337 Meaning Differences in Indigenous Kriya and Crafts in Indonesia and Their Leverage on the Craft of Science Globally Husen Hendriyana Institut Seni Budaya Indonesia Bandung, Indonesia Submitted: 2022-05-19. Revised: 2022-11-21. Accepted: 2022-12-07 Abstract The meaning of a term is supported by the cultural values of the supporting community, spe- cifically the designer community, who recognize and have faith in the contained values. In a broader sense, the terms kriya and kerajinan are components of the craft-science field. Since 1968, the meaning of the terms kriya, kerajinan, and Craft has been a source of contention among stake- holder community groups in Indonesia. This article aims to convey a scientific understanding of adaptive crafts based on the global development of Indonesian indigenous crafts. This study employed a descriptive-analytical method and an ethnographic communication approach, focus- ing on sociolinguist studies that include diachronic and synchronic studies. Based on current and relevant theories, the research findings demonstrated the development of Indonesian indigenous crafts in a global context. In conclusion, the Hasta Cipta Preneurship (HCP) theoretical approach was used to identify the basic components: creative ideas, people, products, markets, venues, reproduc- tion, humanists, and support. This HCP creative process extends the definition of new kriya as one of the academic competencies of two-dimensional and/or three-dimensional visual works that advance the conceptual intelligence of Laku Hidup Lestari (LHL-- Sustainable Lifestyles) and is oriented to the aspects of utility, significance, and aesthetics, with the goals and targets for achieve- ment to the aspect of user needs, solutions, and innovation. Keywords: Kriya; Craft; Creative-preneurship; Craft-science; Globalization How to Cite: Hendriyana, H. (2022). Meaning Differences in Indigenous Kriya and Crafts in Indonesia and Their Leverage on the Craft of Science Globally. Harmonia: Journal of Arts Research and Education, 22(2), 337-354 Harmonia: Journal of Arts Research and Education 22 (2) (2022), 337-354 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v22i2.36567 ronment of Indonesian universities, and the term kriya has many meanings to this day. The central government, local go- vernments, and research centers under the Ministry of Industry and Trade all use the term kerajinan. Some elementary, ju- nior high, and high school teachers and students define kerajinan as the creation of handcrafted works such as brooms, dus- ters, doormats, flower vases, clothes han- gers, and key chains from materials found in the surrounding environment (Iwanda, and Azis, 2022). The term kerajinan is used by government institutions, specifically INTRODUCTION The academic world of higher edu- cation is a critical component for agents of change in a nation’s generation. Its role and task are to study all of humanity’s constantly changing phenomena, and new values that will have meaning for human life in the future become the issues identi- fied. Because science plays a role on cam- pus, it has objective and universal values (Buchori: 2010). Since 1968, kriya has been declared a field of expertise in the academic envi- Corresponding author: E-mail: husenkriyadesain@gmail.com p-ISSN 2541-1683|e-ISSN 2541-2426 Harmonia: Journal of Arts Research and Education 22 (2) (2022): 337-354338 Dekranas and Dekranasda, as well as re- search centers under the auspices of the Ministry of Industry and Trade, Balai Besar Batik dan Kerajinan (Main Gallery of Batik and Crafts). In the view of Indonesians, kriya pro- ducts are well-known for their traditional, handcrafted manufacturing processes that necessitate a lengthy processing time (Soe- darso Sp, 2006). Craft science should not be considered obsolete in the age of industry 4.0 and society 5.0 because it is necessary to think and act adaptively to keep up with the times of digital information technolo- gy. The definition and practice of kriya must change with the times so that it is possible to have a comprehensive, adap- tive, and inclusive redefinition of kriya, which can have an impact on changing the mindset of craft actors according to the ti- mes. Craft Attitude (Sanscartier, 2020) and Designing Craft Research (Niedderer & Townsend, 2014) demand unplanned creativity, innovation, and adaptation in the context of mixed Research related to science, craft, and art (aesthetic values). This means that the meaning of Craft in this context is not as an object but as an ac- tivity, namely the dexterity of attitude and creativity in acting, including maps and re- search method actions (Kokko et al., 2020) Therefore, the focus of the object of this study is the words and terms “kriya, kerajinan, and craft,” as described above. On the other hand, this Research aims to investigate the production of meaning from kriya stakeholder groups such as the Government group, the Art College Group, and the general public. (actors/ practitioners and kriya businessmen) Concerning that, several previo- us research findings (Pöllänen, 2013) define Craft as an activity related to an individual’s wealth, personal growth, de- velopment of physical and cognitive skills, control of one’s body, thoughts, and fee- lings, as well as cultural and social aware- ness. Furthermore, craft activities are also thought to mitigate pain and stress while also calming the mind. Similarly, in Craft Bir research (Gómez-Corona et al., 2016), the term Craft has nearly the same mea- ning, namely creativity and innovation with limited amounts of traditional taste that is not performed in an industrial way. Craft has a meaning related to real activities and actions through the produc- tion of a prototype/product, in addition to the work of one’s skills (Bell & Vachhani, 2020). Craft as an object of human work, in this case, refers to skills, abilities, and competence in processing digital docu- mentation content representation of both tangible and intangible dimensions of he- ritage crafts, with a view to craft preserva- tion (Zabulis et al., 2020). Craft can also refer to subject matter/ case studies (Pathak & Mukherjee, 2020) and theory (Zhan & Walker, 2019), (Väänä- nen & Pöllänen, 2020). Similarly, the term Craft in sustainable Craft (Väänänen & Pöllänen, 2020) has the same meaning and role as the term sustainable design (Zhan & Walker, 2019). (Di Salvo et al., 2017). In the context of the development of craft science, the diversity of understan- ding the term kriya will, of course, add to the wealth of knowledge. However, if it is not explained objectively, systematically, and scientifically, it will be confusing for prospective craft students and the current craft students themselves. As a result, it is critical that this research present objective and scientific definitions, indicators, and reasons for acceptance due to science en- richment. Most prospective craft students at a university believe that competence and craft work is the levels of hardworking artisans/laborers involved in sculpting, printing, and realizing functional pro- ducts, souvenirs, home décor, furniture, and the like. This significantly impacts prospective new students’ interest in the craft study program. This article aims to convey a com- prehensive, inclusive, and adaptive under- standing of kriya in accordance with the development of craft science in the current era, namely to give birth to ideas that can Husen Hendriyana, Meaning Differences in Indigenous Kriya and Crafts in Indonesia 339 provide the fundamentals for enriching the definition and