266 Production of Aesthetic Tastes and Creativity Education of Indonesian Glass Painting Artists Casta Casta1, Tjetjep Rohendi Rohidi1, Triyanto Triyanto1, Abdul Karim2 1Universitas Negeri Semarang, Indonesia 2Universitas Muhammadiyah Cirebon, Indonesia Submitted: 2021-05-25. Revised: 2021-11-25. Accepted: 2021-12-26 Abstract This study aims to find the repertoire of aesthetic taste as a creative act and its relation to sym- bolic power in the arena of Indonesian cultural production of glass painting. The study used a qualitative approach with a phenomenological design. Data collection used in-depth interviews, participant observation, individual life’s history, and document examination. Data analysis used interpretive phenomenological analysis. The study finds five aesthetic taste repertoires that in- clude: (1) the aesthetic taste of the palace which is characterized by the symbolic decorative vi- sualization of calligraphy pictographs of petarekatan with wadasan and mega mendung ornaments; (2) the taste of strengthening cultural identity is marked by the symbolic decorative visualization of a traditional sourcebook for puppet shadow objects with wadasan and mega mendung orna- ments; (3) the taste of traditional renewal is characterized by liberating expressive decorative visualizations; (4) the taste of cultural revitalization is characterized by decorative visualization of the superiority of tradition which is involute; and (5) the taste of marginalized community is characterized by the simplicity of traditional object visualizations. The five aesthetic tastes carry a decorative expression style with an interpretation of tradition based on the cultural capital of the artists. The production of aesthetic taste cannot fully be used to classify the social class structure of appreciators but is related to the identity of the cultural capital they have. The production of aesthetic taste is a creative education model that responds to the doxa of symbolic power in the form of orthodox or heterodox, resulting in defensive, subversive, defensive-subversive synthesis, and pseudo-subversive strategies, which are fought for legitimacy as symbolic power. Keywords: Symbolic Power, Aesthetic Taste, Strategy, Creativity Education How to Cite: Casta, C., Rohidi, T. R., Triyanto, T., & Karim, A. (2021). Production of Aesthetic Tastes and Creativity Education of Indonesian Glass Painting Artists. Harmonia: Journal of Arts Research And Education, 21(2), 266-277 Harmonia: Journal of Arts Research and Education 21 (2) (2021), 266-277 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v21i2.30348 tity has an aesthetic taste that is influenced by its appreciation of its culture as a ful- fillment of aesthetic needs (Rohidi, 2015; Triyanto, 2017; Wiyoso & Putra, 2020). Ranciere (2004) asserts that aesthetics is a dialectic between social, political, and ae- sthetic itself (Cook, 2018)little work has assessed how certifications redefine the INTRODUCTION Aesthetic taste is an important con- cern in human civilization. Taste is a sub- stantive part of aesthetic theory, a pheno- menon and practice that has historically had a wide variety of representations (Kli- mov & Klimova, 2017). Every cultural en- Corresponding author: E-mail: madecasta09@gmail.com p-ISSN 2541-1683|e-ISSN 2541-2426 Casta, et al., Production of Aesthetic Tastes and Creativity Education of Indonesian Glass 267 local aesthetic experience of the food. In order to fill this gap, I analyze the aesthe- tic politics, which redefine who can taste and how they can do it. I argue that incor- porating aesthetic politics into analyses of quality and standards enables tracing how this standard becomes regarded as scien- tific and, return, effects a re-aestheticizing of what is considered a(n and contributes to the realization of the characteristics of a community ( Triyanto & Sugiarto, 2020; Klimov & Klimova, 2017). The discourse of aesthetic taste became a major concern of world scientists after Pierre Bourdieu (1984) stated that taste is a form of power used to reproduce class structures (Bour- dieu, 1984a; Kane, 2003; Savaş, 2014; Holm, 2020). It is also highly dependent on cultu- ral capital and economic capital received within the class fraction (Brisson & Bian- chi, 2017; Paalgard Flemmen et al., 2019). Bourdieu’s thesis on taste in the are- na of cultural production