1 daniele zappatore, tarantism tarantism: the italian pizzica from music therapy to new formsof performance 2 ijcas: vol. 4, no. 2 december 2017 3 daniele zappatore, tarantism 4 ijcas: vol. 4, no. 2 december 2017 5 daniele zappatore, tarantism 6 ijcas: vol. 4, no. 2 december 2017 7 daniele zappatore, tarantism 65 66 ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017 67 daniele zappatore, tarantismchayuti tassanawongwara, malaysian siam music in northern malaysia waiyawat saitum, the study of solar incident andreas slamet widodo, visual aesthetics “djarum black motodify” chanakarn ruangnarong, the suitable fabric for thai art probosiwi, the braille painting for children education 68 ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017 69 daniele zappatore, tarantismchayuti tassanawongwara, malaysian siam music in northern malaysia waiyawat saitum, the study of solar incident andreas slamet widodo, visual aesthetics “djarum black motodify” chanakarn ruangnarong, the suitable fabric for thai art probosiwi, the braille painting for children education picture 1. niken larasati, sepanjang jalan, oxhide, 2014 (intact picture) (photo: probosiwi, 2014) picture 2. detail photo (photo: probosiwi, 2014) 70 ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017 71 daniele zappatore, tarantismchayuti tassanawongwara, malaysian siam music in northern malaysia waiyawat saitum, the study of solar incident andreas slamet widodo, visual aesthetics “djarum black motodify” chanakarn ruangnarong, the suitable fabric for thai art probosiwi, the braille painting for children education 72 ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017    73 daniele zappatore, tarantismchayuti tassanawongwara, malaysian siam music in northern malaysia waiyawat saitum, the study of solar incident andreas slamet widodo, visual aesthetics “djarum black motodify” chanakarn ruangnarong, the suitable fabric for thai art probosiwi, the braille painting for children education  74 ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017 19 20 ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017 21 daniele zappatore, tarantismchayuti tassanawongwara, malaysian siam music in northern malaysia waiyawat saitum, the study of solar incident 22 ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017 figure 1. research methodology figure 2. overall procedure to development of model appearance in the study site 23 daniele zappatore, tarantismchayuti tassanawongwara, malaysian siam music in northern malaysia waiyawat saitum, the study of solar incident figure 3. shows observation site 24 ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017 figure 4. x.transformable surface models: 25 daniele zappatore, tarantismchayuti tassanawongwara, malaysian siam music in northern malaysia waiyawat saitum, the study of solar incident 26 ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017 figure 5. shows the characteristic of model 27 daniele zappatore, tarantismchayuti tassanawongwara, malaysian siam music in northern malaysia waiyawat saitum, the study of solar incident figure 6. shows different of shade and light direction for each period. 28 ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017 𝛿𝛿 п θ γ θ γ θ 𝛿𝛿 ω 𝛿𝛿 ω 𝛿𝛿 ∅ ∅ ∅ ∅ 29 daniele zappatore, tarantismchayuti tassanawongwara, malaysian siam music in northern malaysia waiyawat saitum, the study of solar incident figure 7. shows solar incident in 3d simulation θ ∅ 𝛿𝛿 ∅ 𝛿𝛿 ω γ ∅ 𝛿𝛿 ω ∅ 𝛿𝛿 θ γ 𝛿𝛿 ω θ ω φ δ γ γ 30 ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017 figure 9. shows 3d model in the same dimension of observation’s model. figure 8. shows three types of elements. 31 daniele zappatore, tarantismchayuti tassanawongwara, malaysian siam music in northern malaysia waiyawat saitum, the study of solar incident figure 10. shows 3d model after correction from calculated data. figure 11. shows 3d model develop for more complex. 32 ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017 figure 12. shows the expected shape of model if it were built at the top of a building in iskenderun (36°3501300 n; 36°10 0 2400 e), on the eastern mediterranean coast of turkey. figure 13. shows comparison of different location cause of model changing. 33 daniele zappatore, tarantismchayuti tassanawongwara, malaysian siam music in northern malaysia waiyawat saitum, the study of solar incident 𝛿𝛿 θ φ γ ω 34 ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017 35 daniele zappatore, tarantismchayuti tassanawongwara, malaysian siam music in northern malaysia waiyawat saitum, the study of solar incident music acculturation in rhythm of kapang-kapang bedhaya and srimpi dance in the keraton of yogyakarta (a case study) r.m. surtihadi indonesia institute of the arts, yogyakarta email: surtihadihadi@gmail.com a b s t r a c t the research’s aim is to notice the music acculturation in the rhythm of female dance of bedhaya and srimpi dances in the kingdom of yogyakarta on the line-movement on-to the stage or leaving it (kapang-kapang). besides, the research is going to discuss a west music instrument acculturation phenomenon with javanese traditional gamelan orchestra on the rhythm of female dance of bedhaya and srimpi dances that are still exist nowadays. the case study is focus on the usage of some west music instrument such as drum (percussion section), woodwind (woodwind section), brass-wind (brass-wind section), and stringed (stringed section) in the rhythm of the dances which are being mentioned above. the method which is being used first is by doing the quality data analysis. the result of the research are two mainly findings; those are 1) the inclusion of various elements of the palace ceremonial ritual by the netherlands indies government which were the impact of the european colonization in the island of java, especially in yogyakarta; it has made a mentally structure of the people of yogyakarta that would have created culture capitalized and which are being used in the context of yogyakarta as the city of culture. 2) european military music for marching is being the inspiration of the palace to create gendhing mars which is being used as the rhythm in the marching movements of female dancers (kapang-kapang) together along with the ensemble of javanese traditional gamelan orchestra and the european music instruments which are being played in one sound (unisono). keywords: acculturation, music, and dancing rhythm. bottom of form introduction the encounter between javanese traditional gamelan orchestra and the music in the kingdoms in the island of java have been happening centuries ago. especially, in the kingdom of yogyakarta as the centre of javanese culture has the important historical fact as the centre of exellence, it has a palace characteristic. various cultural activities have been developing ever since. however, the developments that have been happening were mostly because of the interaction between local and foreign culture. in the scope of art especially in music, it has started from military music. military music in yogyakarta palace has been emerged since the government of sultan hamengku buwana i (1756-1792). as being said by ricklefs (1974: 87), the netherlands indies government has given some palace protocol ceremonial complements such as horse carriage, elephants, persian horses and some trumpet players to give honor ala european to the kingdom of yogyakarta. 48 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 in the scope of art in the kingdom of yogyakarta, west music instruments are being used as the rhythm in the dances, which are being combined with the javanese traditional gamelan orchestra. in some female dances such as bedhaya and srimpi, on the marching movements when the dancers are come-out and come-in on the stage (kapang-kapang) the rhythm is a mix between two instruments, those are javanese traditional gamelan orchestra and west music instruments such as trumpets and drum. besides, muscular dances lawung ageng of yogyakarta palace is having a rhythm from javanese traditional gamelan orchestra and west music instruments, but now we are focus on the female dances only. babad ngayugyakarta volume iii gives important information toward the historical review on this particular writing. babad ngayugyakarta the as a journal of the sultan who was rulled, contains the sultan’s activities and his works on the time he was rulled. the information gathered from the source is about the occasions of culture relations which was being begun by protocol ceremony up to the activities of art and culture. a writing source intitled keraton ndalem ngayugyakarta pagelaran (kartahasmara, 1990), gives informations about the data of yogyakarta sultan works when he was rulled (yasan dalem) from sultan hamengku buwana (hb) i up to sultan hb viii. in this kind of source has been found informations about the activities of art and culture which were related to the usage of the west music instruments and javanese traditional gamelan orchestra as the rhythm of the dances in the yogyakarta palace. from the document mentioned, which is containing about the form of music acculturation culture in the music of javanese traditional gamelan orchestra and west music instruments, the information is written in the data of yasan dalem sultan hb v (19231955) and sultan hb viii (1921-1939). the periode of the rulled of sultan hamengku buwana v (1823-1855) as already being explained in the introduction, the period of the rulled of sultan hamengku buwana v (1923-1955) has happened a contact with the foreign culture that it settled into javanese culture (palace) by the acculturation of west music instruments either in the music rhythm of javanese dances and protocol ceremony. if the statements were an indication of historical period, then the sources that can be used as an occasion of the cultural contact was more as a character of limited relation in the protocol ceremony and in the scope of art. it is because of one reason that the statement has already being explained in babad ngayugyakarta about the occasions of culrural contacts which was being begun by the protocol ceremony by which it effected on the scope of art. it is a quotation of ngayogyakarta pegelaran which explains a process of music acculturation in the era sultan hb v: 9. murjani yasa gendhing-gendhing sabrangan kanthi kairing ungeling musik trumpet, tambur, bedhug lan sasaminipun. kagem nggangsani kapang-kapang majenging/munduripun lelangen dalem bedhaya, 49 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ...asep hidayat wirayudha, the secret of brahms cellos sonata no. 1 op. 38...r. m. surtihadi, music acculturation in rhythm of ... sarta beksan trunajaya. ingkang nindakaken nggarap jumbuhing gangsa lawan musik tiyang walandi inggih van gough sarta smith. (kartahasmara, 1989: 191). translated into: 9. start to make gendhing-gendhing sabrangan by the rhythm of the sounds of trumpet, drum, bedhug, and so on. as a rhythm os kapang-kapang forward/backward of lelangen dalem bedhaya, also beksan trunajaya. the persons who do the work of the harmony of javanese gamelan orchetra with the music of the dutch were van gought and smith. in the source text above, it can be related to the state of a sultan as an autority holder; the assumption as that the concept of the power of autority holder influenced the other concepts of lives including the work of art (soedarsono, 1989:1-5). then, it could be stated that some thermonology languages such as karsa dalem, dhawuh dalem, yasan dalem, lelangen dalem, and so on, could be valid if it is related to the concept of the rulled of sultan and the relation with the concept of art (soedarsono, 1989 : 1-5). the periode of the rulled of sultan hamengku buwana viii (1921-1939) the examination of the art historical periode in the yogyakarta palace is more interesting in the rulled of sultan hamengku buwana viii (1921-1939); it is because of west culture is more real in entering the art concept in yogyakarta palace. ngayugyakarta pagelaran explains more about the state of the influence in the data of yasan dalem in the period of sultan hamengku buwana viii (1921-1939) as: karsa dalem njangkepi iringaning kapang-kapang bedhaya/srimpi, beksan trunajaya, srimpi pandelori miwah srimpi muncar, kanthi tambahan musik gesek/biola (kartahasmara, 1989 : 193). translated into: karsa dalem completed the rhythm kapang-kapang bedhaya/srimpi, beksan trunajaya, also srimpi pandelori and srimpi muncar, by the addition of stringed music instrument/violin. in the quotation taken from ngayugyakarta pagelaran above, is so much clear that the addition of stringed instruments/violin in the rhythm music of the dances, was as a willing of sultan hamengku buwana viii. it is known that in the period of the rulled of sultan hamengku buwana viii (1921-1939), yogyakarta palace had a orchestra music corps by the musical conductor of walter spies (rhodius, darling, 1980 : 21-27). the developments of palace art exibition was conspicuous in the period of sultan hb viii (1921-1939). especially in the rhythm music of the dances, the javanese tradional gamelan orchestra has being improoved, and various gendhing-gendhing has created to be the music rhythm of samoe dances and wayang wong (people as puppet characters). 50 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 sultan hamengku buwana viii has fully motivated the art experts to create as so many creations emerged to be richer and more alive music rhythm; even more because sultan had some art experts such as k.r.t. wiroguno, k.r.t. purbaningrat, k.r.t. madukusumo, r.w. larassumbogo and many others; even the west music instruments has being developed to be a music rhythm for beksan. two western music experts, spies and gotsch were asked to train the exist musicians (suharto, 1981 : pp.119-121). the name and the type of gendhing gati (gendhing gati is a title of a song as arhythm music of dances with marching, so it is called gendhing mares), which is being used as the music rhythm for kapang-kapang bedhaya and srimpi: gendhing gati brongto gendhing gati raja gendhing gati mardawa gendhing gati padasih gendhing gati wiwaha gendhing gati sangaskara (soerjadiningrat, 1980 : pp. 35-39) discussion culture acculturation is one of the culture changing phenomenons which were a caused of the engagement of two different cultures or more. in the process of the acculturation, there are some matters that influenced the engagement or the culture contact itself. according to lauer (2003), the matters that influenced the culture acculturation were the war, the colonization, conqueror, and military expansion, migration, trading, tourism and mass media. according to the study above, which is about a process of social changes, the position of the mix of two kinds of instruments, those are (gamelan) traditional javanese orchestra and west music instruments, the trumpet; and the drum of yogyakarta palace is one of the culture acculturation phenomenon. if we examined from the process of the existence, this kind of music has made from two cultures, javanese and european. both could be observes from the use of music instruments. the european music instruments included the trumpet, and the drum while the javanese music instruments are a set of traditional javanese orchestra (javanese gamelan) with laraspélog (laraspélog is one of the javanese tune that are being used in gamelan jawa). the process of the engagement between javanese and european culture was becoming the background of the music type of the music rhythm of yogyakarta palace dances; it inspired of european military music, by then after the accultarion it is being called gendhing mares as the music rhythm of female dances bedhaya and srimpi. the important events that influenced it were the trading and military conqueror, which both could not be separated from european colonization toward the island of java. it is appropriate to the concepts of lauer about the process of culture acculturation. up to these days the music rhythm of kapang-kapang bedhaya and srimpi dances of yogyakarta palace has been exist. it is more now becoming the main capital that supported the position of yogyakarta as the city of culture. 51 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ...asep hidayat wirayudha, the secret of brahms cellos sonata no. 1 op. 38...r. m. surtihadi, music acculturation in rhythm of ... the question that is appearing now, why does the particular music has been survived up to these days? this is analyzed by the concepts of habitués and culture capital by pierre bourdieu. there are some characteristics of main habitués. those are longlasting, could be transfered, structures that are structurelised, and structures that are being structured (bourdieu 1993: 162). the bourdieu concept could help to know the factors that caused the agents to fulfilled the certain positions in the arena of the battle. the arena which was being mentioned in the writing is the position of yogyakarta as the city of culture. based on the matter, it could be seen that the process of european colonization, which was at the same time with the trading and also the military conqueror in the island of java, which has been taking in a long time, un-automatically shaped the mentally structure of the people of java, especially the people in the kingdom of yogyakarta. this is the habitués of yogyakarta palace and it converses into culture capital. as the other bourdieu’s point of view, capital is being used to describe gambling in social arena (jenkins: 128). this is becoming the main reason by yogyakarta palace as gambling in the context of the culture city. conclusion the existence of west music instruments in yogyakarta in the period of the rulled of sultan hamengku buwana i (1755-1792) has started by the donation of trumpet from the dutch to complete the need of palace. the existence of the west music instrument has been continued in the period of the rulled of sultan hamengku buwana ii (1792-1810) by the appearance of the positions of abdi dalem tambur suling salompret, the therminology is based on the trumpet players. the harmony of the west music instrument (trumpet and drum) with the traditional javanese orchestra (gamelan) jawa has been made in the period of the rulled of sultan hamengku buwana v (18231855) as the rhythm music for beksan kapang-kapang srimpi andn bedhaya, and also as the music rhythm for beksan lawung ageng by the two dutch people van gought and smith as the command of sultan. the harmony of west music instruments and (gamelan) javanese traditional orchestra has made its peak in the period of the rulled of sultan hamengku buwana viii (1921-1939); it was when sultan had a complete west diactonic music corps with walter spies as the musc director. the music rhythm for kapang-kapang bedhaya and srimpi or beksan lawung ageng accompanied by the complete orchestra which included stringed instruments, woodwind instruments, brass-wind instruments and percussions. the process of colonization which accompanied along the military conqueror and trading has become the main factor of the emerged of culture acculturation of music on the music rhythm for the dances of kapang-kapang bedhaya and srimpi of yogyakarta palace. then, european colonization i the island of java especially in yogyakarta has made a mental structure of the people of yogyakarta that has shaped the culture capital and it is being used in the context of yogyakarta as the city of culture. 52 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 references babad ngayogyakarta, vol. iii, yogyakarta: perpustakaan museum sana budaya yogyakarta. bourdieu, pierre.1993. the field of cultural production, essayis on art and literature. us: colombia university press. h. lauer, robert. 2003. perspektif tentang perubahan sosial. bandung: rineka cipta. kartahasmara, r.ng. 1990. ngayugyakarta pagelaran. transliterasi wibatsu harianto soembogo. yogyakarta: mahadewa. rhodius, hans. darling, john, 1980, walter spies and balinese art, amsterdam: terra, zutphen. ricklefs, m.c., 1974. jogjakarta under sultan mangkubumi (1749-1792), a history of the division of java, london: oxford university press. r.m. soedarsono, 1989. “raja jawa dan seni: sebuah contoh pengaruh konsepsi seni pertunjukan”. makalah ceramah pada proyek penelitian dan pengkajian kebudayaan nusantara, bagian jawa, 25 september 1989. ______________, 2010. seni pertunjukan indonesia di era globalisasi, yogyakarta: gadjah mada university press. r.m. surtihadi. 1995. “instrumen musik tradisi barat dalam iringan tari dan upacara protokoler kraton yogyakarta (sebuah tinjauan historis)”. (thesis). yogyakarta: fakultas seni pertunjukan, isi yogyakarta. soerjodiningrat, wasisto. 1980. gendhing beksan mataraman, yogyakarta: proyek peningkatan pengembangan perguruan tinggi, sub proyek festival seni budaya. suharto, ben. 1981. “perkembangan tari klasik gaya yogyakarta” dalam fred wibowo (ed.). mengenal tari klasik gaya yogyakarta. yogyakarta: dewan kesenian prop. diy. sumarsam, 2003. gamelan, interaksi budaya dan perkembangan musikal di jawa, yogyakarta: pustaka pelajar. base line data to read notation which has been transcript from the music of the traditional javanese orchestra (gamelan) into notation of the music of the west is as: to read the notation of gendhing which has already trsncript into cross-bar (especially in the music rhythm for kapang-kapang), the musicians have to be able to understand the phrases in the sentences in gendhing which is ended by the sound of big instrument of gong. it caused the ending of the music is never on the end of its sentences of the music. the music can be stopped in the middle or at the front part of the sentences of its music, which is always end up by the sound of a big instrument called big gong. as the music thythm for the dances of bedhaya or srimpi, it has to synchronize with the duration of the section of kapang-kapang, which are always different. the size (big or small) of the stage or pendapa (the front part of the javanese traditional house) as the place to dance is really influence on the duration of the music rhythm. 53 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ...asep hidayat wirayudha, the secret of brahms cellos sonata no. 1 op. 38...r. m. surtihadi, music acculturation in rhythm of ... 54 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 15 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economy relation between creativity and economy in the creative economy (a case study on acapella mataraman musical parody community) firmansah graduate school of indonesia institute of the arts yogyakarta email: firmansah_appe@yahoo.com abstract the aim of this study is to determine and to explain the relationship between creativity and economics. this phenomenon can be seen through the performing arts community in the era of government policy on creative economy which established in 2007. as the qualitative study, this study used case study approaches to acapella mataraman community .this study also used the economic concept art by ruth towse. the research finding of this study is the creative economy logic of the government can create important factors of increasing the level of creativity. so that pardiman as the intellectual and major figure in acapella mataraman community is able to classify his creativity on consumer’s price demand. in addition, the non-profit aspect also can be applied by pardiman as the acapella mataraman community promotion in the performing arts market. keywords: creativity, economic, creative economy, and musical parody. introduction the economic issue is the universal problem of all societies in the world. many countries solved the economic problem through creative economy program. in 2007, indonesian government also took part in creative economy programs. indonesian government version of creative economy programs include sectors which are expected to improve the livelihoods of the social community. in order to optimize that policy, it requires collaboration between the intellectual, business and government that is called triple helix. government as facilitator and regulator not only provides convenience for the marketing of products in each sector but also provides ease information and knowledge for the society improvement, so this program could be effective. performing art sector also got the major impact of that policy. that policy indirectly altered the patterns of production and consumption the art of performing. new pattern of performing art production has the purpose of acquiring improvement for economy, in creative economy, any product of art is considered as the commercial product. it can be assumed from this case that the economy has an important role in enhancing creativity. the higher cost of consumer demand, the higher level of creativity the artist do work of art. this assumption will be verified in this study through acapella mataraman community 16 editorialbook of reviewijcas: vol. 2, number 2 december 2015 in yogyakarta using economic perspective on the art of ruth towse and daniel bell on the post industrial society. acapella mataraman is a musical parody community that is in the performing arts business. pardiman as the role figure of this community adjust the creativity according to the consumers demand. pardiman’s roles not only determine acapella mataraman existence in performing art world but also differentiated acapella mataraman from other art communities. it also supported the strategy in producing, promoting and marketing the products of his art through mataraman acapella. in the era of the creative industries, the triple helix pattern can be seen between pardiman (intellectual), acapella mataraman (business) and the government. the balance of triple helix in acapella mataraman community becomes the main reason why this study chose that community. according to ruth towse ( 2011 ), individual creativity in industry cannot be improved on only investment in training but economic factors also have the role affecting creator of art on how to be creative. this perspective helps pardiman as a major figure in the musical parody acapella mataraman community in assessing the creative process. to complete the concept of ruth towse, this study uses the perspective of daniel bell on the post-industrial society. daniel bell (1973) stated that professional class is the heart of the post industrial society. the shifting of knowledge and the ease of information had economic impact to the society. professional class in this case is referred to pardiman as intellectual. utilizing the knowledge and information in his work makes pardiman producing and marketing his works through acapella mataraman creative community. postindustry study is still relevant in indonesia because of changes in patterns of production and consumption and also impact of the knowledge and information development. by using these two concepts above, this study is expected to find a dominant factor in the creative process pardiman in the era of the creative industries. research questions 1. does economic factor become primary motivation in the creative process of pardiman? 2. why economic factor is important in his creative process? 3. how the economic factor affect the creative process of pardiman? research method this study used qualitative method through the case study approach. the steps performed in the research include: preliminary observations on the creative and performing arts industry. after that choosing acapella mataraman as the case example of relationship between economy and creativity. after a further discussion, pardiman as a major figure in the community willing to be the main source of this study. this study used triangulation as the process of using different multiple data sources but in the same subject by comparing information from one 17 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economy data source to the others. by using triangulation, this study is able to identify the reality of different views in the focus of discussion. the last step is analyzing the data using the concept of ruth towse and daniel bell. results 1. government policy on creative economy the relationship between creativity and the economy is not effective without government support on the policy of creative economy. the creative economy also strongly supported by the act no.32 of 2004 on regional autonomy. in 2012, yogyakarta became one of the cities listed to unesco as the creative city-based on local culture (http://tempo.com/). because of that, yogyakarta had opportunity to develop fourteen creative economy sectors ( including performing art sector) with economic agglomeration system. towse (2010) stated that the people in creative city has the benefit from the festival excitement, so the demand for performing art also increases. according to unesco (suryana, 2013) this creative culture formed by the combination of product and commercialization. although based on the local culture, every product of the creative economy is commercial product in the form of goods and services which include marketing, sales, and promotion (suryana, 2013). pardiman as an intellectual in the creative economy creates the creative ideas to make the art products which have better the economic values. on the other hand, the art products increase government tax revenues through tourism. according to suryana (2013) creative economy contributes positively to increase the national income. in the education field, pardiman creates creative mindset to young generations as the support to the government’s policy. pardiman activities as the intellectual are lecturing art in one of university in yogyakarta and becoming speaker in smki (high school of traditional art) for the students’ practical work activities. the aim of practical work activities is to prepare student to face the real performing art world, especially in karawitan (www.worldcangkem.com/). pardiman activities in education field can be inferred as the collaboration between the intellectual and the government in preparing the next generations as the intellectual or the business in triple helix. these patterns are in the employment dimension of post-industrial society. according to bell (1973), the professional is needed in the post-industrial society, the professional in that term is referred to pardiman as the intellectual. the increase in national income will have impact on every sector of creative industries. it changes not only the product but also on the art services in the performing arts sector. total cost and demand for services increase with the change of knowledge and information. bell (1973) stated that the change in knowledge and information have the consequences on increasing demand for greater services and this change is the characteristic of the economic dimensions of post-industrial society. the post-industrial characteristics give better opportunity to the performing arts communities in yogyakarta to get high 18 editorialbook of reviewijcas: vol. 2, number 2 december 2015 economic benefit from their performances. one of the creative community in yogyakarta which get this benefit is acapella mataraman. this community always performs in the government official events. acapella mataraman also got involved in the promotion of cultural tourism in yogyakarta, one of them is taman sari (water castle) promotion. (http://travel.kompas.com/). according to bell (1973) post-industrial society is the global community (globalization) with the sophisticated technology of information and knowledge that create world culture. this technological advance is able to create common paradigm in the world about the type of performing art that worth watching. the policy of the creative economy based on local culture make the artists and the performing arts lovers, especially teenagers in yogyakarta enjoy the local performing arts like acapella mataraman which combines modern and traditional music. according to ruth towse (2010) even though digitalization had changed, economic factor became very significant features in performing art which depends on the government policy about the performing arts market in every country. this circumstances fit to bell concept that stated government has a greater role in the economic dimensions of post-industrial society than the market to determine the decision (1973). 2. creative process of pardiman, between the intellectual and the role figure in acapella mataraman the main “power” to gain more economic values in creative economy is creativity. the fourteen sectors of creative industries including performing arts also get the impact of this circumstance. according to deliege and wiggins (2006) emergence creativity consists of two factors: intrinsic and extrinsic. pardiman as a major figure in the musical parody community, acapella mataraman is intellectually capable of processing both two factors into the art works. his ability in making music composition, his existence in the world of performing arts in 1981-2014 and also high intensity in the work become intrinsic factor of pardiman. pardiman has extrinsic factors like other artists, such as political situations, social and religious issues. however, the factors which increase pardiman’s creativity were the economic situation that led his family into the bad situation in 1998-2000 and internal conflict in acapella mataraman. as stated by simonton (1987, hargreaves & north: 2003) that creativity will increase if the composer is under pressure as a result of the changes in life. both factors are the main sources of his creativity. although he had to stop for several years, because of those intrinsic factors. to bring back acapella mataraman on the performing art market, pardiman must lose his loyal fans. educating the youth, including his gamelan (traditional javanese instruments) pupils and they are trained to be the new generations in acapella mataraman. using the youth as the member of the community is expected to get fans from the old generations and the young as well. comosing traditional nusantara music with acapella technique, poetic lyric, attractive costumes, choreography, and humor distinguish acapella mataraman from other performing art communitiesp. although every 19 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economy music in acapella mataraman is created with minimum melody, the fans still enjoy the rhythm and timbre. this case fits to the concept simonton (1991, hargreaves & north: 2003) that stated: those who lived in the musical environment will produce the original art work with minimal melody but it has high scores on the accessibility to the music lovers. the power of production sources in creative economy will be more effective, if the government issues the policy of creative industries. triple helix as the pillar of the creative economy change the pattern of indonesian performing arts market through easy access to information and knowledge. pardiman as the intellectual supports the policy through the youth training to form creative mindset. as a major figure, pardiman always participates in government programs to promote cultural tourism in yogyakarta through performing musical parody acapella mataraman. maximizing the role of major figure as the intellectual creates the positive image to the domestic and foreign fans. pic1. acapella mataraman performances in fky 26th the huge number of acapella mataraman fans is the proof that the demand of performing art services also increase. as stated by towse (2010) the great number of fans who are willing to pay for the performing art show is the indicator of greater performing art demand. however, it also has the economic implication to increase creativity. high cost of production is offered for business and the low cost for the non-business consumers. acapella mataraman considers the commercial and non-commercial factors in determining the price. this strategy aligned with the opinion of ruth towse (2010) regarding the pricing of the balancing factor of commercial and non-commercial. the show location also determines the price. the lower price is offered when the show is held in yogyakarta and the higher the lower price is offered when the show is held outside yogyakarta. pricing also related to the number of 20 editorialbook of reviewijcas: vol. 2, number 2 december 2015 players in a show. usually, pardiman must pay additional cost when acapella mataraman performed in art appreciation show. this additional cost must be paid because production fixed cost allocation is insufficient to pay the players. to get profit, pardiman provides accessories, clothes, and acapella mataraman official merchandise . in the performing arts economy towse (2010) explained that: in order to gain maximum profit, the goods and services should complete each other. pic 2. karawitan rehearsal process by pardiman acapella mataraman is considered as profit community but this community is still aware about the non-profit aspect. non-profit service is the additional cost. pardiman termed it as ‘absen publik’ (public absent) or towse (2010) conceptualized as ‘social efficiency’. this strategy is part of the promotion, this ‘absen publik’ is expected to gain the service consumers from the higher economic level. another way to promote acapella mataraman is through the website, so the fans and service consumers are able to get information through the site. acapella mataraman doesn’t make particular segmentation for its fans and service consumers. according pardiman, particular segmentation will reduce the production and income. as explained earlier, the absence of particular segmentation makes the different pricing. according to towse (2010) this is price discrimination. thorsby (towse, 2010) stated that differentiation will have impact on the quality of services. it is very complex to measure these things in the creative industries, there is a strong interaction between artistic and economic factors. cowen and tabarrock (2000, 2011), cellini and cuccia (2003.2011) also stated that the artists in the industry who pursue aesthetic satisfaction, fame, livelihood, eventually learned to adjust the level of creativity to gain greater profit. 