understanding of kriya, so that craft science in Indonesian art uni- versities can develop and adapt to the ti- mes. METHOD This research field focuses on Art Science, specifically Fine Arts, with com- petency in Craft Arts. This article is a cri- tical examination of past and present kriya concepts. This study employs a descripti- ve-analytical method in conjunction with an ethnographic communication approach (Kuswarno, 2011), with a focus on sociolin- guist studies conducted within the context of diachronic-synchronic studies (Walker, 1989). In this ethnography, data were gat- hered through observation and interviews. Data collection and analysis include both diachronic and synchronic data so that we can achieve a meeting point for the con- cept of understanding, which is used to redefine the correct understanding of kriya based on the circumstances and times. The following are the procedures and stages of this Research: (1) Identifying informants; (2) conducting in-depth interviews; (3) taking ethnographic notes; (4) addressing descriptive questions; (5) conducting in- terview analysis; (6) conducting domain analysis; (7) providing structural questi- ons; (8) conducting taxonomic analysis; (9) asking contrasting questions; (10) conduc- ting component analysis; (11) developing contextual themes; and (12) writing ethno- graphic results (Koetjacaraningrat, 2009). RESULTS AND DISCUSSION The rich and diverse potential of indi- genous arts and culture in Indonesia, from Sabang to Merauke, including handicrafts and home industries, can provide a new source of income for rural residents (Hu- sen; Hendriyana et al., 2021). Kriya is a professional field that cre- ates products to meet the needs of specific people’s lives, such as ritual, socio-cultu- ral, aesthetic, and vernacular functional needs (Buchori, 2010). Kriya is inspired by Sanskrit, and includes elements of unifying characters and skills such as crafty, aesthe- tically refined, complicated, diligent, pa- tient, painstaking, and detailed. This con- cept of kriya is drawn from the background of community life activities in the palace, and the palace becomes a foothold for an- cient and eastern cultures (Soedarso, 2006; Gustami, 2007). (Koentjaraningrat, 1994). Kriya has strong philosophical values ingrained in the palace culture communi- ty (tiyang agung/priyayi culture). However, Kriya products are not a goal in the cultural perspective of this palace, but rather a life philosophy of sedermo ngelakoni kanti keba- jikan (doing something good in a genero- us manner) that is manifested in everyday life through tenacity, perseverance, patien- ce, and perseverance in carrying out their life activities. All of these are stated by the palace’s people as proof of responsibility for life and its best manifestation in order for the blessings to benefit others (Arabi, 2013); (Dwiyanto, 2009). The Yogyakarta Mataram Palace be- came the center of Islamic civilization on the island of Java during the reign of King Sultan Agung Hanyokrokusumo (1593- 1645 AD). This period encompassed activi- ties such as those relating to cultural arts, carving traditional palace architecture, car- ving king chariot, a culture of aesthetical- ly-refined art, pattern making (nyungging), weaving, and batik arts. These activities were later known as Seni Kriya (Craft Arts) (De Graaf, 1985 and 1986); (Hoop, 1949). (Koentjaraningrat, 1994:112). Following the culture of the palace, the term kriya is used among academics who have competence in the field of the art science. Later, the Indonesian Fine Arts College (STSRI) Campus “ASRI” was the first to open a Craft Arts department in 1968. Since 1968, the term kriya has been used to describe a skill as well as a speci- fic occupation in the field of designing and manufacturing products that are useful for the needs of people’s lives in general, in- cluding primary, secondary, and tertiary Harmonia: Journal of Arts Research and Education 22 (2) (2022): 337-354340 needs, as well as the needs of religious ri- tual instruments (Gustami, 2007). The term kerajinan was first used of- ficially in 1971 at the Yogyakarta Batik and Handicraft Research Institute (Juwarso, 2022). The term kerajinan was first used in Jakarta in 1980, with the establishment of the National Crafts Council (DEKRNAS). In 1990, the Indonesian Craft Consortium met at the Sasana Aji Yasa STSRI ‘ASRI’ building in Gampingan Yogyakarta to create a Kriya map in the fields of Art and Design, with the goal of strengthening the meaning of Kriya. Craft Arts, as a sub- branch of Fine Arts, is concerned with the activities of the palace’s cultural heritage, specifically traditional culture (indigeno- us art-culture), which is thought to have reached a high level. According to this de- finition, the word kriya is distinguished by its association with Craft or kerajinan, as well as carpentry (see Figure 2) According to the above description, the object of communication connection about the definition of kriya, kerajinan, and Craft, especially in Indonesia, which is unique can be illustrated in (Figure 1). Figure 1. Mapping of Sociolinguistic Ethnog- raphy for Craft & Kriya In the context of communication ethnography, three actors have a close re- lationship with indigenous definitions of Indonesian “kriya” and “kerajinan,” as well as Craft in general. In the meantime, the Art College group, the central and local government (Gaverment), and the Palace Culture are all concerned with the policy space for cultural activities. Keraton cultu- re is a concept of great culture, priyayi cul- ture, the other side of alit culture, peasant, worker, and artisan culture (folk culture) are some of the cultural activities (Koentja- raningrat, 1994; Ricjlefs, 2012). Figure 2. Theoretical Framework- Contextual Theme According to the findings of a diachronic-synchronic study of the three terms kriya, kerajinan, and Craft, one of the cultural values that underpin the birth of kriya in academic institutions is palace cul- ture. This is based on the fact that kriya are the results of peak personal and collective activities, which are commonly referred to as the noble culture (Gustami: 2007). (Soe- darso: 2006). Meanwhile, the larger com- munity is unaware of the potential of alit culture (tiyang alit culture/folk culture) that has developed in areas outside the pa- lace (Koetjaraningrat: 1994). The diachronic-synchronic data re- sume for the three terms is shown in Table 1. The differences in perspectives and mea- nings, as presented in (Table 1) highlight that the Indonesian Kriya development group is full of myths and beliefs about indigenous cultural values that bind them. Overall, the three points of view can be di- vided into three categories: The historical perspective is particu- larly relevant to artistic values and cultural Husen Hendriyana, Meaning Differences in Indigenous Kriya and Crafts in Indonesia 341 Table 1. Meaning Interpretation of Kriya, Kerajinan, and Craft from three stakeholders Stakeholder Kriya Kerajinan Craft Academic Group As a product of palace culture, kriya is a high culture because it is a tra- ditional work (indigenous culture) that has reached its peak (adiluhung). Kerajinan is one of the products of folk culture; Kitsch/ Kitschiness. As a global phenomenon, craft products can carry out transformational ac- tions and interdisciplinary collaborations in art, cul- ture, technology, society, politics, and economics at personal and collective levels. Govern- ment Crafts are one of the ad- vantages of products with the identity of National Culture, Indigenous Culture. Handicraft is