transcends the dichotomy of subjectivism and objecti- vism, symbolism and materialism (Turner & Edmunds, 2002). They are built from the concepts of Habitus, Capital, and Field, in addition to the concepts of Taste and Sym- bolic Power as the epicenter of the theory (Bourdieu, 1984a, 1993, 1998; Wacquant & Akçaoğlu, 2017. Habitus perceives the field based on the accumulation of capital as a way of being (Fauzi, 2016; Haryatmo- ko, 2003; Jenkins et al., 1993; Newman et al., 2013), as the basis of practice (Bour- dieu, 1993; Edgerton & Roberts, 2014; Fauzi, 2016; Navarro, 2006); and regulate appetizing consumption practices (Ben- nett, 2007; Bourdieu, 1984a). The concept of Field is understood as a field of struggle to fight over and change or preserve posi- tions (Jenkins et al., 1993; Karnanta, 2013; Newman et al., 2013) to preserve power (Bourdieu, 1984a; Murdock, 2010). In entering the field, each agent will use strategy and capital accumulation (cul- tural, social, economic, and symbolic) as the logic that governs the agent’s struggle in power relations (Bourdieu, 1993; Rawol- le & Lingard, 2008). The accumulation of capital can give birth to symbolic domi- nance through the use of doxas as a dogma that directs one’s perspective in perceiving the world in which doxas exist (Bourdieu, 1984b). Some agents produce orthodox to maintain position, in addition to produ- cing heterodox as a cognitive response that corrects doxa with subversive strategies to gain legitimacy, either specific legitimacy, ‘bourgeois’ taste legitimacy and popu- lar legitimacy (Bourdieu, 1993; Karnanta, 2013; Swartz, 1997). In this context, Bour- dieu views that taste as a form of doxa as cultural capital and economic capital cont- rolled by habitus. Therefore it is related to class structure (Bourdieu, 1984; 1984a; Brisson & Bianchi, 2017; Sato et al., 2016). Bourdieu’s theory of taste and lifesty- le concerning social structure has received a response from international research. Carol Sherrard’s research refutes the rela- tionship between social class and aesthetic sense (Sherrard, 1995). Interpretive stu- dies of taste patterns in the United States have uncovered six varied taste repertoi- res from various cultural capital resources (Holt, 1997). Research on postwar Austra- lian elites does not show a highbrow taste but prefers middle to low culture (Turner & Edmunds, 2002). There are four types of a repertoi- re of female facial beauty tastes and male handsomeness in France, Italy, Nether- lands, Poland, and England, including aesthetic repertoire, subjective versus ob- jective, gender normative and racial reper- toire (Kane, 2003; Kuipers, 2015). Rese- arch on the cultural repertoire of families of low social status in Canada in terms of food finds that their aesthetic preferences operate according to the four cultural re- pertoires and are distinctly different from those of omnivorous cultures of high so- cial class (Baumann & Szabo, 2017). Re- search into the cultural consumption and tastes that characterize the social position of Britain’s elite over a 120-year historical span finds that there has been a shift into three historical phases. The shift is the elite distinction, from aristocratic fashion, high fashion, and contemporary fashion that openly practices everyday culture while Harmonia: Journal of Arts Research and Education 21 (2) (2021): 266-277268 continuing to maintain flavor (Friedman & Reeves, 2020). The use of Bourdieu’s theory of taste, which uses taste analysis as a medium of social difference, studies taste expression and shifts towards the production of tastes. This taste production uses social media platforms, showing that subjects, objects, and media produce each other as a taste triangle (Paßmann & Schu- bert, 2020). Research on aesthetic taste as a res- ponse to Bourdieu generally examines the expression of tastes, such as the relation of taste to cultural capital, the expression of the tastes of certain elite groups, the aest- hetic taste of beauty and handsomeness, the food taste of low social status. Rese- arch on aesthetic taste generally examines the expression of taste and very rarely ta- kes the point of view of the study of the production of aesthetic taste. In addition, research on aesthetic taste still takes cul- tural settings in Europe, America, and Australia. There has been no research on the production