283 Exploring the Indonesian Maritime Art toward Appreciation of Coastal Literacy Yanti Heriyawati, Afri Wita Institut Seni Budaya Indonesia Bandung, Indonesia Submitted: 2022-06-18. Revised: 2022-10-19. Accepted: 2022-11-28 Abstract There are many global literatures of art appreciation, but only few of them focus on maritime art appreciation. Filling the vacancy requires study of how the community or public values maritime art works in the context of coastal community’s literacy. This paper aims to show appreciation of Indonesian maritime art works. It presents the results of maritime art appreciation through Focus Group Discussion (FGD). The participants consisted of academician, governmental offi- cial, artist, creator, community, kiyai, and student. The maritime art works which are appreciated were “Segara Garam’ and “Tasbih Pesisir”. They are considered as natural and virtual art works. Respondents’ insight, knowledge, and experience showed varied perceptions. Participants with maritime culture background were quite expressive in expressing the importance of local wis- dom values of the coastal community. Meanwhile the respondents without maritime culture background paid more attention on artistic and aesthetic aspects, instead of on meaning. Socio- cultural difference influenced how they appreciated and produced the knowledge of maritime culture. Respondents’ cognition and affective abilities show varied interpretation, perception, and meaning of art values. Their experience of appreciation showed the importance of perception of maritime art in actualizing local genius. The appreciation of maritime art was performed to improve people’s awareness of strengthening maritime culture literacy. Keywords: appreciation, coastal literacy, maritime art, perception How to Cite: Heriyawati, Y., & Wita, A. (2022). Exploring the Indonesian Maritime Art toward Appreciation of Coastal Literacy. Harmonia: Journal of Arts Research and Education, 22(2), 283-297 Harmonia: Journal of Arts Research and Education 22 (2) (2022), 283-297 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v22i2.37140 exploration and performed appreciation and interpretation at the art museum. Coo- ke (2017) studied how art appreciation at Florida Gulf Coast University used visual and audio-visual learning content, both in the form of film or short clips. Meanwhile, learning in Indonesia, especially in 2020- 2021 during a pandemic, was conducted online. Thus, appreciation through film or audio visual was a significant choice. Ma- ritime art appreciation gives maritime lite- racy through digital artwork display. Some researchers have studied coas- INTRODUCTION Appreciation practice has offered varied methods. There were studies on appreciation models. Kwang Dae Chunh (2022) conducted an appreciation process through students’ pedagogic involvement in giving an opinion. Their narrations were collected and explored, which were a phenomenological reflection in under- standing subject materials. Knutson (2011) traced art learning ecology in informal education by involving children in the Corresponding author: E-mail: yanti_heriyawati@isbi.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 Harmonia: Journal of Arts Research and Education 22 (2) (2022): 283-297284 tal art and appreciation. Nurdiana (2019) researched appreciators (audience) of Wa- yang Tengul as community’s traditional art. The characteristics of wayang (puppet) performance satisfy inter-age people’s tas- te. Thus, the appreciation process runs wit- hout coercion as a method to pass down the traditional art. Wayang Tengul audien- ce consists of children, adolescents, adults, and elders. Hidayatullah, Jazuli, & Syarif (2021) studied the meaning of notation in Lampung’s sole coastal guitar music crea- ted by Imam Rozali. The language in the notation and song lyrics used the dialect and special style of indigenous coastal people in Lampung. The music notation note-taking by Imam Rozali was directed to literacy and writing tradition. Wiyoso and Hanggoro (2020) studied the collabo- rative packaging of traditional art Barong Ngesti Wargo Budoyo as an artwork model that conformed to the coastal community’s aesthetic taste. With regard to perception, meanw- hile, there were some studies on public appreciation and perception. Liu, Butler, & Zhang (2019) studied the public percep- tion of urban inheritance and identity issu- es. This aimed to build public awareness of urban heritage assets. Viney (1999) studied the audience of a religious program on television. It targeted the audience’s cha- racteristics by age and gender, the signifi- cance study for religious preaching broad- cast and content. Huang & You (2013) conducted a maritime-related perception study to trace public perception of mari- time issues in correlation with how the community managed maritime resources sustainably. The survey components in- cluded public knowledge, attitude, and ac- tions in Taiwan on maritime related issues. The research contributed to developing a maritime governance strategy to achieve conservation objectives and give policy re- commendations. None of the studies above show more specific artwork appreciation, espe- cially maritime art. The maritime studies were focused on the maritime environ- ment and ecosystem. Meanwhile, studies on art appreciation and public perception of art focus more on the subjects that do perception and appreciation. For example, Dukes & Lewis (2008) studied students’ perception of rock concert fans’ violence in expressing social protest and then agreeing on a peaceful and safe rock concert. The findings were related to correcting measu- res by the organizer, fan, and government. Meanwhile, Seeley & Kozbelt (2008) sti- mulated artist and