a repre- sentation of the people’s culture and the poten- tial of the archipelago: a reflection of the socio- cultural conditions of the local community through work activities as the main/additional source of income to meet daily needs. Kriya is a nation’s poten- tial that has the oppor- tunity to enter the global market, by conducting training, coaching, and mentoring entrepreneurs. Namely empowering the potential of creative culture personally and communally. The government specifies the nomenclature of Kriya sub- sectors based on materials in order to meet the needs of academic institution organizing. The government speci- fies the institution of Dekranas, Dekranasda, Balai Besar Kerajinan dan Batik. The government specifies the institution of Bekraf, the National event of INACRAFT by presenting products under the super- vision of Dekranasda Public in General Kriya is a ritual, cultural and traditional tool and means of collective work practices in cultural arts, e.g., wooden puppet, ge- dog weaving, batik, sonket, and tosan aji. Kerajinan is a source of basic/additional income to meet their daily needs, e.g., handicrafts made from rattan, wood, woven bamboo, pandanus, and hatta; earthenware ceramics; metal/blacksmithing Sees Craft is a work activity for foreigners from various developed countries (knowledge and technology application equipment). expressions, resulting in a dichotomous ta- xonomy of high culture (expression of nob- le culture, tyang agung culture) and folk cul- ture (expression of tiyang alit culture). High culture uses the term kriya, whereas folk culture traditionalizes the term kerajinan. Creativity Perspective, cultural pro- duct types, and their functions. It relates with the extent of mastery of the arts and techniques. This group presents a dichoto- mous taxonomy between indigenous cultu- re and local genius that is full of ideals and is usually linked to the provisions of tradi- tional hereditary patterns. The indigenous culture uses the term kriya (high value), while the local genius group reinforces the term kerajinan. The value of kerajinan is regarded as low-value work, product, or kitsch. Global perspective. This group offers inclusive and adaptable understandings of the global phenomena they face, such as creative-preneurs, craft-science, and culture industries. According to the findings of field data at several art colleges and/or other universities in Indonesia that have art study programs, the taxonomy of Kriya definitions in universities in Indonesia is divided into three groups. The first is the Harmonia: Journal of Arts Research and Education 22 (2) (2022): 337-354342 definition of Kriya that is based on the ma- terials used, such as wooden kriya, leather kriya, batik and weaving kriya, textile and fashion kriya, metal kriya, ceramics and je- welry kriya, bamboo and rattan kriya, and tosanaji kriya (Andono and Rispul, 2015). Second, it is identified based on its inten- ded use: Crafts based on internal emotion to fulfill artistic and aesthetic needs; kriya based on external emotional processing, or commonly known as applied kriya, to ful- fill pragmatic functions as supporting life activities in society. Third, identified based on the scope of the work and the creator’s position, namely, kriya works with a rela- tionship to personal branding, corporate branding, and community needs (Gor- batov et al., 2018); (Gorbatov et al., 2019); (Wicaksono, 2017). According to Imam Buchori (2010: 53), kriya in Indonesia are classified into four types. The first category is traditional kriya with an ethnic cultural context; the second is religious beliefs and rituals; the third is folk kriya; and the fourth is kriya made by artists and designers. Lutfiani (1918) quotes several state- ments about the transformation of kriya ac- cording to the times. (1) According to Fang Wu Tang, kriya is not static but can cons- tantly evolve, transform, and adapt to mo- dern life. (2) Genuine craft development directly relates to the community (Tung, 2012:2). (3) Crafts is a dynamic process that involves processing various materi- als and their properties (Gray and Burnett, 2009:51). (4) Kriya (Craft) is defined not only as a method of producing something by hand but also as a method of thinking through hands by manipulating materials and tools (Nimkulrat, 2012). (5) Crafts rich in creativity and self-expression can create a personal brand and a cultural identity in the global market (Tung, 2012). The architectural work of the Teluk Nibung Harbor building is an example of kriya transformation using the five prin- ciples presented by Lutfiani (1918: 130). Sculpture (kriya ukir), traditionally used to reflect the area’s cultural identity in tradi- tional architecture, has now evolved into a modern-style regional identity (Panjaitan, SW. e.al, 2021). In the era of Industry 4.0 and Society 5.0, there should be no dichotomy between noble kriya and kitsch in excess since both have their own meanings and logic that can be scientifically justified. Thus, the words Craft and kriya in a global context, particularly when related to international publications, have the same measurable objectivity with clear reasoning based on the text and context. In other words, the high or low value of a work of kriya,’ kera- jinan,’ and ‘craft’ is determined by the con- text of the benefits of the work in question in various community circles and perspec- tives. Hata Cipta Preneurship (HCP) is one of the theoretical formulations of an adap- tive and relevant approach derived from the study of developing the definition and meaning of Kriya. Through the 2019-2021 research process, HCP has been able to accommodate activities that lead to chan- ges in conceptual, critical, systematic, and adaptive assumptions and attitudes, as well as providing real skills to the pandan craft community in Pangandaran Regency, Saguling Ciamis Regency, Rajapolah Ta- sikmalaya Regency, and Grenggeng Villa- ge, Karanganyar, Kebumen Regency (Hen- driyana, et al., 2021). In today’s craft development era, the kriya academic community of practitioners and craftsmen partners can use their po- tential as change agents who are oriented to become problem solvers, empowered, independent, and competitive. The HCP approach leads to a comprehensive and adaptive thinking concept through seve- ral basic components such as creative ideas, people, product, market, venue, reproduction, humanist, and support (table 3). The goal of this activity is to see how this element of influence can be used to en- rich the meaning of kriya based on its era. Thus, the concept of kriya can keep up with the times; it does not always appear to be stuck on primordial, traditional, and ma- nual concepts. In today’s digital era, the added value of craft products is not only Husen Hendriyana, Meaning Differences in Indigenous Kriya and Crafts in Indonesia 343 focused on retail selling value in the form of goods, but also on creative ideas and concepts, as well as techniques that can in- fluence others to be able to carry out a simi- lar creative process. Crafts Overview: from Local Cultural Spaces to Global Academic Spaces Indonesian heritage crafts have existed since prehistoric times, beginning with a primordial man living in caves (the stone age) and progressing to the bronze age (Miksic et al., 2002) Regarding the archipelago’s cultu- ral history, works of cultural products, commonly known as artifacts, were born the earliest and the oldest in Indonesia (Ardika, 2002). Most cultural product ar- tifacts have functional values, particularly ritual, social, and cultural