of aesthetic tastes from cultural settings in Asia, specifically in In- donesia. This study examines the produc- tion of aesthetic taste by Indonesian glass painting artists using a theoretical study in the field of Bourdieu cultural production, thus producing novelty on the repertoire of differences in aesthetic taste. This study also finds a model of creative discovery in the production of flavors. by a glass pain- ting artist. The cultural production of In- donesian glass painting is different from the stained glass in Roman architecture (M. Corrêa Pinto et al., 2018). This type of art also developed in Senegal as Suwers (Pierce, 2005). Glass painting entered In- donesia from Europe via China at the end of the 19th century (Fischer, 1994; Samuel, 2005; Waluyo, 2006). At first, this art, with its glass which was still a luxury item, was closely related to the royal class of the pa- lace (Cohen et al., 2000). Indonesian glass painting developed in Cirebon, Jogjakar- ta, Surakarta, Muntilan, Demak, Kudus, Nagasepaha-Buleleng-Bali, and several other areas with different characteristics of aesthetic tastes, strongly influenced by the cultural system (Samuel, 2005, 2010, 2013; Waluyo, 2006; Wisetrotomo, 2012). The cultural production of Indonesi- an glass painting has various characteris- tics. This study aims to examine the crea- tive process of Indonesian glass painting artists in producing aesthetic tastes and their relationship to symbolic power in the field of cultural production. The findings of this study are the diversity of the reper- toire of aesthetic tastes in Indonesian glass painting and the discovery of the produc- tion strategy of aesthetic taste concerning symbolic power. The scientific contributi- on of this research is the discovery of an artistic creativity education model that is sourced from local wisdom to strengthen Art Education in informal educational in- stitutions. METHOD This study used a qualitative appro- ach with interpretive phenomenology-ori- ented research that seeks to find psycholo- gical meanings contained in a phenomenon (Smith, 2014). The data sources focused on the dynamics of glass painting that develo- ped in Cirebon, namely six glass painting artists with categories: (1) glass painting artists mastering symbolic power in the field of cultural production; (2) glass pain- ting artists who still exist by having found an aesthetic distinction, and (3) a young glass painting artists who is struggling to find an aesthetic distinction and is in sym- bolic power. The data were collected using in-depth interviews, individual life’s his- tory, and visual documentation of glass painting. The data validity was carried out by testing the data credibility test through extended observations, discussions with colleagues, and triangulation (Creswell, 2013; Sugiyono, 2019). Data analysis was carried out using Interpretative Phenomenological Ana- lysis (IPA) with the following stages: 1) reading and re-reading; 2) initial notes; 3) developing emergent themes; 4) searching for connection across emergent themes; 5) moving the next case; and 6) looking for Casta, et al., Production of Aesthetic Tastes and Creativity Education of Indonesian Glass 269 patterns across the case (Hajaroh, 2010; Kahija, 2017). Data analysis also combines Interpretative Phenomenological Analy- sis (IPA) with theoretical analysis of the combination of the organic unity of visual artworks according to Ocvirk et al. (2001) which includes the following aspects: 1) subject; 2) content, and 3) form (Ocvirk, 2001; Rohidi, 2011). These three aspects are used to explore and identify the embodi- ment of each research participant’s aesthe- tic distinction of the visual structure of the glass painting. RESULTS AND DISCUSSION The production of aesthetic taste in the Cirebon-Indonesian painting takes place dynamically and is influenced by the constellation of cultural capital guided by the habitus of the artists. The field of glass painting cultural production then becomes a field for the struggle for cultural capital and the struggle to gain legitimacy as sym- bolic capital. Therefore, various aesthetic taste repertoires emerge as a result of the choice of strategies for finding aesthetic tastes made by glass painting artists. A repertoire of Aesthetic Tastes in Indo- nesian Glass Painting The results show that each Cirebon- Indonesian