21 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economy conclusion as stated above, the relationship between the government, acapella mataraman, and pardiman is considered as the triple helix. so, it can be inferred that economic factors play important role in increasing the level of creativity. government policy of creative economy increased national income. the policy also changed the pattern of performing arts market. the change is characterized by the greater demand for services and the cost of production. this phenomenon made pardiman classifying level of creativity according to the consumers cost. there is no specific segmentation in the performing arts services. if the consumers demanded new works, the cost will be offered high. on other hand, pardiman implemented non-profit aspects to promote acapella mataraman. by performing for the low cost consumers is expected to gain the service consumers from the higher economic level. references bell, daniel, (1973), the coming of post-industry. a venture in social forecasting, new york: basic book. denzin, norman k & lincoln yvonna s (2010), the sage handbook of qualitative reaserch third edition, california: sage publication. deliege, irena & wiggins, geraint, (2006), musical creativity, multidiciplinary research in theory and practice, new york : psychology press. hargreaves, david j & north, adrian c, (2003), social psychology of music. oxford: university press. suyana, (2013), ekonomi kreatif ekonomi baru, mengubah ide dan menciptakan peluang, jakarta: salemba empat. towse, ruth, (2010), a text of cultural economic, cambridge university press. towse, ruth, (2011), a handbook of cultural economic second edision, edward elgar. electronic sources http://travel.kompas.com/read/2014/01/04/0920504/membangun.pariwisata.diy. harus.cerdas www.worldcangkem.com/guestbook http://www.tempo.co/read/news/2013/08/03/114502138/empat-kota-indonesiakandidat-kota-kreatif-unesco 21 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagement art of engagement: visual art of thailand in global contexts thanom chapakdee srinakharinwirot university thailand abstract this paper on the topic of art of engagement: visual art of thailand in global contexts, attempts to explore that “global contexts” is transformed because of the impacts rapid change in economics, politics, society and culture. globalization based on the notion of global art and transform thai art scene into the state of international art movement such as installation art, performance art, community art, i.e. these movement becomes the mainstream of art since 1980s. this kind of movement which artist has created the art objects, space, time and sphere as a model of sociability which audiences can participate with people in community as relational art practice. the relational art becomes the space of exchange and participants can share experienced of taste, aesthetic, criticism which it’s related to art objects and sphere of community. this paper will explains that relational art is in the process of art of engagement. that is why art has become the community engagement which art objects and practical based are of the relational art and relational aesthetics. keywords: community art, relational art introduction it seems that nowadays the word ‘culture’ is excessively used in a very superficial way. people use it just to appear fashionable and to follow the trend that calls for culture at all levels. indeed, the meaning and context of culture are very important to people living in a society. within culture, the arts rely on specific contexts to serve as a starting point. in the art creation of today’s artists, it’s crucial that artists learn and apprehend the origin and the development of culture which is part of their art practice. integration of cultural traits such as stories, legends, tradition or people’s way of life; artistic practice and creativity, results in artworks which overlap with the original culture. before going into the details of the integration concept, one of the most popular ideas incorporating the interdisciplinary approach in contemporary society, or how artists should use it in their practice, i’d like to talk about ‘collaboration’ and ‘public art.’ if artists take these ideas to use in their work without limitation, unexpected results from the audience will inevitably be produced. this is because public art is created from the involvement between artists and the public. so, it’s important that the artists be aware of their own creativity, which might be new to the community. also, artists should be concerned about how concepts of integration and collaboration are practically implemented. for example if artists don’t learn about all aspects of a certain community they may risk introducing 22 editorialbook of reviewijcas: vol. 3, number 1 june 2016 something unacceptable into that community. in the end, they will generate misunderstandings about the role of art. in the context of today’s contemporary art, there are many artists who claim that they use the integration form as their artistic creation process. however they ignore the basic spirit of integration and collaboration with the community. in most cases, artists consider themselves superior to the community. this egocentric attitude is always a contemporary problem in many contexts not only in the art field. however, this is one cause which pushes the public away from art movements, creating a gap between art and the public. according to my observation of contemporary art movements in thailand for more than two decades, most artists are only concerned about artwork achievement. they neglect how the process and purpose of the work affects the community. many outdoor sculptures or public art pieces are ignored, because they have no connection to the community in which they were placed. time and time again public art exhibitions are created by artists and viewed almost exclusively by artists and those in the art scene but not the general public. what is the notion of public art and what are the factors which cause the problems in collaboration between art and community? the organizers of public art events seem to manage all parts of the activity, without paying attention to the importance of the community’s way of life. this still occurs even though they are well aware that collaboration is the process of working between at least two parties. if community involvement is not encouraged, failure in communication with the community will be the consequence. although the artists/organizers or sponsors might announce the ‘success’ of an activity, the outcome is still the work of artists alone. the community doesn’t have any involvement. the main cause of this problem is that the artist community rarely interacts with other communities. artists tend to limit their focus to creating art for the sake of art only. however, when the time comes to create an activity with the community outside of the art world, artists, curators and art organisers are frequently using the power of networking and mobilising the masses to call for cooperation. without having a real understanding of the local contexts of that community, artists pretentiously refer to the cultural benefits and improved living standard which community members will receive from art. remember that art is a freely born phenomenon. however, it comes from the processes of life, culture, traditions and beliefs of a particular social community. so, the ‘language’ of public art reveals the cultural context or discourse existing in that community. on the contrary, all that has happened under the definition of public art in thai society has become the personal expression of an individual who used the public space. and this event became unconnected and misplaced, crudely made to that community. therefore, it’s not uncommon that public art is only a superficial phenomenon that remains outside of the interest of the community. 23 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagement now, public art becomes unacceptable to communities as it is reduced to objects which artists put into the community made up entirely from a personal narrative or solely for decoration. back to our starting point, ‘what are the factors which cause problems in the collaboration between art and community?’ as we know, in collaboration, artists first need to know how to present themselves and which strategies they will use in order to engender the participation of the community. artists must learn through experience as well. even if it is an abstract matter, once a concept of creating art in public space comes to mind, artists or activity creators really need to learn every aspect of that community as clearly as possible in a concrete way. then they will understand the culture, environments and public spaces in that community. an important factor is that different aspects need to be respected. it is not just an empty space to put something as each space has a story and memory related to its people. certainly, in any integration and collaboration with community, to create art activities and art work, we have to think about the project feasibility, the fragility of cultural space, traditions, the community’s beliefs as well as unexpected errors. so, an important point to know is that culture and way of life are changing all the time. still, artists should not push things to make a breakthrough brusque change. involvement which comes from integration and collaboration needs to involve brain storming the real powers of the community and respecting the fundamental concepts of each side. if these ideas can be implemented there will be fewer problems. navinrawanchaikul is an artist who created a public art programme, which consists mostly of public involvement. he organized various kinds of activities which allowed different groups of people to interact with his work. one thing which appeared to be his trademark was the use of many types of vehicles as part of his work. the vehicles served as mobile art galleries, offering the general public an opportunity to experience art while commuting in their daily life. the use of vehicles demonstrates the concept of introducing art into public space in a dynamic, concrete way. navin’s mobile gallery comprised of taxis, tuktuks, bicycles and scooters. in his fly with me to another world project (henceforth fly with me), not only the work itself is movable, but his art exhibition space is also migratory. for 10 years navin has created vehicles carrying his ‘artistic luggage’ to interact with communities around the world. i believe that the exploration of the ‘nomad’has become the main concept of his work which has been meaningful to his artistic practice. so, it’s not strange that navin was impressed by the life of inson wongsamand made a revision of inson’s journeys, an extraordinary story that very few artists and travelers achieve. insonwongsam became a legend of thai art. he was born in 1934 in lamphun, a historical mid-size town in northern thailand. having completed a 5-year course in printmaking and sculpture at silpakorn university in bangkok, he was 24 editorialbook of reviewijcas: vol. 3, number 1 june 2016 awarded a scholarship, which enabled him to travel all over thailand. he spent a year exploring thailand and produced paintings and woodcuts of great charm and originality. in 1961, he held his solo exhibition at the gallery of tourism organisation of thailand in bangkok. his travels in thailand were a mere forerunner of a far more ambitious plan. inson always dreamt of travelling around the world and experiencing other cultures, especially italy – the land of art and the native country of prof. silpa bhirasri1 for whom inson had great respect. however, due to the lack of substantial financial means, he was unable to immediately realize his dream. at the age of 28, inson held an auction of his works to raise money for the trip. he then presented his project to travel around the world to berlie jucker, the representative company for italian scooters in thailand. the company decided to support inson by offering him a lambretta scooter to use on his journey. esso contributed funds for his fuel. friends and peers from university donated work of art to be sold by auction to provide additional support. inson left thailand in the middle of may 1962, one week after the death of his beloved mentor prof. silpa, to whom he had made the solemn promise to abide by his teachings and to always strive to benefit society. equipped with a few clothes and some finished works of art, he travelled through india, pakistan, iran, turkey and greece, until he arrived in italy in august 1963. throughout the 16 months of his journey, inson exhibition his works many times and drew a lot of interest from art critics and the international press. after a successful solo exhibition at a renowned gallery in florence, the home town of prof. silpa, inson continued his dream to travel the world before finding himself in the big apple where he realized great success and became the first internationally acclaimed thai artist. in 1974, after 12 years on the road, inson decided to return his roots. he came back to lamphun and built a small studio in the forest and lived like a farmer, slept at sunset and rose with the dawn. he wanted no distractions of any kids. he did not even have any books. he wanted to draw and make wood sculpture and to increase his knowledge of herbal medicine. he became a friend to the villagers but they could not understand why a man who had travelled the world and lived in a great city like new york should want to return to the wilds. with respect for his lifelong contribution to the arts and culture of thailand, insonwongsam was honoured with the distinction of a national artist of thailand2 in 1999. this famous award has not changed the simple life of inson. he still lives in the village, creating his arts and supporting cultural activities in his community continuously. 1 prof.silpabhirasri (corradoferoci, 1893-1962), the italian born, founder of silpakorn university -the first art university in thailand. 2 inson wongsam was appointed by office of the national culture commission to be a national artist of thailand in visual arts (sculpture) for the year 1999. the king of thailand bestows this honour to national artists as a lifetime achievement award. 25 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagement the most striking period in inson’s journeys was taken as the source of work by navin. by doing this, navin, a generation later than inson, has represented the continuation of thai art. it is the case where up until now inson has not shared his history, however he is proud to be talked about by others. following navin’sfly with me,inson has gained the attention of the international art press and his work has been exhibition in several international locations from 1999-2001. various editions of the project are permanent collections at important contemporary art institutions and galleries 3 just as inson returned home after a long journey, in february 2004, navin finally brought fly with me back to lamphun, inson’s native town. a yearlong exhibition was set up at the hariphunchai national museum in lamphun. instead of having a mere exhibition, navin was determined to develop a year of activities that encouraged local participation and collaboration among people and organisations across fields and generations. a series of community outreach activities have been conducted throughout the year including workshops, performances, exhibitions and public talks. ending the project by linking the local with the international, parallel to the journeys of inson and navin, the public art in(ter)vention symposium was organised as a platform to discuss interdisciplinary art practices in communities. with regard to the variety of fly with me activities that navin included in a yearlong project, i believe that he picked up the concept of inson ‘stopping over’ in places during the journey. there were times when inson exhibition the works he took along with him, and also sold some to contribute to living costs. i think it’s the point that inspired navin to create activities with many communities in lamphun, where his exhibition about inson was held. therefore, the fly with mehas become the representation of the accumulated work of the original discourse, the expression of insonwongsam, and the new discourse, that of navin and his collaborators who created another layer to add to inson’s journey within their own surroundings. the art of navin is site-specific, where the creative process; its content and form, is presented through a wide variety of media and activity. his works always relates to people’s daily life and collaboration plays an important role in his creation. through fly with me activities. navin collaborated with more than 20 organisations, from museums to temples, with governmental offices as well as ngos, with artists and non-artists across all generations, local and international. the project itself provided an alternative model of how artists can ‘collaborate’ with the ‘other’ (outside the art word). at the same time, it also stood as a platform for research about public art practice and the response from the local community regarding contemporary art. 3 exhibitions of fly with me to another world include: guanrene arte 26 editorialbook of reviewijcas: vol. 3, number 1 june 2016 ‘vehicles’ which move and carry navin’s art objects constantly go forward and stop over at public areas in different communities. navin’s ‘caravan’ continues to tell new stories about arts for he is an expert in public art who can wisely made a synthesis from multidisciplinary fields which become his strategic creative artistic practice. moreover, he knows how to organise things by using different kinds of art strategies. having seen the integration concept embedded in art creative process of navin from his beginnings to his fly with me, i am completely convinced that integration ideology is the key theory which drives the artist to a world of variety, where accumulated facts and realities lie. and, it serves as an important conditional opportunity for artists to perceive, share ideas and interact with communities in various dimensions. surviving and at the same time maintaining the integration concept in art creative practice is not easy because the essence of each discipline is difficult to integrate. moreover, to be able to work in different community spaces, artists must also respect and trust the norms of that community. otherwise, the concept of integration could destroy the community’s way of life. 99, foundazione sandretto re rebaundengo per l’arte, guanrene, italy (1999); satani gallery, 31st art basel (art statement), basel, switzerland (2000, baloise art prize); le consortium, dijon, france (2000); fuori uso (the bridges) art on the highway,piazza unione, pescara, italy (2000); the gift of hope, museum of contemporary art, tokyo, japan (2000-2001); ii dono, pallazzodelle papesse, centro arte contemporanea, siena, italy (2001); navin rawanchaikul& adel abdessemed,laura pecci gallery, milan, italy (2001); chateau scoterus, fourchambault, france (2001). selected fly with me to another world editions are held in permanent collections at the foundazione sandretto re rebaundengo per l’arte, guanrene, italy; le consortium, dijon, france; stedelijk museum voor actuele kunst (s.m.a.k), ghent, belgium; and arco foundation, madrid, spain. references bourriaud, nicolas. 2002. relational aesthetics. france: les presses du reel. chiu mellissa and genocchio, benjamin. 2010. contemporary asian art. london: thames & hudson. clark, john. 1998. modern asian art. sydney: craftsman house. identities versus globalization? (cat). 2004. chaing mai: heirich boll foundation. poshyananda, apinan. 1992. modern art in thailand. singapore: oxford unipress. rawanchaikul, navin. 2006. fly with me to another world. thailand:fly with me to another world project. rawanchaikul, navin. 2008. navin’ss ala. chaing mai: navin production. 27 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagement navinrawanchaikul’s work’s “fly with me to another world’ 28 editorialbook of reviewijcas: vol. 3, number 1 june 2016 navinrawanchaikul’s work’s “fly with me to another world’ 29 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagement navinrawanchaikul’s work’s “fly with me to another world’’ 7 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formation ojo kuwi song as communist discourse formation in the election of the president of the republic of indonesia in 2014 arhamuddin ali graduate school of indonesia institute of the arts yogyakarta email: ali.arhamuddin@yahoo.com abstract the aim of this research is to find answers to song ojo kuwi as media of the republic of indonesia’s presidential election campaign of 2014. in addition, another purpose is to reveal the campaign messages that are communicated through this song’s lyric. this case study focuses on the study of ojo kuwi song along with talk on the internet news media. data collected from internet news, analysis of musical elements and lyrics ojo kuwi. as a result of research, discovered an attempt to revive the collective memory of indonesian communism society. furthermore, the messages are communicated in ojo kuwi lyrics urge people to choose presidential number 1 candidate by providing an explanation of the shortcomings of his opponent. keywords: music, politics, campaign, memory introduction initial idea of this article came from a political phenomenon in indonesia. in 2014 is the culmination of a political battle that seat two pairs of presidential candidates to compete for the seat of president of the republic of indonesia. both are prahara (prabowo-hatta rajasa) and jokowi jk (joko widodo-jusuf kalla). each pair of candidates is supported by two major political force in indonesia, kmp (koalisi merah putih) or the coalition red and white and kih (koalisi indonesia hebat) or the coalition indonesia super. kmp that carries prahara supported by several large parties include gerindra (gerakan indonesia merdeka) or free indonesia movement party, ppp (partai persatuan pembangunan) or the united development party, golkar (gologan karya) the functional group, pks (partai keadilan sejahtera) or the prosperous justice party and pan (partai amanat nasional) or the national mandate party. while kih carrying jokowi-jk and supported by pdip (partai demokrasi indonesia perjuangan) or the indonesian democratic party of struggle, pkb (patai kebangkitan bangsa) or the national awakening party, hanura (hati nurani rakyat) or people’s conscience party and the nasdem (nasional demokrasi) or national democratic party. it’s unique in indonesian political battle this time was the way the both winning team candidates attract public sympathy through the campaign. like the previous 8 editorialbook of reviewijcas: vol. 2, number 2 december 2015 presidential election, political campaigns synonymous with the use of media, both print and electronic media. but in the 2014 presidential election, there are new shades, namely the involvement of musicians and music as a campaign tool. ahmad dhani appoint as one of the members prahara campaign teams. ahmad dhani create a campaign song for prahara. while jokowi-jk designate a group slank music as a member of the campaign team. they are popular with the title song “hail two fingers” (salam dua jari). the use of music as a campaign tool does not end there. an article by gunawan (kompas, 24/6/2014) describes the involvement of musicians in the indonesian presidential election in 2014. in his writings he explained the involvement of jogja hip hop musicians foundation is campaigning marzuki mohamad jokowi-jk with the song “bersatu padu coblos no. 2 “. in addition, the article shows the prahara support group inspired from the song “happy” singer’s us pharrel williams. from some of the examples above, there is one song that controversy in indonesian society. ojo kuwi song, one piece of music composed by ahmad dhani which is used as a form of support to prahara. the song which allegedly resembles genjer-genjer song became a major conversation internet media in indonesia. genjer-genjer is one song that was banned in the new order as identified with the latent danger of communism at the time. however, in the 2014 presidential election campaign indonesia discourse on track genjer-genjer back ojo kuwi discussed since the song circulating on youtube. based on the above, i suspect memory politics practiced by prahara camp. thus, in this paper will describe the reality of the politics of memory as a campaign communication strategy. from the above description, this study will answer two questions. among others, as follows: 1. why the song ojo kuwi mimic elements of music genjer-genjer songs? 2. how to form a political message communicated in song ojo kuwi? theoretical basis before the much discussed political issues of memory, we first discuss about the concept of collective memory. according to the olick explanation (1999), the memory associated with past experience and embedded in the minds and did not realize the human form itself. to recall past experiences, the memory requires something as stimulus. one is the environment or public space. the phenomenon of indonesian presidential election campaign in 2014 has met the public spaces. there are two concepts of public space, namely physical and non-physical space. as according to low and smith (2006), the physical space include roads, parks, shopping centers. while the non-physical space, among others, the media and the internet. in this paper, the concept used is the nonphysical space. because, talks about the presidential campaign using songs ojo 9 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formation kuwi derived from youtube and discussed in the media internet. talks about the memory also discussed in the study of music. one model studies of memory in music is the study of psychology of music. bob sneyder (2001) divides the two forms of memory in the human body, namely the long-term memory (ltm) obtained from events not conscious or subconscious. while the second is a short-term memory (stm), this memory is obtained from new information. this new information is brought or revive human ltm (2001: 4-5). associated with music, sneyder explain elements of music like pitch and melodic intervals have the relationship with human expectations (2001: 135). in this regard, attention to aspects of ojo kuwi melody will become a major concern in this study as a stimulus that evokes the collective memory of the community. apart from the explanation of the memory, this paper also uses the concept of a communications strategy in political campaigns. burton and shea (2010) explains that the media is one tool for communicating campaign messages. he introduced the concept of “message box” in the media strategy. there are four main points are communicated in this concept. first, what you say about you? secondly, what they say about you? third, what you say about them? fourth, what they say about them? (2006: 160). research methodology this study used a qualitative methodology and the case study method. both are used because based on the data that will be analyzed in the study. some of the data collected manifold qualitative data sourced from the internet news related to political campaigns indonesian presidential election of 2014, in particular that addresses the following issues ojo kuwi song along with a variety of dimensions. additionally, in this study also analyzed the data recorded audio track ojo kuwi which is then compared with the song genjer-genjer. aspects lyrics ojo kuwi also be one source of data. research result 1. genjer-genjer historical background songs the political changes in indonesia of the mid-1960s era was marked by the replacement of the president sukarno by suharto. when led by sukarno, indonesia is decorated with two current strengths both in terms of culture and politics. his form in political party pki (indonesian communist party), whereas in a culture characterized by the presence lekra (lembaga kebudayaan rakyat) or cultural institute where both are in the ideology of socialism. on the other hand, there is also the power of the tni (tentara nasional indonesia) or indonesian armed forces and manikebu (manifes kebudayaan) or cultural manifesto that supports the ideology of global capitalism. the fall of sukarno put soeharto as the new leader in indonesia. having managed to occupy the number one position of indonesia, suharto imposed a genocidal policy by eliminating everything that is synonymous with sukarno, 10 editorialbook of reviewijcas: vol. 2, number 2 december 2015 be it advocates, organizations, artists and works. slaughter carried everywhere with the main reason remove traces of communism in indonesia. the slogan was “latent danger communists”. one of the elimination of trace is done is the prohibition against genjer-genjer song. the song is considered to be synonymous with communists and harmful to indonesia because when pki dominate the political map of indonesia often use the song as a political tool. that’s what makes suharto provide a major concern in this song. thus, efforts to establish a discourse on the dangers of genjer-genjer song featured in the propaganda film of pki rebellion. in the film, genjer-genjer songs played when members of the pki was fun after torturing and killing several general tni (indonesian state army). based on that, a rule issued by the state related to the banning of the communist suharto in indonesia. tap is the assembly xxv / 1966: prohibition understand communism in indonesia. this rule applies until now. thus, all matters relating to communism would always invite the public debate in indonesia today. likewise, the status gejer-genjer. and unfortunately, this discourse always been popularly used in every election campaign in indonesia. including in the indonesian presidential election in 2014. 2. ojo kuwi or genjer-genjer (communist discourse formation) figure 1. the strains genjer-genjer pieces sentence above song familiar to the people of indonesia, especially for people who have felt the new order regime. there is a certain danger when play this song. so that, at the time this song is categorized forbidden. the main cause is the labeling of the communist stamp to this musical work by the government in power at that time. however, after the song ojo kuwi emerged as one of the media campaign, talks about genjer-genjer re-heated in indonesian society. the main question is why the song was banned in indonesia at a certain time again presented during the indonesian presidential election campaign in 2014? many options related to this question. one of them is about the discourse of communism. ahmad dhani as a songwriter ojo kuwi allegedly plagiarizing a song genjer-genjer lekra created by artist named muhammad arif. 11 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formation many consider that the song ojo kuwi has similarities with genjer-genjer. it could be considered a song ojo kuwi following: figure 2. the strains of ojo kuwi in the first bars until the first beat of the second measure looks same melody motive genjer-genjer songs contained on the first bars until the first beat of the second measure (see figure 1). in addition, this melody motif also played once in the intro with using an electric guitar. figure 3. melody intro ojo kuwi the melody is the same as the intro song genjer-genjer that plays the melody. however, in genjer-genjer song melody is played twice. as in the following scores: figure 4. melody intro genjer-genjer the existence of this ojo kuwi song became the talk in the world of the internet in indonesia. one is through the medium of twitter that is exhaled by a director joko anwar (tribunnews.com, 29.06.2014. 22:08). according to the presence of the following ojo kuwi song with preaching has accompanied the public discourse into the discourse of pki. this is evident from some peoples comments contained in commentary columns of the news. other talks about the song ojo kuwi also discussed by gerindra party chairman, suhardi. according to him, linking songs ojo kuwi with communism was a hasty decision. while political communication expert from university of indonesia, ade armando assess the actions of ahmad dhani as a songwriter ojo kuwi is making his own mistakes. according to the similarity of this song with genjer-genjer been slapped gerindra because stigmatization genjer-genjer been synonymous 12 editorialbook of reviewijcas: vol. 2, number 2 december 2015 with communism (tempo.co, 29.06.2014. 07:20 pm). from the above, it can be seen since the emergence of the song ojo kuwi as media campaigns prahara team actually bring back the discourse of communism in indonesia. in fact, indonesian communism is no longer up to date. however, why this discourse raised again? the event will be missed by providing analysis using the concept below. based on the concept of public space is described by low and smith (2006), the song ojo kuwi non-physical space occupied territories since circulated on youtube internet media. apart from that, his conversation also fill the news media and the internet as tribunnews.com tempo.com. ojo kuwi position in the nonphysical space has become a collective memory of the community in accordance stimulus described by olick (1999). whereas the same melody with genjer-genjer on each prefix songs and intro ojo kuwi be new information for stm which stimulate the return of memory of past societies that are stored in ltm (sneyder: 2001). found answers that melody ojo kuwi revive the collective memory of indonesian society about the dangers of communist discourse. more emphasized when the discourse is much talked about in the public space in the news indonesian internet. 