functions that had a certain level of uniqueness and very high creativity at the time. It is described in detail in a five-volume book called De Inlandsche Kunstnijverheid in Nederlandsch- Indie (1992), which is quoted by Koetjara- ningrat (1994). The book also describes the art of carving, weaving, weaving arts, tex- tile crafts, gold, silver, and brass, as well as how to make Keris. In addition, the desc- ription of traditional painting (nyungging, citraleka) was described by S. Kalf (1924) in a book entitled De Javaansche Shilderkunst, volume IV. As mentioned at the beginning of the discussion sub-chapter, the definition of kriya based on the grouping of raw mate- rials used has limited the scope of student creativity as creative actors. However, in the environment of art college students in Indonesia, the production process of craft works still uses indicators for evaluating craft products based on the materials used. Similarly, the government continues to dic- tate the nomenclature of craft sub-sectors based on the materials used. The definition of Craft based on the materials used is also not without reason; this is especially rele- vant to Indonesia, a tropical country kno- wn for its natural resources such as wood, rattan, natural fiber, natural stone, ceramic soil, and so on. The mapping of Indonesian aca- demic craft branches is based on the raw materials utilized, such as wood crafts, leather crafts, metal crafts, ceramic crafts, batik crafts, and textiles. The definition of kriya based on the type of material used is no longer rele- vant in the context of developing global creativity. The evolution of the urban community’s culture and lifestyle has changed the demand for craft products that are no longer rigid, based on one type of material, but rather a combination of materials used in one product. This has emerged as a demand and requirement for urban communities. Taking this into consi- deration, changes in the order of knowled- ge, theory, and definition of Craft should occur in the academic environment of a college of art. Twenty-five research titles contai- ning the word Craft were discovered as a result of the literature review; (Bell & Vachhani, 2020), (Björklund et al., 2020), (Fayolle & Gailly, 2008), (Gómez-Corona et al., 2016), (Golsteijn et al., 2014a), (Gol- steijn et al., 2014b), (Kokko et al., 2020), (Knott, 2013), (Lahti & Seitamaa-Hakkarai- nen, 2007), (Niedderer & Townsend, 2019), (Niedderer & Townsend, 2014), (Pöllänen, 2013), (Pathak & Mukherjee, 2020), (Sans- cartier, 2020), (Shiner, 2012), (Treadaway, 2009), (Väänänen & Pöllänen, 2020), (Va- lentine, 2011), (Wrzesniewski & Dutton, 2001), (Yair et al., 1999), (Yair, 2011), (Za- bulis et al., 2020), (Zhan & Walker, 2019), (Zhan & Walker, 2019)}. Six meanings were derived from the interpretation and meaning of the word Craft, as shown in Table 2. Craft education in the academic en- vironment of famous universities in Eng- land, specifically at the Royal College of Art, emphasizes the ability to make com- positions on materials rather than hand skills. Thus, drafters/designers and drafters/ art workers are craft occupations in this case (Buchori, 2010). Additionally, design edu- cation in Finland is divided into two types: technology-based and craft-based. The ability to express personal design ideas Harmonia: Journal of Arts Research and Education 22 (2) (2022): 337-354344 is emphasized in the craft-based; this can be referred to as craft-based personal bran- ding (Wicaksono, 2017). On the other hand, while technology-based crafts are based on external problems as problem solvers (Goldschmidt & Smolkov, 2006), this can be said to be in accordance with corporate branding crafts that serve community needs (design-based crafts or production-based crafts). Craftworks are generally classified into four (4) types and characters, as follows: 1) Crafts that are more likely to emphasize creativity and expression; 2) Craftworks that highlight the aesthetic qualities of their visual (artistic) beauty; 3) Craftworks that exhibit technical advantages of work- manship, such as the workers’ complexity and tenacity, require patience, tenacity, ex- pertise, sincerity, and high skills; 4) Craft- works that emphasize the value of pragma- tic functions, work systems, and usability in order to present simplicity. This type of work’s simplicity usually emphasizes the material’s character, which provides artis- tic value and is futuristic and elegant. There are standards that can be used as assessment indicators in the academic environment, particularly in the assess- ment of student work, as shown in the Table 2. Based on the results of the diver- gence-convergence analysis of the dicho- tomous taxonomic problem of the terms’ kriya,’ ‘kerajinan,’ and Craft, it is possible to define Craft in the current era through the perspective of Satpa Cipta Preneurship. Craft in the current era, in other words, is one of the academic competencies of two- dimensional and/or three-dimensional vi- sual works that advance the conceptual in- telligence of ‘Sustainable Lifestyles (LHL). This perspective of Craft is also concerned with utility, significance, and aesthetics, with the goals and achievement objectives con- cerned with user needs, solutions, and inno- vation. In terms of the taxonomic group’s relationship with the materials used, the above-presented definition of Craft based on materials such as wood, leather, batik, pandan, and metal is included in the realm of substance development of creativity in terms of utility, significance, aesthetic, user considerations, solutions, and innovation. This implies that the material type is not the most important global consideration. The Analysis and Interpretation of Craft Meaning According to Government Up to July 2022, Indonesia has 416 regencies and 98 cities, which means that there are 514 government agencies named DEKRANASDA (Dewan Kerajinan Daerah/ Regional Craft Board) throughout Indone- sia that the Regent and Mayor coordinate. Those regencies and cities mentioned the term Kriya/Craft With the term Kerajinan. According to the majority of public and civil servant groups in Indonesia, and based on global discourse, the meaning and definition of kriya is the same as kera- jinan and/or Craft. Thus, the name “Balai Besar Kerajinan and Batik” (1971) first ap- peared under the auspices of the Repub- lic of Indonesia’s Ministry of Industry and Trade. In 1980, the Dekranas (National Crafts Council), Dekranasda (Regional Na- tional Crafts Council), INACRAFT (The Ja- karta International Handicraft Trade Fair), and Bekraf, whose pronunciation is the same as Craft but whose meaning is Cre- ative Economy Agency, were established. The INACRAFT 2022 phenomenon, held on March 23-27, 2022, at the Jakarta Convention Center (mostly attended by participants from Dekranasda), exhibited the uniqueness of their respective regions (indigenous products of regional culture) such as Sasak Lombok songket cloth (Suma- dewa, INY., and Hasbullah, 2022). In other words, the product’s form is closer to the Craft Heritage category, which refers to a better understanding of heritage-based Craft, the traditional regional culture that is thought to have attained a high level of quality (see Figure 2 and Table 2). The Association of Indonesian Han- dicraft Exporters and Manufacturers (ASEPHI) founded INACRAFT in April 1999. This organization was founded on April 5, 1975. ASEPHI, or the Association Husen Hendriyana, Meaning Differences in Indigenous Kriya and Crafts in Indonesia 345 Table 2. Elements Embodying Design-Based Crafts Idea and Concept