traditional glass painting ar- tists produce their aesthetic tastes. There are several repertoires of aesthetic tastes for Cirebon-Indonesian glass painting, in- cluding the aesthetic taste of the palace, the aesthetic taste of strengthening cultu- ral identity, the aesthetic taste of traditio- nal renewal, the aesthetic taste of traditio- nal revitalization, and the aesthetic taste of marginal class. The repertoire of the aesthetic taste of the palace (Cirebon-Indonesian) is unique because the actors are Syathariyah tariqa practitioners from the royal family, inclu- ding Elang Aruna, Elang Medina, and Ra- den Saleh. The theme of the glass painting is a calligraphy pictograph. The subject matter of glass painting is taken from the teachings and symbols of Javanese Islamic mysticism from Syathariyah tariqas, such as Serabad Rikhul Ahmar, Banteng Windu, Insan Kamil, Sayidina Ali, Macan Ali, and puppet figures. The repertoire of the aesthetic taste of the palace is characterized by the visu- alization of decorative, symbolic, order- ly objects, always applying ornaments of mega-mendung and wadasan, and the balan- ce of intra-aesthetics and extra-aesthetics. The aesthetic taste of the palace confirms the existence of traditional functional art for aesthetic satisfaction, da’wah, and sol- ving social problems (Irianto et al., 2018) Figure 1. “Serabad Rikhul Ahmar” glass paint- ing, offering the Taste of the Palace (Photo: Casta, 2018) The repertoire of aesthetic tastes in Indonesian glass painting that develops outside the palace is for strengthening cul- tural identity. The artists are the puppe- teers, shadow puppet engravers, or editors who also act as glass painting artists. The most prominent glass painting artist is Ras- tika, with the following principles: using a typical Cirebon shadow puppet object, de- corative, symbolic, not presenting perspec- tive, plain/flat background coloring, using ornaments of wadasan, and mega mendung with traditional Cirebon coloring. Sources of creative ideas generally come from the stories of Ramayana, Mahabharata, and the Carangan/Anggitan plays which are pre- sented in the form of Wayang Ijen and Wa- yang Jejer. This phenomenon strengthens the thesis that the Ramayana story became an important source in early civilization in Java (Bramantyo & Hung, 2017). This choice of aesthetic taste was guided by the cultural policy of the New Order Govern- Harmonia: Journal of Arts Research and Education 21 (2) (2021): 266-277270 ment in the 1970s, which proclaimed the development of national culture with the thesis that national culture is the pinnacle of every regional culture. The aesthetic tas- te of this group supports the assumption that art as a cultural heritage forms cultu- ral identity among the onslaught of global culture (Triyanto et al., 2019). Figure 2. “Karna Tanding” glass painting, (100 X 150 Cm), by Rastika, 1985, offering the taste of strengthening cultural identity (source: photo by Kusdono) In the late 1980s, the Indonesian glass painting public was surprised by the emer- gence of a new aesthetic repertoire that of- fered several innovations and creativity, in terms of technique, visual language, and expressive style, promoted by Toto Sunu, a glass painting artist who was previously a canvas painter. The choice of finding Toto Sunu’s aesthetic taste is in line with the idea that creativity and innovation of traditio- nal arts are necessary for the preservation of traditional art (Ridwan et al., 2020). This glass painting artist’s creativity questions the aesthetic taste of Rastika’s choice by offering a new aesthetic taste rule marked by innovations in techniques, media, the- mes, sizes, and even prices, as well as other forms of ‘resistance.’ Toto Sunu reduced the traditional canons from the shadow puppet objects, the color scheme, the orna- ment styles of mega mendung and Wadasan which have become icons of Cirebon cultu- re, and then offered the airbrush technique using mix-media so that the background of the painting is no longer flat, but textured and expressive, in addition, he also pre- sented a plastic impression of the subject matter of his paintings, something that is not found in the aesthetic taste of Rastika’s tradition. In terms of the puppet scenes or lines he paints, Toto Sunu presents a very dynamic scene, even surpassing the usual scenes in the sense of strengthening cultu- ral identity. Figure 3. “Babad Alas Amer” glass painting, by Toto Sunu, offering the taste of traditional renewal (Photo: Toto Sunu, 2009) The aesthetic taste of tradition re- newal offered by Toto Sunu was rejected by the glass painting artist community of Sanggar Noerdjati under the leadership of Rafan Hasyim who advocated the revi- talization of tradition. This new aesthetic taste is characterized by re-examining the superiority of traditions that reject airbrus- hes, mix-media, graffiti, and ornaments of mega mendung and wadasan that are not following the standard. Therefore, the rules of aesthetic taste are characterized using shadow puppet objects that are truly typical of Cirebon, ornaments of mega men- dung and wadasan according to the stan- dard, flat coloring (not using an airbrush), decorative, not presenting optical illusions and displaying visualizations that are af- raid of emptiness (horror paque). The repertoire of tastes that is also found in Cirebon’s treasury of glass pain- ting is the aesthetic taste of the marginal class offered by fringe glass painting artists in roadside stalls. This group offers an ae- sthetic taste with the painting object taken from Cirebon cultural treasures (shadow puppets and palace symbols), but they are done simply at a low price, and there are efforts to follow the growing trend. The ar- tist with this aesthetic repertoire is Ki Da- Casta, et al., Production of Aesthetic Tastes and Creativity Education of Indonesian Glass 271 lang Pata. Figure 4. “Hanoman Obong” glass painting, 100Cm X130Cm, by Raffan Hasyim, offer- ing the taste of cultural revitalization (Photo: Opan, 2010) Figure 5. “Semar” glass painting, 40 Cm X 50 Cm, by Ki Dalang Pata, offering the taste of marginal class (Photo: Casta, 2020) The findings of the five repertoires of aesthetic tastes in figure 5 show that the aesthetic taste produced by the Cirebon- Indonesian glass painting artists is largely determined by the cultural capital of the painter, guided by his habitus. This fin- ding corroborates Pierre Bourdieu’s thesis that tastes are determined by cultural ca- pital and aesthetic dispositions acquired typically by transmission in family and education (Bourdieu, 1984a; Sato et al., 2016) which contribute greatly to success (Börjesson et al., 2016). The results of the research also reinforce that cultural capi- tal contributes significantly to success as a form of return on cultural capital (Ander- sen & Jæger, 2015). Therefore, cultural ca- pital can be positioned as a resource that is equivalent to economic resources (Jæger & Møllegaard, 2017). The repertoires of aesthetic tastes of Cirebon-Indonesian glass painting artists which were built from the construction of cultural capital and controlled by their habitus, have made them successful glass painting artists both economically and legi- timately. Aesthetic tastes built from certain cultural capital can be accepted by people who enjoy aesthetic goods with identical cultural capital, cultural and economic ca- pital prevailing in the class fraction (Bris- son & Bianchi, 2017). This confirms that ca- pital exchange occurs. The most powerful exchange of capital is when the exchange of cultural capital becomes symbolic ca- pital, including legitimacy, which takes a long time and great energy for publicity and prestige (Fauzi, 2016; Fuchs, 2003). The aesthetic taste offered by the artist Rastika received appreciation from the upper, middle, and lower classes of society. This shows that there is a trend of omnivorous tastes that combine taste classes due to openness and high tolerance (van den Haak & Wilterdink, 2019). This finding is in line with the results of Carol Sherrard’s research which found that most respondents denied the existence of a re- lationship between social class and aesthe- tic sense. Only the repertoire of aesthetic tastes of marginal classes pioneered by Ki Dalang Pata supports Bourdieu’s theory which states that taste can explain the class structure in society by classifying tastes of the upper class, middle class, and popular lower class(Bourdieu, 1984a, 1993; Kane, 2003; Savaş, 2014). Thus, the findings of this study are that the production of ae- sthetic taste in Indonesian glass painting cannot fully be used to explain the class structure in society. The Strategy of Aesthetic Taste Discovery