsono Sudjono.Iconography as a branch of Art History learns the meaning of an artwork through thestudy of its internal and external aspects. The internal aspects include the items containedin an artwork such as a subject matter, style, and genre, whereas the external ones arerelated to the socio-historical situation in which the work of art is created. Iconographyprovides a broader understanding of a work of art. Based on this study, ‘Di DepanKelamboe Terboeka’ is one of Sudjono’s achievements depicting the spirit of nationalismas a rebel of the settle Mooi Indie aesthetics in the feudal-colonial culture. This paintingreflects the creator’s inner conflict in dealing with a certain social situation dominatedby a particular aesthetical concept. Sudjono was successful in formulizing an art conceptoriginated from his honesty and sensitiveness in witnessing the social reality known witha credo ‘jiwa kethok’.
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H Simatupang, Partogi, Petrus Lubalu, Herry L Sianturi, and Wilhelmus Bunganaen. "The use of solar energy for the curing of ferrogeopolymer elements in the semiarid region." MATEC Web of Conferences 276 (2019): 01031. http://dx.doi.org/10.1051/matecconf/201927601031.
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Kupang City in Timor Island of Indonesia, as a semiarid area, has abundant solar energy sources. Based on climatology data of Kupang City in 2013-2015, the minimum and maximum average temperatures in Kupang City range from 19.3-34.8oC. Besides, dry seasons last for about 8 months (April-November). This abundance of solar energy is a potential energy resource for the manufacturing of environmentally friendly ferrogeopolymer elements. Based on previous research, the production of geopolymer material can be done optimally with dry curing treatment at 60-80oC for less than 48 hours. Therefore, in this paper, a low-cost, energy efficient oven operated by a solar energy collector was developed. This paper describes a feasibility study of the use of solar energy for curing ferro-geopolymer elements. The ferro-geopolymer elements made were beams with length 600 mm, width 100 mm and height 100 mm. Wire meshes with 6x6mm of opening were used in 5 layers. The solar energy collector system used as an oven was a zinc coated drum which was painted black outwardly and was covered by a glass plate. Using this oven, it was possible to increase the ambient temperature by 1.62 to 2,37 times. Furthermore, this oven can also increase the flexure strength of ferrogeopolymer elements about ± 25.34%. This paper shows good potential use of solar energy in the manufacturing of ferro-geopolymer elements in the semiarid region.