Concept of Shape Clarity of Concept and value of the message conveyed have a problem-solving background and the purpose of creation as outlined in the work concept creativity in or- ganizing medium and visual media elements has a technical and systematic explanation of the concept through the basic elements of the work’s visualization Quality, prob- lematic, and originality mastery of specific techniques, as well as innovative values and style (unique, reflecting identity characteristics). Have methods, ways, techniques, and vi- sual style characteristics that are novel and unique. Have territorial and regional identity char- acteristics and can accommodate the needs, conditions, or lifestyles of user community groups. Action and At- titude (Play the role of a problem solver/ agent of change) Professional- ism Academic Compe- tence Educational relevance (academic compe- tence) is associated with the form/type of work produced. Role and Position of the Artist/ Researcher Expression (indi- vidual/collective) Both ‘ordered’ works and personal expres- sions contain elements considering specific value contexts. Skill Skilled Crafty The works reflect perseverance, tenacity, and patience. Sensitivities and sensibili- ties as well as collective meaning in a practical, pragmatic and social manner. Collaborative and integrative ability over internal and external elements Paying special attention to aspects outside of its own expressions, such as the value of function effectiveness or efficiency and user convenience, so that the work is appropriate for consumers. Paying special attention to aspects other than personal self-expression, both techni- cally and non-technically. Considering the elements of the work’s em- bodiment in relation to the six elements of value, function, and meaning (utility, signifi- cance, aesthetic, user, solution, and innovation). Form and Shape Form and shape of the works Having the works of visual 2D or 3D Having process outcomes realized as fin- ished works or models/prototypes/mock- ups/prototypes/monumental works that have passed the feasibility test Source: (Husen Hendriyana, 2021) of Indonesian Handicraft Exporters and Producers, is a forum for Indonesian han- dicraft producers and exporters. As the or- ganizer of INACRAFT activities, ASEPHI is motivated by a simple but noble goal: to improve the well-being of craftsmen and entrepreneurs in Indonesia’s handicraft sector. Based on the analysis of these acti- vities, it is obvious that communities have been producing Indonesian Indigenous Craft products since the 1970s. The Analysis and Meaning on the Terms of Kerajinan, (Craft), Perajin (Craftsmen- maker), and Pengrajin (Craftsman- trader) The triangulation analysis of emic and ethic on the data, as shown in Figure 2, yields three terms: Craft - Kriya – Kera- jinan. The following understanding was obtained from interviews with cultural leaders (July 2022) : Kriya represents high culture, the- refore, the activities and works are noble. Harmonia: Journal of Arts Research and Education 22 (2) (2022): 337-354346 Table 3. Group for Meaning Interpretation on Crafts Makna Craft Author, co-author Craft as Theoretical Approach, Case Study, Subject Matter, Subfield of Science, and Knowledge Väänänen, N., & Pöllänen, S. (2020). Treadaway, C. (2009). Shiner, L. (2012). Sanscartier, M. D. (2020). Pathak, S., & Mukherjee, S. (2020). Niedderer, K., & Townsend, K. (2014). Lahti, H., & Seitamaa-Hakkarainen, P. (2007). Knott, S. (2013). Iwanda, TW., dan Azis, ACK., (2022). Gómez-Corona, C., Escalona-Buendía, H. B., García, M., Chollet, S., & Valentin, D. (2016). Gray, C., & Burnett, G. (2009). Golsteijn, C., Van Den Hoven, E., Frohlich, D., & Sellen, A. (2014). Fayolle, A., & Gailly, B. (2008). Zhan, X., & Walker, S. (2019). Yair, K. (2011). Yair, K., Tomes, A., & Press, M. (1999). Valentine, L. (2011). Zhan, X., & Walker, S. (2019). Craft as Method of Technical Skill and Knowledge Kokko, S., Almevik, G., Høgseth, H. C. B., & Seita- maa-Hakkarainen, P. (2020). Kokko, S., Almevik, G., Høgseth, H. C. B., & Seita- maa-Hakkarainen, P. (2020). Craft as Object and Product Tung, F. (2012). Sugiarti, R., Margana, M., Muthmainah, M., & Fau- zia, L. R. (2019). Craft as Skill and Competence Nimkulrat, N. (2012). Craft as Form and Type of Activities, Action and Occupation Pöllänen, S. (2013). Craft as Competence, Case Study, Character, Type, and Branding Björklund, T. A., Keipi, T., & Maula, H. (2020). 6 Groups The twenty-five Topics and Titles of Scientific Ar- ticles agencies (Dekranas/Dekranasda) and the academic setting. Kerajinan is a manifestation of folk culture (the alit culture), and its activities and products are traditional, functional - pragmatic, and vernacular. Its work cris- scrosses the culture of the palace and the government. This noble work lies in the palace’s cultu- ral area as well as in the academic world, namely the campus. In Indonesia, Craft is a represen- tation of the culture industries/creative industries; its activities and works are pragmatic, kitsch/kitschiness. Its work crisscrosses between the government Husen Hendriyana, Meaning Differences in Indigenous Kriya and Crafts in Indonesia 347 Aside from the distinctions between kirya, kerajinan, and Craft, the terms keraji- nan, perajin, and pengrajin are also under- stood differently. According to the findings of interviews with academics, government officials, and craft business actors in the field, crafts (kerajinan) are related to their products and activities, whereas (wood) artisans are related to the main actors, the workers. Additionally, pengrajin (crafts- men) are related to collectors, bosses who manage the company, or handicraft pro- duct trader. In general, workers of regional han- dicraft products on the island of Java focus primarily on routine work based on orders from collectors/middlemen (traders). Artis- ans do not consider the name, term, or de- signation of the product they are working on, whether it is called a kriya or a craft product. Most craftsmen and collectors are pragmatic and straightforward; they prio- ritize the reality of life in carrying out their profession. Based on the definition presented in Table 1, rural indigenous crafts represent alit/folk culture (Koetjacaningrat, 1994), better known as kerajinan, carried out by a group of perajin personally in their res- pective homes and forming a wider group. Then, the surrounding area becomes ac- customed to the pattern of inheritance from generation to generation, expanding the regional group to include one or more villages, as happened in Kampung Anya- man Pandan in the village of Grenggeng Karanganyar Kebumen, Central Java. Craftsman areas, such as the ‘Kam- pung Anyaman Pandan’ in the village of Grenggeng Karanganyar Kebumen, Cent- ral Java, began with individual craftsmen working in their respective homes. It then grew into a larger group and made the pandan woven product the family’s live- lihood. The community activities of this craftsman group, passed down from ge- neration to generation, form a naturally patterned culture. This resulted in the de- velopment of the working principle of Sus- tainable Lifestyle (LHL). The same thing happened in the community of research partners, namely the Majalaya traditional gedog weaving craft group in West Java. Additionally, it also occurred to a group of pandan mat weaving craftsmen in Rajade- sa, Ciamis, as well as the pandan product from the Saguling mine in West Java. The level of knowledge acquired by the community of ‘craft’ workers in the re- gions can also be determined by their level of