The results show that each glass painting artist strives for aesthetic taste with different strategies through a symbo- lic power mechanism known as doxa, a set of fundamental beliefs that resemble dog- ma (Buchanan et al., 1993). It has directed Harmonia: Journal of Arts Research and Education 21 (2) (2021): 266-277272 a person’s perspective in perceiving the world or the field in which the doxa is loca- ted (Karnanta, 2013). The data in this study show that glass painting artists from the royal family found their aesthetic taste by rejecting the Western aesthetic principles offered by Chinese artisans. The aesthetic taste that carries the issue of the peaks of regional culture as national culture is the “ideology of aesthetic taste” of the New Order government. It is a doxa that Rastika unanimously accepted to gain control of various capitals and finally gain legitimacy as a maestro of glass painting, a symbolic capital. A different strategy was adopted by the artist Toto Sunu, who offered a new taste that was very different from the Ras- tika style supported by Kusdono. He does not want to be in the shadow of Rastika’s symbolic power by choosing a path to op- pose and correct Rastika’s aesthetic taste that radiates symbolic power. On the other hand, the artist Raffan Hasyim corrected Toto Sunu’s aesthetic taste and accepted the doxa spread by Rastika and the New Order government. The results of the study indicate that aesthetic taste can be realized through the artists’ perception of doxa. Acceptance of doxa produced the Orthodox strategy and rejection of doxa produced the Heterodox strategy (Bourdieu, 1993; Buchanan et al., 1993; Karnanta, 2013). The production of heterodox will perceive and correct doxa as another form of thought or discourse (Swartz, 1997). Rastika used the orthodox (defensive) strategy as a conservative stra- tegy to support the aesthetic doxa of the New Order government to gain legitima- cy. The acceptance of the Rastika’s aesthe- tic taste doxa by Kusdono (Rastika’s son) puts him in an unconscious communica- tion (Uhlmann et al., 2002) or Rastika’s symbolic power through the communica- tion of imposing symbols and meanings as legitimate (Bourdieu, 1993; Karnanta, 2013) with gentle, unconscious, and ag- reed-upon oppression by the oppressed party (Bourdieu, 1977; Jenkins et al., 1993). Toto Sunu chose a strategy to find different aesthetic tastes. This artist chose to use the orthodox (subversive) strategy which re-perceived Rastika’s doxa, to be able to produce specific legitimacy from fellow glass painting artists, legitimacy from gallery managers, and popular legi- timacy (Bourdieu, Pierre; Passeron, 1990; Bourdieu, 1993; Jenkins et al., 1993). On the other hand, the discovery of creativity with different aesthetic tastes was carried out by Raffan Hasyim with a synthesis stra- tegy of orthodox and heterodox carried out by involution (involute). Raffan Hasyim’s involute approach does produce quality works, has its aesthetic distinction, but in terms of market success, it has not mat- ched Rastika or Toto Sunu. This is in line with Bourdieu’s principle of heteronomo- us hierarchy, which measures the legitima- cy success from the sales figure index and the principle of autonomous hierarchy, which is measured by specific legitimacy as an art item outside of economic princip- les (Bourdieu, 1993; Karnanta, 2013). The most interesting part is the strategy used by Ki Dalang Pata. He made a strategy of Pseudo-Heterodox (Pseudo-Subversive) that seemed to reject doxas to gain and cultivate economic capital. This emphasi- zes that capital is the logic that regulates the struggle of actors in power relations in the field (Rawolle & Lingard, 2008). The discussion written in the previous section shows that the strategy of finding aesthe- tic taste in the Cirebon-Indonesian glass painting includes defensive, subversive, defensive-subversive synthesis, and pseu- do-subversive strategies that are used to cultivate capital and gain legitimacy. The choice of strategy for finding ae- sthetic tastes as described in the previous paragraphs is a form of creativity that can be constructed into a model of creativity education in Art Education in schools. Cre- ativity in creating aesthetic tastes can be started when an artist or prospective artist is faced with a doxa that will be perceived to produce a choice