non-artist respondents in response to shape to make a drawing. Artist’s art, aesthetics, and historical kno- wledge contributed to their technical skill in drawing and their ability to give percep- tion. Just like a study on maritime art that is least done, the same applies to the study of maritime literacy. Until now, there is no specific discourse on the keyword mariti- me literacy. However, in this aspect study on maritime literacy was developed in the early 2000s, starting in the US, which later attracted international attention (Fauville, et al., 2018). Maritime literacy was defined by Cava et al. (2005) as an understanding of the influence of the sea or ocean on hu- mans and our influence on the sea. More specifically, Winks, et al. (2020) defined ocean literacy as a global education move- ment aiming to deepen and contextualize human’s relation with the sea. In this con- text, the research conducted by McCau- ley, et al. (2018) was related to sustainable ocean literacy for adolescents and public awareness of the maritime environment. Collective intelligence value as a methodo- logical instrument shows action collabora- tion between community and stakeholders to solve maritime environmental issues and contribute to sustainable maritime education. Meanwhile, Fauville, et al. (2018), still in the attempted movement to enhance ocean literacy, presented research on Inter- national Ocean Literacy Survey (IOLS) that served as a community-based measuring instrument by comparing maritime know- ledge by time and location. The study refer- red to two things: (1) IOLS was developed voluntarily, grassroots-based by Ocean Li- Yanti Heriyawati et al., Exploring the Indonesian Maritime Art toward Appreciation of 285 teracy community members, and (2) while IOLS early test was conducted at a natio- nal level to validate instruments in various languages and populations. The survey re- sults can be used widely at the community level for international and global improve- ment in building public understanding of the importance of the sea; thus, the public can understand, communicate, manage, maintain and protect maritime resources and the sea/ocean ecosystem. More speci- fically, in the context of ocean literacy and tourism, Garcia and Cater (2020) revealed underwater life as a challenge for tourism. More specifically, Garcia and Cater offered a multi-stakeholder structure in ocean lite- racy practice that might contribute to the more advanced aspiration of global mari- time awareness. Stakeholder collaboration may contribute to improved ocean literacy through empirical research on scuba di- ving in Mallorca, Spain. Back to the keyword maritime lite- racy which cannot be found specifically in international discussion, although quite limited, the term maritime literacy can be traced in Indonesian discourse as the world maritime axis and in an effort to revive its maritime glory (Yani & Montratama, 2015; Nugraha, 2016). The maritime literacy explained by Indra Jaya, et al. (Nugraha, 2016) reviewed the main aspects of mari- time to develop and optimize Indonesia’s maritime potential for sustainable utiliza- tion. Meanwhile, in the press review of the Coordinating Ministry of Maritime and In- vestment Affairs conveyed by the Ministe- rial Expert Staff of the Socio-Anthropologi- cal Division of the Coordinating Ministry of Maritime and Investment Affairs, Tukul Rameyo Adi, the terms literasi kemaritiman (maritime literacy), literasi samudra (ocean literacy), and literasi bahari (maritime lite- racy) seem to be exchangeable. The con- cern is about the low maritime literacy, especially related to maritime culture. As in the statement, “Current young genera- tion has information on maritime culture terminated; thus we will focus on building content, campaigning through social me- dia, film, vlog, and other media easily un- derstood by the millennial generation.” In line with this statement, the low maritime literacy in Indonesia also attracted attenti- on in the reflection on World Oceans Day in 2020, which is accessible on the Indone- sian Ministry of Law and Human Rights website. Literacy models develop greatly. Li- teracy is not only limited to texts whose accessibility is currently competing with digital access. The fact of massive changes in the digital era and even the global pan- demic accelerate disruption. A strategy is needed to formulate literacy content to di- gitally fill the appreciation space. This si- tuation leads to how to formulate artwork as both content and appreciation media in constructing knowledge. It is necessary to support discourse on the other side of Indonesia’s development that emphasizes on maritime empowerment. Indonesia’s history of maritime glory is still the least known for the people to know. Current maritime culture literacy is not yet satis- fying. Current maritime issues and dis- cussions are still limited to certain rooms, which are directly related to maritime po- licy, community, or groups of people who are indeed related to “people of the sea.” In filling this vacancy, this paper reveals how maritime art literacy practice through appreciation process using FGD method can give an alternative model of art litera- cy and appreciation. METHOD The maritime art appreciation was conducted through a Focus Group Dis- cussion (FGD) method for appreciators’ narration of their knowledge of Indonesia as a maritime nation. Watching maritime artwork via zoom during the pandemic aimed to develop maritime world aware- ness through understanding visual sym- bols, cultural differences, and individual’s expression. The qualitative research data were collected through appreciation in the form of FGD, a unique qualitative research method (Hennink, 2007). For the dynamics