income, namely the wages they receive. Sjahroel Syamsudin, an official of the In- donesian National Consultant for the ITC (International Trade Center) in Geneva, sta- ted in a 2001 article published in the Inter- national Trade Center, Geneva, Switzerland, that the lowest wage for workers in the handicraft sector was only one US dollar per day (at the time, one US dollar equaled Rp. 9,000). Wages for handicraft workers in daily calculations are a particular source of concern for Indonesian SME developers in general. Prior to the post-2000s era, crafts- man labor was calculated based on perso- nal work capacity rather than daily basis; how many units can craftsmen reach the number of product packages agreed upon by the ordering party. As traders or han- dicraft product companies emerge, this pattern can provide work evaluation ma- terials to the crafter group. Regional han- dicraft product companies, such as SMEs, have played a role in training and assisting individual craftsmen by focusing on three aspects: (1) determining the level of know- ledge and personal skills of craftsmen; (2) determining the level of personal produc- tion capacity of craftsmen in days, weeks, and months; and (3) determining the ur- gency of the need for the use of supporting equipment, such as a simple mechanical engine or a middle scale industry that fo- cuses on production capacity. These three patterns add value to the work of artisans. However, because the activities of indivi- dual craftsmen that were previously done at home have shifted to a larger producti- on, this pattern also requires good mana- gement. According to the findings of actual field monitoring, the sustainability of this Harmonia: Journal of Arts Research and Education 22 (2) (2022): 337-354348 group of craftsmen’s activities depends on an ongoing trade process. As a result, crafter groups and SME require assistance from related parties such as those in the Triple Helix or Penta Helix elements (aca- demics, government, business actors, com- munities and media). Up to this point, the potential of traditional regional handicraft products can only be realized naturally and slowly (Wicaksono, 2017). This regional traditio- nal craft group evolved into home-made products with a larger production capacity in the post-2000s era, such as the creative economy culture in the Surakarta leather craft community (Elfena, 2020). Craft-science: Practice-led Research Kri- ya through the Creative Preneurship Ap- proach Observing the three groups of peop- le who have specified different meanings to the notions of kriya,’ ‘kerajinan,’ and/ or Craft in the ethnographic context of sociolinguists, another point of view that can provide a more objective and scientific understanding in a global context is requi- red. Creative entrepreneurship is viewed as one of the themes and concepts of a re- levant theoretical approach to provide an appropriate understanding Each different and subjective com- munity group defines the terms kriya,’ ke- rajinan,’ and/or Craft that is understood thus far. The subjectivity of these terms’ discourse is expended by their respective community groups, which are the local/ village crafts community, the government, and the academic community. Meanwhi- le, there was a synergistic movement in performance between units/institutions/ communities that were integrated with the triple helix or penta helix cooperation program in the post-2000s era. The colla- boration involves elements of the govern- ment, academia, business people (from the business world), the community, and the media. This contextual theme of creative ent- repreneurship is essential in order to pro- vide scientific reasons among the kriya, ke- rajinan, and/or craft groups. In the context of this article’s study, contextual themes and the concept of creative preneurship can be used as an instrument for connec- ting ethnographic sociolinguists between kriya,’ kerajinan,’ and/or Craft. This can be accomplished by affirming that the kriya has both internal (academic) and external (real-world) relationships, both with the SMEs actors and/or with users (users) or buyers/traders. See also (Figures 1 and 2). The analysis of the Creative prene- neurship component generated eight im- portant elements that influence the level of achievement and success of craft product activities. Hasta Cipta Preneurship (HCP) refers to these eight elements: creative ide- as, creative people, creative products, creative market/marketing, creative venue, creative reproduction, creative support, and creative humanism. These eight elements become the basic components that provide a shift in perspective, attitude, and belief in for- mulating the craft concept as the compe- tence of open, skilled, and adaptable Indo- nesian craftspeople. Figure 6. Hasta Cipta Preneurship (Hendriyana, H; Putra, IND, 2021) Example of HCP Product Applicati- on of Kriya Pandan Husen Hendriyana, Meaning Differences in Indigenous Kriya and Crafts in Indonesia 349 Table 4. Hasta Cipta Preneurship (HCP) Creative People Artist, Designer, Craftsmen, Dancer, Actor, Drafter, photographer, Manager Creative Idea understand the problem; understand the issue; Sensitivity – sensibilities; Problem solver; Modification & Commodification; design brief, design thinking, innovation, originality, design review. Creative Hu- manist Significance; Use, Utilize, according to human needs; entrepreneurial humanists Comfort, satisfying. Creative Sup- port Funding; Regulation; Community/Institution/Agency Return on Investment (ROI) Creative Re- production Reuse, Reduce, Recycle, recreated, redesign, refresh, resize Creative Venue / Space Digital Media, social media, Laboratory Workshop & Showroom / exhibition. Creative Mar- ket/Marketing Market place, Entrepreneurial marketing; Digital Marketing: (Customer engagement; Social Media, Planning & Analytics) Creative Prod- uct Art, Craft, Painting, Sculpture; Gift, accessories, Souvenir, House hold; aesthetic elements interior/exterior (home décor); Furniture; Restaurant equipment/Café & Hotel. Figure 7. Idea, Concept, and Attitude of LHL Design (Sustainable Lifestyles) (Hendriyana, H; Putra, IND, 2021) Figure 8. Product Application of Sapta Cipta Preneurship (Hendriyana, H; Putra, IND, 2021) Figure 9. Product Application Practice-led research Kriya (Eco friendly Packaging for Boutique Fashion) (Hendriyana, H; Barnas, Asep, 2022) The Meaning of Craft Science in a Global Context As presented by (Kartika et al., 2020) in their research on the artifacts of the Gre- at Mosque of Sang Cipta Rasa Cirebon, this global phenomenon of Craft meaning is a form of cultural hybrid. Existing cultural elements, both historical and Craft stake- holders, drive the phenomenon of cultural hybrids (academic groups, government, business world, and the general public). Harmonia: Journal of Arts Research and Education 22 (2) (2022): 337-354350 Tourism’s involvement also contributes to the phenomenon of cultural hybrids (Sugi- arti et al., 2019). Indonesian craft science discourse lags behind in the global academic field, nonetheless excels in its products’ unique- ness and visual aesthetics. Craft discourse in academic circles can grow and develop as global knowledge is opened up accor- ding to the text and context. People in some areas can now access newer and more ad- vanced information through the existence of digital information, social media, and online mass media. As a result, develop- ments that occur outside of the community can be adopted. In the context of creativity, the six elements (Figures 1 and 2) that have in- fluenced the diversity