of strategy, either ort- hodox or heterodox. The intervention of doxa which is legally accepted as a form of sym- bolic violence can be perceived to produce an orthodox strategy that will produce cre- Casta, et al., Production of Aesthetic Tastes and Creativity Education of Indonesian Glass 273 ativity in aesthetic tastes that support doxa. Thus, every form of creativity shows the motivation behind the creative products produced (Puspita et al., 2020), by accep- ting or re-perceiving doxa. Schematically, the two strategies for finding creativity in the production of aesthetic taste in the world of Indonesian glass painting can be seen in Figure 6 below. Figure 6. Schematic of Creativity Education Model the Indonesian Glass Painting Artists The first creativity education model that can be accommodated from the abo- ve scheme is the orthodox strategy model (defensive strategy), namely the discovery of creativity built with the spirit of cultural awareness that comes from ownership and cultivation of capital culture to be used as a field of exploration in the work, to pro- duce forms of creativity that are in line with doxa. This model requires prospecti- ve artists/students to strengthen cultural capital, starting with the mimesis stage by absorbing symbolic dominance and then making discoveries through an involute approach, i.e., doing inward complications to find a personal style. The second creativity education mo- del is the discovery of creativity that uses the heterodox strategy (subversive strategy) that re-perceives and even rejects the taste of doxa. Prospective artists/students must explore the discovery of different aesthe- tic tastes from doxa, which already have symbolic power. Technical innovations, themes, visual language are the paths that must be taken with this strategy to produ- ce creativity in aesthetic tastes. The third creativity education model is a model that combines the orthodox with heterodox stra- tegies that find creativity by reinterpre- ting aesthetic tastes of doxas by accepting innovation through an involute approach, namely doing inward complications. The strategy of finding aesthetic taste by the Cirebon-Indonesian glass painting artist is a form of finding creative work that can be implemented in Art Education in formal schools. CONCLUSION The production of aesthetic taste is a representation of habitus control over the cultural capital owned by glass painting artists to cultivate various capitals, both economic capital, social capital, and espe- cially symbolic capital. There are several repertoires of aesthetic tastes in the reper- toire of Indonesian glass painting, name- ly the aesthetic tastes of the palace, the aesthetic tastes of strengthening cultural identity, the aesthetic tastes of traditional renewal, the aesthetic tastes of cultural re- vitalization, and the aesthetic tastes of the marginal class. The production of aesthetic taste in Indonesian glass painting cannot fully be used to explain the class structure in society. The discovery of aesthetic tas- te is related to the mechanism of symbo- lic power through relations doxa, orthodox, and heterodox. There are several strategies for finding aesthetic tastes in the Cirebon- Indonesian architectural treasures, inclu- ding defensive, subversive, defensive, and subversive synthesis, and pseudo subver- sive strategies. Every strategy for finding aesthetic taste is a model for finding crea- tive works that can be applied as a model for creativity education in Art Education in informal educational institutions. The diversity of aesthetic repertoire shows that traditional art still provides creative space for each artist, largely determined by the mastery of cultural capital and the choice of strategy in dealing with symbolic do- Harmonia: Journal of Arts Research and Education 21 (2) (2021): 266-277274 mination. The richer the cultural capital owned, the stronger the distinction of aest- hetic taste as a result of creativity. ACKNOWLEDGMENTS The author would like to thank Jero- me Samuel from INALCO, Center Asie du Sud-Est, Paris, for data related to the re- sults of research on Indonesian glass pain- ting, Prof. Dr. Matthew Isaac Cohen from Royal Holloway, University of London, and now at the University of Connecticut, to share the results of his research in Ci- rebon. 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