of a discussion, FGD was conducted by Harmonia: Journal of Arts Research and Education 22 (2) (2022): 283-297286 involving participants based on the cha- racteristics of experience related to the discussion topic (Lunt, 1996). Art explora- tion, perception, and appreciation through FGD allow the exploration of the extent of knowledge, experience, and spontaneous response to maritime artwork. The FGD was performed online as an alternative to avoid mobility constraints or anticipation of participant’s presence from different time zone (Hennink, 2014). Participants are determined based on professional diversity but with art aesthe- tic experience of art and culture and capa- city related to maritime issues. In this case, the FGD participants comprised academi- cians, artists, community, student, and go- vernment officials. More specifically, the academician participants were from the art-culture field from public college (not art-specific college); the artists and commu- nities were from coastal areas; the students were from art-culture campus. The online appreciation was conducted in some sta- ges: first, all participants completed their identity: name, place, and date of birth, the local language, address, educational level, position, field of science, workplace, email address, and telephone number; second, display of artworks appreciated: “segara garam” and “tasbih pesisir”; third, a mo- derator moderated the discussion in which everyone gave their opinion, evaluation, and perception; fourth, the moderator was given some indicators as the materials of questions to be developed. Below are some basic questions: To what extent do you know we are a maritime nation? What do you know about maritime art? To what ex- tent are you involved in maritime art and culture? What do you like about mariti- me artwork? What do you feel seeing the works “biografi garam”, “tasbih pesisir”? What do you find related to maritime in the works? And fifth, the FGD process was recorded, both audio and visual; thus, the document of this process was in the form of written, audio, visual (video recording), and photo data. The moderator played a central role in leading the discussion process. The mo- derator asked questions, engaged the par- ticipants to answer, induced them using other questions, etc. A reporter assisted the FGD process in ensuring the whole data were saved well. The reporter’s data accu- racy (Broad, 2020) supported the research analysis process (Hennink, 2007). Through FGD, the respondents were asked about how they perceived maritime art from the three-art works “segara ga- ram” and “tasbih pesisir”. The interactive discussion was performed through appre- ciation of the three works. The argument about the response to maritime art showed an appreciation attitude, valuation, or tre- atment for the works. It significantly found an understanding of public opinion forma- tion in influencing maritime art. The FGD method found the meaning and participants’ way of understanding. FGD was used to find consumers’ attitudes and motivations and reveal public discour- se and interpretative community (Lunt, 1996). This method was used to identify a diversity of experiences and perceptions (Hennink, 2014). The important objective of focus group research was to identify various perspectives of the research topic and understand participants’ perspectives. With perspective, the interactive discussi- on encouraged rationalization and explicit reasoning (Fern, 2001). Maritime art appre- ciation served as a valuation of aesthetics. The data analysis needed a structu- re with a strong argument and theoretical framework for presenting the data (Var- ga-Atkins, 2015). This structure served as the frame in the data reduction process as part of the key in the analysis process. Data reduction identified the core theme or category of problems in the data, nade data concept, or developed framework to arrange the results, all of which are cont- ributing. Reduction formed the “story” of data, which helped arrange effective research findings (Hennink, 2014). The analysis needed to use a circular process method between writing, further analysis, and back to writing as an important way of thinking about data. The appreciation process was con- Yanti Heriyawati et al., Exploring the Indonesian Maritime Art toward Appreciation of 287 ducted through FGD online in three stages. The first online FGD invited participants from the structural official/government of Ministries, local government, and aca- demicians. The government officials were invited from the Coordinating Ministry of Maritime and Investment Affairs; the Mi- nistry of Tourism and Creative Economy; the Department of Culture and Tourism of West Java, and the Department of Culture and Tourism of Bandung City. The aca- demicians were invited from Universitas Pendidikan Indonesia, Universitas Padja- jaran, and Universitas Gadjah Mada. The second FGD invited artists (from dance, music, theatre, and film fields), commu- nities, and also kiyai with involvement in maritime and art fields. Community par- ticipants consisted of Kiai pesatren in Ma- dura, Tadulako Art Community in Palu, Armana Pustaka Mandar Community, Ya- yasan Darma Bakti Karya, Nara Teater, Ta- kenuda, and People’s Coalition for Justice, All Indonesia Coastal Custom Community & Small Islands Forum. The participants of the third FGD were six postgraduate stu- dents. The FGD was mediated by a mode- rator and recorded by a reporter. The mo- derator was a lecturer and researcher who was active in community empowerment and social innovation activities. As the dri- ver of a creative community, the modera- tor had the capacity to moderate the forum effectively and interestingly. The reporter, meanwhile, was