3. ojo kuwi as political communication messages kuwi ojo, ojo kuwi, ojo kuwi kuwi ngono ora biso rumongso kuwi ngono rumungso biso (ojo kuwi. coblos nomer 1!) this means: do it, do it, do it that it does not know himself that it just felt could (do it. vote for number 1!) on top of that are the lyrics ojo kuwi. this section will discuss the position of this song as a medium of political communication messages. based on the concept of message box burton and shea (2010), there are four key questions in political communication strategies used in the campaign. what do you say about yourself, what they say about you, what you say about them, and what they say about them. first, what do you say about yourself? when listening to a song ojo kuwi, can be found a lyric that says “ojo kuwi, coblos be number 1”. this sentence convey a message to the listener to choose the pair number 1. message communication is both a call to not choose a partner other than the serial number 1. it corresponds fourth view of the concept of message box that is what you say about them. associated with the lyrics of the song ojo kuwi, here message delivered is explained about the candidate presidential opponent’s weaknesses serial number 13 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formation 1. weakness candidate is described with poetry kuwi ngono ora biso rumongso (which it does not know themselves) and kuwi ngono rumongso iso (which it just felt i could). indirectly, the song ojo kuwi regard opposed presidential couple number 1 has properties not know yourself and just feel you can. whereas at the beginning of the song lyrics that read ojo kuwi repeated three times asserts that people do not choose the presidential candidate. this is consistent with the concept of a fourth message box, which is about what you say about them. from some of these aspects, it was found that the lyrics of the song ojo kuwi made as the interests of political communication. the main thing that communicated the messages that urge people to not choose an opponent from presidential candidate pair number 1. conclusion emerging song ojo kuwi on youtube internet media fill non-physical public space. this public space revive the collective memory of the community about the discourse of communism which once banned during the new order indonesia. this is reinforced by the similarity between ojo kuwi melody with genjer-genjer. thus, the sameness regenerates hot debate about communism in indonesia. ojo kuwi song communicate campaign messages presidential candidate number 1 so as not to choose a partner other candidates. communication message works by inviting the public to choose the number 1 is reinforced by a message at the end of the song. in addition, this song shows the weakness of the opponent candidate number 1 and confirms the initial sentence ojo kuwi which means “do it” or do not choose a candidate other than the number 1. references burton, michael j & shea, daniel m. 2010. campaign craft: the strategies, tactics, and art of political campaign management. california: praeger. guba, egon g & yvonna s. lincoln. 1994. competing paradigms in qualitative research. in norman k. denzim & yvonna s. lincoln (ed.), handbook of qualitative research. thousand oaks: sage publications. low, setha & niel, smith. 2006. the politics of public space. ny: routledge. newman, w. lawrence. 1997. social research methods: qualitative and quantitative approaches. boston: allyn & bacon olick, jeffrey. 1999. collective memory: the two culture, sosiological theory. popkewitz, thomas s. 1990. whose future? whose past?: notes on critical theory and methodology. in egon g. guba (ed.), the paradigm dialog, newbury park: sage publications. sneyder, bob. 2001. music and memory: an introduction. ebook. internet tempo.com tribunnews.com 18 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 meanings and symbols of dalima relief in keraton kasepuhan cirebon husen hendriyana, imam santosa, achmad syarief fsrd itb, jl. ganesa no.10 bandung, 40116, indonesia email: husen_hendri@yahoo.com abstract dalima relief is the keraton cirebon’s artifacts in periods of sultan sepuh i and ii (1678-1723). dalima’s relief is rich of symbolic values with aesthetic expression of its typical culture. there are so many interpretations about dalima relief and yet has not been clearly undefined up to these days. this research is using qualitative research with ethnography approach aiming to constructive knowledge and aesthetic interpretation construct. this aesthetic phenomenon has a connection with the events in the past, which will be studied as synchronic or diachronic ways. diachronic analysis aims to discover a comprehension about culture transformations of cirebon society from the era of hindu up to islamic, while the aesthetic concepts will trace based on value, function and meaning through synchronic analysis with consideration of three culture phenomenon: ideas-activity-artifact, corresponding with the local attributes.thus ‘dalima’ is a metaphoric depiction of q.s al-ikhlas (a verse in holy qur’an), with etymology of letter compounding ‘dal’ and number five; ‘lima’. these symbols formed by the visual elements of flowers and fruit of delima (pomegranate), and a pair of white crows. this inspirational object, dalima is formed as the structure of cosmological acculturative culture (hindu, chinese and islam) with metaphorical representations. activities and contextual events on this relief made it as catatan suluk or lessons to cirebon’s mursyid. norms and theorems which shape as a culture convention on that era, becomes a power of collective traditions which tint the principal and conceptual of cirebon culture. keywords: meanings, symbols, dalima relief, keraton kasepuhan cirebon introduction dalima artifact can be found in kasepuhan palace relief, precisely located on perbayeksa’s ward wall. this building was built by sultan sepuh i on 1682 while the relief was made by sultan sepuh ii’s brother, p. arya carbon karangen on 1710. dalima artifact becomes one of the piecemaster of cirebon palace arts which well preserved until now. dalima artifact is a symbol of statehood. the artifact dalima itself raises many diverse interpretation in some circles such as; religionist and humanist, and so on the artifact itself yet has not been undefined, especially related with aesthetic phenomenon. some findings about diversity in interpretations on dalima artifact are: • some society gives the name of the artifact with “kembang kanigaran” which means sri sultan hold states should be compassion to its people; the others call “dandang 19 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulae wulung manuk keduwong kembang kanigaran” which means “lamon dadi wong (a leader) aja ngadang-ngadang ulungane (ngarep pamrihing) wong liyan, tapi kudu ikhlas”. another version transcribes ‘be a man that follow and obey into the order” (waatingulloh, waatingurosul, waulilamriminkum). • some society mention integrity symbol, with symbolizing through mangosteen fruit. if mangosteen hilt petals has four petals, then it has fruit in it which consists of four parts. • some interpretations relate to heritage influences the values of chinese culture, islam, hindu-buddhist. • some groups of people who interpret, that the artifact is a legacy of values teachings of sufism or islamic mysticism symbolized as a record of the trip mysticism thorekh in cirebon. • some manuscript sources in cirebon explains, these artifacts is an influence product from mataram. materials and methods based on the reasons above, this research is using a qulitative research with etnography approaching that aims to constructive knowledge identification and interpretative to aesthetic phenomenon embodiment of cultural artifacts. the aesthetic phenomenon will be explored by the text and context attributes in accordance with the accompanying locality. relief dalima artwork as a visual text,the context associated with the creators and actors of the past culture of cirebon palace, as well as the value and symbolic meaning.this study is part of a sub-topic of the dissertation research by husen hendriyana with cultural transformation of cirebon palace in liman decorative motifs and dalima. in this sub-topic of this study aims to provide clarity of the concept of aesthetic relief or reliefs of dalima kembang kanigaran son a mass scale in order to provide knowledge that can be justified scientifically, as well as the benefits of reconstruction and revitalization in extracting entities of local cultural values as the foundation of the nation’s strength of character. discussion in today’s era of culture, can be seen lots of melting on multicultural dimension into a new tradition that is no longer stands to traditional values, ‘original’ explicitly and homogeny (no longer in the cultural tradition of its own). the logical consequence of cultural amalgamation has positive and negative impacts, such as that disclosed spaces of social behavior that allows for social interaction increasingly narrow and communal togetherness becomes obstructed, the tendency of the social life of the community leading to democracy and individualism, claiming the shared values and the erosion of the spirit of the culture, which is based on his own cultural roots. (irwan abdullah, 2012: 4) cited hendriyana (2013: 82). refinement of physical space, and social space as referred to above, also occurs in the interpretation of artifacts dalima as mentioned above. thought space narrowing occurs as the development of science in the modern era, the thought compartmentalized space through different perspectives view of knowledge. 20 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 understanding the symbolic expression of a particular culture is a process of cultural work in the object itself, as confirmed that these objects are used or produced, which is symbolic forms that cannot be separated from the concepts of beauty that became the basis for works of art (edi sedyawati, 2006: 126). similarly, on the topic of this paper, the tradition of cultural artifacts and the palace of cirebon expressed or manifested, because of the religious forces and the ratio of the integrated flavors in one form of construction of works of art and culture (hendriyana, 2009: 76-81). in ideoplastis, delima has a philosophical meaning between the lines, which means five (lima). further in the context of cultural-religious and java-cirebon dialect, pronounced pomegranate become dalima (dal and lima) depicted on the qs. al ikhlas (a verse in a holy qur’an) that five (lima)-letter dal (د) which is in the final syllable in the qs al ikhlas which reads: qulhuwallohu ahad, allohushomad, lamyalid walam yulad, walam yakulahu qufuwan ahad (hendriyana,2013:90,91). qs: al-ikhlas contains the faith/ beliefs, as well as the implementation of an act of worship for muslims. sincerity is stored in the heart and if sincerity were not properly stored and concealed in the heart, there is envy grows in the heart. in fisioplastis, imagination of dalima abstraction as described above, visualized from inspiration of fruit delima. the word “delima” experiencing melting utterance of the local dialect into “dalima” (hendriyana, 2013:90). delima is a fruit that holds the name of the mystery with a lot of meanings. delima has a six-petals flower. by the teachers and pupils in pekikiran giri nur sapta rengga, number six adopted from rukun iman (faith pillars in islam) which holds from six matters. dal-lima, the word dal letters of five at the end of the sentence in q.s. al ikhlas as the guide that created the essential of one-ness. rukun iman holds six cases that must be believed by all muslims. in view of the theory of emanation and form a concretion of a substance, delima is a fruit that voice number ‘lima’ (five) and hide the number ‘six’ (hide a fact that the petals has six petals flower) (interviewed of bambang irianto, in jl. gerilyawan no.4 cirebon, on saturday, may 29 2012). contextually, the power of the values of the people living at the mayor time of cirebon, directly or underlying the symbolic form of expression that is intangible as the concept. strength characteristics of the principle implicit in the concept of work is a reflection of symbolic expression which makes it a cultural ideology. the power of moral values supporting community life, based on the strength of conviction and belief in the transcendent. teachings of mysticism at the time stated in the form of symbols in relief kembangkanigaran or so-called relief dalima. relief serves as a mysticism record for the murshid patarekan in cirebon with contains information: two concept of sufism; wujudiyah and suhudiyah. rationally, power of sultanate who plays as a cultural center, the center of the spiritual teachings of islam, as well as the central government, it is very logical as the holder of the cultural patterns of the various cultures that exist to achieve peak performance which also represent the typical culture of cirebon society. 21 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief principles, behaviors and attitudes of society cirebon palace are very typical in facing and examining a different issue. this also underlies the design of both the level of the concept of culture (cultural paradigm) and a form of cultural work itself. thus distinctiveness principles, attitudes and behaviors appropriate cultural values which are believed to have colored the expression of society works in cirebon as meaningful perennial objects. based on the structural and visual forms of decorative elements contained in the above-mentioned artifacts, the visual symbol description of these artifacts can be mapped into six sub-themes: (a) kembang kanigaran, (b) two white crows, (c) eight delima flowers, (d) four delima, (e) three elements wadasan motives, (f) two groups of delima, mangosteen fruit and cannonball fruit (see fig. 2). on this occasion only one that could be representative of the overall decorative elements such those artifacts. the structure of the elemental composition of this motif is broken down and applied to other symbolic form, such as that contained in pataka kesultanan kacirebonan flag, kepatihan street and in maulana magribi grave’s which located in kepatihan street, also in gunungan wayang motive kacirebonan as seen in fig. 3. this symbol until now becomes cirebon motif; with motifs of the three elements of the head of the fish, three fish composition that focuses on one central point. the symbol is then developed and adopted the emblem and symbol in patarekan which growing in cirebon. based on local cultural convention, the symbols contain meanings:essence, nature and afngal (deeds, actions). essence of all god beings both within jagat ageng (macrocosm) even in jagat alit (microcosms). conclusion within the process of cultural work, it has an aesthetic phenomenon interrelation relationship between the guide elements. alloying elements are mapped into two aspects, namely the elements contained in inter-aesthetic aspects and extraesthetic, interaestheticaspect related to tangible elements, and extra aesthetic aspects related to intangible elements. the elements of the tangible inherent into characteristic form of work that textual material, while the intangible elements that are inherent in the material characteristics which are contextual. in the realm of ideoplastis, ‘dalima’ is a metaphorical depiction of q.s al-ikhlas, with the etymology of incorporation letter ‘dal’ and the number ‘lima’. dalima visual artifacts such narrate a parable ‘dandang wulung manuk keduwong kembang kanigaran’ which means selflessly sincere in carrying out state functions, as well as religious orders. the teachings of mysticism at the time stated in the form of symbols in relief flower kanigaran or so-called relief dalima which serves as a record for the murshid suluk patarekan in cirebon with contains information: wujudiyah and suhudiyah. meanwhile, in the realm of visioplastis, visualized with fruit-shaped decorative element dalima (sundanes language) or promegranate fruit, kembang kanigaran and a pair of white crows. 22 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 learn the symbolic values at the symbol on the relief structure, can be affirmed that the relief kembang kanigaran is a suluk record for the growing congregation shalik in cirebon keraton at that time. records mysticism presented in the form of wall reliefs baluwati in palace, before there was a culture through the papers. forms and media on such baluwarti relief seen as shape and material selection of the most appropriate and can last for a long time. observing from the reality of the phenomenon of visual artwork of this culture, it is certain that the role of art was not only as an element of beauty in sensual gratification course but also the art has the role and another function such as: 1) art as a medium of the spiritual expression; 2) symbol art as a medium of social control, as the principle enforcement; 3) social-culture adaptation; 4) art as a languange; 5) art as a visual power; 6) art as a presence (existence, emotion and creativity) of its creator. 7) power and authority legitimation which also as a unifier society in cirebon at the time of sultan sepuh i-ii related to dutch colonial government. references abdullah, i. (2012). reposisi studi seni dalam dinamika masyarakat:pengembangan kurikulum kontekstualitas dan transformasional, makalah seminar kurikulum pasca sarjana stsi bandung. al-bajuri.sy.i. tth.kitabjauharuttauhid (mutiaratauhid),ttp . ______, (tth) kitabassanusiah (hisnu sunnah/ benteng ahli sunah waljamaah), ttp. _______, al-bajuri, (thh) kitab marjan: tijandarori (mahkotamutiaratauhid), ttp. hendriyana, h. (2009). metodologi kajian artefak budaya fisik, fenomena visual bidang seni, penerbit sunan ambu press. bandung. ______, (2007). makna dan simbol gerbang sembilan astana sunan gunung jati cirebon, tesis pascasarjana program studi desain, fakultas seni rupa dan desain itb bandung. ______, (2013). dalimasebagaiinspirasi, konsep dan ekspresi estetik budaya keraton cirebon, mudra, hal 81-95, vol.28 no.1 january 2013. sedyawati, e. (2006). budaya indonesia, kajian arkeologi, seni dan sejarah, penerbit raja grafindo persada, jakarta. note: suluk is an action of sufism expert (shalik, pious people), he is out of his disgraceful and go to the praiseworthy manners. respondents: bambang irianto (17 februari 1958), lives in jln. gerilyawan no.4 cirebon, as a leader of cirebon convention center and classical text utilization; vice president of sunyaragi waterpark, keraton kasepuhan: culture administrator keraton kacirebonan, leader of majelis dzikir lam alif. kartani (74), speaker of cirebon humanist/culture consultant of keraton cirebon, lives in kapetakan, cirebon. ridwan (ustad iwan), congregation satariyyah-naqsybandiyyah instructor, leader of majelis dzikir al-fatih. 23 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief figure 1. dalima relief (kembang kanigaran) in prabayeksa wall, keraton kasepuhan cirebon. a b c d e f (a) (b) figure 2. structure and elements motif of kembangkanigaran’s compositions. figure 3. visual expression of philosophic symbol, the trinity pattern. table 1: meanings in the structure of (figure 2b) kembang kanigaran 24 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 description of the analysis of the structure motifs (b-f) is an explanation and elaboration of the structural motif (a) kembang kanigaran. (source: interviewed of bambang iryanto, and ustad iwan 2013; (1) kitab jauharut tauhid (mutiaratauhid) writer: syehibrohim al-bajuri, (2) kitab assanusiah (hisnu sunnah/ benteng ahli sunah waljamaah), writer: syeh ibrohim al-bajuri, (3) kitab marjan: tijandarori (mahkotamutiaratauhid) writer: syeh ibrohim al-bajuri. dinamisme kosmologis dinamisme forma aksidental dinamisme epistemologi dinamisme forma substansial dinamisme integral symbols of unification; the confluence of two flower into one one: form (ada) a form: the first nature of 20 properties for allah.the duality of the paradoxical nature form two cases could not be gathered both, but cannot exist both.  three flowers three types of the form: (1) a form idhafi the form of a child occur because of its parent → asbab/syareat  (2) form aridi its form has been preceded by something that does not exist. example: heaven, hell,qalam, luhmahfud, arsyi, kursy, ruh. →travel / methods / congregation  (3) dzati form or nature the reality of god by his own essence. →substance  two flowers all manifestation can be found / known by two case the paradox of nature form can be described in two cases: 1. found by hisyi (pancadriya lima). 2. found byaqlibut can not be found by hisy(example: science, stupidsmart, hard-easy → makrifat (opening the veil of both hissi and aqli)  four flowers there are 4 impossibility ada-nyaalloh: laamaujudailalloh nothing except the manifestation of god kasampurnan (the essence of the fourth paragraph of the umulkitab who confirmed the fiveletter dal at the end of the sentence / paragraph of umulkitab: q.s al-ikhlas  dalima laama’buudailalloh nothing shall be worshiped except allah (ubudiyah) laamaksudailalloh nothing is searchable unless (grace) of god laamathlubailalloh nothing is intended / meant except (pleasure) of allah editorvol1no22014.pdf (p.2) npscn001(2).pdf (p.1) jurnal ijcas vol . 1 number 2 desember 2014.pdf (p.3-112) 96 from modernism, to intercultural exchange, and transculturalism. new challenges in contemporary music making and education giovanni giuriati università di roma “la sapienza”, rome, italy. email: giuriati@uniroma1.it “modernism allowed art decades of important psychological self regard that affirmed the individual but unfortunately created a hermeticism that disconnects art from our societies. contemporary art is evolving not only beyond traditional tools and techniques but also beyond all classes which art is generated by specific people in a specific place. in the meantime, the rest of the world has caught up, and it is telling its stories unapologetically”. it is this paragraph of the call for papers for the icapas 2013 meeting that caught my attention, and i would like to develop some thoughts on the concepts that are outlined in it, from the perspective of a european scholar in music, namely in ethnomusicology, trying to consider new challenges that our academic system must face in coping with such new and meaningful scenario in music education, creation and performance. it is true that modernism allowed decades of important self-regard, as it is indicated in the quotation above. however, xx century was also a period of closer cultural contact among various cultures of the world. in the domain of the arts we can detect some movements that arise in the framework of a colonial asset, in which western culture “discovered” cultures and arts other than its own, and recurred to it in various forms, in order to reach beyond the limits of the xix century romantic culture, and to develop a new language that could overcome those prevailing in xvii and xviii century. in music, debussy, ravel, stravinsky, bartók, among others, turned their attention to sounds and compositions from different parts of the world, encompassing various “exotic” and structural elements in their work, and beginning to create new aesthetics that incorporated elements deriving from non-european cultures in their music, in order to go beyond the language of tonal harmony. it is a well-known process that was analyzed repeatedly in the past century. among several other studies, i would like to mention here the writings of my italian professor, diego carpitella, on the myth of primitivism in modern music (carpitella 1961; 1985). among other things, carpitella distinguishes exoticism practiced by composers in xix century from modernist conference report 97 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music rahmawan dwi prasetya. effect of color compositionsally gardner. book reviewgiovanni giuriati. conference report primitivism. writes carpitella: “exoticism is the decorative, mechanical use of some exotic elements (scales, melodies, rhythms), in the context of a language, a syntax, a morphology that is traditional western, european, white” (carpitella 1961: 167).1 in this, he sees a difference with a new primitivist attitude found in composers at the beginning of xx century: “what is determinant, besides lexical elements, is the primitive psychological condition that derives from it, that is the need to recreate, and thus to identify, with a mythical world, in which the choice of the primitive (also that historically determined) it is nothing else than an attempt to retrieve traditional protections (such as myths and rites) while facing an existential and value crisis” (carpitella 1961: 168).2 it seems to me important to point out these concepts (the “lexical” and the “psychological”) because, while they were born at the turn of the previous century, they are still lingering in present times in culture contact and appropriation. besides the term primitivism, used by carpitella, there are other terms employed to describe this movement, that was important around the turn of the xx century: orientalism, fauvism (in visual arts), a continuing exoticist attitude. in it, there was a construction of the “other” that was totally cultural and western oriented. perhaps one can still find the most lucid and comprehensive description of this attitude in edward said orientalism: “… all of orientalism stands forth and away from the orient: that orientalism makes sense at all depends more on the west than on the orient, and this sense is directly indebted to various western techniques of representation that make the orient visible, clear, ”there” in discourse about it.” (said 1977: 21-22). it is in this perspective that, at the beginning of xx century, some european composers wrote their music encompassing non european musical elements. it was a process of appropriation strongly unbalanced in terms of power and still fully embedded in western musical theory. however, they began creating a new aesthetic and new compositional principles. in time, this approach led the way for a second wave of this movement that started after world war ii. while european composers continued and extended their use of non-european elements in their compositional processes (boulez, berio, ligeti, among others) in the second half of xx century we can witness a new phenomenon: thanks to the widespread use of mass media, of the developments of ethnomusicological research, and, of course, of the fast economic, social, and cultural development of several asian, african, and american countries in a post-colonial era, musical cultures of different part of the world became accessible and known worldwide. music composers from various nations, not only euro-american, had access to an international audience, and developed different musical styles that can vary from those that are fully embedded in the aesthetic of the western tradition to others that, more 1 l’esotismo non è altro che l’impiego decorativo, meccanico, di alcuni elementi esotici (game, melodie, ritmi) nel contesto di un linguaggio, di una sintassi, di una morfologia tradizionali, europee e bianche. 2 ciò che è determinante, oltre agli elementi del lessico, è la condizione psicologica primitiva che ne deriva, cioè il bisogno di ricreazione e quindi di identificazione con un mondo mitico, in cui la scelta del primitivo (anche quello storicamente determinato) altro non vuol essere che un recupero di protezioni tradizionali (quali sono, ad esempio, i miti e i riti) dinanzi a determinate crisi esistenziali e di valori. 98 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014book of reviewijcas: vol. 1, number 1 june 2014editorialbook of reviewijcas: vol. 1, number 1 june 2014 or less heavily, use in their music elements of their native music.3 still, in this phase of the xx century, national boundaries and identities continue to be strongly recognized in musicological theory. at the same time, also in musicology, post-colonialist thought finds its place, rethinking ways in which music from non-western world was narrated. perhaps, the most representative figure of this line of thinking in music studies is the musicologist kofi agawu (agawu 2003). intercultural hybridity finds more room to develop in postmodernism, even though hybridity has always been a driving force of music creation as, for example, states sumarsam concerning indonesia in his most recent book: “encountering foreign cultures has been an inescapable part of life in asia for many centuries. indonesians have come into contact with many cultures, three of which -hindu, islamic, and western have had significant effects on the development of their own. each encounter has had a different character, and an hybrid culture eventually formed” (sumarsam 2013: 1). having quoted the words of an ethnomusicologist, let me stress that in the same period there is also the great development of ethnomusicology. this field situated between musicology and anthropology, through a number of research and documentation, makes available and known through media, sounds, performing practices, some significant compositional techniques from various areas of the world. primary aim of ethnomusicology is to document the specificity and diversity of each cultural system in its cultural context, but, in doing so, it makes available to composers and general audience the results of the sound and video documentations of the researchers during their fieldwork. these results have sometime contributed to the widening of the horizons in music education and creativity. also, specific cooperation was established between ethnomusicologists and composers. one well-known example is the exchange between the italian composer luciano berio and the french ethnomusicologist simha arom that took place at ircam in paris in occasion of berio’s work ‘coro’ where he incorporates the hochetus techniques of the pygmies, documented and analyzed by arom. furthermore, ethnomusicology, since the 1960s contributes to create the concept and the practice of bi-musicality, a term proposed by mantle hood (ki mantle hood here in indonesia) who theorized that if one scholar studies a given musical culture, he (or she) must learn at least rudiments of how to perform that musical culture (hood 1960). also bi-musicality sets the tone for a more radical and thorough intercultural exchange implying that one may learn how to play a given music even though he (or she) is not born in that specific place where the music is conceived and performed. finally, in the last decades of xx century, the development, in the domain of popular music, of the so-called “world music” follows and enhances the same trend of hybridity and cultural exchange. while the control of the production process remains firmly in the hand of the major record companies, this phenomenon contributes to the circulation and the knowledge of different music styles and repertoires coming from various areas of the world. these are all cues that, in the second half of the xx century, and especially at the beginning of the xxi century, there is a profound shift in the centrality in the debate 3 for a discussion and several examples of this process, see, among others, ryker 1991; born and hesmondhalgh, eds. 2000; everett, and lau, eds. 2004. 