of definitions and meanings of Craft thus far can be objecti- vely and scientifically traced back to their respective reasons. That is, the outcomes of craft product creativity, particularly in art colleges, can no longer be limited and categorized based on the material. The dominance of theoretical, phi- losophical, and pragmatic aspects can determine the track of the definition and description of the relevant Craft according to the development of the era. In other words, the results of the aesthetics analy- sis, usability, materials, and techniques, as well as the shape and style of each type of craft product, can determine the track of the relevant craft product’s definition and description based on the text and context, rather than a sectoral subjective definition. The lengthy development of craft theory in Indonesian art colleges in com- parison to other branches of art is due to dogmas that limit students’ freedom of creativity. Therefore, the findings of this study’s analysis convey findings in the form of theoretical foundations that can provide enlightenment on the definiti- on and taxonomy of new crafts at Higher Education in Indonesia. The advancement of science, techno- logy, art, and culture necessitates a chan- ge in attitude in all activities. In the age of globalization and information technology, craftspeople have discovered new ways to develop craft works or products that can survive in the technological era. This method entails the use of technological equipment to enable craftspeople to imple- ment mass production processes (Niedde- rer, 2009 in Lutfiani 2018). Thus, in this age of knowledge globalization, there should be no definition saying that Craft tends to stagnate; that the crafts must always be handmade, done in the traditional way, or mythizing the values of primordialism into the value of craft products with the as- sumption that kriya are of a higher degree than kerajinan/Craft. The HCP theory approach to craft creation has achievement targets oriented to eight guiding elements, as illustrated in (Figures 6, 7, 8, and Table 1). The eight ele- ments are as follows: (1) Creative products that demand quality shape/goods are ori- ented to the aspects of utility, significance, and aesthetics and have goals and targets for fulfilling user needs, solutions, and inno- vation; (2) Have a clear market representa- tion and or a breakthrough in ingeniously creating their own market; (3) It is certain that creative products must have space/ community anywhere, anytime, and in va- rious circles; (4) Creative products are not stagnant, limited by the use of materials that stick to the forms and types of pro- ducts existed previously. Rather, they have an opportunity for development through reproduction based on market needs; (5) to achieve breakthroughs from the speci- fied challenges and higher achievements; it is necessary to have support from other partners synergistically and sustainab- ly, as well as support from the cross-sub- sidies management system between the company’s subsidiaries; (6) emphasizing all creative activities and actions that lead to humanist development (humanizing humans); additionally, products must con- sider environmental health; (7) all of these elements must certainly be supported by reliable human resources, namely human resources with (8) creative and brilliant ideas. Creative thinking patterns, such as Husen Hendriyana, Meaning Differences in Indigenous Kriya and Crafts in Indonesia 351 the HCP concept, have altered commu- nity groups’ assumptions and beliefs, demonstrating that creativity does not al- ways result in more appropriate solutions but helps community groups generate more ideas and offer new insights. This is consistent with the statements from Ali (Ali et al., 2002: 15). An HCP creative process model that has contributed to the development of hu- manism knowledge was developed based on the results of the supervising process to the craftsmen Pandan IKM in Panganda- ran Regency (2019-2021). They are as fol- lows: 1. Developing critical, conceptual, and reflective thinking skills in all aspects of intellectual and practical activities; 2. Improving technical competence and understanding of the field’s broad con- ceptual and theoretical elements from their specialty; 3. Intellectual curiosity and openness, as well as an appreciation for the inter- connectedness and areas of uncertain- ty in the current development of global craft knowledge; 4. Communication skills that are effective in all domains (reading, writing, spea- king, and listening); 5. Skills in research, discovery, and infor- mation retrieval, as well as its general information use; 6. Multi-asset problem-solving abilities and teamwork capacity; and high ethi- cal standards in personal and profes- sional life supported by self-directed activity capacity (West, 1998: 47) CONCLUSION Craft and Kriya have the same mea- ning, according to the analysis of three groups of field data, twenty-four library data from previous Craft research, and the results of the 2019-2021 Practice-led applied research. The term Craft is widely used in the global context, with no distinc- tion between Craft and Kriya. Furthermore, there is no connotation that diminishes the substance of the artisans’ activities and ac- tions. In other words, Craft and Kriya have similarly equal meanings; Craft’s different meaning is influenced by the context. The difference in meaning between Kriya and Craft is contextual, not hierarchical, and is determined by the artisans’ social status. In the context of its development in the global era, Craft Science is comprehensive, adaptive, and inclusive. Kriya develops in the academic world in Indonesia by preserving the pat- terns of regional cultural inheritance that have noble values related to the principle of sustainable living behavior (making use of the potential of raw materials from the environment while preserving and loving environmental health and safety). Kriya, in other words, is a vocational/academic competency of two-dimensional and/ or three-dimensional visual works that emphasizes the conceptual intelligence of ‘Laku Hidup Lestari’ (LHL), which is ori- ented to the aspects of utility, significance, and aesthetics. The goals and achievement targets are introduced to the aspects of user needs, solutions, and innovation. In the aca- demic context, Kriya has standardization, requirements, and indicators that refer to utility, significance, aesthetic considerations, users, solutions, and innovations. Kriya is comprehensive; it includes creative ideas, people, products, markets, ve- nues, reproduction, humanism, and support. Kriya is inclusive in the sense that it fosters a conducive community that is better able to accept various forms of diversity and difference and accommodate them into various arrangements and infrastructures that exist in global society. Kriya is adap- table, which means they can always keep up with the times. Consequently, the ad- vancement of Craft-science in Indonesia can grow and progress. ACKNOWLEDGMENT This article is one of the publications of post-doctoral research funded by rese- arch and Community Service Department (LPPM) through the resource of DIPA ISBI Bandung. Therefore, I’d like to express my Harmonia: Journal of Arts Research and Education 22 (2) (2022): 337-354352 gratitude to LPPM ISBI Bandung, collea- gues, and other parties who cannot be na- med individually. REFERENCES Andono, Andono, and Rispul. (2015). Eksplorasi dan Eksperimentasi dalam Karya Seni Kriya Kontempo- rer, Jurnal Seni CORAK, 4(1). Ali, M., Boulden, G., Brake, T., Bruce, A., Eaton, J., Holden, R., Johnson, R., Langdon, K., Osborne, C., Seymour, J., Shervington, M., Renshaw, B. & Tee, R. (2002). Successful Manager’s Handbook, London: Dorling Kinder- sley. Arabi, M. Ibnu, (2013). Pustaka Keraton Ci- rebon, Yogyakarta: Penerbit Deepub- lish. Badrika, IW., (2002). Sejarah Awal seri Indo- neisan Heritage, Jakarta: penerbit Glo- rier International, Inc. Bell, E., & Vachhani, S. J. (2020). Relational Encounters and Vital Materiality in the Practice of Craft Work. Organiza- tion Studies, 41(5), 681–701. https:// doi.org/10.1177/0170840619866482 Björklund, T. A., Keipi, T., & Maula, H. (2020). Crafters, explorers, innova- tors, and co-creators: Narratives in designers’ identity work. Design Studies, 68(1), 82–112. https://doi. org/10.1016/j.destud.2020.02.003 Buchori Z., I. (2010). Wacana Desain. Band- ung: ITB Press, De Graaf. (1985). Kerajaan-Kerajaan Islam Pertama di Jawa. Jakarta: Temprint. De Graaf. 