a lecturer and researcher with accuracy and speedy writing ability and was able to report the discussion fo- rum activity carefully. The online FGD was divided into three sessions by question theme. The dis- cussion in the first session started with moderator’s questions for the participants. The questions in the first session were re- lated to the participants’ literacy and ex- perience related to maritime issues. In this session, the participants were given direct chance to answer the questions. Besides, at the same time, the participants could give alternative answers through the padlet link prepared by the moderator and informed through chat room zoom meeting before starting moderating the discussion. The questions in the padlet, suppo- se their answers are written by the parti- cipants, were then written by a modera- tor when the participants answered them orally for effective duration of discussion. The moderator limited the time for each session; thus, the participants who did not have the chance to answer in the first ses- sion could integrate their answers into the questions in the second session. The questions of the second and third sessions directly traced the participants’ appreciation and perception of maritime artwork. The questions of the second ses- sion were related to the participant’s ap- preciation of artwork in general and the maritime artworks produced by the team of researchers as the main object of discus- sion in the FGD. In this session, the partici- pant could directly answer the moderator’s questions upon moderator’s invitation. Al- ternatively, upon the moderator’s invitati- on, the participants could answer the ques- tions of the second session. Participants who did not have the chance to answer in the first session could integrate their ans- wers in the second session. The moderator managed the third session by giving the participants short questions. The questions in the third session were related to the participants’ percepti- on of the artworks put on display. The par- ticipants could simultaneously, directly in writing via chat room. Variatively, in this session, the moderator continuously gave five short questions about what to add, reduce, collaborate, and develop from the three maritime artworks put on display, and finally, about what was challenging in making a maritime artwork. In responding to the questions, the participants were as- ked to answer briefly, not more than ten words. Interactively, the participants could volunteer to answer or be called and asked by the moderator to answer. These ans- wers were the participants’ last responses before the moderator concluded the dis- cussion. The questions from the three ses- sions could be developed into short ques- tions and answered through zoom chat. Harmonia: Journal of Arts Research and Education 22 (2) (2022): 283-297288 In the last session, each participant gave a closing statement. The moderator directed the questions of the two sessions by giving them the freedom of who would start it. RESULT AND DISCUSSION Maritime Art Appreciation and Percep- tion Indonesia’s long history as a mariti- me nation is re-discussed by the state as stated by President Joko Widodo that res- toring Indonesia as the world’s maritime axis becomes the state’s development visi- on as expressed in Presidential Regulation on Acceleration of the Implementation of the World’s Maritime Axis. Maritime art articulates the vision based on research on historical traces and life facts of the coastal or maritime communities. Artworks are ar- ticulated virtually in performance, as with the works segara garam and tasbih pesisir. The two segara garam were created through observation by involving salt farmers. Di- rect performance was done on a salt bed, documented, and presented as work that can be appreciated via digital media. The work tasbih pesisir was realized from rhy- mes, recording the research journey into a stage performance and directly broadcast via zoom and youtube. Maritime art refers to artwork cre- ated based on maritime research results. The term maritime art is not commonly found. Prins (2013) used the term mariti- me art in studying the oculus aesthetics, which is ship’s ornament. Oculus aesthe- tics contains local wisdom, one of which is that the carving process is done through ritual. Differently, the term maritime art in this study shows how art articulates natu- ral phenomena and maritime community. The artwork illustrates Indonesia as an archipelagic nation with diverse religions and social structures. The results of maritime research be- come content in creating maritime artwork as digital appreciation material. In practi- ce, appreciation requires a series of proces- ses and supporting instruments, from the appreciator’s preparedness, object or work appreciated, and supporting atmosphere aspects. Perception done in the apprecia- tion process is influenced by respondent’s subject. Therefore, understanding and en- joying art (Seabolt, 2001) cognitively and affectively involve emotion (Osborne in Seabolt 2001); (Jakesch, 2014). Jacquette (2014) affirmed that perception is the act of interpreting and defining, influenced by experience and knowledge, and invol- ves talent/gift. This is why determining respondent’s category by age, sex, occu- pation, profession, community group, individual’s characteristics, and educati- on level is important. Appreciators’ com- petence can be determined based on pro- fessional, or amateur ability or experience (Jakesch & Leder, 2009). Appreciation is a valuation and an act of understanding. Hung (2019) explained, more specifically, art appreciation as a set of procedures that generally involves the process of percei- ving, understanding, and valuing art and