99 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music rahmawan dwi prasetya. effect of color compositionsally gardner. book reviewgiovanni giuriati. conference report on music composition and creativity from the western world to a wider scenario that encompasses several musicians and composers from various parts of the world. music becomes an intercultural matter, with a strong exchange among its protagonists coming from various parts of the world and starts developing a new aesthetic paradigm, increasingly distant from the western modernist approach. and it is by now difficult to characterize national schools and movements, as we can see chinese-born composers trained in germany and living in new york, italian-born musicians trained in india and living in berlin, while the cosmopolitan circulation of gamelan music is another meaningful example of this trend. it is, in fact, in the last decades of the xx century and in the first of the xxi that a further shift in the paradigm creates new trends and a new general outlook that forces us to reconsider how we conceive music-making today. it is not just a matter of intercultural exchange, as it was in the past. we are entering a world that is becoming increasingly transcultural. around this term, and that of hybridity, scholars from different fields, from communication to philosophy, have developed innovative thoughts. for example, marwan kraidy states in his book hybridity, or the cultural logic of globalization: “unlike crossor intercultural communication that tends to study contacts between individuals from different cultures that are assumed to be discrete entities, transcultural communication believes all cultures to be inherently mixed. it seeks to understands the depth, scope, and direction of various levels of hybridity at the social -not individual-level” (kraidy 2005: 14). also the philosopher wolfgang welsch reflects on this concept: “transculturality is, in the first place, a consequence of the inner differentiation and complexity of modern cultures … the old homogenizing and separatist idea of cultures has furthermore been surpassed through cultures’ external networking. cultures today are extremely interconnected and entangled with each other. lifestyles no longer end at the borders of national cultures, but go beyond these, are found in the same way in other cultures. the new forms of entanglement are a consequence of migratory processes, as well as of worldwide material and immaterial communications systems and economic interdependencies and dependencies... cultures today are in general characterized by hybridization. ... henceforward there is no longer anything absolutely foreign. everything is within reach. accordingly, there is no longer anything exclusively `own’ either. authenticity has become folklore, it is ownness simulated for others to whom the indigene himself belongs. to be sure, there is still a regional-culture rhetoric, but it is largely simulatory and aesthetic; in substance everything is transculturally determined. ... for most of us, multiple cultural connections are decisive in terms of our cultural formation. we are cultural hybrids. today’s writers, for example, emphasize that they’re shaped not by a single homeland, but by differing reference countries, by russian, german, south and north american or japanese literature. their cultural formation is transcultural (think, for example, of naipaul or rushdie) that of subsequent generations will be even more so” (welsch 1999: 199). i have used a rather long quotation from the writings of welsch, a philosopher, because his line of thinking seems to me emblematic of the new cultural conditions that we are facing today in our global world, which can contribute to shed light on the creative 100 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014book of reviewijcas: vol. 1, number 1 june 2014editorialbook of reviewijcas: vol. 1, number 1 june 2014 processes in the arts that we want to understand (and to teach). it seems to me that the same logic can be applied to music. composers today are hardly defined by one an only cultural background, but express “multiple cultural connections” and cultural hybridity, as welsch puts it. and so do audiences. philosophy can help us interpret what happens in contemporary world of music, but also anthropology may have its say. i can mention here the french anthropologist jean loup amselle, author of mestizo logics (1998), a book in which he states how (local or national) identities are often obtained by isolating a social, cultural, and historical continuum, that would be more fruitful to consider in its connections rather than in the distinctions and oppositions. connections is here the key word. for him, this anthropological concept of identity is strongly influenced by the colonial asset that shaped most of the world in modern times, and still lingers into contemporaneity. in the same line of thought, in his recent rétrovolutions (2010) amselle criticizes certain primitivist policies of unesco that tend to create and promote cultural intangible heritage, thus contributing to a process of freezing cultural contact and cultural development. turning now to music, one must say that the contemporary music scene is nowadays not only crossing borders and increasingly transcultural, but goes also over consolidated boundaries of genres: contemporary music (avant-garde), jazz, popular music, folk and traditional music, are labels that tend to lose their meaning, yielding to a cosmopolitan attitude that mixes musical individualities according to unprecedented categories. one seminal study on these processes is that of the ethnomusicologist steven feld. his recent book jazz cosmopolitanism in accra (2012) faces this issue, presenting the complex and interconnected lives of musicians from ghana that cannot be easily labeled, as they move in their music-making from traditional african music, to african popular music, to jazz, to experimental music, living between africa, the united states, and europe. in feld’s words: “… it is a matter of ethnographic commitment to revealing how histories of global entanglement are shaping contemporary africa musical life-worlds” (feld, 2012: 7). it seems to me that such model could be very fruitfully applied to contemporary music in indonesia as, for example, gamelan music, is constantly pushed forward by new composers in a style that encompasses typical fusion processes of the world music, combining them in a cultural policy that fosters the development of a pan-indonesian music, blending balinese, sumatran, javanese, sundanese, acehnese, elements, and so on, creating a new style that is clearly recognizable in academies and established cultural institutions. and we can consider by now gamelan as both an indonesian heritage, and a music that is known, widespread, performed, taught, and composed in indonesia as well as in japan, the united states, australia, and europe. it is in this transcultural and cosmopolitan perspective that we have to rethink our educational approach, accepting new and interdisciplinary teaching methods that reflect the contemporary cultural system increasingly connected across borders of all kinds, not only geographical. making our students aware of this context in which they will professionally operate seems to me one of our most important tasks. this 101 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music rahmawan dwi prasetya. effect of color compositionsally gardner. book reviewgiovanni giuriati. conference report does not mean that we should forget who we are, where we are, and where we come from. on the contrary, each individual and collective context could be considered the starting point for relating with the “other” from us, unapologetically (as it is written in the call for paper of icapas), taking advantage of the “multiple cultural connections that are decisive in terms of our cultural formation”, as welsch states in the quotation mentioned above. let me conclude with a remark that addresses more the context of education in the arts in italy, where one can notice the strong separation between theory (taught in the university) and practice (taught in conservatories and academies). it is a legacy of the idealistic movement that shaped italian education in the first decades of the xx century, but, it seems to me that this distinction, if ever tenable at all, prevents the art to fully develop in an harmonious combination between theory and practice. from what i have stated above, it should be clear that, in a world increasingly culturally integrated where musical experience takes unprecedented roads, the modernist (or, still, western medieval) distinction between theorists and performers must be reconsidered in a reconfiguration of our educational system that should be able to fruitfully integrate these two aspects of the musical life. references agawu, kofi. (2003) representing african music. postcolonial notes, queries, positions, routledge, new york. amselle, jean loup. (1998) mestizo logics: anthropology of identity in africa and elsewhere, stanford university press, stanford. _______________. (2010) rétrovolutions. essais sur les primitivisms contemporains, editions stock, paris born, georgina, and david hesmondhalgh, eds. (2000) western music and its others. difference, representation, and appropriation in music, university of california press, berkeley and los angeles carpitella, diego. (1961) “il primitivo nella musica contemporanea”, in terzo programma i 2: 217-56; new ed. 1992, in d. carpitella, conversazioni sulla musica, ponte alle grazie, firenze: 166-204 _______________. (1985) “dal mito del primitivo all’informazione interculturale nella musica moderna” in studi musicali xiv 1: 193-208. everett, yayoi uno, and frederick lau, eds. (2004) locating east asia in western art music, wesleyan university press, middletown, ct feld, steven. (2011) jazz cosmopolitanism in accra: five musical years in ghana, hood, ki mantle. (1960) “the challenge of bi-musicality” in ethnomusicology iv 2: 55-59 kraidy, marwan. (2005) hybridity, or the cultural logic of globalization, temple university press, philadelphia. ryker, harrison, ed. (1991) new music in the orient: essays on composition in asia since world war ii, frits knuf publisher, buren, the netherlands said, edward d. (1977) orientalism, penguin, london sumarsam. (2013) javanese gamelan and the west, university of rochester press, rochester, ny welsch, wolfgang. (1999) transculturality the puzzling form of cultures today, in mike featherstone and scott lash eds., spaces of culture: city, nation, world, sage, london: 194-213. ijcas cover_revisi.pdf page 1 ijcas cover_inner.pdf page 2 ijcas cover_back.pdf page 1 41 consistency kiki rahmatika choreography department, indonesian institut of the arts yogyakarta kiramsyaher88@gmail.com abstract this choreography is started from practice based research. the research is about dajang rindoe’s manuscript which is deconstructed. in the process of cultivation of this work, the foundation of creation used text deconstruction, creativity, and choreography. text deconstruction is implemented in finding the new point of view of the women freedom. creativity approach is used for the reason that the artwork creation is not separated from the thinking process and work creatively. by this approach, the way of thinking and working creatively will be developed. the third approach that is choreography is used as the foundation in creating the dance aesthetic that involving the body movement, composition, unity, harmony, behaviour and other visual aspects. consistency dance work is a description about woman toughness to get her freedom in order to maintain her integrity. the freedom that need the full struggle for her to get. because the freedom itself has the meaning to be able to live independently and responsibly. in the real life, the freedom women who able to preserve her firmness independently and responsibly are very scarce. the imbalance of this firmness then fades the women integrity. keywords: deconstruction, firmness, woman integrity introduction consistency (the dark side of dajang rindoe) is a dancework that tells about woman determination in struggle to reach her freedom to taining her integrity as awoman. ‘struggle’ in this dancework is resulted by deconstruction of dajang rindoe’s manuscript that save on library of leiden university. this deconnstrustion way is using not to argue or resistance to the contents of the text. deconstuction is used to give the other view without must blame and broke the previous views. on his book with a title derrida (2005) muhammad al-fayyadl said that deconstruction is a way to break reliability of a text, so that it will result new interpretations. research question 1. what the result of deconstruction of dajang rindoe’s manuscript who written by van der tuuk? 2. what the important essence of consistency dancework? 42 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 method the method that used in this research is qualitative method, eventhough data collection methods used in this research is by dajang rindoe’s manuscript. for data analysis this research use deconstruction approach by jacques derrida written by muhammad alfayyadl, creativity choreography written by the liang gie, doris humphrey, sal murgiyanto, joan russell and hans-thies lehman for create the dancework. deconstruction is used to found essence and meaning that will be used as guidance to create a dancework. creativity approach is used because creativity of dancework can not be separated from the process of thinking and creative work. by this approach process of thinking and creative work will be build. whereas the second approach is choreography. it is used as base on create dance aesthetic that consist of body movement, composition, unity and harmony and act aspect and the other visual. result dekonstruksi dajang rindoe’s manuscript rewrite by van der tuuk as anthropologist from netherlands on 1668. the manuscript sourced from oral literature that tells hereditary by a man. so that the story of dajang rindoe just have one viewpoint, it is man view point. it is tickle choreographer to deconstruction the text to give the other view about dajang rindoe’s dead by woman viewpoint. when the text deconstructed, choreographer use naratology approach. naratology can definition as a set of concepts about stories and storytelling. while, structure of fictional narrative is series of moment that on the story contained the other elements, such as: figures, background, viewpoint and the other. study of narrative discourse on this case considered to have involved languange, literature and culture, which in itself is very relevant as the object humanities. for naratology studies, teory of contemporary literature had give very wide area coverage to narrative eksistention (ratna, 2004: 128-130). relate to structure of story above by naratology, choreography presence discourse on the text especially on dajang rindoe’s divide movement. divide self of dajang rindoe’s if mean correspond to structure and view point of vandertuuk is a loyality form to men (grandfather, father, and boyfriend). but if the story narrated back with choreographer’s view point as dajang rindoe (woman present), certainly will give the different result. by woman view point, divide self of dajang rindoe is critical to men. this critic appear because at the time tradition is not give space to woman to voiced. the critic with divide self have a the meaning of satire. the satire is when dajang rindoe ask prince riya to divide her body to be two part. the first part (from head to waist), she ask prince riya to burry to dajang rindoe’s land of birth (tanjung iran, muara enim). the 43 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts lifekiki rahmatika, consistency first part burry in her land birthday have satire meaning that as a woman she loyality with her promise with give her heart and thinking. then the second part (from waist to food) burry to palembang sultanate region. the second part was burry on palembang sultanate because it is have satire meaning that palembang’s people always doing something with a lust without thinking by brain and considered by heart. from the explanation above can get conclution that the die of dajang rindoe with divide her body to be two part not to show surround. but the rejection to tradition and the power of man to woman. dividing the body meaned if dajang rindoe not only rejection the proposal of prince riya, but give a sharp critic about the dead of humanitybecause tradition and the power of man. dajang rindoe’s rejection not only to show feel of consistency to obligation as a daughter and lover. consistency on this context is resistancy (fight) woman on struggle her inetgrity. so that this dancework up about woman integrity and choreographer give a title consistency. movement interpretation consistency dance works is a work that has essence of deconstruction results dajang rindoe manuscripts. the essence of the dance work is freedom, determination and integrity. the essence of it is concluded that that the freedom that a woman is a result of the struggle is not given. freedom is a desirable state of women in order to achieve the goals and ideals. but it takes persistence to have freedom, as well as possible freedom is freedom that is capable of operating independently and is responsible for ensuring the integrity of a woman is maintained. all humans who feel happy are born endowed with physical, heart and mind. happiness is a dream where humans can have freedom of themselves. freedom also become woman dream, but tradition often to be limit to woman freedom. the picture above is form about woman body that is limited by a box. unfreedom is show on foot and hand which is kinked because limitation of room. then, the face that get down and moody is expression of woman unhappiness, but basicly humans are born with their imajine of freedom, so fight and destroy the tradition wall which is become limit is an act that must be always done. pict 1. unfreedom woman (photo by: ari kusuma) 44 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 based on explanation on the first fragment that freedom is a condition which is hope by humans. on the second fragment when the body have can outside from limitation, the body already enter the constancy world. constancy on this context interpreted as woman ability to keep her integrity by means of independent and responsible. in order to strengthen herself constancy, the shadows of tradition certain to will be follow and vamp so that the constancy become weak. then, run away from wall tradition is once of way to free from restlessness arise by shadows tradition. the restlessness appears on movement line which is doing by dancers when they do run movement ro right side, left side, front side and back side. the run movement is unpredictable and irregular. the unpredictabble and irregular movements arise from alternate and canon movements that used on exploration and improvisation. beside that, intuition that raised by sound of the music which is combain with speed of run tempo the dancers became to influence the intensity of restlessness that arised by the dancers body. the combination between music, motive and tempo finally show the expression likes the picture above. restlessness is feel which have embody on humans body that causes uncomfortable. if the restlessness became a moment must be faced, the only way that must be done is fight the uncomfortable condition that come from the tradition’s wall. fight it of course not easy. fail condition certain will received when doing resistance, because it must be need biger effort. pict 2. restlessness condition (photo by: ari kusuma) pict 3. resistance (photo by: ari kusuma) 45 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts lifekiki rahmatika, consistency resistance which is doing on consistency dancework seem on line unity that is be on dancer’s body, when the dancers bodies fisting to the sides on standby condition. if the movements line of the dancers withdrawn, each dancer has same line body movement. it is show there is big power, because if just there is one dancer who is do that movement it will be not the big power. that’s why the movement do five times to get effect of the big power. the power factor is not only reached by movement, there are other factors that give contribution in order to the expression of resistance became live when it caught by audience. the other factors are music that represented by percusion sound with fast tempo, resistance movement with ½ tempo. finally the merger of music and movement will be help the dancer to do resistance movement expressively. fight the tradition is not easy thing, because tradition likes the walls are very sturdy. sometimes people are get in fail when they want to destroy it. the fail condition is represented by man dancer who is wear black clothes and jump to the air. the women dancers who do resistance movement was fall in same condition. if line of movement the man dancer who is jump in the air was withdrawn it seem as bold black line which is be above position, while the women dancers if it was withdrawn the movement line it seem likes stones that fall to the ground. combination of that lines is give impression about there is failure on destroy the sturdy wall tradition. the others supporting oh fail condition lampung’s oral literature (hahiwang) and the sound of flute that it was means lose. pict 4. failure (photo by: ari kusuma) pict 5. distraction (photo by: ari kusuma) 46 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 as strong woman, failure is not condition can make she feel in worse. wake up and try it again is a good deciding, although this new efforts must be blocked by tradition. based on the picture above it was seem woman dancer who is try to move her body to the other place, while the man is try to block her. both of man and woman dancer in the picture above there is line of relation. woman dancer movement line is connect to man dancer movement line, by this distraction situation can be concluded as woman effort to free from tradition that still block and follow herself. distraction situation on this fragment not only get by the movement, but also the distraction seem on the music that represented by sound of triangle and tibet vocal to interprete the power of tradition. failure and success are biner opposition which always stick in the effort. woman sometimes get both of failure and success when she try to get her freedom from walls tradition. the picture above show that failure is condition that received by many women in order to struggle their freedom, but also when they get in failure it is not means the freedom can not be reach. this interpretation can be seem in motive and line of the dancers body movement. based on the picture it is seem 4 dancers move with stoop motive movement while the the one dancer keep on try to steadfast eventhough on fall situation. if it is withdrawn in the line movement, it will be show means that feel in many failure will be make her get the strength power. we are lose but we had resitance with respectful and powerful (pramoedya ananta toer, 2009). pict 6. constance to resistance (photo by: ari kusuma) pict 7. anger (photo by: ari kusuma) 47 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts lifekiki rahmatika, consistency the failures that result one sturdy power and complete finally will be born resistance condition that full of anger. it is happened because failure of every effort which has try. the picture above was show be woman anger. from the movement motive and movement line show a firmness. stand up movement motive and raise hands to the top while opening the mouth is to express anger. when it is look from dancer movement line that seem on stand up position is an firm line. woman integrity was born from constancy. the constancy is not an inspiration that come from thhe sky. it is born from woman fall-down process to keep on her princip. every constancy must have many broken. the broken was described on the picture above, when the dancers doing small move such as bending hands. this form called ngualai keding siku on lampung tradition literarture. this form is imitate the branche of kayu which is branche that the form looks like broken. the broken part always use o pick up the heavy things (rice, food or clothes). so that the branches called as branche which has big power to bring many things to the destination. trough the description resulted an interpretation about sumatra woman who have hand from like kayu ara, the woman predicted as a constancy woman and strong that became a queen. kayu ara form used on ending fragment to representation woman integrity. hand look likes crooked or broken is a symbol that a constancy, integrity and success is not a condition or result that received by fluent condition. it must be broke that imprint as a sign on resistance the constance to keep on integrity is not easy. conclusion a dance piece that lasts approximately 40 minutes of this, contains events that may be experienced by people in general. as the events fall up where everyone has experienced defeat in achieving its goals, but as shown in the work of consistency this work to show firmness of women who do not want to lose with limitations. surrender is not an option, rose still fight and walked achieve ideals is the right choice. so that this work is not only pict 8. woman power and integrity (photo by: ari kusuma) 48 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 giving the reference spectacle eye, but becomes a mirror and reflection materials who's watching the work of this consistency. the process of creation can be seen that the creation of a dance piece consistency is an attempt to find another way of freedom which is freedom is not got by given but also it is must be resistance with independent and responsible. references al-fayyadl, muhammad. 2005. derrida, yogyakarta: lkis pelangi aksara yogyakarta. danesi, marcel. 2012. pesan, tanda dan makna, yogyakarta: jalasutra. murgiyanto, sal. 2015. pertunjukan budaya dan akal sehat, fakultas seni pertunjukan-ikj: komunitas senrepita. nurgiyantoro, burhan. 2005. teori pengkajian sastra. yogyakarta: gajah mada university press. raditya, ardhie. 2014. sosiologi tubuh, yogyakarta: kaukaba dipantara. ratna, nyoman kutha. 2004. teori, metode, dan teknik penelitian sastra. yogyakarta: gadjah mada university pers. toer, pramoedya a. 2009. bumi manusia: cetakan 11. jakarta timur: lentera dipantara. 92 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014book of reviewijcas: vol. 1, number 1 june 2014 anna halprin, dancing life/ danser la vie edited by baptiste andrien and florence corin sally gardner school of communication and creative arts, deakin university burwood campus 221 burwood hwy, vic, melbourne 3125, australia. email: sally.gardner@deakin.edu.au in a recent interview published in theatre, dance and performance training journal documentary writer and film-maker, peter hulton, talks about his work since the 1970s documenting the studio practices of performing artists and seminal performing arts teachers. 1 initially, hulton observed practitioners at work and interviewed them, transcribing the interviews for publication as arts archives.2 he says that he ’was interested in the language of practitioners ... not only their struggle to find the language that for them was appropriate, but also the way their thoughts moved through their material as they commented upon it’ (87). as the tools of documentation have changed and recording equipment has become more lightweight and discreet, hulton has discovered that, visually, he can record a subtle range of embodied phenomena: ‘the technology allowed you to relax into being there with the phenomenon that was revealing itself absolutely within the same time-line’ (88). now hulton has been involved with baptiste andrien and florence corin of belgium’s contredanse organisation in the creation and publication of anna halprin, dancing life/danser la vie a bilingual document honouring the work of the american dancerartist-teacher, anna halprin.3 anna halprin, dancing life/danser la vie comprises hulton’s recording of a workshop given by halprin in paris, 2010, and includes other documentary material which traces the long trajectory of her dance teaching and philosophy. the publication includes a booklet with ‘preface’ (by halprin); ‘editors’ note’; and short ‘biography’ of halprin (by her husband, architect lawrence halprin). in conceiving the project, the editors have asked: ‘what does the word dance mean to her?’ for her part, halprin states in the ‘preface’ that the dvd ‘describes my approach to dance in a way unlike any of the existing books and videos.4 it invites you inside one of my workshops, allowing you to absorb my teaching in action, and extends further to capture the whole spectrum of my approach’. she says that, in keeping with her own philosophy, dancing life/danser la vie ‘closes the gap between art and life’. anna halprin was influential in the emergence of american post-modern dance in book review 93 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music rahmawan dwi prasetya. effect of color compositionsally gardner. book review the 1960s, providing an alternative vision of dance art to the one represented by the celebrated modern dancer-choreographers of the first part of the twentieth century in part, because she emphasised the need to study the objective structure of the body through anatomy. she was encouraged in this by the early twentieth century american dance teacher, margaret d’houbler with whom she studied. anatomically-based ‘body work’, much of it developed by dancers or other individuals working close to dance (and, increasingly, including therapies such as feldenkrais awareness through movement, alexander technique, bodymind centering), has been an important underpinning of dance performance practices ever since, providing dancers with the resources and tools for expanding and exercising their kinaesthetic imaginations. certainly, a western anatomical and kinesiological perspective on the body, sometimes combined with energetic conceptions of the body from eastern anatomies, sustained many dancers’ practices during that seminal period and up to today. in many ways, however, halprin also carried on aspects of the philosophy of earlier modern dancers – specifically isadora duncan (but also martha graham) who had, like her, been inspired by the natural environment of california towards a kind of ‘pantheistic religion of the self’ in which dance and life, the body and the world, would be one.5 the dvd dancing life/danser la vie opens with halprin, by now a woman of 91 years old, alone on a beach tip-toeing along the uneven, wavey edge of shadows cast on the sand by the coastal cliffs. she has a bird-like quality as she also hurries towards and backs away from the foamy edge of waves as they run up the shore. she is filmed both in close-up and from far away, and we thus see her as both a particular woman and as a representative human or universal figure. we hear her ‘voice-over’ espousing her philosophy of dance as a path to the self and as a way of connecting with the world and nature. it is a striking opening, as in the west the ‘older woman’ is a marginal figure, normally accorded little value. here we see and hear her as a revered figure who embodies a singular vision. the dvd contains a lot of material. it is organised by a number of digital icons that take the viewer to various groupings of documentary material: the 2 day paris workshop presented as a number of discrete sections; a ‘roadmap’ which includes interviews and archival material that give an insight into aspects of halprin’s dance practice, including her movement ritual, and what she calls the movement/feeling process; as well as a section on ‘my life and art’ which explores halprin’s work in its historical development and, influenced by her husband, the architect lawrence halprin, her use of scores for building events for large numbers of performers and later as participatory experiences. this is a bilingual project. one striking experience for me was that, in clicking on the french version, i was able to hear both halprin and a french translator, alternately, talking the listener through a ‘relaxation exercise’ (in the english version only halprin speaks). on the screen we see only a band of vertical lines that lengthen and shorten to register the rhythm of stressed or accented syllables. the acoustic play between the two languages, so different from but intertwining one another, is a physical experience in itself, with the french sounds conveying almost by themselves the relaxing, tactile qualities of touch and breath. indeed voice is given a significant place in this document and is allowed to do its 94 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014book of reviewijcas: vol. 1, number 1 june 2014 potential work of creating ‘internal vibrations’. the singularity of halprin’s voice (which seems to have changed little over the years) with its confident tone in proposing and holding a physical experience for others is matched by hulton’s camera work during the paris workshop. hulton films human bodies as both subject matter and as their own frame. here he has a lot to work with as the participants undertake the different workshop explorations under halprin’s guidance and gentle goading: they draw impressionistic images of themselves, lie and move on the floor of a vast hall, gently and robustly handle each other’s bodies, weave through the space in and around one another as halprin takes them through fundamental experiences of polarities (contract/release; active passive; up/down etc.) and much more. all these are ways of exploring how the body works physically, and how it can be available to each person for their own expressive purposes. hulton is intimate but not intrusive or exposing in his camerawork. the workshop participants who are the objects of his gaze are neither self-consciously aware of it nor, however, does one sense that they are being made visible voyeuristically. he has the experience to be able to move towards a ‘moment’ with his frame and to allow it somehow to show itself, and he moves his gaze away sometimes in order to show less rather than too much. in the ‘roadmap’ section of this dvd, halprin is seen working closer to therapy than to performing arts. indeed, the gestalt therapist fritz perls was influential for her. the documentary material here favours the later phases of her work where she turns towards participation rather than performance. her 1967 work parades and changes, originally performed in sweden, and banned in the usa because it involved nudity, is being redone now, but halprin’s better known work is probably the participatory events like circle the earth and planetary dance, which are scores for large groups – and thus anticipatory of a current trend in western (‘participatory’) art making.6 of particular interest in the ‘roadmap’ is the section showing workshop participants and their drawn self-portraits. halprin saw a link between the process of drawing and the kinaesthetic sense and vice versa. she felt that dancers needed to find themselves, to confront their self-image, in order to be individually creative as dancers or to grow as people. drawing, she claims, helps to externalise and make available more objectively a person’s own view of themselves and their own personal ‘mythology’ or meanings. what are the implications of this publication? this is a contemporary form of document or archive that serves performance practices well if only the earlier material is available and there is someone with the sensibility of peter hulton to create new recordings. often, the phases and modes of an artist’s development, which are sometimes long and circuitous, can be very much misunderstood or unknown to audiences, particularly in the performing arts. dancing life/danser la vie gives us a comprehensive view of halprin’s life and thought. the dvd encompasses contradiction and ambiguity: by watching different sections one can come to believe that halprin’s defining discourse and practice is one of self-psychology; that she has enormous knowledge of the body; that she is a dance evangelist, or that she initiated avant-garde currents of dance and performance. all of these are true and taken together they represent almost a century of practising dance, on her part. such documents as these can help to build literacy in an interested public or in a 95 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music rahmawan dwi prasetya. effect of color compositionsally gardner. book review critical community. they do not substitute for the live experience of ‘being there’ in workshops with master practitioners. they do, however, help us to be able to keep tracing the connections between historical works and practices and current developments, not just intellectually but as those connections are embodied passed on through the oral traditions of dance and performance practices into the present and into the work of present generations. references 1 peter hulton (2014) ‘essai’, theatre, dance and performance training, 5:1, 87-90, doi: 10.1080/19443927.2014.896091. 2 hulton’s documentary work at this time was usually undertaken at dartington college of arts, devon, uk (founded in 1961 and now part of falmouth university), where numerous international theatre and dance practitioners have taught as invited guest artist-teachers. see theatre papers and ‘arts archives’ (www. arts-archives.org) ‘an international digital moving image resource for performance research initiated by the council of europe’. 3 contredanse is located at maison du spectacle la bellone, rue de flandre 46, 1000 bruxelles, belgium or email: publications@contredanse.org. 4 these include the 2009 film: breath made visible, directed by ruedi gerber. zas film ag. 5 see daly, ann. (1995) done into dance: isadora duncan in america. bloomington and indianopolis: indiana up, p. 11) 6 see for example bishop, claire. 