1986. Puncak Kekuasaan Mataram. Jakarta: Pustaka Grafiti Pers. Di Salvo, A., Barbero, S., Gaiardo, A., & Rivella, G. (2017). GreenTeam. A new educative approach to sustain- able design. Design Journal, 20(S1), S1807–S1816. https://doi.org/10.10 80/14606925.2017.1352700 Dwiyanto, (2009). Keraton Yogyakarta: Seja- rah, nasionalisme dan Teladan Perjuan- gan, Yogyakarta: Penerbit Paradig- ma Indonesia. Elfena, L, Nurhadi N, Okta H. N. (2020). Arena Produksi Kultural Kerajinan Kulit di Surakarta Dalam Tren Eko- nomi Kreatif, Jurnal Socius: Journal of Sociology Research and Education, 7(2). Bell, E., & Vachhani, S. J. (2020). Relational Encounters and Vital Materiality in the Practice of Craft Work. Organiza- tion Studies, 41(5), 681–701. https:// doi.org/10.1177/0170840619866482 Björklund, T. A., Keipi, T., & Maula, H. (2020). Crafters, explorers, innova- tors, and co-creators: Narratives in designers’ identity work. Design Studies, 68(1), 82–112. https://doi. org/10.1016/j.destud.2020.02.003 Fayolle, A., & Gailly, B. (2008). From Craft to science: Teaching models and learning processes in entrepreneur- ship education. Journal of European Industrial Training, 32( 7). https:// doi.org/10.1108/03090590810899838 Golsteijn, C., Van Den Hoven, E., Frohlich, D., & Sellen, A. (2014a). Hybrid craft- ing: Towards an integrated practice of crafting with physical and digital components. Personal and Ubiquitous Computing, 18(3), 593–611. https:// doi.org/10.1007/s00779-013-0684-9 Golsteijn, C., Van Den Hoven, E., Frohlich, D., & Sellen, A. (2014b). Reflections on craft research for and through de- sign. Proceedings of the NordiCHI 2014: The 8th Nordic Conference on Human- Computer Interaction: Fun, Fast, Foun- dational, 14(1), 421–430. https://doi. org/10.1145/2639189.2639194 Gómez-Corona, C., Escalona-Buendía, H. B., García, M., Chollet, S., & Valen- tin, D. (2016). Craft vs. industrial: Habits, attitudes and motivations to- wards beer consumption in Mexico. Appetite, 96, 358–367. https://doi. org/10.1016/j.appet.2015.10.002 Hendriyana, H, Putra, I. N. D., Sunarya, Y. Y., & Tyasrinestu, T. (2021). Respon Kreatif Perajin Pandan dalam Men- dukung Lingkungan, Nilai Tambah Ekonomi Masyarakat, dan Pelestar- ian Sumber Daya Alam. Panggung, 31(3), 401–413. https://jurnal.isbi. ac.id/index.php/panggung/issue/ https://doi.org/10.1177/0170840619866482 https://doi.org/10.1177/0170840619866482 https://doi.org/10.1016/j.destud.2020.02.003 https://doi.org/10.1016/j.destud.2020.02.003 https://doi.org/10.1080/14606925.2017.1352700 https://doi.org/10.1080/14606925.2017.1352700 Husen Hendriyana, Meaning Differences in Indigenous Kriya and Crafts in Indonesia 353 view/155 Hendriyana, Husen. (2021). Metolodoli Penelitian Penciptaan Karya Seni-Kri- ya-Desain (P. Kristian (ed.); II/2021). Yogyakarta: Andi. Knott, S. (2013). Design in the age of pre- sumption: The Craft of design after the object. Design and Culture, 5(1), 45–67. https://doi.org/10.2752/175 470813X13491105785587 Kokko, S., Almevik, G., Høgseth, H. C. B., & Seitamaa-Hakkarainen, P. (2020). Mapping the methodologies of the craft sciences in Finland, Sweden, and Norway. Craft Research, 11(2), 177–209. https://doi.org/10.1386/ crre_00025_1 Lahti, H., & Seitamaa-Hakkarainen, P. (2007). Towards participatory de- sign in craft and design educa- tion. CoDesign: International Jour- nal of CoCreation in Desing and the Arts, 1(2), 103–117. https://doi. org/10.1080/15710880500137496 Miksic, J., Whitten, T., Fox, J. J., McGlynn, J. H., Soemantri, H., Sedyawati, E., & Tjahjono, G. (2002). Indonesia Heri- tage: Sejarah Awal (1st ed.). Grolier International. Niedderer, K., & Townsend, K. (2014). De- signing craft research: Joining emo- tion and knowledge. The Design Jour- nal, 17(4), 624–648. https://doi.org/ 10.2752/175630614X14056185480221 Niedderer, K., & Townsend, K. (2019). Sus- taining Craft’s heritage: Place, peo- ple and practice. Craft Research, 10(2), 177–182. https://doi.org/10.1386/ crre Pathak, S., & Mukherjee, S. (2020). En- trepreneurial ecosystem and social entrepreneurship: case studies of community-based Craft from Kutch, India. Journal of Enterprising Commu- nities, 15(3), 350–374. https://doi. org/10.1108/JEC-06-2020-0112 Pöllänen, S. (2013). The meaning of Craft: Craft makers’ descriptions of Craft as an occupation. Scandinavian Jour- nal of Occupational Therapy, 20(3), 217–227. https://doi.org/10.3109/1 1038128.2012.725182 Sanscartier, M. D. (2020). The Craft Attitude: Navigating Mess in Mixed Methods Research. Journal of Mixed Methods Research, 14(1), 47–62. https://doi. org/10.1177/1558689818816248 Shiner, L. (2012). “Blurred boundaries”? Rethinking the concept of Craft and its relation to art and design. Philosophy Compass, 7(4), 230–244. https://doi.org/10.1111/j.1747- 9991.2012.00479.x Treadaway, C. (2009). Hand E-craft: An investigation into hand use in digital creative practice. Pro- ceedings of the 2009 ACM SIGCHI Conference on Creativity and Cog- nition, 1(4), 185–194. https://doi. org/10.1145/1640233.1640263 Väänänen, N., & Pöllänen, S. (2020). Con- ceptualizing Sustainable Craft: Con- cept Analysis of Literature. Design Journal, 23(2), 263–285. https://doi. org/10.1080/14606925.2020.1718276 Valentine, L. (2011). Craft as a form of mindful inquiry. THE Design Journal, 14(3), 283–306. https://doi.org/10.2 752/175630611X13046972590806 Wrzesniewski, A., & Dutton, J. E. (2001). Crafting a job: Revisioning employ- ees as active crafters of their work. Academy of Management Review, 26(2), 179–201. https://doi.org/10.5465/ AMR.2001.4378011 Yair, K. (2011). Design vs Craft: a History of Convergences and Divergences. Conference Review Craft Research, 2, 185–194. https://doi.org/10.1353/ EAL.2021.0089; 10.1386/crre.2.185_4 Yair, K., Tomes, A., & Press, M. (1999). De- sign through making: Crafts knowl- edge as facilitator to collaborative new product development. Design Studies, 20(6), 495–515. https://doi. org/10.1016/s0142-694x(98)00040-4 Zabulis, X., Meghini, C., Partarakis, N., Beisswenger, C., Dubois, A., Fasou- la, M., Nitti, V., Ntoa, S., Adami, I., Chatziantoniou, A., Bartalesi, V., Metilli, D., Stivaktakis, N., Patsiou- ras, N., Doulgeraki, P., Karuzaki, Harmonia: Journal of Arts Research and Education 22 (2) (2022): 337-354354 E., Stefanidi, E., Qammaz, A., Ka- planidi, D., … Galanakis, G. (2020). Representation and preservation of heritage crafts. Sustainability (Swit- zerland), 12(4), 1–26. https://doi. org/10.3390/su12041461 Zhan, X., & Walker, S. (2019). Craft as Leverage for Sustainable Design Transformation: A Theoretical Foun- dation. The Design Journal, 22(4), 483– 503. https://doi.org/10.1080/14606 925.2019.1613040