then making opinions out of the artwork. Jakesch & Leder (2009), in their research on appreciation, formulated participant’s characteristics by age, a number of mate- rials (artworks) appreciated, and process appreciation procedures or process stages done before final determination through analysis and recommendation. Seabolt (2001) and Seeley & Kozbelt (2008) offered the concept of the differen- ce between appreciation of art, art history, art aesthetics, and art criticism. The diffe- rence is not only about the term but also objective. They are practically interrelated, in which art appreciation is to value good and bad under the influence of knowledge of history and aesthetics; similarly, with art criticism, mind, and aesthetic experi- ence, the objective of the art appreciation process is to be the key to formulating in- dicators of success. It should consider the results of appreciation and its contributi- on. Who are the appreciators? Artist, lec- turer, student, artist involved, researcher, consumer, and producer. Suppose the ones to be appreciated are components of work. In that case, the elements of work are to be revealed in more detail, since components Yanti Heriyawati et al., Exploring the Indonesian Maritime Art toward Appreciation of 289 in art appreciation, according to Jacquette (2014), are quite likely to reveal the process of work, a form of work, method of work, and idea of work. Artists are affiliated with a space where art is placed (Robinson, 2014), whe- re there is an interactive situation between the object appreciated and the subject who does the perception. In its process, each subject is allowed to show how to think, attitude, and sense processing. A mee- ting model is needed to create room for discourse and dialectics to generatively develop art growth. Therefore, exploring public perception requires formulation of problems, objectives, and components as the contents of appreciation as the indica- tors in determining the appreciators. The appreciation process is conducted onli- ne for respondents to perceive valuation, evaluation, criticism, interpretation, expe- rience exchange, and definition processes. The use of sophisticated instrument can be integrated into authentic art appreciation courses to motivate and improve students’ learning (Hung & Young, 2016). This aims to give an experience of art appreciation and find a formulation of a maritime art concept and contribution to the develop- ment of art science in the digital era. The- refore, discussion participants’ individual characteristics and cultural backgrounds or differences have a cohesive influence on the interaction process (Hennink, 2007). Personal experience and certain roles can also have significant implications for ma- ritime art formulation with the hope of contributing to public policy. Indonesian maritime affairs have become part of pub- lic policy, covering territorial, cultural, and social environment sectors. Aesthetics is basically perceptual. Aesthetics is a science of perception that cannot be separated from the experien- ce of watching a picture. How a person views something aesthetically influences his perception (Schellekens, 2019). Valua- tion is influenced by insight, and visual ex- perience cannot separate perception from contemplation when it comes to watching a picture. Respondent’s aesthetic experien- ce influences audience’s view of a mariti- me art work or product. This approach is participant-oriented and can pragmatical- ly recommend products, including artistic improvement and appreciation strategy (Hennink, 2014). Art is an instrument of legitimacy and contestation based on the very stra- tegy, place, and legality. The elaboration explains where art is placed. That shows authoritative negotiation with the public; this art legitimizes the community power structure. Art plays a role in legitimacy discourse with a strategic objective of pro- viding a ‘reservoir of support’. Art legiti- mizes the world’s view or supports the community’s ontological basis (Robinson, 2013). The appreciation process conducted by Hung & Young (2016) is directed to ap- preciation capacity tests through a digital device with multi-touch technology, com- pared to using slide and printed materials. The art appreciation learning approach using tablet and multi-touch technology has bigger ability to motivate student in- volvement and appreciate of learning. In- formation construction influences the de- finition of art appreciation, which is also influenced by a complex interaction of perceptual processes. Appreciation inves- tigation is conducted by matching corres- pondence understanding between the vi- sual and semantics of artwork or between verbal representation and information co- ming with it. The ambiguity of appreciati- on is greatly related to aesthetic experience (Jakesch & Leder, 2009). Information as sti- mulus received needs a learning experien- ce process. The work of Segara Garam and Tasbih Pesisir : Between Virtual and Natural Art History proves Indonesia was a ma- ritime country that controlled the sea and was able to explore the world and control trade expansion when other countries only controlled rivers. The 250 ports (Campo, 1992: 40) and harbors in sailing and trade routes in the archipelagic waters prove the past maritime life in the Archipelago (Santosa, 2015: 45). The glory as a maritime Harmonia: Journal of Arts Research and Education 22 (2) (2022): 283-297290 country has been shown by the kingdoms in the past, including Sriwijaya, Majapa- hit, Demak, and Bone. Geographically and culturally, 80% of Indonesian territory is the sea. A maritime country controls and uses the sea to reach its prosperity and glory (Santosa, 2015: 2). This means that all life