2012 artificial hells: participatory art and the politics of spectatorship. london: verso. ijcas cover_revisi.pdf page 1 ijcas cover_inner.pdf page 2 ijcas cover_back.pdf page 1 alternative conceptions of modernity in the history of iban popular music connie lim keh nie phd candidate, music department, faculty of human ecology, universiti putra malaysia email: climkn@gmail.com; lknconnie@unimas.my a b s t r a c t this paper examines how modernity has historically shaped developments in the industry of iban popular music. the iban make up one third of the sarawakian population and are the largest indigenous ethnic group in sarawak, malaysia. as with other ethnicities in the nationstate, modernity has presented challenges for socio-cultural development and lifestyle of iban people. historically, the iban are a cultural group located geographically and politically on the periphery of the multi-cultural nation of malaysia. throughout much of the 20th century, the music industry has experienced a rapid embrace of modernity through the nation to the detriment of traditional practices in culture in order to adapt themselves in the era of modernization. iban society had gone through a state of flux where people have gone through the process of readapting themselves in meeting the demanding challenges of malaysian nationalism. drawing upon barendregt’s (2014) ‘alternative conceptions of modernity’ this paper examines how the iban reference both a national as well as a local music industry particularly through their use of language as an expression of iban. first the paper will examine changes in iban society through political and economic modernization. then i look at differential transformation within iban music industry because of relative exposure to agents of change such as the influence through christian missionary and education. this reflects how the iban react and reflect in adaptation of modern demands of change as a result of the effects of historical processes on the social, cultural and physical environments. keywords: modernity, christianity, colonization introduction modern, modernity, modernization, modernism are the terms used spontaneously in describing a transformation of socio-historical process these days. objectively, modernity is seen as a “process of modernization, by which the social world comes under the domination of asceticism, secularization, the universalistic claims of rationality and differentiation of various spheres of the lifeworld, bureaucratization of economic, political and military practices, and the growing monetarization of values” (turner, 1990:6). as the basis of modernity consist of historical, cultural and social formations (mee & kahn, 2012) and includes large areas of social process and cultural orientation comprised of globalization, transnationalism, nationalism, identity, the state, secularism capitalism, techno-rationality and religion. from the colonial period to postcolonial era, southeast asia nation states have gone through dramatic historical developments and experienced political and economical changes. but looking at the history of popular music through the lense of the nation 56 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 does not in itself produce the whole picture. instead barendregt (2014) proposes ‘alternative conceptions of modernity’ that problematize nation-centered narratives about the history of popular musics in southeast asia. barendregt observes that modernity’s production of new fashions, markets and lifestyles offers, “... a glimpse of how and why people have taken up ideas of the modern, how it is made, unmade and remade, paying ample attention to how such reconfigurations may serve various claims and are constantly haunted by yet others” (barendregt, 2014:6). those who are attached to how and why popular music is produced and created to meet the market demand attempt to fit into the current needs at that particular time period as well as create their own trends and developments within the society. theoretical framework/discussion recognizing the defiance of western modernity, ‘alternative conceptions of modernity’ avoids nation-centered narratives and takes a holistic approach towards examining the multiple ways in which popular musics are attached to socio-culture developments in society. some of the multiplicity of factors include issues of socioeconomic and stages of socio-cultural development, educational development, christianity, literacy, as well as stages of economic development in infrastructure, lifestyle and technology. all have been critical factors influencing definitions of modernity in the iban society. the iban in sarawak have encountered various waves of modernization since the arrival of james brooke in august 1839 where the history of sarawak as a modern nationstate began (kedit, 1980). adapting to the new environment after the arrival of western influence, the brookes controlled, administered and maintained order to prepare the iban to meet the needs and demands of a modern economy. during the brooke administration, influence from the christian missionary and education had exposed the iban to western music through hymn singing where they were exposed to western melodic structures and harmony through the expectation of memorizing the hymns. since 1950s, the saribas iban had listened to the radio on regular basis (postill, 2006), the iban established their contact to western, malay and indonesian popular music played by the radio station. with radio providing a model, the iban soon accelerated these innovations creating their own popular music, while expressing ibaness through their own language, they adapted western pop music melodies into their own early creations of pop music. nevertheless, mimicking could also be seen as a reconfiguration in conveying their culture and expressions as social entertainment. looking as form of mass communication, popular music could serve as a mediator to communicate the ‘desirability of modernity’ as one of the ways to achieve rational development in the society (hobart, 2006). as the modern infrastructure development is happening in the longhouse environment, the young girls are eager to follow the western entertainment, pop music, dancing the way the western people dress in the longhouse in order to be modern (kedit, 1980). consequently, as the desire of iban to be modern, it had created a space in pop music creation and learning the music making process in innovating the western, malay and indonesian music style into the newly created pop music. hence, pop music had opened up the opportunity for 57 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ...asep hidayat wirayudha, the secret of brahms cellos sonata no. 1 op. 38...r. m. surtihadi, music acculturation in rhythm of ...connie lim keh nie, alternative conceptions of modernity... the iban to perform on stage and participating in singing competition had created the space among the community to explore their talent and skills in music. case studies/evidence/empirical data popular music influences from kuala lumpur, penang as well as indonesia have been considerable throughtout the history the iban popular music. these popular music styles have dictated from the centre to the ‘periphery’ where the iban music industry is located in sarawak. this “center-periphery” paradigm certainly describes the emergence of iban popular music industry in sarawak between 1954-1976, an era that gave rise to iban radio broadcasting. radio sarawak was officially established on the 8th of june 1954, when the sarawak legislative council decided to create a broadcasting service with technical assistance from the british broadcasting corporation (bbc). among the four broadcast programs, including malay, iban, chinese and english, the iban programming was initially broadcast for just one hour from 7-8pm daily. in the early days, the programs were limited to news, information on agriculture and animal husbandry, iban folklore, but also included sung poems (pantun, renong) and epics (ensera). in the 1950s, external musical influences from the indonesian and indian pop music dominated iban airwaves and in the 1960s and 1970s, british and american popular music received substantial airplay. radio sarawak listeners enjoyed songs sung in malay, indonesian as well as english sung by british and american artist. therefore, in order for an emerging iban pop music industry to modernize, they composed songs using a popular form of their own language. both sisters, senorita linang and pauline linang were brought up listening to western songs on the sarawak radio. among their favourites were tom jones and engelbert humperdinck (postill, 2006). senorita linang was an iban beauty pageant winner and she was very much seen in the public eye as an icon of ibanness. as an iban singer cum artist, she was often perceived as a central icon to urban iban audiences. she became the voice of iban popular music in places where her songs reached her listeners in sarawak through medium or shortwave frequency radio transmission. but she may also be considered as a periphery artist among the larger, more dominant kuala lumpur, indonesian and western artists promoted at the time. as a majority ethnicity of sarawk, the iban established themselves through the vehicle of popular music yet predictably remained a minority in larger urban centres. in the 1970s, christopher kelly emerged in the iban pop music industry after winning the rtm star competition (pertandingan bintang rtm). his first album entitled ‘beraie nganti’ was recorded in the 1970s and it received an overwhelming response from iban music fans. he was crowned as the most popular iban artist in 1970s and the first iban artist who had performed together with the rtm orchestra for national day in year 1973. ‘bungai layu’, ‘nuan meruan di atiku’, ‘agi idup agi ngelaban’, ‘tinggal sari asai setaun’, beraie nganti’ are among the titles of iban song which were popularized by him. in total, he had recorded 24 vinyl albums with rtm between 1970’s to 1980’s and each vinyl disc contain 4 songs. positioned on the periphery, the iban 58 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 artists did borrow tunes and rhythms from western pop songs and adapted them as their own. but influences also included malay and hindustani genres that may be seen in iban popular music. as iban songs were broadcast on the radio station, the iban popular music might have reached a wider audience from indonesia, especially in kalimantan region, malaya through radio transmission. but iban radio programming has not always broadcast the sounds of modernity for its iban listerners. in 1960s, the sarawak government used iban radio broadcasting for psychological warfare tactics against communist insurgents. during the end of the indonesian confrontation in 1965, priorities of broadcast shifted from warfare propaganda to ‘mental revolution of the people’ with the aim to educate people with health and economic development information (postill, 2006: 49). christopher kelly was especially brought to sing in the communist area of sibu in the early 1970s, where the former whole third division of sarawak (presently covering sibu, kapit, sarikei and mukah divisions) was declared a special security area under the administration of rajang area security command (rascom) administered by the chief executive officer whereas its director of operations is the chief minister of sarawak. the places where christopher kelly was brought to perform as a singer cum entertainer included pentas rakyat (community stage show) in nanga ngungun operational area (kanowit), nanga tada operational area (kanowit), nanga jagau operational area (kanowit) and nanga sekuau operational area (sibu) where he became the center figures of popular music. during the communist movement of the 1960s, iban soldiers were sent to malaya. the song entitled ‘nganti ti pulai’ was sung by senorita linang which means waiting for you to come back (refer to figure 1 for the iban song lyrics and english translation). the melody of this song is taken from ‘sealed with a kiss’ in slow rock ballad sung by brian hyland, an american pop recording artist. the recording was released as a single in 1962. the iban lyrics of the song portray the longing of a lover or fiancé towards a soldier. with separation as a theme, he had left her for a place far away, either for war or berjalai (literally means walking, acquiring new knowledge or wealth to be brought back to their village at the end of the journey). as depicted in the lyrics she misses him so much and prays he will be back soon. 59 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ...asep hidayat wirayudha, the secret of brahms cellos sonata no. 1 op. 38...r. m. surtihadi, music acculturation in rhythm of ...connie lim keh nie, alternative conceptions of modernity... anang nuan lama pegi aku ditinggal anang ngasuh aku braie pulai lengkas sulu ngagai aku ti nganti anang lama pegi sekumbang nuan dah ngejang lesa idup ku puas ngasuh ati lantang engka ti ka badu tang enda ulih oh sulu pulai lengkas kitu besari aku besampi ke nuan tetap lengkas pulai ngelama aku udah nganti ka nuan ti ambai lalai anang nuan lama pegi lengkas pulai aku nganti besari-sari ka nuan ti ka pulai ngagai aku ti nganti tu ngambi lengkas pulai besari aku besampi ka nuan ti tau lengkas pulai ngelama aku udah nganti ka nuan ti ambai lalai ka nuan ti ka pulai ngagai aku ti nganti tu ngambi lengkas pulai don’t go too long i am left behind don’t make me love sick please come back as possible, my love to me that waiting for you don’t go too long since you have been away i feel so gloomy it’s hard to make myself happy hopping my gloominess will be stop but it cannot be stopped, come back here soon every day i pray hope you will come back soon all this long i have been waiting for you, my love don’t go too long come back soon i wait everyday for you to come back to me that wait for you here so that you come back soon every day i pray hope you will come back soon all this long i have been waiting for you, my love for you to come back to me that wait for you here so that you come back soon figure 1: ‘nganti ti pulai’ (wait for you to come back) lyrics in iban and the translation in english. as seen in the lyrics (see figure 2), the song evokes an iban battle cry ‘agi idup agi ngelaban’ which means literally to fight to the death. it was composed during the 1960s and sung by christopher kelly during the government’s era of urgent ‘malaysianisation’. it depicts the current scene of sarawak joining malaysia especially during the communist insurgency. kelly’s voice in the song urges the iban soldiers to sacrifice all for their country. because the song lyrics are in iban, not malaysian language, it creates a strong sense spirit of comradeship, a bond between iban soldiers who fought bravely for their rapidly modernizing nation. the style of this song is very similar to 1960s pop melayu with malay asli ornamentation in the melody. 60 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 diatu kitai udah merdeka pegai perintah serakup malaysia anang sekali bebagi ati ngetan ke menua sereta enggau negeri chorus: aram meh kitai ti nyadi sedadu berambun ka nyawa napi peluru anang undur ngapa ari menalan enti agi idup agi ngelaban kitai meh bejuluk bujang berani ti tampak rita serta pegari now we are a free country here governed by formation of malaysia don’t be half hearted protect your country come, those of us who are soldiers sacrifice your life against the bullet don’t ever retreat from the war field fight until your last breath we are the brave warriors who are famous and well known figure 2: ‘agi idup agi ngelaban’ (fight until death) lyrics in iban and the translation in english christian missionaries, formal education, as well as political and economic development dramatically changed the cultural and physical environment of the iban as well as the iban’s perception towards their traditional culture. in addition, many iban themselves were involved in internally discrediting their own culture. for example, traditional iban belief systems were animistic and often involved shamans and ritual healers. as a reflection of modernization through migration to the urban, the song ‘cherita manang ula’ (story of ‘manang ula’) (see figure 3) portrays the urban iban’s skeptical attitude towards the rural iban traditional animism healing rituals. these were conducted by iban shaman known as manang. sung in the rhythm and melody is taken from indonesian song with an exotic hindustani flavor, this song depicts how a bogus shaman conducted a phony healing ritual. dinga kita cherita aki manang ula lebuh iya di ambi orang belian puchung sakarung di ma enggau baka endang siku orang di asoh iya ngesan leboh iya datai ba tudah ke sakit dia iya nanya nama pemedis tudah ke sakit pan madah diri kena hujan nyala pulai iya nginti manang ula lalu enda chamang-chamang mantai ka lupong batu pemandang dia iya lalu muchau besampi mandang ke batu segenap tisi batu iya kumbai iya batu ilau di kena nenggau ngabas penyakit udah nya baru iya mantai puchau di kena ngabau antu ti jai listen to the story shaman ‘manang ula’ when he was invited for healing ritual bundle of charms in a basket he carried on his back one men ask him to carry when he arrive at the place of the sick then he ask what kind of sickness the poor sick person he tell about himself because of the ‘hujan nyala’ when he comes back from fishing shaman ‘manang ula’, then, immediately take his basket batu pemantang (crystal to see kind of sickness) then he start recite the speal looking at the crystal in every angle that crystal he called as ‘batu ilau’ (crystal for seeing) for him to see find out the sickness after that, he start recite the spell for him to ward away the bad spirits 61 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ...asep hidayat wirayudha, the secret of brahms cellos sonata no. 1 op. 38...r. m. surtihadi, music acculturation in rhythm of ...connie lim keh nie, alternative conceptions of modernity... figure 3: ‘cherita manang ula’ (story of ‘manang ula’) lyrics in iban and the translation in english. summary this paper has addressed how ‘alternative conceptions of modernity’ have shaped and contributed to the musical development and socio-culture meaning of iban pop music in sarawak. popular music in iban society has endured influence from the hymns and christian liturgy rendered into iban language, english songs sung in mission schools, a mixture of western, malay and indonesian pop songs and the diffusion of western and malay music into the iban community. since the beginning of radio station broadcasts, iban popular music has been a strategic form of media towards nation building especially in the era of malaysianisation when sarawak joined malaysia as a nation state. a historical rupture between earlier modernities and the modernity we are presently dwelling, “this theory of a break-or rupture-with its strong emphasis on electronic mediation and mass migration, is necessarily a theory of the recent past (or the extended present) because it is only in the past two decades or so that media and migration have become so massively globalized, that is to say, active across large and irregular transnational terrains” (appadurai, 1996:9). i agree with appadurai because the iban progressed remarkably over the few decades and massify themselves in the economic development process from the brooke monarchy to malaysia nation state. at the same time, the radio became a symbol of moderniy for the iban who lives in the longhouse whereas the gramophone became the emblem of modernity for the urban iban as crucial accessories to the development of new mass-mediated culture of consumption. due to the limited sources of music available to the sarawak listeners at that time, the uniqueness of iban pop is seen through the mixture of various genres of popular dinga kita cherita aki manang ula lebuh iya di ambi orang belian puchung sakarung di ma enggau baka endang siku orang di asoh iya ngesan leboh iya datai ba tudah ke sakit dia iya nanya nama pemedis tudah ke sakit pan madah diri kena hujan nyala pulai iya nginti manang ula lalu enda chamang-chamang mantai ka lupong batu pemandang dia iya lalu muchau besampi mandang ke batu segenap tisi batu iya kumbai iya batu ilau di kena nenggau ngabas penyakit udah nya baru iya mantai puchau di kena ngabau antu ti jai listen to the story shaman ‘manang ula’ when he was invited for healing ritual bundle of charms in a basket he carried on his back one men ask him to carry when he arrive at the place of the sick then he ask what kind of sickness the poor sick person he tell about himself because of the ‘hujan nyala’ when he comes back from fishing shaman ‘manang ula’, then, immediately take his basket batu pemantang (crystal to see kind of sickness) then he start recite the speal looking at the crystal in every angle that crystal he called as ‘batu ilau’ (crystal for seeing) for him to see find out the sickness after that, he start recite the spell for him to ward away the bad spirits 62 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 music ranging from malay pop, indonesian dangdut, hindustani music, and western ballads. it shows how these musical concepts blend together with the iban language in the form of purely entertainment-based popular music. although iban pop music is not fully original composition, the pop music reflects the popular culture and lifestyle of iban people especially how iban people express their culture as well as their identity of ibanness in the modernized environment. bibliography appadurai, a. (1996). here and now. in modernity at large: cultural dimensions of globalization (pp. 1–23). minneapolis: university of minnesota press. barendregt, b. (2014). sonic histories in a southeast asian context. in sonic modernities in the malay world: a history of popular music, social distinction and novel lifestyles (1930s-2000s) (pp. 1–43). leiden: brill. hobart, m. (2006). introduction: why is entertainment television in indonesia important? asia journal of communication, 16(4), 343–351. http://doi.org/10.1080/01292980601012352 kedit, p. m. (1980). modernization among the iban of sarawak. kuala lumpur: dewan bahasa dan pustaka. mee, w., & kahn, j. s. (2012). introduction. in w. mee & j. s. kahn (eds.), questioning modernity in indonesia and malaysia (pp. 1–17). singapore: nus press in association with kyoto university press. postill, j. (2006). media and nation building: how the iban became malaysia. new york, oxford: berghahn books. turner, b. s. (1990). periodization and politics in the postmodern. in theories of modernity and postmodernity (pp. 1–13). london: sage publications ltd. rejection of the cigarette billboard sampoerna a mild “mula mula malu-malu, lama lama mau” donna carollina graduate school of indonesia institute of arts yogyakarta a b s t r a c t in early 2015, a billboard advertisement of cigarette product sampoerna a mild titled “mula mula malu-malu, lama lama mau” or in english means “initially feel shy, gradually want” were protested by the majority of indonesian people. protests were stated on the website www.change.org, with a petition asking for the billboard to be removed immediately. shortly after, sampoerna a mild company responded to the protest by apologizing to the people of indonesia and removing the billboard. this case raises several questions for the author: why was sampoerna a mild’s billboard removed?; what were the communicative sign contained in the illustrations that causes the billboard to be removed?; what was the idelogical background of indonesian society which causes them to reject the billboard of sampoerna a mild? to answer these questions, this research based on a case study uses the methods of art critic as described by e.b feldman. data collection was done based on the study of literature, then the findings were analyzed inductively. results of research revealed that the billboard was removed because it was considered a pornographic illustration. pornography as seen in the communicative sign illustration of a young couple hugging each other, as well pornography in the illustration which includes the text that reads “mula mula malu-malu, lama lama mau” or “initially feel shy, gradually want”. the majority of indonesian society rejected the billboard of sampoerna a mild and considered the billboard illustration to contain pornography due to their ideological background which is based on ethics and morality of indonesian culture. therefore, that rejection of the billboard is mainly due to an illustration displaying things that are in violation of indonesian culture. keywords: advertisement, billboard, cigarette product, sampoerna a mild, pornography introduction advertising activity continues to change. changes can be caused by regulations assigned by the government of the country. in indonesia, the changes can be seen in the advertisement of cigarette products, such as billboards. “initially feel shy, gradually want”, advertisement of cigarette products can show the form of cigarettes and smoking activity on its advertising illustration. but the practice is no longer done after the indonesian government certified undang-undang penyiaran 32 tahun 2002, regulating the practice of promoting the form of cigarettes in their advertisements. as well as the regulations listed in the etika pariwara indonesia, on the discussion about advertising of cigarettes and tobacco products. the impact of these regulations on the advertisement of tobacco products is the approach that is currently used to communicate the content of the advertisement using communicative signs. it is intended that the consumer or the communicant can read the meaning presented by the communcative signs. but some billboards of tobacco 14 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 products are protested, resisted, and ended with the removal of the advertisement because of the signs that were presented in the illustration billboards, one of which is sampoerna a mild’s billboard. in early 2015, a billboard advertisement of cigarette product sampoerna a mild titled “mula mula malu-malu, lama lama mau” or in english means “initially feel shy, gradually want” were protested by the majority of indonesian people. protests were stated on the website www.change.org, with a petition asking for the billboard to be removed immediately. shortly after, sampoerna a mild company responded to the protest by apologizing to the people of indonesia and removing the billboard. the case intrigued the author and raised several questions. why was sampoerna a mild’s billboard removed?; what were the communicative signs contained in the illustrations that causes the billboard to be removed?; what was the idelogical background of indonesian society which causes them to reject the billboard of sampoerna’s a mild? picture 1. billboard advertisement of a mild that received protests from indonesian society (accessed from www.habibasyrafy.com, on 18 april 2015). methods this research is a qualitative study using a case study approach. to answer the research questions, the methods of art critic as described by e.b feldman will be used. feldman (1967:469) described that there are four steps in criticizing the work of art including description, analysis, interpretation, and evaluation. in the description stage, processes conducted are collecting data of the artworks that are presented directly for the observer. in the description process, the researcher points out on several principle such as: color, direction, shape, the usage of line, texture, volume, and space. on the analysis process, the researcher elaborates the quality of visual elements. basically, the analysis process examines the quality of the supporting elements of the subject matter, which have been collected within the description of 15 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... the data. interpretation stage becomes the process conveying the meaning of the artworks, which is gained from the data description and analysis, which are conducted precisely. leaving from the data description and analysis, the interpretation process is conducted to get a hypothesis about the related artworks. meanwhile, the last stage that is evaluation process is also known as comparative historical study. this is done with the purpose to conduct comparative study correctly, in order to find out a series of meaning and strength of the artwork expression that are becoming the object of criticism. each steps cannot stand individually without the other theories to support and sharpen the research results. it is necessary to use a set of other theories such as visual communication design theory. theories will be operated on the method of art critic and the data collected by the literature. the findings will then be analyzed inductively. to observe and describe the elements in the design of billboards using the visual communication design theory. analyze the unity of the elements in the sampoerna a mild billboard using visual communication design theory about the basic principles of design and layout. interpret the meaning of the sampoerna a mild billboard through the communicative signs that presented it. compare the design of sampoerna a mild billboard and consider the role and impact of the socio-cultural sphere of indonesia. the process done by considering cultural value system that developed in indonesian society. make conclusions based on the findings obtained from the analysis process inductively. description analysis interpretation evaluation billboard find out the reason behind the rejection based on literature criticizing with art critic method 16 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 results sampoerna a mild is a renowned pioneer of mild cigarette kretek in indonesia produced since 1989. sampoerna a mild’s strong dominance in the market of cigarette products in indonesia is due to the promotion and marketing strategy undertaken, one of which is to advertise on billboards. 1996 was the starting point where sampoerna a mild launched an advertising campaign with the power of words and visual illustrations that are able to amaze consumers and communicants. this condition persisted until early 2015, when sampoerna a mild’s billboard entitled “mula mula malu-malu, lama lama mau” or in english means “initially feel shy, gradually want” was protested by the majority of indonesian people. the protests arose because of the assumption that the advertisement production of bates and chi agency contains pornography (by zia ul haq in website pksipiyungan. org). even a protest by irfan novianda held as a petition on the website www.change. org, rejected the billboard and asked for public support to have the billboard removed (www.m.tempo.com, on 06 january 2015). shortly after, sampoerna a mild company responded to the protests by apologizing to the people of indonesia and removing the billboard. to criticize sampoerna a mild’s billboard, author uses the method of art critic by e.b feldman consisting of description, analysis, interpretation, and evaluation. this method is used in order to criticize billboard in detail and depth. description in description, the billboard used a photo as illustration. this advertisement is a horizontal dimension and have a size of 16:9. illustration on the billboard have a white background and the illustration shows a young couple hugging each other. in addition to the two young couple image, also appears the text “mula mula malumalu, lama lama mau” printed in black. sampoerna a mild’s red logo also appears in the circumstances, distorted but still readable behind the text “go ahead” in black. while the bottom of the billboard shows an illustration and text of the smoking ban (regulations required by the indonesian government). the illustration depicts a male figure holding a cigarette and skull-shaped smoke. besides the illustration contained the text that reads “peringatan: rokok membunuhmu” or in english means “warning: smoking kills you” in black. while the far right, there is the text “18+” inside the circle and printed in black. analysis design is formed by unitary elements. the elements includes illustrations, photography, symbols, and typography (adityawan, 1999: 3). in the outline, the key elements in the illustration of sampoerna’s billboard includes photography and typography, where the photo shows a young couple hugging each others and the typography reads “mula mula malu-malu, lama lama mau” and also “go ahead”. the placement of each elements in the layout are united and balanced. this balance are seen from the arrangement of elements that makes up the illustration. layout uses 17 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... symmetrical balance, with one column grid (grid manuscript). it is seen from the balance on each side of the layout (anggraini & nathalia, 2014: 63). the typeface used for the text is decorative, where this type is usually used only for the title (heading) text (anggraini & nathalia, 2014: 63). in relation with the use of typography, the illustration billboard of sampoerna has fulfilled the criteria, good legibility and readibilty. interpretation in sampoerna a mild’s billboard, elements that stands out and is the main point lies on the photo depicting a young couple hugging each other and the text “mula mula malu-malu, lama lama mau”. both of these objects becomes the system referents for the deciphering of meaning. this is possible because the advertisement, though its function is to sell the objects, also shows the process of meaning (williamson, 2007:2). broadly speaking, the photograph was appointed based on the image of selfexpression of indonesian teenagers today. especially with the style of dress in casual outfit, which is synonymous with freedom of expression for teenagers. this is reinforced by the tattoo on the boy’s arm. most people argue that tattoos are a form of self-expression. similarly, the girl with loose hair and sleeveless shirts that shows their whole arms also reinforced the statement. loose hair and bare arms showing sensuality of women, as is often exposed by the mass media, had become the typical stereotypes of beauty and sensuality of modern women. this illustration depicts how the reality of the freedom of young people to behave and get along today, unabashedly showing the close relationship between the opposite sexes. as depicted on the object, the young couple is hugging each other, but there is still a distance between each of their bodies. as if they have a close relationship but there is still a distance. it is also seen from the position of the girl who is looking away from the face of the boy. the text “mula mula malu-malu, lama lama mau” clarifies the photo illustration, explaining that the relationship between the couple is relatively new. there is a hesitation, represented by the word “malu-malu” or in english means “shy”. “mula mula malu-malu” or in english “initially feel shy, gradually want” indicates that at the beginning of every relationship, they seem “malu-malu” or in english “shy” between each other. in the photo, the object described as the “mula mula malu-malu” geared more towards the girl. because the girl is in the arms of the boy, from this position it was assumed that the boy in the photo is trying to “lead” the girl, who look embarassed. furthermore, the text “lama lama mau” or in english “then wanting” tries to convince the communicant that although “initially feel shy, gradually want”, the girl at the first time will feel shy but gradually will “mau” or in english “want”. the word “mau” can be translated into a fairly broad range of meanings. however, the orientation of this word directed to negative associations. these words seems to be aimed to the context of the freedom in their relationship. “mau” can be interpret as to do more things in their relationship. this assumption can easily arise because today’s 18 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 youth with the identity of freedom of expression, is considered closely lapsed into a free sex activity. these negative associations tends to be harassing or demeaning girls. in additiion, the phrase “go ahead” can be interpeted in indonesian “silahkan saja” or “go ahead, there is no problem with it”. the tagline used as approving or undestanding that smokers are free to do anyhing they wanted with no need for doubt. the text “mula mula malu-malu, lama lama mau” have another alternative interpretation for new smokers who are “initially feel shy, gradually want” shy to smoke. new smokers (mostly young smokers) often hides the fact that they smoked. thus, these smokers often smokes secretly. but over time, these smokers got used to it and are no longer ashamed to smoke even in public. evaluation a mild is firstly launched in 1989. a mild cigarette is popular with its slogan or tagline that are always presented in its commercial advertisement. those slogan or tagline often trigger communicants and consumers who notice it. consumer can easily remember each slogan or tagline of the a mild products because the sentences are unique and supported with interesting advertisement illustration. a mild seems to be so smart by using marketing strategy not only offering functional value (which is commonly used by the majority of advertisement) but also emotional value. those emotional value cover creativity, smartness, and becoming the trendsetter among other law tar cigarette products. a mild use the tagline firstly in 1995 saying that “bukan basa basi” which means “not a courtessy”. in the year of 2002 until 2004 they continued to make commercial champagne with the theme “others can only follow”. then in 2005 a mild commercial champagne changed the tagline theme into “tanya kenapa” meaning “ask why” which was considered as a touching one because it carried several social issues. afterwards, in the year of 2009 until this time, the tagline which is issued is “go ahead” in which the commercial ads with the tagline “mula mula malu-malu, lama lama mau” meaning that “initially feel shy, gradually want” belongs to that. picture 2. a mild ads in year 1995 “bukan basa basi”. http://photos1.blogger.com/ blogger/3761/3108/1600/2.gif&imgrefurl=http://selembarkertas.blogspot.com/2006/07/marketingdakwah-part-1.html, on may 25, 2015. 