aspects are related to the use of the sea (Oktavianus, 2019: 19). Indonesia is an archipelagic country flanked by two conti- nents. The characteristics of an archipelagic country influence the people’s perspective and insight with relatively high know- ledge in their era in controlling maritime resources (ADP_Discussion_FGD1 Onli- ne_4 June 2021). After the independence, however, we forgot our maritime culture by developing feudal agricultural culture instead of egalitarian, multicultural, open, and cosmopolitan maritime culture. Today maritime spirit is revived through the tra- ces of ancestors’ glory. A fishing vessel is the most iconic heritage of maritime cultu- re due to its fishing ability using a vessel. Boat’s long life from generation to genera- tion contains the narration of survival and livelihood as well as maintaining cultural feature that shows local knowledge (Sab- hain, 2020). It is the government’s policy to pro- mote maritime unity, in which maritime power should change maritime interest in using the vast sea in the Archipelago for the nation’s advancement. Maritime awa- reness is gained through maritime traffic and protecting its resources (Saha, 2016). Keeping the sovereignty and understan- ding of the sea and all of its potentials can be done through literacy. Art is one of the significant media of literacy in delivering how maritime affairs becomes a path to in- crease added value for life needs through transformation and comparative process to excellence. The stories and mythologies of sea gods/goddesses, traditional boat and ship’s strength, and fishermen/coastal community’s festival rituals can be story- telling or story comic narration (WG_Dis- cussion_FGD1_Online_4 June 2021). Art can articulate the portrait of maritime art treasures describing the sea as a compani- on, source of inspiration, room of life, and sea as the nation’s future. Collaboratively, literacy texts realized in works can be used as content of Indonesia’s maritime affairs campaign. Maritime Art is art based on aesthe- tically wrapped ideas that others can ap- preciate. The idea is based on the maritime environment. Maritime art must serve as a trigger for our identity as a maritime nati- on. European Opera that came through the sea to Indonesian islands in the 1830s (Su- giyama, 2019) brought the maritime nation closer to acculturation and cultural assimi- lation, forming multiculturalism and high tolerance. Maritime Art as a product is an effort to build marine culture’s character. Maritime art can build knowledge and deliver development messages. Maritime Art is a hybrid art. The uniqueness of the concept of soil and water, sea and Land as a unified room of life. Indonesia views its sea as a wide continent. Tanah Air (home- land) is a strong philosophy that does not exist in other countries. Art serves as the medium to improve understanding of and interest in maritime affairs from Sabang to Merauke (TR_Discussion_FGD1_Online 4 June 2020). Art can build cultural ecosystems and policies that favor maritime affairs. Maritime art idioms are used to convey knowledge and values. So that maritime concepts must emerge as an ecosystem based on a creative and digital economy. Genuine and natural sea environment is one trigger of attraction. Maritime Art is an art that can show estuaries, rivers, sea, and boat, bringing us to the condition of tadza- bur and tasyakur (WG_Discussion_FGD1_ Online 4 June 2021). Figure 1. Maritime Art Work “Segara Ga- ram” (Documentation: Yanti Heriyawati, et al., 2020) Yanti Heriyawati et al., Exploring the Indonesian Maritime Art toward Appreciation of 291 Segara Garam, and Coastal Tasbih are works of art resulting from a project-based re- search process. The works were produced collaboratively involving actors, dancers, camera operators, talent (community), music directors, and editors. Recording media present the artworks of dance, thea- ter, and literature as part of performing art transformation for appreciators. The came- ra is used as a technology to build a new art form (Papastergiadis, 2006). This artistic act responded to the digitalization that has currently constructed change in culture and knowledge. An appreciator no longer comes to the exhibition building and buys tickets to appreciate an artwork, despite cinema still being a possibility after wat- ching in private rooms (Figure 1). Exploration of actors’ bodies inter- acts with salt farmers as in the work Sega- ra Garam is a choice in showing the libe- ration of conventional forms. Just like the visualization of the poem Tasbih Pesisir attached to the actor’s body performance and fisherman’s boat offering art hybridity (Figure 2). Likewise, natural art signs are apparent in how salt farmers are involved and the performance process on a salt bed and onboard fisherman’s boat that sails on the sea. The naturalization of traditio- nal art as a resource for constructing con- temporary art is closely related to release and liberation in contemplating new ideas in creating innovative works. In its deve- lopment, contemporary arts have started paying more attention to social form and content (Roose, et al., 2018). Maritime cul- ture study is the idea of content in the ar- tistic exploration process of the artwork. The maritime cultural landscape is not limited to ship communities but can take into account human activities underwater and on land (coasts and coasts), lakes, and rivers associated with shipping routes and ports (van Popta, et al., 2019). A study on maritime culture explores the coastal and maritime communities’ activities in the Ar- chipelago. Figure 2. Maritime Art Work “Tasbih Pe- sisir” (Documentation: Yanti Heriyawati, et al., 2020) The following is part of the visualiza- tion of the