19 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... picture 3. a mild ads in year 2002 “others can only follow”. https://safrony.wordpress. com/2011/03/22/di-balik-slogan-indah-iklan-rokok, on may 25, 2015. picture 4. a mild ads in year 2005 “tanya kenapa” dalam iklan “masih banyak celah kok nyerah”. https://safrony.wordpress.com/2011/03/22/di-balik-slogan-indah-iklan-rokok, on may 25, 2015. generally the theme of sampoerna a mild’s advertising campaigns from 1996 to 2015 often raised social issues that are rife in indonesia. the theme was appointed in its advertising tagline to provoke and reflect the social atmosphere within the indonesian community. because of the actuality of the theme raised, few consumers and communicants are interested in sampoerna a mild. 20 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 likewise with the theme “go ahead” which started in 2009. this tagline is used as a encouragement for smokers of sampoerna a mild to do what they like without hesitation. but this time, the theme was quite provocative as sampoerna a mild tried to give a picture of the reality of young people today in their daily run. the creative process in designing the commercial ads theme along with the illustration as the promotional media comes to the crisis by the release of the government regulation. the regulation makes a restriction of the cigarette promotional media by forbidding presenting an image of a figure who is smoking or the real image of cigarettes itself. because of that government regulation, a mild put effort on enhancing the creative process of the advertisement. the creative process is conducted by managing the use of sign that are able to present values that are implicity carried within the products. however, they still keep the marketing system that brings emotional values that are often used put priority on the self-actualization, selffreedom, self-identity, the life that is chosen, creativity, and also other uniqueness within an individual in which having a majority as the indonesian youth. picture 5. a mild “go ahead” version “sok jago”. http://abdulobam.blogspot.com/2015/01/kumpulantemplate-iklan-rokok.html, on may 25, 2015. 21 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... picture 6. a mild “go ahead” version “hilang arah”. http://www.habibasyrafy.com/2013/06/iklan-provokatifgo-ahead.html, on may 25, 2015. picture 7. a mild “go ahead” version “kerja keras”. www.habibasyrafy.com%2f2013%2f06%2fiklanprovokatif-go-ahead.html, on may 25, 2015. picture 8. a mild “go ahead” version “banyak mimpi”. http://lasvegascasinoplayersclub.com/iklan-umild-ngantor/, on may 25, 2015. 22 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 “mula mula malu-malu, lama lama mau” billboard included in the advertising campaign carries the theme “go ahead”. this billboard was protested by the assumption that the illustration of the billboard contains pornography. “mula mula malu-malu, lama lama mau” and the text “go ahead” reinforced the assumptions that it tolerates the action of free sex. combination of this text can be read as “initially feel shy, gradually want” it was shy but later will wanting, its okay and go ahead”. although there are alternatives to interpret the meaning of these billboards that relates to new smokers, who are “initially feel shy, gradually want”, shy to smoke then no longer as doubtful, the illustration of a young couple hugging each other reinforced a meaning that implies pornography. this interpretation then brought on the removal of the sampoerna a mild’s billboard. in relation to pornography, it refers to the definition of writing, pictures, or objects that violate decency, or text, images, or objects that can evoke or stimulate lust (kbbiindonesian dictionary). the things related to pornography has been regulated in uu ri no. 44 tahun 2008 and etika pariwara indonesia poin 1.26 related to pornography. from the description of these articles, the illustration of sampoerna a mild’s billboard fit into a category that contains pornographic material. it is seen from the photos and text that linked to pornography. the illustrations are exploiting things that violate cultural values of indonesian society. cultural values consisting of concepts concerning all things are considered valuable and important to a society. this value is used to guide the life of the community. cultural values are the highest and most abstract level of customs (koentjaraningrat, 2014:75-76). customs serves as guidelines for the indonesian community, living in accordance with those disclosed in the proverb “adat bersendi syarak, syarak bersendi kitabullah”, meaning in acting, human must always remember the rules of custom and religion. and in another proverb, it says, “adat di isi, lembang dituang”, meaning doing everything according to the custom (chaniago, 1993:14). these proverbs are deeply trusted by most of indonesian people. indonesian people tends to believe the motto and symbols made by themselves (lubis, 2013:29). then it creates the indonesian society whose cultural characters are elegant, gentle (sentimental), spiritual, noble, and civilized. the society is very concerned with the cultural values of ethic (noble and spiritual) and morality (civilized). it makes pornography as a thing that violates the rules of ethic and do not reflect the morality of indonesian society. thus, sampoerna a mild’s billboard was rejected by most of indonesian society because the illustrations contained in the billboard does not reflect the ideology of indonesian culture. 23 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... bibliography adityawan s, arief. 1999, tinjauan desain: dari revolusi industri hingga posmoderen. cetakan ke-1. jakarta: upt penerbitan universitas tarumanegara. chaniago, amran. 1993, 1700 peribahasa indonesia. bandung: pustakasetia. dewan periklanan indonesia. 2007, etika pariwara indonesia: tata krama dan tata cara periklanan indonesia. cetakan ketiga . jakarta: dewan periklanan indonesia. feldman, edmund burke. 1967, art as image and idea. new jersey: prentice hall, inc. koentjaraningrat. 2014, pengantar antropologi i. cetakan keempat. jakarta: rineka cipta. lubis, mochtar. 2013, manusia indonesia. jakarta: yayasan pustaka obor indonesia. martanto, syahrial wiryawan & wahyu wagiman. 2007, tindak pidana pornografi dan pornoaksi dalam ruu kuhp. jakarta: elsam dan aliansi nasional reformasi kuhp. williamson, judith. 2007, decoding advertisement: membedah ideologi dan makna dalam periklanan.yogyakarta: jalasutra. 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number 2 december 2014 traditional thai music competition: the culture of pipat competition veera phansue department of music education, faculty of fine arts, srinakharinwirot university, bangkok, thailand. email : veerap@swu.ac.th abstract the title of this research is “the culture of pipat competition” has three purposes as follows: 1) to study the knowledge of pipat competition; 2) to study the process of pipat competition; 3) to study the process of judging and deciding a pipat competition. this research used the qualitative method and presented the research by using descriptive analysis. the results found that; 1) the knowledge of pipat competition. the competition is to bring ensembles to perform their skills and abilities. mostly, in a pipat ensembles the knowledge and skills displayed are governed by a definite set of form and rules during the competition. only the pipat mon that there is no any form or rule in the competition. the ensembles that want to join the competition have to prepare very well in term of musicians and place for rehearsal before the event. moreover, the conductor of ensemble has to be highly skilled and experienced in coming up with a new technique for playing in order to take an advantage over the rivals. and the conductor should know the strength and weakness of the rivals too. 2) the study of the process of pipat competition. the competition has a certain set of forms and rules. the detail of forms and rules will be set by each competitor agreement and it is very easy for practice. it is different from the competition that there is no form or rule so, this kind of competition, the musicians should have a lot of knowledge and in an easy and a relax ways without strict rule, form or time in the competition many kinds of songs will be played. therefore the conductor must plan everything for the competition. there are 2 types of competition; 1) different song, each ensembles will take turn to play a song and begin with the basic melody until the highly complicated notes and those songs must be in the same style. 2) same song, each ensemble plays same song simultaneously during the whole competition. this kind of competition is very serious and if any of the ensemble cannot play or keep pace with the melody it means they lose the competition. 3) study of the process of deciding and judging a pipat competition. there are 3 types of judging in the pipat competition. 1. the musician and the singer know the result by themselves. 2. the audience decides who wins the competition. 3. the judge decides who wins the competition. the advantage of decision is choosing the best ensemble with developed technique and playing method while the disadvantage is when the musicians do not accept the decision often leading to quarrel and disharmony. keywords : pipat ensemble, pipat competition, culture of traditional thai music competition. 75 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life sriti mayang sari, et.al.. qualitative circulation space application veera phansue. traditonal thai music competition introduction thai pipat ensemble is an ensemble which has developed in term of the instruments and forms since sukhothai to rattanakosin era. the pipat ensemble has had a duty to serve all levels of society. traditional thai music became very successful, especially during the reign of rama v until prior the revolution in 1932 which is considered the golden age of music in thailand. in those days, if there were occasions such as a shaving ceremony and funeral, several ensembles would be hired to play. each band would play up to the payer’s orders. ensembles also had the opportunity to compete in events. the pipat ensemble competition was known among the musicians and local people. the competitions are common for solo instruments or playing ability. the winners also bring acclaim to their affiliations. in the past, traditional thai music bands were under the patronage of the royal courts or other houses of learning. meanwhile, each house would find famous skilled musicians to teach the band in its own house. anyway, talented thai musicians were plentiful in bangkok and in other provinces as well. so there was a good chance for unknown musicians but very skillful to performed their abilities. the stage for competition was not hard to find as they happened at various places. the competitions at that time, had a lot of audiences who generally included the royal family and the general public. the winning pipat ensemble became famous all over the place. the traditional thai music band competitions flourished and peaked at this time. competitions are to decide who is better or more powerful than the others. to compete, competitors need finesse and innovation in the competitions with a lot of rehearsal and good teaching for helping to develop those who struggle to gain high confidence. therefore, the pipat ensemble competition is a process to develop musical skills for improving music ability, brand adjustment, and harmony. it is believed that the pipat ensemble competition is one of the most important processes that contributes to the creation of traditional thai music bands. currently, the format of the pipat ensemble competition has changed from the past. the characters of the competitions are different depending on the social context and their popularity. plus other cultures move into thai society and that makes various thai traditional entertainments include the pipat ensemble competitions are not as popular as before. therefore, this research is to study the culture of the pipat ensemble competitions from past to present. the aim of the research is as follows: 1. to study pipat ensemble competitions. 2. to study the processes of pipat ensemble competitions. 3. to study the judgments in pipat ensemble competitions. materials and methods the researcher divided the process of action research as follows: 76 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 1. the collection of information. to study pipat ensemble competitions, researcher studied documents and related researches from libraries and educational institutions, government and regulatory agencies such as; central library, srinakharinwirot university. research institute for languages and cultures for rural development library, mahidol university. h.r.h. princess maha chakri sirindhorn music library. etc. 2. collecting field data. 2.1 preparation for field work. • researcher prepared by writing a data plan to cover all the contents which are related to the competitions. • researcher prepared field devices such as video recorders, cameras, audio recorders, and mini disks in order that they are in a state ready for use. 2.2 selection the study area. • researchers have defined the study area as bangkok, thailand with a group of musicians who have experience in the competitions. 3. the data analysis. data from the field studies to analyze are as follows; 3.1 knowledge of the pipat ensemble competitions. • to get a job in the pipat ensemble competitions. • how pipat musicians position themselves in an ensemble. • how a pipat ensemble practices for a competition. • how to study a competitor’s band. • how to prepare the songs to use in the competitions. 3.2 the processes of pipat ensemble competitions. • the strategies used in the pipat ensemble competitions. • the flexibility for a band to play first as “wong-tang” or second as “wong par chan” in competitions. 3.3 the judgments in pipat ensemble competitions • the results of the competitions. • the advantages and disadvantages of the competitions. 4. summary and discussion. 4.1 conclusion to the findings from the culture of the pipat ensemble competitions. discussion 1. to study pipat ensemble competitions. 1.1 knowledge of pipat ensemble competitions. the pipat ensemble competition means having two bands play alternately. the band which plays first is called “wong tang” the band which plays after is called “wong par chan”. musicians who play in the competitions need to have excellent and 77 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life sriti mayang sari, et.al.. qualitative circulation space application veera phansue. traditonal thai music competition advanced music skills with experience in thai musical conventions. good competitors with similar skills will make the competitions more enjoyable. after the competitions, musicians will study the latest performance to learn their mistakes and find new strategies and techniques to use for the next competition. pipat ensemble competitions in the past and in the present are divided into two types. the first is impromptu competitions which the competitors have no time to prepare. the second type is announced in advance that there will be a competition so the competitors can prepare ahead. figure 1. thai traditional music: pipat ensemble 1.2 to get a job in the pipat ensemble competitions. to get a job in the pipat ensemble competitions, the students or musicians in the band should come from the same peer or used to practice together, and have advanced skills in music and then they can be considered. there are a variety of tasks and activities in the pipat ensemble competitions such as; activities that the host wants to have the pipat ensemble competition such as, funerals, annual matriculation, or paying respect to the goddess “wai kru” ceremony etc. demonstrations of the pipat ensemble competition. activities or projects for the pipat ensemble and competitions by education agencies for various occasions. different kinds of pipat ensembles, such as; pipat sapa ensemble, pipat mon ensemble or pipat nang hong ensemble. the duration of competitions. the number of songs used in the competitions. 78 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 getting ready for competitions means the readiness of the players and singers through the overall look of the entire band. figure 2. pipat mon: one kind of thai traditional thai music ensemble 1.3 the positions of the musicians in the pipat ensemble. the duties and position of the musicians in a pipat ensemble are given by the head of the pipat ensemble whose job is to control and improve. the head of the pipat ensemble will also know the potential of the musicians in the band. it is important thing to consider the alignment or position of the musicians or singers follow the agreement or the rules of competitions. therefore, the head of the band will consider and arrange all musicians, instruments, duties and positions. every band will have the form that contains of similar duties and position as these follows: the singers need to have a good voice, bright, clear tone, and resonant vocals for both women and men. the alto-xylophone (ranat-ek) is a leader of the band and whoever plays the alto-xylophone in the competitions should have a higher skill than other band members. the musician who plays the cymbal (ching) need to know the song and keep the rhythm steady and lack of mistake. so there must be quite experience and significance in this position. it may say ching is the second importance to the alto-xylophone. the leather drums, if a barrel drum (klong song-na), hit with single strikes without noise interference so not to change the speed of the song. however, if using a double-headed barrel drum (klong khaek) the drummer must not hit too quickly so that the music does not get out of control and end the competition. the roles of the leather drums need to be clearly understood, in that the leather drums in the band is only used for rhythm. 79 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life sriti mayang sari, et.al.. qualitative circulation space application veera phansue. traditonal thai music competition lower gong circle (khong wong yai) has to accurately recognize the music as it plays the melody for the other instruments. higher gong circle (khong wong rek) must have a clear melody. lower xylophone (ranad thum) also has style and good melody to impress the audience. the speed at which each piece of music is played changes with each type of song. figure 3. pipat competition for the competitions, the competitors must be ready and have unity as a group. if each instrument has a skilled musician, it will give an advantage to the competitor. 1.4 the resources to practice for the competitions of the pipat ensemble. practicing is an important part of music. in order to play the music, they need to practice beforehand. practicing makes the player and the singer understand the details of the song such as the instrumental interlude or how to use speed to play. in addition, the head of the pipat ensemble will have to adjust to the rules that have been set up. every musician in the pipat ensemble will have three qualities, which are; • responsibility • discipline • punctuality duties of the pipat ensemble and the head of pipat ensemble are as follows: • telling everyone who will enter the competitions to understand that they need to practice separately before practicing together as a band.each player takes their own responsibility to practice for the first term. • define and calculate the proper time to practice together. 80 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 • to practice together as a band, the head of the band needs time to improve and correct the musicians. in addition, they need to check the lyrics and the singers including the instrumental interlude of pipat ensemble and make sure various details are clear. • do not change the structure or the sentence of the songs that the composer meant. it is a faux pas and extremely rude to do that. the band is better find an expert to double check the music and make sure everything is properly completed. • readiness is essential. the band must have trained and practiced as much as possible. 1.5 to study the rival ensemble. in competition, the head of the pipat ensemble should deeply and carefully study the rival. particular their approaches and strategies of playing the alto-xylophone (ranat-ek) which are the keys to success the competition. this rival estimation should include the ability of each instrument of the competitors in the whole competition. the assessment is as follows; • consider the readiness of the musicians in the competing ensemble. • consider the sounds of the instruments in the competing ensemble. • which melody that the rival uses in the songs. 1.6 preparation the songs for using in the competitions. the regulations state that for the pipat sapa ensemble competition, the band shall start by playing the overture called “hom-rong-sapa”, pa-ma-ha-ton song, ja-ra-keahang-yao song, sri-boud song, bu-ran song, ta-yoi song, and then each instrument plays a solo and finally the last song called “pleng-ra”. in a temple fair the band will use the pipat mon ensemble to play in competition. the head of the pipat mon ensemble need to prepare a mon song such as tao songs (pleng-tao) and ta-yoi songs (pleng-ta-yoi). the musician will practice a solo from basic songs to more complex songs such as glao-nai song (pleng-glao-nai) and ta-yoi-diao song (pleng-ta-yoidiao). however, in competition the bands will play well-known and popular songs or hang-khrueang songs (pleng-hangkhrueang) at the end of competition to make it a more enjoyable. preparing the song for a competition is as follows; 1. the precision of the songs while playing in the competitions. 2. readiness of the band. 3. formalize. 4. the structure of the songs. 5. the way to use hangkhrueang songs (pleng hangkhrueang) compared with tao songs (pleng-tao). 2. a study of the processes of pipat ensemble competitions. 2.1. the strategy used in pipat ensemble competitions. there are two parts in the strategy which are used in pipat ensemble competitions: 1. playing and singing in practice and the adjustment of the band. 81 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life sriti mayang sari, et.al.. qualitative circulation space application veera phansue. traditonal thai music competition 2. to solve immediate problems. the strategy in pipat ensemble competitions starts by playing a prob-kai song (plengprob-kai) such as pa-ma-ha-ton song, ja-ra-kea-hang-yao song, sri-boud song, or bu-ran song. then, a ta-yoi song such as kaat-lob-bu-ri song, kha-man-rad-bu-ri song, ta-yoi-yuan song, ta-yoi-kha-man song, ta-yoi-nok song, ta-yoi-nai song is played. after that, a solo from each instrument is played. the general strategies are as follows: 1. start to play basic songs to more complex song. 2. use the same hangkhrueang songs (pleng-hangkhrueang) as they will use in competition. 3. play a solo from each instrument with medium rhythms in ta-yoi songs (pleng-ta-yoi) only. if playing a glao-nai song (pleng-glao-nai) and a ta-yoi-diao song (pleng-ta-yoi-diao) then a hangkhrueang songs (plenghangkhrueang) must only be played at the end. 2.2. the process of flexibility for a band to play first as “wong-tang” or second as “wong par chan” in competitions. the position of a band playing first as “wong-tang” or second as “wong-par-chan” in the pipat sa-pa ensemble competitions depends on the agreement, such as using a raffle to decide which band plays first etc. when the band is “wong-tang” it means the band plays first. according to ancient tradition, wong-tang must play an overture called “hom-rong-sapa” first. when the band is “wong-par-chan” it means the band plays second and is called “wong-par-chang”. the band needs to handle with any song in every situation without panicking or rushing. 1. if the band is “wong tang”, they should not use too complex song for testing the rival. 2. when playing a solo song, there must be a solo from each instrument within the same song after the tao song (pleng tao). 3. do not use a song or melody that the competitor band has a lot of experience. the flexibility for a band to play first “wong-tang” or to play second “wong-parchan” in pipat sa-pa ensemble competitions depends on the ability of the musicians in the band. the band uses the solo songs and hang-khrueang songs (pleng-hang khrueang) as the songs in the competition. 1. if the band is “wong tang”, the musicians need to find a highly technical piece of music because they play first. 2. if the band is “wong par chan”, the musicians need to find a higher level song to play in the competition. to compete in the band competition: 1. play the same song and improvise the melody. 2. play many different songs and know the songs to compete. sometimes the bands use the song names which have similar meaning in the competition. for example, the song names have similar actions or consonance sound 82 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 or they use the name of the song that begins with connecting words such as bird or serpent deity that would be a song about nature. using the meaning of the name of a song to compete is a priority, the band may use a-noo song which means child (pleng a-noo) compete with a-hear song which means brother (pleng a-hear), a-hear song (pleng a-hear) compete with peh song which means uncle (pleng peh) and peh song (pleng peh) compete with chin-sair song which means doctor or teacher (pleng chinsair) etc. in competitions the pipat sa-pa ensemble will compete by using lyrics of songs from the same literature. the instruments play the same melody as the lyrics or compose new lyrics in the same song in the competition etc. in competitions the pipat sa-pa ensemble will compete by using the same sound or dialect of song. for example, if wong tang uses a chinese sound to compete, wong par chan have got to use a chinese song to compete in the competition too etc. in competitions the pipat sa-pa ensemble will compete by using the same drum patterns (the patterns to hit a drum) called “na-tab”. for example, if wong tang uses the song in “na-tab-mon” (the drum uses a mon pattern to play the song) then wong par chan must use the song in “na-tab-mon” to compete in the competition etc. 3. the process of the judgments in pipat ensemble competitions. in the past, in a pipat sepha ensemble competition, the winner would not be announced. the musicians were expected to know who won the competition by themselves. after finishing the competition, the musicians greeted and accepted each other. there are 3 ways to decide the competition; 1. the musicians and the singers know the result by themselves. 2. the audience decides who wins the competition. 3. the judge decides who wins the competition. conclusion the advantage of a decision is that the musicians can see the high standard and develop their technique. however, when the musicians do not accept the decision they may constantly quarrel with the other musicians which brings disunity and is a disadvantage of competition. 1. the culture of pipat ensemble competition is an advanced music art of traditional thai music each pipat ensemble competition should be studied in various ways to benefit music education as follows: • finding a new technique from pipat ensemble competitions. • a view of society between musicians and audiences. • the culture of the pipat ensemble competition. 2. this research about the culture of the pipat ensemble competition is from a musical dimension. it reflects the confidence in the culture of music and should be used to benefit the agencies or organizations, such as; 83 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life • libraries • office of arts and culture. references: atmadyakul, poonpit. (1984). traditional thai music appreciation. bangkok: kiet thurakit press. boonmanum, chalermsak. (1985). theory of traditional thai music. chalernchai, ruang. (1986). program note of thai traditional music competition for the national culture supporting. bangkok: gurusapha press. dharmavihara, sangopsuk. (1997). traditional thai music. the press of chulalongkorn. inthanin, pradit. (1998). thai classical music and dance. bangkok: suwiriyasan press. jaem-arun, niran. (2001). a study of traditional thai xylophone music solo in the version of master boonyong ketkong. graduate thesis in ethnomusicology program, srinakharinwirot university: bangkok. kaewsri, songwit. (1980). traditional thai music: structural, technical term, and content summary. bangkok: rungsilp press. lenasawadhi, apitchat. (2000). traditional thai music string in basic practice. bangkok: sophon press. office of the higher education commission. (1995). disciplines and professional standard criteria for thai musicians. bangkok: prakaipruk. pikunsri, chalermsak . (1999). theory of traditional thai music. bangkok: odeon store. phukan, chanit. (2001). traditional thai music essence. bangkok: krungthon patthana press. phukhaothong, sangnat. (1996). the thai traditional music and access to thai traditional music. bangkok: reunkeaw press. rungruang, punya. (1978). history of traditional thai music. bangkok: thai watana panich press. samrongthong, butsakorn. (1996). variations of traditional thai percussion melodic music instruments. bangkok: chulalongkorn press. sinlabapbaleng, chin and chindawattana, likhit. (1978). thai music education. bangkok: aksornchareontasana. the foundation of luang praditpairoh (sorn silabatbaleng). (1981). thai traditional music homage ritual and introduction of traditional thai music. bangkok: -. royal institute of thailand. (1997). thai traditional music term encyclopedia in the kita sector. bangkok: maha chula press. tramote, montri. (1971). traditional music. bangkok: department of religious press. yoobhodhi, thanit. (1987). traditional thai music instruments. bangkok: ganesha press. _________. (1971). somsongseang: life of thai traditional music. bangkok: department of fine arts press. lenovo text box veera phansue, lenovo text box traditional thai music competition editorvol1no22014.pdf (p.2) npscn001(2).pdf (p.1) jurnal ijcas vol . 1 number 2 desember 2014.pdf (p.3-112) 77 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobongkaori okado. art management in java an example of art management in java: art management and community management using local folk art kaori okado research fellow, urban-culture research center, osaka city university,558-8585 japan email: kaoriokado@gmail.com abstract in the present study, i examine the activities of a community network called tlatah bocah at mount merapi and discuss their methods of art management and the benefit of them to the communities involved. they have been conducting festivals of folk performing arts for children and scholarship programs while very much respecting participants’ autonomy. many benefits were gained by the communities involved. this kind of structure can be called “community management”. i demonstrate that this new system can add a new role and new value to traditional performing arts, empowering local communities. keywords: art management, community management, traditional folk, performing art introduction in recent years, the role of art in society has been changing rapidly everywhere in the world. not only has art come to be valued for its own sake--distinct from any social function--but also art is used as a tool in a socially transformative way. in some ways, we can say that art has had social functions since ancient times and has been used as a tool in some societies. some of the arts were used as a symbol of power of kings and the aristocracy, and also for many kinds of rituals. also, arts were once thought useful by the ruling class to instruct the lower classes. however, in recent years, we can see many artistic activities empower people or communities in difficult situations. in this way, the role of art is widened in present society. for example, in japan, many activities using art have been conducted that empower people in the aftermath of major natural disasters. also, there have been many attempts to help marginalized people, such as the homeless, the poor or the handicapped, through art. these attempts help participants gain or regain social connectedness and communication skill in various ways. in yogyakarta and surakarta, starting around year 2002 or 2003, several teachers of art institutions, such as indonesian institute of arts (isi) yogyakarta and isi surakarta, began to focus on art education for handicapped children. through this, many handicapped children have gained self-confidence, their fear of social interactions having been lessened. not only modern arts but local traditional arts have been often used for this purpose. i also saw some artistic communities 78 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 playing important roles of empowering people in the aftermath of the earthquake at yogyakarta in 2006 and mount merapi’s eruption in 2006 and 2010. as the role of art in society has been changing, the role of art management has been changing. materials and methods in this paper, i examine the activities by a community network named tlatah bocah (child friendly area), based at mount merapi, magelang regency in the province of central java to discuss their methods of art management and the benefit of them to the communities involved to find out how the traditional art is used in the communities in modern context and see the possibility of traditional art to survive for the future. the method of this research is following. it was mainly done by participating and observing their activities and events and interviewing the people who were involved. discussion and results tlatah bocah 1. general outline tlatah bocah (child friendly area) is a community network which started in 2004 at the village communities on the slope of mount merapi, aiming to create a physical and psychological space for children by involving them in developing communities. it also aims to develop children’s sensitivity toward social reality, environment, and human relations in daily life. among the learning media are the traditional folk arts from their own villages which embrace the values of care for others and solidarity of the communities. their slogan is “bocah dudu dolanan, bocah kudu dolanan (a child is not a toy, a child needs to play)”. in 2007, tlatah bocah initiated a children’s traditional art festival to campaign for children’s rights. the theme was transforming value of the education through the cultural and artistic movements. since then, this cultural festival has been done every year with themes related to children’s issues. the founder, gunawan julianto is originally from muntilan, a sub-district located at the base of mount merapi. he is not an artist himself and is not very interested in art. his background is business management. he intended to have some positive activities for children at the villages in mount merapi which residents can actively participate in or even can lead themselves. the reason he chose to manage artistic activities were: 1. many villages at mount merapi had their own, unique traditional folk performing arts even though many of the folk performing art groups were no longer active. 2. by using local art and art groups, residents could consider the activities by tlatah bocah as their own issue and could help or even lead the events enthusiastically. it would lead to transmit their tradition from generation to generation. 3. there were very few children’s folk performing arts groups. 2. activities by tlatah bocah children’s traditional art festivals are the main activity of tlatah bocah. in the festivals, mainly the children’s folk performing art groups perform. occasionally, some adult 79 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobongkaori okado. art management in java groups perform. it is expanding rapidly each year. only six children’s groups of folk performing art from one sub-district performed at the first tlatah bocah art festival. these villages did not have fixed children’s groups (they occasionally had some children’s performances, but never had fixed group by children). however, they formed them in response to gunawan’s invitation to participate in the festival. after the second year, aside from the first year’s groups, nearby village communities wanted to join and formed children’s groups of their own. the festivals actually became the phenomena and many communities started to participate in them. in addition, gunawan himself frequently invites different villages to join the festivals and suggests that they form children’s per forming groups. the effort is rewarded and there are new children’s groups participating in the festival every year. incredibly, the groups which started for the first festival are still very active. the network is constantly expending. presently, the village communities in mount sumbing, mount merbabu and remote area of mount menoreh joined the network and many art communities from four regencies (magelang, boyolali, salatiga and kulon progo) drive tlatah bocah. the other activities by tlatah bocah also have been expanding each year. i will introduce the activities in 2013 as an example. “tlatah bocah children’s traditional art festival vii” 1. merti jiwo (june 22nd 23rd) – held as the opening of the art festival series by tlatah bocah this year. it was held as a ritual to purify oneself, explore the nature and understand the life. 2. hajat seni (july 6th – 7th) – the festival of folk performing arts held at gumuk village on the slope of mount merapi to campaign children’s right. performers came from mount merapi, mount sumbing, mount menoreh, jakarta, surabaya, grobogan, salatiga, surakarta, temanggung, kulonprogo and yogyakarta. 