Tasbih Pesisir poem. Hamparan pasir memijat kaki Deru ombak menyisir hati Semilir angin mengusir sepi Membuang panas hati Membangkitkan energi Pantai-Mu menentramkan gejolak diri Duduk menunggu Asap mengepul Perut bertalu-talu Percakapan riuh menderu Tiba setumpuk sajian laut Mengusir kantuk Menghalau gemuruh cacing perut Nikmatnya Rezeki Laut Biru-Mu Segara Garam and Tasbih Pesisir are maritime art models that initiate and may give birth to other innovative works. The two works represent maritime art. Segara Garam is related to the coastal or mariti- me community’s economy; Tasbih Pesisir is identical to Islam, in which the fact that Harmonia: Journal of Arts Research and Education 22 (2) (2022): 283-297292 coastal culture that is the basis of santri community is the pioneer of Islam as the dominant civilization in the nation (JM_ Discussion_FGD1_Online 4 June 2021). Artworks have been presented in a contemporary manner, with traditional content or performances done naturally and digitally packaged to be appreciated by a wider public. This is a model of the art development with advanced technology to deliver messages symbolically but can still be enjoyed by many audiences in the era. It is cinematographically simple but with ex- traordinary meaning. The development of the work in the choice of maritime theme is not only about current gloom but past and future glory and happiness (LMR_Discus- sion_FGD1_Online 4 June 2021) that shows the identity and inspiration of a nation to advance (Yani, 2019). The existing traditio- nal arts that are still in a traditional frame or, we can say, almost extinct can be raised through the more contemporary and mo- dern virtual frame. Coastal Culture Literacy through Hybrid- ity of New Media Art From the 23 participants involved in the FGD process for appreciation, a fact was found that maritime art and culture are not commonly known. Many people have not felt the awareness of Indonesia’s glory and identity as a maritime nation. This shows that Indonesia’s maritime glo- ry is an abandoned history. More specifi- cally, the participants stated they did not live on the sea and were not involved much in maritime issues or activities. Moreo- ver, this is caused by the fact that the land community’s perception dominates the nation’s development. The participants’ response shows maritime art appreciation process gives them new insight and know- ledge of maritime culture. This means that appreciation and literacy activities need to be performed massively, as in the partici- pants’ statements (participants’ names are abbreviated to initial, such as Yanti Heriy- awati abbreviated to YH) as follows. Statement Participant Personally, as Bandung inhabit- ant, I seldom got in touch with the sea DK Personally, despite educated as santri on the east coast of Gresik, but I haven’t been in- volved in any coastal art IZ Honestly, only in this occasion, I have the chance to do activity on a maritime art AM Not understanding it much, since I don’t live on the coast, and haven’t explored anything related to the sea GAD I’m personally horrified to be on the sea since I can’t imagine how gigantic it is AJA Network forms individuals to deve- lop and implement artistic ideas (Monta- nari, 2016:798). Maritime art appreciation is the network’s work that establishes a new network among the participants. The kno- wledge and experience brought created a perception of the artwork appreciated. The Focus Group Discussion (FGD) gave each appreciator room to find new knowledge and experience. The response in the FGD room was directed to the same artistic cha- racteristics of art. A stronger perception was apparent in the participants’ desire to contribute to the development of mari- time art, either from artistic and aesthetic perspectives or information delivery me- dia art, including promotion and propa- ganda. There is an aggressive response to the two possibilities as follows. Statement Participant Emotional music is needed that is integrated with the sea; community’s activities need to be involved more RH The additional description and narration, as well as cos- tume arrangement, match the theme of the poem read AGP Remove bombastic diction; choose stronger diction BB Yanti Heriyawati et al., Exploring the Indonesian Maritime Art toward Appreciation of 293 This work must try the deep sea, not only on the coast MRA Publicize them to the public for them to be well known GAD Role model in maritime art research DNS Make it simpler, for the public to reach it AM Understanding the sea can be realized in the concept issue and artistic aspect of the stage, fine art. This knowl- edge finally gives birth to ethos, a sea that brings us together and makes us closer SPH These works have not totally shown life in the sea, the non- burdening sea, and the pleas- ant sea. A painful impression must be changed, interact on the sea non-coerced AJA Maritime art is at least able to abstract the nation’s inspiration with two identi- ties that function hierarchically. Indonesia identifies itself first as a maritime country and second as the regional leader (Daman- ik, 2020). Dialectically, there seems to be great hope for maritime art, which leads to the role of academics and government public policy. What the academicians have done become the new spirit that inspires many parties to cooperate in expressing maritime art. Re-actualization of maritime values is significant, including expressing the previous maritime community’s belief and knowledge system on maritime power experience (Oktavianus, 2019). Maritime policies need to include maritime culture’s role, including through coastal art frame and maritime literacy. Statement Participant The works produced can be used as content for a