3. biasiswa seni (august 16th) – held in jakarta to share the activities of biasiswa seni (art scholarship) by tlatah bocah. 4. laku lampah (august 24th – 25th) – another festival of folk performing arts held outside of mount merapi. this year, it was held at sambak village on the slope of mount sumbing. 5. larung sukerta (september 7th) – held as the closing ceremony of the art festival at telogolele village on the slope of mout merapi. this event consisted of the traditional ritual to remove negative elements of one’s life and the exploration of self and nature from movements. also, this event symbolized the flow of the traditional art from one generation to the next. gunawan julianto, the founder of tlatah bocah stated as given below about the festival: one of the aims to have the art festivals for children at mount merapi is to protect a sense of solidarity of people. in 2012, thirty communities (about 1500 people) were involved in the preparation of the festival for two months providing time, energy and materials. people in mount merapi has the way of thinking simply which prioritize 80 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 solidarity, mutual aid (gotong royong), tolerating and respecting others (tepo seliro) whereby seen in the traditional management such as local ritualistic customs and arts of each village. in addition, people also tolerate the existence of different religions and beliefs to live in harmony. it is a reflection of the state of indonesia which consists of a variety of languages, traditions, ethnicity, etc. nevertheless, in the past two decades, many unusual violent incidents occurred on behalf of the tribes, religions, races, and classes in some areas of indonesia without complete solutions that could trigger national disintegration. concerning issues which addressed above, tlatah bocah art festivals, with campaigning mutual aid (gotong royong), raises cultural wealth of merapi communites as well as communities in different area in order to establish unity, harmony and tolerance as the foundation of nation-building (from an interview with gunawan julianto on july 12, 2013). this year, a total of 38 groups performed in the festival. “chicken scholarship (beasiswa ayam)” tlatah bocah is giving out chicks to the children between 4th to 9th grades at mount merapi to support their education funds. a child can raise a chick and sell eggs or meat, or breed it to pay for his/ her school expenses. it is also aimed to teach children self-support. eventually, the child has to pay it back to tlatah bocah. “art scholarship (beasiswa seni)” the idea of the art scholarship is to support the art communities in the villages to stay active. usually people who are active in art world of the villages spend most of their time for the arts in the communities. however, they usually do not gain any income from it. when outsiders support such art communities, they will surely feel happy, proud and become more active in artistic activities. the idea is anyone can give ‘ a little ‘ of his/her resources, for example one thousand rupiah, and it will be the driving force of those art communities. for example, such small scholarships can be used to fix costumes, have concerts, repair or build the places for art activities, buy needed musical instruments and so on. “srawung gunung (mountain-style interaction)” this is a program for exchange between villagers from tlatah bocah community and the outsiders. the villagers have been hosting several groups or individuals from either inside or outside of indonesia in their villages to create art pieces together, give workshops and so on. 3. about the sources of funds tlatah bocah is mainly getting funds from the contributions/supporters from the cities such as jakarta and yogyakarta. the unique thing is for the festival, they get funds from collecting the contributions of used clothing from people in jakarta and yogyakarta. then, the villagers sell them at their villages. the money from it becomes 81 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobongkaori okado. art management in java the funds to run the festival each year. i believe that it helps to raise a sense of independency among villagers, therefore, they can feel it is really their own festival. influences of tlatah bocah in the communities of mountain villages first of all, i briefly examine the influences of the activities by tlatah bocah in the village communities. 1. there are surely more art activities in these villages which participated in the tlatah bocah’s activities. in many villages, they already had adult folk performing arts groups, but most of them were not very active before the art festival by tlatah bocah, children’s groups, even less so. 2. more communications between adults and children through art activities. (one generation to the next. vertical relation). 3. the unity of the community was strengthened because the members of village community help each other to have their children perform and to put on the festival successfully. some people actually return to their home villages from their current residences in order to help put on the festival. hosting the festival is an especial honor for the host village. 4. more connection between village communities nearby. (horizontal relation). 5. more exchange with the communities outside of their own areas. the groups from outside of mount merapi started to join the festivals since 2009. 6. more outsiders are coming to the villages. it can lead to vitalize the village communities deserving special mention is one village called sumber in mount merapi that created a community space supported by tlatah bocah. the land was donated by the leader of the performing art group of the village. tlatah bocah helped a part of the cost to build the space and buy gamelan instruments through their art scholarship program. it became a sanggar (art studio or small private art school) called bangun budaya (cultural awakening) and became the community space for the villagers at the same time. this space has been used very actively both as the place for art activities and the place which villagers mingle. before they had this space, it was difficult for them to gather because they did not have any space for it. now, various people frequent the space and it has become a communication and planning center for the village. it became a very important space for the member of the community. also, outsiders are allowed to rent the space for artistic activities. another important point to be mention is that tlatah bocah is the periodic organization of art festivals. by having periodic events, rather than single events, community can be vitalized more. at the same time, there will be more possibility to vitalize their unique folk art and continue to the next generations. at the same time, tlatah bocah made some village communities very open to outsiders as can be seen in one of their programs srawung gunung. for example, a group of australians came and studied local performing arts, and a french woman stayed for two months to create a theater piece with local children. community members have been also hosting visitors from other parts of indonesia, giving art workshops and introducing them to village life. they also can be stimulated and get new inspiration 82 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 from outsiders that can lead to the creation of new arts and to develop a more open and flexible community. challenges facing tlatah bocah’s activities even though tlatah bocah offers many positive activities which are well accepted by some village communities in mount merapi, there are some less positive results as well. first of all, this organization formed around the charismatic character of the founder. he has many cooperators, however, it is undeniable that cooperators get together because of his character and villagers agree to cooperate with tlatah bocah because he is the leader. he is the only driver of this organization so far. the other problem is that most village communities which he approached are still really depending on him to initiate activities even though they work to manage the activities once initiated. this is the weak point of this organization. without him, there is a distinct possibility that all the unique activities will not continue and it will become just another “event”. here i see the limit of art and community management such as this kind. in addition, because village communities are depending on him to initiate activities, there is jealousy between communities which are chosen to have activities and which are not chosen to have it by him. the biggest concern i see is that, by putting local traditional performing arts onto the stage (even through it is a simple stage in a village), the art itself can be changed. it can be more focused as an art ‘to be watched and enjoyed by the audience’ rather than ritualistic character which many traditional performing arts from this area have. i cannot say it is simply an undesirable change because the art, even the traditional art, have to be changed in accordance with the change of time to survive. however, it should be done carefully and not only curry favor with the public now. rapid change might destroy the meaning and identity of the traditional arts of this area. it might also be a cause for some villagers to be discriminated from the arts because they cannot perform well. besides, every year, the performers for the festival of tlatah bocah are getting younger and younger. it can be good but i am not sure how it effects to the art itself and community because some of the art forms are traditionally not really for young children. to answer those unclear points above, i need longer time to research. this will be one of my subjects of researches in the near future. conclusion the role of tlatah bocah in the communities of mountain villages: from the art management perspective i demonstrate the most important aspect of tlatah bocah’s art management style is mediation. they are connecting communities, contributors and recipients, adults and children, and outsider and insiders. they mediate effectively because they are outsiders themselves and they respect the autonomy of the communities they work with. not only do they respect it, but also they skilfully lead the communities not to be very dependent on them and make the community members feel the festivals are actually their own events. the way they raise funds for demonstrates this fact. 83 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobongkaori okado. art management in java while they could give some money to execute the festivals from donors directly to the villagers, they instead encourage the villagers to make efforts to raise funds by selling donated and used clothing on their own. it really involved them more deeply in the festivals. tlatah bocah is actually hoping that more independent, periodic events which are totally organized by the village communities are going to emerge, learning from the festivals by tlatah bocah. in fact, the first tlatah bocah festival was done at gowok pos village in relation to their annual event call rejeban in the month of rejeb (a month in javanese lunar calendar which is adapted from the use of months in the islamic calendar. it is 2 months before ramadan month). tlatah bocah chose to have their festival at that time because before and at the time of event, the villagers got together and worked together. therefore, it was easier to get help, such as setting up performing stage for the festival, from the villagers. in addition, at the time of the event, it was the tradition of the village that every house has open house to treat any visitors food. usually they cook more food than they need, so there is always extra food for visitors. consequently, it was a perfect timing for tlatah bocah to start the festival because all the participants in the festival are not paid and the only thing they need is to be fed and to have accommodations for a small number of people who are visiting from far away. furthermore, the villagers were all very happy to have the tlatah bocah event because it was adding new value to the village’s important event. tlatah bocah held three consecutive festivals there. from the fourth one, the festival started to be held in the different village each time, however, the villagers in gowok pos eager to have the festival at their village again. tlatah bocah is suggesting them to organize it themselves because it is in fact not very hard to do it if it is done at the time of rejeban. tlatah bocah is ready to help if the people in gowok pos are really up to do it. the importance is the villager’s autonomy to really promote good, continuing change in the village community. gunawan, the founder of tlatah bocah, is hoping that all the villages where tlatah bocah ever had the festivals will continue the festival themselves and make it to their own periodical event in the community. it has not happened yet, however, many villages in the area already have annual community events such as rejeban at gowok pos, hence, there are some hopes. besides, the children can learn the spirit which is included in the traditional folk art such as mutual aid, tolerance and respect to the others, by learning the traditional folk art for performing in the festivals. those spirits are nothing more than very important qualities to create good village communities. local arts often embrace the qualities which are most needed in those communities. therefore, it is very useful for children to learn local arts. tlatah bocah widen the chances for children to learn those values. also, it is improving the positions of the children in the communities. another remarkable point is their openness to outsiders. by accepting and inviting many outsiders to join the activities, tlatah bocah successfully widen the range of activities and bring in more supporters. in fact, many outsiders are helping the activities by donating resources, not only money but the manpower and the creative ideas also. 84 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 the village communities also get many benefits from it such as vitalizing the villages, learning from the outsiders and even getting some financial incomes. however, it is like a double-edged sword. it also includes the danger of the arts to curry favor with the outsiders and popularity.we can also the role of tlatah bocah as a mediator or a catalyst from the all incidents mentioned above. after joining, observing and researching some activities by tlatah bocah, what i keenly felt was the importance of having good art manager to successfully execute the program like this. presently, it is still left to the talents of individuals, however, raising good art managers will be the next important task. a good art manager is not egoistic and can accomplish the important role in developing a community as a mediator. in other words, this is actually a community management using art as a catalyst rather than an art management. the boundary between the art management and the community management is unclear and it may be hard to be separated off from each other nowadays. the important point is that the activities of tlatah bocah put a process in motion to vitalize the village communities, to continue the local folk arts and to improve the children’s positions in the communities. at the same time, they are taking parts in adding new value to local traditional arts because their activities were mainly done with local traditional arts which tend to be slighted up in the present society. i demonstrate this new kind of art management can add new role and new value to traditional performing arts and empowering local communities. it is possible that this will lead traditional performing arts to be necessary in modern society and continued to the next era. references budi raharja, andono puji astuti, & tri manto. 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(2006), social inclusion support each other and join the differences (social inclusion – sasaeatte chigai wo tunagu), bukkyo university. harima, yasuo (the chief director of tanpopo-no-ye foundation). (2010), able art: proposing new value (able art: atarashii kachi wo teiansuru), tanpopo-no-ye foundation, nara. isi surakarta. (2007), laporan kegiatan ppm (pelatihan karawitan) terhadap anak-anak slb a surakarta. isi surakarta. (2009),laporan ppm (pelatihan karawitan) terhadap anak-anak lapas kuthoarjo. 85 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobongkaori okado. art management in java kawasaki, kenichi et al. (2002), art management, hoso daigaku kyoiku shinkokai, tokyo. kotane seisaku iinkai. (2009), kokoro no tane to shite (as a seed of heart), kokoroom bunko, osaka. nakagawa, shin et al. ed. (2011), korekara no art management: social share heno michi (art manegement from now on: the way to social share), filmart-sha, tokyo. nakagawa, shin. (2013), art no chikara (the power of art), izumi shoin, osaka. nishimura, yumi. (2007), kouryu suru karada: care wo toraenaosu (interchanging body: re-understanding care), nhk books, tokyo. okado, kaori.(2012), the new role of javanese traditional performing arts: a case study of educational and socially transformative gamelan music programs in prisons, journal of urban culture research, vol. 5, pp. 70-85, chulalongkorn university, bangkok/ osaka city university, osaka. okado, kaori. (2011), when women are kings: cross-gendered expression in an all-female central javanese court dance-drama and its public reception, urban scope (internet journal), vol. 2, osaka city university, osaka. ryo, michiko ed. (2010), the poetic works of prisoners in nara juvenile prison (nara shounen keimusho shishu), nagasaki-shuppan., tokyo. sasaki, masayuki and mizutani, toshio ed. (2009), souzou toshi to shakai housetsu (creative city and social inclusion), suiyou-sha, tokyo. sri ardiati. (2006/2007), upaya penemuan teknik penyampaian tari bagi penyandang tuna wicara di panti tuna netra dan tuna rungu wicara dharma putra purworejo, skripsi s-1, isi yogyakarta. sumandiyo hadi, prof. dr. y. et el. (2002), studi eksperimen model pembelajaran gerak olah tubuh (tari) sebagai terapi bagi anak-anak tunagrahita, sebuah penelitian kelompok, isi yogyakarta. sumandiyo hadi, prof. dr. y. et el. (2003), uji coba/sosialisasi pengembangan model pembelajaran gerak olah tubuh (tari) sebagai terapi bagi anak-anak tunagrahita, sebuah penelitian kelompok, isi yogyakarta. tanpopo-no-ye foundation ed. (2008), accept the difference and think about the difference – children with developmental disability and art activities (chigai wo mitome, chigai wo kanngaeru – hattatsu shougai no aru kodomo to a-to katudou) , nara. toetiek septriasih.(2009), bermain gamelan untuk meningkatkan perilaku prososial pada remaja bermasalah, naskah publikasi tesis s-2, pascasarjana s-2 psikologi ugm. 9 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film form the artist: silent technique in film form agustinus dwi nugroho indonesian institute of art yogyakarta dwinugr@yahoo.com abstract the artist is a film that uses the silent era techniques to visualize the film. this study sought to uncover what the motivation behind the use of techniques to the silent era films with his observation of the text of both aspects of the narrative as well as aspects of the technique. the findings of the observation process could be the basis of analysis. the artist makes this silent era technology into a cinematic technique to visualize the film. this has become a strong motivation and able to demonstrate the strength of the story as a whole that tells about the silent era transition process from the perspective of the player. the silent era techniques were used to make this technique as a force in the film. this study focuses on how the technique of the silent era emerged as a new technique in the world of film and brings new perspective in film studies. this new technique emerged because it was never used fully in the present. keywords: silent era, narrative, technique introduction the artist movie is a phenomenon in the film industry. the artist released in 2011. the film is directed by michel hazanavicius and produced by thomas langman. produced by some of the studios that is la petite reine, arp selection, studio 37, la class americane, france 3 cinema, u film, jouror productions, jd prod. the main actors in this film is jean dujardin, who plays a silent-era actor named george valentin. the film uses a technique of silent era in visualizing this film. the silent era itself exists as a period of development of world cinema in 1908s until 1927s. the period of the silent movie era when it is a manifestation of a period, which has not been able to find a sound technology. the artist makes this silent era technology into a cinematic technique to visualize the film. the importance and novelty of this study lies in how to uncover the silent era technology that could be a movie cinematic techniques in the present era. as well as revealing about the motivation why the silent era technology was used as a cinematic technique in visualizing this film. use of the silent film era style indeed been used a few filmmakers in the past. as mel brook in 1976 he made a film called silent movie (1976). this film is a colored film but using sound techniques by eliminating the dialogue but it definitely plays a sound and music in a few scenes. to change the dialogue, the film uses a technique intertitles as a form of dialogue in the film. nonetheless, the film still use color techniques in visualization. andy warhol in the early 1960s using 10 editorialbook of reviewijcas: vol. 3, number 1 june 2016 a silent technique in films by using a black and white image and no sound. the film titled eat (1963) only show scenes of people eating slowly for a few moments that use long take camera techniques. although mel brook and andy warhol have used the technique of the silent era in their film but not used fully. while the artist reconstruct the silent era technique as a whole. the main points of the process of reconstruction techniques in the silent era film the artist has a strong relationship with the narrative film. this paper not only will discuss how the artist is able to reconstruct a silent film, but further notice about the motive behind the use of such techniques in the movie. the film is very different from mainstream films in general. the film gives a critical view of the international film industry that a good film and exciting technology can use silent era techniques, although silent film technology no longer exists. with the technique offered in the silent era, the artist earned trophy oscar in the academy award event for best picture and other prestigious categories. the film offers a critical perspective on the world film industry anywhere to return attention to aspects of the content and techniques that are the essence of a film. the film became a phenomenon and a valuable lesson that we can use as a reference application era silent film techniques which can later become a force. this phenomenon brings a research question of the presence of new techniques to be studied and assessed in order to provide new insights into the world of film. this study sought to formulate this silent technique into new knowledge to film studies. literature the literature review serves to obtain an overview of the research that has been done with regards to the era of silent film techniques in journal articles. by searching for journal articles in the data base we will find out about the position of our study compared with studies that had been there before, to seek a theoretical emptiness. here are the articles that i got at the base of the data. the emergence of staining in silent movies at the beginning of cinema is discussed in the article the temporalities of intermediality: colour in cinema and the arts of the 1920s written by sarah street and joshua yumibe. this becomes an interesting discussion because discourse staining manually films have been applied, although in a very simple form, by coloring the film (celluloid) with a uniform color and limited. sarah street and joshua yumibe say “from a technical perspective, a number of firms began to specialize specifically in coloring films in the early 1900s”. (street and joshua, 2013). technical exploration firms bring movies in hollywood at that time conducting experiments on the use of color in the film (celluloid). the discussion in the journal article about the typical technique silent era also discussed in the article those funny intertitles subtitles: silent film intertitles in exhibition and discourse. katherine nagels in his article saying, “intertitles are a complex and understudied component of the film.” (nagels, 2013). intertitles an important part in the film, especially in the silent era. nagels added “this article 11 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film form investigates two aspects of intertitles: their role in exhibition practice in the 1900s, and the discourse around them during the silent era.” (nagels, 2013). the focus of the discussion of this article is to investigate how the use and presentation of intertitles in silent films, and than discussion on the intertitles during the silent era. aspects of silent film techniques in reflected in how the acting of the players. chaplin and keaton is one of the silent film character has a distinctive character. articles the sound of silence, the space of time: monsieur hulot, comedy, and the naural-visual cinema of jacques tati (an essay and an interview) written by robert cardullo describing jacques tati that resembles chaplin and keaton. he said, “also like chaplin and keaton, tati played essentially the same character in each of his pictures. that character is inevitably a loner, an outsider, a charming fool whose human incompetence is preferable to the inhuman competence of the life around him “. (cardullo, 2013). this article discusses the characterization of the acting player tati which is a technique that has similarities with the acting player of the silent era films which chaplin and keaton. in addition to articles that discuss how visualization acting who resembles a silent era is the article also discusses about the actor’s own chaplin silent associated with key scene in the city light. the article titled city light: five scene. in this article discussed about the actor who face certain situations in locations that symbolize a particular story. discussion of the silent era film maker became a topic in research on the silent era. articles ‘turn again, tourneur’: maurice tourneur between france and hollywood demonstrated how the director maurice tourneur silent era discussed relation to the participation of his works in hollywood before he moved to france, and the influence of hollywood style he brought to france. people tend to forget as cinematographer silent era, suchenski said that, “although he was regarded by many of his contemporaries as the greatest visual stylists of the 1910s, tourneur occupies an increasingly marginalized position within the film history, barely figuring as more than a footnote in recent scholarship on silent cinema.” (suchenski, 2011). this study focuses on how the process of a silent filmmaker in the world of work and problems in the hollywood film industry. in this study also mentioned about the techniques he used to work in that era, which eventually inspired him to work later in france. from the overview article about a silent movie era findings article concept that became the focus of discussion can be concluded that the object of his research have a different focus but still within the same theme, namely about the silent era classic hollywood. discussion about staining techniques, the techniques of storytelling in intertitles, and acting techniques player whose character resembles the character actor silent era, the discussion of the key scenes in city light movie case studies, as well as a discussion of the silent era filmmakers. problems of articles that appeared not discussed how technology and techniques of the silent 12 editorialbook of reviewijcas: vol. 3, number 1 june 2016 era into a cinematic technique in visualizing the movie in the present era. discussion dwell on the techniques used in the movie itself and the silent era nostalgia to the times of the silent era both in the film and its characters. emptiness theory lies in the lack of discussion on how technology is used as a silent movie technique in visualizing today. this is what will be the new knowledge if the film the artist which uses the technique investigated using research methods to obtain formulas and concepts of knowledge about the concept of the silent era techniques. method method of collecting data method of collecting data conducted to examine the artist is using observational techniques. the first step to do is to make observation instruments that contain aspects of the film is primarily associated with silent film techniques. the aspects in the film that became the object of observation is the aspect of content (narrative) divided into sequences and scenes and aspects of his own technique, covering the aspects of acting player with regard to mimic the expression of a silent movie, aspects of cinematography seen from the type of shot that is dominant in the film, aspects of editing transitions typical silent film, as well as their intertitles who become guides the story is very typical of the silent movie era. data retrieved by observing the film itself, by watching the film several times and the data collection is rotated slowly in a way to pause technique described in written form in the table will be an observation data. data analysis method the raw data generated in the form of sampling collection narrative aspects and technical aspects that are ready to be analyzed. the steps to analyze is to do the coding. the purpose of coding is the process of data reduction. not all of the data generated will be used for analysis, for it needs to be reduced. in the reduction process itself is also the process of analysis. encoding itself has three phases, each of which has a process of analysis with different levels of depth of analysis. as for the encoding through the first stage is the stage of descriptive code, interpretive code, and subsequently generate the code pattern. pattern code that is the basis for describing the findings in the discussion. result and discussion from the result of the encoding process has been done in the process of data analysis is produced findings that could answer the research question. then the following discussion will describe the findings. the following is a discussion section that will explain how the consistent use of the technique in the silent era in the artist. and more important to explain inconsistencies in the silent era techniques in several scenes. but that’s where the real key that could explain the motivation of the use of techniques throughout the silent era films associated with aspects of the narrative. then, in the third section will discuss the relationship of 13 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film form narrative and technical aspects of the silent era itself in the artist. in the last two sub-chapter will discuss how the emergence of silent techniques and applications in film form style. 1. the consistency of the silent era technique in the artist to demonstrate of the silent era technique we have to see how the use of techniques throughout the film packaging in both the visual and sound elements. from the technical aspect we can see a pattern of consistency to show the image aspect both technical and engineering techniques that show the silent era. the technical aspects throughout the artist that use black and white and the aspect ratio of 4: 3 is strongly associated with a new technology that silent era reached technologies black and white and fullscreen aspect ratio. from the aspect of visual technique appears there are some that are typical of the silent movie era that is acting players, type of shot, editing transitions, intertitles and sound techniques such as the use of music throughout the film. from the aspect of visual techniques such as expression of his players demonstrated consistency expression and gestures same with the players in the silent era. the actors and actresses such as dialogue through expressions mimic as exaggerated and with the motion of non-verbal body language. from the aspect of cinematoghrapy the type of shots taken also looks very dominantly use medium shot for example medium close up (mcu), medium shot (ms), medium long shot (mls) and very rarely use the wide shot. it is associated with the era of silent films who at that time using a shot which tend medium. from the aspect of editing is consistently using editing techniques fade transition style (round/circle) either fade out (black circles are enlarged into the next scene) and fade in (the circle is reduced to a black screen). wipe transition is also commonly worn with style clockwise. the use of techniques fade or wipe transition is associated with the technique of film editing transitions in silent era who also uses the technique of editing fade and wipe transition. another typical thing that intertitles were also consistently used. intertiles is guiding the story in the form of a black screen containing the text in the middle of the player are in dialogue. the contents of the text is a dialogue form of dialogue between the players. from the aspect of sound consistently in all the dominant movie without sound elements. in the silent film screenings at the time, the cinema screen playing a movie and immediately accompanied by the orchestra. in the artist is as reconstruct the event by placing music throughout the film. although in certain sequences and the scene will appear sound elements. this is what will be our next discussion. although it is predominantly the film is said to be “silent” but there are in the some scene using sound. it was to indicate the specific motif in the narrative film. 14 editorialbook of reviewijcas: vol. 3, number 1 june 2016 2. “sound” sequences in the the artist of the code pattern that has been done there is the most interesting findings clearly that although the techniques used in the artist predominantly use the techniques of the silent movie era in visualizing the movie, but there are four scene and a sequence in the film that uses sound technique. four of this scene is the scene of “dream” in a sequence of four (the coming of sound), “the simulation dancing scene”, “filmed dancing george and miller scene,” and “cut scene” in the sequence of eleven (dancing). the sequence that uses existing sound on sequences of seven: a montage sequence of peppy miller on the rise. four scene using technique sound aspects. sound techniques used there that use sound effects, songs and dialogue. in the “dream” scene in a sequence of four (the coming of sound) using the technique of sound effects in using a scene like the sound of glass, the sound of the comb, the sound of atmospheric environment, a chair shifted and fell, the sound of a dog barking, the sound of the phone ringing, the beating of the feet, the sound of the opening the door, the sound of people laughing, and thump. in the “simulation dancing” scene the beating sound of dancing feet with the movement on the floor using the technique of sound effects. similarly, in the scene “filmed dancing george and miller” also uses pulse patterned legs. at the “cut” scene using sound technique with dialogue in the movie ending. we’ve heard the voices of george valentin as the main actor in the ending. in a sequence of seven: a montage sequences of peppy miller rose leaves using techniques songs with shrill voice. here’s the explanation of each scene and sequences that have sound elements. a. “dream” scene (sequences of four) in the “dream” scene (the sequence of four) refers to the point in time where the sound technique appeared in 1929. we were taken from the viewpoint of george as a man who felt the presence of the silent era technologically sound and feel disturbed by the presence of these technologies, because he is a silent actor who is not accustomed to dialogue. it makes sense why all the films made with pictures and sound technique silent era. this is to show the atmosphere and the transition process in the silent era and follow what happens to the main character is george. b. sequence 7 (montage sequences peppy miller rising) in a sequence of seven serving with the song sequence “ride leaves peppy miller” using sound techniques that appear in the song. it appears likely to show how the development of the sound era in the period was marked by the appearance of the song. the song is sung by the “shrill” voice as the silent era reminiscent of the problematic transition that many actors/actresses who voiced shrill difficult to adjust or even no longer used during the sound era. c. simulation dancing scene, dancing filming scene and cut scene. (sequence 11) at the end of the sequence of sounds again raised in the form of sound effects and dialogue (on sequences eleven: dancing) visible from three scene 15 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film form namely simulation dancing scene, filming a dancing scene, and the cut scene. these sequences show the sound effects of dance shoes sound as a form of compromise actor to play the movie again. it shows george has received sound technology and willing to compromise with these technologies with the filming of the movie sparkle of love. from these findings it is concluded that throughout the film is not entirely by voice. but here is a key point in the film answers about why the predominant use techniques silent era. from the findings of the scene and the sequence above, then associated with the context and scene-sequences which uses sound technique. and consider the narrative structure is built, then we will know that sound techniques that are put in specific scene that has a particular motive. motive associated with narrative or story associated with the actor (george) facing a transition process silent era. in principle, these findings seen from the pattern of sound technique used in a specific sequence and also pay attention to the silent era in technique throughout the film are also used. in the following sub-chapters will be explained about the relationship of narrative and technique in the artist. 