maritime campaign by the Coordinat- ing Ministry for Maritime and Investment Affairs ADP There is a need for maritime art performing art that in the future it will raise Indonesia’s maritime affairs, which is im- portant for the development RH Academicians need follow-up efforts as a concept of science and technology development to find the problems of coastal and Land communities HIP Longer and wider scope of research AG In maritime culture, there is an art aspect therein. Art of mak- ing boats, literature, waiving BB The depth of meaning of the sea and maritime culture seems to be shown by the response of participants who were from the maritime area. Sea is viewed as the mother. Moreover, the sea is defined by life’s philosophical value. Statement Participant Sea is not simply material. Fishermen view the sea as their home AG Sea is the mother of knowl- edge; for Madurese people, seeking for knowledge must be done through sailing. Evolution in modern is the sea. Productive by sailing and grateful for the creation MSW Maritime culture is related to the perspective and mind- set of the sea. Sea, for us, is the center; we call it Mama (mother) BB Sea is their home, their barn. Division (of role) on Land is based on sea life, like division of individual’s role on board SPH Constructivistically, culture is un- derstood as the community’s collective understanding of history, ideology, be- lief, and religion in the past and now. The government’s strategic policy confirms maritime identity and culture growing from the community. This continuously constructs values, attitudes, behavioral Harmonia: Journal of Arts Research and Education 22 (2) (2022): 283-297294 patterns, habits, symbols, achievements, and adaptation methods as a nation’s tradition (Prasetya, 2020). Articulating the sea needs to start from the maritime community’s mindset based on what is experienced, what is felt, and what is aspi- red. Comprehensive elaboration is a choice in the maritime art creation process. Responsiveness to the digital era is realized by using technology to abstract new works. The awareness of the advan- cement of technology is controlled and formed through innovative artwork. The hybrid interaction of art, media, and digi- talization is articulated in maritime art and culture. New media hybridity is a chance to face challenges and jump into science and mind (Ross, 2005). The use of digital media does unnecessarily break down artistic values but is a new challenge in realizing the maritime community’s hope to create maritime art through refreshing artistic exploration instead. Digital proces- sing results should be a new formula to st- rengthen maritime art. Research intensity is the key to the maturity and depth of ma- ritime artwork production. FGD is a room of discourse and dialectics of the thinking process and expressing interpretation of maritime art. Appreciation and perception activities direct intellectual experience and contribute to formulating maritime litera- cy. CONCLUSION Appreciation constructs knowledge and realizes science, and stimulates new ideas. FGD model gives circular room to think together and influence each ot- her. Participants, as appreciators, gain the room to measure their insight and knowledge of maritime art’s artistic and aesthetic aspects. Maritime art contents strengthen the country’s discourse and movement in returning the nation’s sove- reignty as a maritime country, both in re- vitalization and literacy contexts. The pro- cess by which respondents value, evaluate, criticize, interpret and define maritime art that is appreciated is a form of education. The Archipelago’s excellence in maritime culture can be conserved in the frame of maritime art. The public can appreciate art actualization in coastal maritime areas as an effort to return the nation’s maritime identity along with its glory. Appreciati- on is a literacy education medium for the community and the young generation. The maritime art model was perceived as a strategy for supporting the nation to realize Indonesia as the world’s mariti- me axis. Maritime art is able to articulate Indonesia’s maritime culture to recover the people’s prosperity and the nation’s glory based on maritime power. The ma- ritime art and culture identity will gain more attention in the protection, develop- ment, use, and guiding processes outlined in strategic measures of cultural advance- ment. Maritime art literacy depicts a port- rait of the strength of identity as a nation with a culture of acculturation and mul- ticulturalism to form tolerance education. Maritime art significantly strengthens the creative economic ecosystem process since art is attractive, especially in digital media. Exploration and study of literacy and appreciation, especially on maritime art, cannot cease at this point. Maritime artwork can keep developing and conti- nuously serve as a content of appreciati- on. Appreciator can be formulated based on the diversity of Indonesia’s cultural background. A trial needs to be done on appreciators from some islands. The cho- ice of student appreciator can also be the orientation of research in consideration of the scope of a non-art college or study pro- gram. Different characteristics of appre- ciators can measure the extent maritime discourse is understood by the public and the knowledge of the aesthetic of maritime art. ACKNOWLEDGEMENT This article is the result of research with the theme Floating Heritage Festival in the National Priority Research Ristek- Brin funded with LPDP Cooperation Year 2020-2022 of the Ministry of Finance of the Yanti Heriyawati et al., Exploring the Indonesian Maritime Art toward Appreciation of 295 Republic of Indonesia. 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