3. relationship of narrative and cinematic technique in the artist. film form a union aspects and elements that build up a film. there are two important aspects in the film, namely the aspect of content and technique. aspects of content are often called narrative and technical aspects are often called cinematic. in the book the film’s introduction art said that “in a narrative film techniques can function to advance the cause-effect chain, create parrallels, manipulate story-plot relations, or sustain the narration’s flow of information” (brodwell and thompson, 2004: 175 ). the relation between the two aspects of the film was very close and mutually influential. the unity of the two films that form a style in the film. aspects of forming the film that became the focus of a study to examine how the style of the silent era in all its aspects can be used as a technique in the artist. in the context of narrative the artist in essence, is to follow the main character (george valentin) who is an actor silent era undergoing the process of transition in hollywood from the era of silent to sound technology, then from the point of view that we can see that the technical aspects of silent is a cinematic techniques most appropriate to describe and visualize the story, which is entered in the world of george as the main character. silent era techniques to visualize the life of the silent era actor who experienced the rise and fall up. from these findings we get a final conclusion or final findings could answer research questions, namely causality appears from technical aspects and aspects of the story in the film. his findings were silent era technical aspects used as a medium to visualize the film is due to reinforce the narrative aspect, which is directly related to the plot of the silent era at that time. silent technique is very effective to explain how the feel and atmosphere of the silent era, there were experienced by the audience. thus these findings it can be visualized as follows: 16 editorialbook of reviewijcas: vol. 3, number 1 june 2016 visualization of the above can be explained that the first ring is an aspect of the narrative and the second circle is a cinematic aspect. both of these aspects indicate causality answer research questions about why the artist using silent era. narrative aspects affect the use or selection of proper technique to visualize the film. judging from these findings it can be concluded that the analytical technique selected aspects in a film to visualize the film becomes important for strengthening the film. aspects of the techniques used to visualize the film should have a strong motive associated with aspects of the narrative. silent techniques in a style that can be used to visualize the film with highly precise and strong. because of the techniques used is a representation of the story of the film. there are some films that the theme of the story about the silent era to the era of transition for example voice sunset boulevard but the cinematic approach used different characters with the artist which directly uses cinematic techniques silent era itself. the artist with a story theme silent era actors in the transition process and the sound era with a cinematic approach technique silent era shows that the theme of the film is directly related to techniques stlye. the film became extremely unique. because the techniques used reflect the theme of the story that is being built. 4. silent era techniques. cinematic aspect in film studies very interesting discussion that produces theories unresolved discussed. similarly, the discussion of cinematic techniques in silent films. in the world of film knowledge has been much discussed all aspects of the cinematic approach in silent movies such as research in scientific articles i have mentioned in the literature review. in accordance with the literature review and the results of the discussion of the previous section let us see the position of the findings regarding the silent era techniques are fully used in the artist as compared to scientific articles that address what silent films in the past. staining technique in the article the temporalities of intermediality: colour in cinema and the arts of the 1920s discussing the coloring of the film in the 1900s into a discourse on the typical coloring techniques performed in silent movies. street and joshua in his article, “... d.w. griffith, for example, describedhis tinting and toning of intolerance (1916) as carried out with the care of an’impressionist painter’in order to’suggest the mood of the scene ‘, rather than to dominate the story’ (‘written on the screen’ 1916). (street and joshua, 2013). silent film identical to the color film was black and white, but with the development and innovation to do the coloring manually in the film in the early 1900s, making his film into a slightly different shades. color techniques to work to build the atmosphere and tone of the movie. staining in the film should be also the aesthetic aspect in times of silent era. in addition to color techniques in the silent movie era, intertitles technique has also become one of the studies are also interesting because this technique is a typical in the silent era. 17 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film form intertitles into research on typical technique in silent films studied in depth to show how the technique of “dialogue” with the audience using text. in the article, titled those funny subtitles: silent film intertitles in exhibition and discourse nagels quoting nebesio said: “similar to expository intertitles, informational inserts served a key role, but were actually part of the diegesis: the textual element was integrated into the narrative as something being written, looked at, or received by a movie character ... (nebesio 1996 694)” (nagels, 2013). the role of the text that appears as a media narrative in the silent movie era to be the key to building a narrative film. in the present era intertitles text that appears the same as movie dialogue today. in addition to being a key role in a silent movie, the placement of the text in between scenes required separate consideration in order to provide information to the audience. not all the dialogue scenes in the film will be intertitles. by relying on body language, the audience will understand what is being talked about. discussion of the intertitles be associated with the interesting aspects of the film narrative. the sound of silence, the space of time: monsieur hulot, comedy, and the nauralvisual cinema of jacques tati (an essay and an interview) written by robert cardullo discuss about the figure of jacques tati with his characters’ distinctive and linked to silent era actor. cardullo said: “again like chaplin and keaton, tati’s hulot neither looks nor moves like anyone else in the universe. he leans forward at an oblique angle-battered hat atop his head, pipe thrusting from his mouth, umbrella dangling at his side, trouser cuffs hanging two inches above his shoes-an odd human construction of impossible angles, off-center and off-kilter. “(cardullo, 2013). jacques tati into character compared to the silent era actors charlie chaplin and buster keaton because his character is almost like the two figures. characterization of players acting in a silent film is important because without dialogue the body language that will speak. acting players who rely on nonverbal language such as body language gestures and expressions as well as the expression of costumes and props used will tell you about the movie. article entitled city light: five scene also discussed relation to key scenes depicting the relationship scene by setting the location of a key symbolizing the story. in the article city light: five scene is divided into five main scene is “scene one: a city intersection, scene two: a city street, scene three: a city corner, scene four: evening, a dark river embankment, scene five: a city street. (miller, 2015). the scenes that is to be a portrait of how the scenes with interrelated key setting. visualization in the artist who used to see in black and white and the aspect ratio of 4: 3 and predominantly using techniques such as acting player who acted with body language and expressions exaggerated, and the techniques of cinematography which uses the type of shot that tend medium, the transition editing fade and wipe very distinctive associated with silent film, as well as the use of music in the whole film as reconstructing orchestra played in the theater 18 editorialbook of reviewijcas: vol. 3, number 1 june 2016 in time silent movie to exist, as well as the use of intertitles it can be concluded that the artist as a whole using the techniques of the silent era in throughout the film, then the integrity of the techniques used can we call the “silent era cinematic technique”. thus let us position this research to study the articles above. of the discussion on the articles of the above can be concluded that the discussion of these articles refer to a discussion of the techniques in the silent films of the era. the discussion of the techniques formulate theory about the techniques formulate used in the era of silent films in the 1900s. the uniqueness of the technique is used as study materials for researchers. whereas if such research compared with research on “technique silent era” used in the artist, the techniques of the era of silent discussed in the article only discusses the peculiarities only, while the discussion of the artist discusses the integrity and unity of these techniques throughout the film eventually called the “silent era of cinematic technique”. discussion about the artist becomes new as well as a discussion of the “silent era techniques” that could be a whole new cinematic techniques appear as emerging film the artist. the use of “techniques silent era” into a new discussion because of the articles of the silent movie era film techniques discussed in the silent era itself and not the technique that is used in the films of today. this technique in the perspective of knowledge is a new finding that could eventually become a force in producing a film. not only as a reference for the production of a movie, this new cinematic techniques into a cinematic study of world knowledge in the realm of discussion of the film. 5 “silent era techniques” and style application in film form. this silent technique can be a force that is used to visualize themed films either silent or other subjects that might be appropriate to use force techniques silent. silent era which is a form of technological achievements before the invention of sound into a new cinematic techniques used in the artist. the style is very possible the silent era was applied again in a movie. approaches aspects of picture and sound that no technique has become a reference for filmmakers to use this technique as a way to visualize the film. in the development of the history of film there are several cinema movement that occurs in many countries such as german expressionism, soviet montage, french new wave and others. styles of films from the cinema movement into an approach for filmmakers today. examples tim burton with his films often use cinematic approach of german expressionism. quentin tarantino with the approach of the french new wave. the approach of the present director be a force in making the film. if the technique of cinema movement in films that particular cinema movement will be applied to its own style. however, this is not the silent movie era cinema movement but the period by the achievements of technology at the time. the applicability of the technique in the era of silent film the artist becomes the first milestone of the first of style with silent era technique that the future they can be used as a movie style. 19 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film form conclusion in the research on the artist who uses the silent era techniques, it was found that the existence of a causal link between the technical aspects and narrative aspects have a strong relationship, the main aspects of the silent era techniques which have very effectively visualize and strengthen aspects of the narrative. this has become a strong motivation and able to demonstrate the strength of the story as a whole that tells about the silent era transition process from the perspective of the player. this study focuses on how the technique of the silent era emerged as a new technique film studies. reference bordwell, david dan kristin thompson. (2004). film art an introduction. seventh edition. us: mcgraw hill. cardullo, robert. 2013. the sound of silence, the space of time: monsieur hulot, comedy, and the naural-visual cinema of jacques tati (an essay and an interview). contemporary french and francophone studies. vol. 17, no. 3, 357–369. miller, andrew h. 2015. city lights: five scenes, raritan summer. vol. 35 issue 1, p3444. 11p. nagels, katherine. 2012.those funny subtitles: silent film intertitles in exhibition and discourse.early popular visual culture. vol. 10, no. 4, november 2012, 367–382. streeta, sarah and joshua yumibeb. 2013.the temporalities of intermediality: colour in cinema and the arts of the 1920s.early popular visual culture. vol. 11, no. 2, 140– 157. suchenski, richard.2011.‘turn again, tourneur’: maurice tourneur between france and hollywood.studies in french cinema. volume 11 number 2. 62 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 qualitative circulation space application at the ‘tunjungan plaza’ shopping mall in surabaya sriti mayang sari,a m. dwi marianto,b suastiwic apetra christian university, siwalankerto 121-131, surabaya 60236, indonesia b,c indonesia institute of the arts, suryodiningratan 8, yogyakarta 55141, indonesia. email: srtiti@petra.ac.id abstract public circulation space is an interior element that organizes and connects the different parts of a shopping mall together. as such the circulation space is partly defined by the different accommodation of shops, anchor stores, catering and leisure facilities. in considering the organizational framework to be established by the public circulation space the objectives can be separately identified into functional and qualitative requirements. the functional requirements are essential primary planning considerations and the qualitative requirements are recommended secondary planning and more detailed design considerations. the goal of this research is to identify the qualitative circulation requirements at tunjungan plaza, surabaya, as one of the biggest shopping mall in east java. as a result of the field identification will create some recommendations for the qualitative circulation requirement that suitable for the shopping mall visitor. keywords: qualitative, circulation space, shopping mall introduction the development of shopping centre (shopping mall, plaza) or mall has spread out in the big cities in indonesia. this development is counted vast as the dynamic growth of business world and economic. the development of mall function and facilities is outstanding. nowadays the function of malls in indonesia is not only as department stores, but also entertainment facilities which is getting more dominant, such as movie theatre, food court, kids playground, exhibition area, fitness centre area, meeting room area, and even nursery room area and church. interior design of a shopping mall is designed with certain criteria which is relevant with the definition of shopping space, including the function, shape, size, pattern, also the feel of the space. function is the most fundamental part of an interior designing, because functional rooms make activities within become easier, more comfortable, and fun. the suitable function will increase the value of the room. function in interior design usually relates to the dimensional matters and things that are measurable such as mall circulation to create a dynamic feel when visitors, whether individually or in group, walking together in a mall, or passing by watching the shop fronts, and so on. however, mall architecture and interior as a built environment which is designed as an 63 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life sriti mayang sari, et.al.. qualitative circulation space application area for visitors to move, do activities, and interact within space, covers more than just dimensional functions. culture and daily routine indirectly affect the feel of shopping in a mall. studying the visitor activities who come alone or in group is very interesting. for example, when they are interacting with the shop interior, doing window shopping, and eating in a food court. materials and method in general, mall is a closed multi floor building with eye catching window shopping and interior, arrangement good air circulation so the visitor can do their activities comfortably. mall filled by a variety of retail or shops in one solid structure, independent vendor or branded stores melting pot. between one store and others connected by circulation’s line with the aim of facilitating the visitors to walk from one shops to others (sari, 2010:52-61). 1. circulation of shopping mall the function of space circulation in shopping mall is to connect interior and exterior spaces together on building. the pathways of this public circulation is an element that organizing and combining different parts in shopping mall. public circulation path is determined by different accommodation facilities, such as stores, anchor tenant, catering, food court, and entertainment facilities. thus space or circulation path is forming the planning structure and layout in shopping mall. vertical and horizontal circulation is applied in a shopping mall to help visitor reach stores and others facilities easily. corridor, bridge and atrium are modes of horizontal circulation generally applied in a shopping centre (mall). their main function is to cater and distribute consumers to all parts of the shopping centre (mall) and to shops and stores there). type of corridor that is commonly applied in a shopping centre (mall) is single loaded corridor of 3 metres wide or even more. it is provided to ease consumers’ circulation so that they are able to enjoy the shop frontages, undisturbed by those who are just passing by ( aditya & suharnoko, 2006). escalator, lift is a vertical circulation that are commonly used in shopping mall. the presence of escalator and lift is to help visitors to access stores or tenants and also they can visually direct see the goods that offered.the form of circulation space of shopping mall should be well planned, because it will affect to the success of the building. many important functional consideration to be aware, such as the widespread of circulation space have to accommodate the visitors during the crowded time. as well as influencing the function of the shopping centre, the circulation space will also establish the character of the centre, thereby having a significant influence over the visitors’ qualitative memories of the place. this qualitative aspect is especially important in an age when providing customers with memorable experiences is all-important (coleman, 2006). 64 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 2. functional and qualitative requirements according coleman (2006), in considering the organizational framework to be established by the public circulation space the objectives can be separately identified into functional and qualitative requirements. the functional requirements are essential primary planning considerations and the qualitative requirements are recommended (nice to have) secondary planning and more detailed design considerations. the functional requirements represent the basic and well-established general rules of shopping centre planning. they are essential considerations common to all shopping formats and were referred to earlier. the qualitative requirements tend towards the consideration of the use of the centre from the viewpoint of the customer and are recommended considerations that can make the difference between one centre and another. the qualitative requirement of the circulation of public space will be discussed in this research. because of the qualitative considerations which generally give character in space and help make the facility more memorable and enjoyable. the following summary of the qualitative consideration of coleman that used as parameter to examine the public space circulation at ‘tunjungan plaza’ shopping mall, surabaya. the qualitative considerations which generally give character to a place and help make the facility more memorable and enjoyable. public circulation space qualitative requirements: secondary-planning considerations (recommended): 1. consider giving different areas or individual lengths of circulation space a separate recognizable identity. 2. establish a clear hierarchy between the different circulation spaces which correspond to the relative importance of the function of the space. 3. provide protection from the weather. 4. form a comfortable environment which will be an improvement on the external ambient temperature. 5. provide a chilled environment in summer. 6. provide a heated environment in winter. 7. establish a sense of well-being from a well-made and maintained environment. 8. provide a positive memorable experience (combining functional and qualitative considerations): general quality and proportion of space. form the space to facilitate the occurrence of informal social and civic uses to include: • identifiable meeting places • space for seating to allow visitors to enjoy the place and watch the activity • space for occasional gatherings, events, performances and christmas displays. • spontaneous overspill space for tables and chairs to allow street cafés and dining. • generally encourage the visitor to dwell and experience the place: • by inclusion of the above informal spaces. 65 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life sriti mayang sari, et.al.. qualitative circulation space application • provide a quality of detailing, finishes and general workmanship which can withstand scrutiny. • incorporate aspects of craftsmanship integrated into the finishes (decorative plaques, motifs, decorations) • incorporate elements of artwork (stand alone and integrated pieces) • provide civic elements (clocks, water sculptures and other features). all the facilities, if well considered, will encourage the visitor to engage with the place, enhance their experience and encourage the use of the shopping facility in preference to another. aims the goal of this research is to identify the qualitative circulation requirements at tunjungan plaza, surabaya, as one of the biggest shopping mall in east java. as a result of the field identification will create some recommendations for the qualitative circulation requirement that suitable for the shopping mall visitor. methodology this research employs qualitative method for analyses the problems. the steps of the research are adopted from creswell (2009) as bellows: choosing the research object. there are some important consideration to decide which mall to be chosen as the research object, such as the evolution of indonesian shopping mall which develops fast, both in function aspect and also in the site area. ‘tunjungan plaza’ shopping mall in surabaya is chosen as the research object because it is the biggest mall in eastern indonesia, located in the centre of the city, the most popular, and it has a high rate of visitor. literature study is done by journals, books, and documents related to shopping mall, circulation, and visitor activities inside a mall. qualitative observation is done by doing real observation in ‘tunjungan plaza’ shopping mall surabaya to watch the shopping mall circulation and mall visitors’ activities in the circulation area. the observation is reported by notes and photos documentation. visitor interview to random teenage, adult, and parents to show them a view in qualitative circulation in a shopping mall. this interview is done both in the low and high rates of visitor. data interpretation and analysis. the collected data is analyzed using the coleman’s public circulation space qualitative requirements parameter, followed be the making of qualitative circulation requirement statement which is suitable to surabaya mall visitors. discussion the emergence of modern shopping mall in surabaya was begun by tunjungan plaza which is established in 1986 and until today is still a favourite. before tunjungan plaza, some other malls have been established in surabaya such as delta plaza and surabaya mall. however, these malls is not as modern and big as tunjungan plaza. after tunjungan plaza, the establishment of some newer shopping malls raises. there are more than 26 malls in surabaya nowadays, spreading in five regions: central, north, south, west and east surabaya. the establishment of shopping mall in surabaya is not 66 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 only in the centre of city, but also in all part of it. tunjungan plaza has four main buildings which are interconnected (tunjungan plaza 1/ east plaza, tunjungan plaza 3/centre plaza, tunjungan plaza 2/ lifestyle plaza and tunjungan plaza 4/west plaza). tunjungan plaza is strategically located in the city centre of surabaya. as part of tunjungan city superblock which consists of not only a shopping centre, but also a condominium, five star hotel and office tower, tunjungan plaza has become the largest shopping centre figure 1. superblock tunjungan city. tunjungan city is the first superblock in indonesia and consists of tunjungan plaza, mandiri office tower, condominium regensi and the five-star sheraton surabaya hotel and towers (http://pakuwon.com/property-portfolio). there are some factors to succeed tunjungan plaza as a shopping mall like its location, brand name, and the timing of establishment. tunjungan plaza is located in the center of surabaya, tunjungan plaza’s brand name is so popular in east java society, and tunjungan plaza is established when the trend of modern shopping malls began in us and asia [6]. figure 2. shopping mall ‘tunjungan plaza’ (http://tunjunganplaza.com/front/aboutus). 67 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life sriti mayang sari, et.al.. qualitative circulation space application tunjungan plaza was established in 1986. at that time it was the first modern shopping center in surabaya which operated for 12 hours every day. nowadays it has the total area of 125,000 m2. it is the favourite shopping destination and leisure place for both locals and foreigners in surabaya. it has also become an icon that tourists and visitors should come and see. supported by anchor tenants such as sogo, matahari department store, gramedia, tunjungan 21, cinema xxi, ace hardware, informa, hero supermarket, amazone and celebrity fitness, hundreds of local brand and famous international brand tenants, a huge convention center and two main atriums, tunjungan plaza has become a complete shopping destination and has offered an ultimate shopping excitement to its visitors [8]. to improve the objectivity of this research, researcher put herself as a visitor while exploring and observing facilities related to circulation in tp. the results are pictures of circulation facilities, interview data, and ‘public circulation space qualitative requirements’ checklist (see: table 1). table 1. parameter for public circulation space qualitative requirements: secondary planning considerations (recommended) considerations ea st p la za t p 1 li fe st yl e p la za t p 2 c en tr al p la za t p 3 w es t p la za t p 4 consider giving different areas or individual lengths of circulation space a separate recognizable identity     establish a clear hierarchy between the different circulation spaces which correspond to the relative importance of the function of the space     provide protection from the weather     form a comfortable environment which will be an improvement on the external ambient temperature     provide a chilled environment in summer     provide a heated environment in winter     establish a sense of well-being from a well-made and maintained environment     provide a positive memorable experience (combining functional and qualitative considerations):  general quality and proportion of space   o   form the space to facilitate the occurrence of informal social and civic uses to include: identifiable meeting places     space for seating to allow visitors to enjoy the place and watch the activity     space for occasional gatherings, events, performances and christmas displays     spontaneous overspill space for tables and chairs to allow street cafés and dining      generally encourage the visitor to dwell and experience the place: by inclusion of the above informal spaces     provide a quality of detailing, finishes and general workmanship which can withstand scrutiny     incorporate aspects of craftsmanship integrated into the finishes (decorative plaques, motifs, decoration)     incorporate elements of artwork (stand alone and integrated pieces)     provide civic elements (clocks, water sculptures and other features)     68 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 notes:  : applied the parameter o : applied, but not the same as the parameter : not applied based on the parameter checklist in table 1, it is obtained that no area from east plaza (tunjungan plaza 1) to west plaza (tunjungan plaza 4) apply those parameter aspect completely. thus, discussion will be focused on the implementation of aspects which are not suitable with the parameter and not apply those aspects in tunjungan plaza. figure 3. interior at the atrium of tunjungan plaza 3, an area for activities such as product exhibitions, promotion, etc. considerations ea st p la za t p 1 li fe st yl e p la za t p 2 c en tr al p la za t p 3 w es t p la za t p 4 consider giving different areas or individual lengths of circulation space a separate recognizable identity     establish a clear hierarchy between the different circulation spaces which correspond to the relative importance of the function of the space     provide protection from the weather     form a comfortable environment which will be an improvement on the external ambient temperature     provide a chilled environment in summer     provide a heated environment in winter     establish a sense of well-being from a well-made and maintained environment     provide a positive memorable experience (combining functional and qualitative considerations):  general quality and proportion of space   o   form the space to facilitate the occurrence of informal social and civic uses to include: identifiable meeting places     space for seating to allow visitors to enjoy the place and watch the activity     space for occasional gatherings, events, performances and christmas displays     spontaneous overspill space for tables and chairs to allow street cafés and dining      generally encourage the visitor to dwell and experience the place: by inclusion of the above informal spaces     provide a quality of detailing, finishes and general workmanship which can withstand scrutiny     incorporate aspects of craftsmanship integrated into the finishes (decorative plaques, motifs, decoration)     incorporate elements of artwork (stand alone and integrated pieces)     provide civic elements (clocks, water sculptures and other features)     69 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life sriti mayang sari, et.al.. qualitative circulation space application not all parameters can be applied in tunjungan plaza shopping mall. for example: shopping mall should provide a heated environment in winter. it is not necessary to be implemented in tunjungan plaza because there is no winter in indonesia. tunjungan plaza uses air conditioning for all areas, and this is one of the aspects that make visitors enjoy staying in this mall.there are some important qualitative requirements aspect which can give a positive memorable experience, but it is not applied or applied but not maximal. circulation space quality and proportion aspect shows that there are crowd in tunjungan plaza 3 (central plaza) in its prime times (weekend, holidays or special events) that minimize visitors comfort in enjoying the mall atmosphere (see: figure 4 & 5). it is a fact that tunjungan plaza 3 has the highest rates visitors, because it is located between tunjungan plaza 1 and tunjungan plaza 4, it is also used as the circulation path to the sheraton hotel and condominium. the purpose of tunjungan plaza itself is to be part of tunjungan city superblock where is consisted of shopping mall, hotel, condominium and office tower, which lead this mall into a crowd both in the weekdays and the weekends. figure 4. visitor crowd in central plaza/tunjungan plaza 3 figure 5. visitors in tunjungan plaza 3 take a rest standing and sitting on the circulation area while enjoying the atmosphere of the mall. this situation annoys other visitors who need to pass. 70 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 another aspect which is also important and it is not available in all other tunjungan plaza areas are the availability to enjoy shopping mall atmosphere and visitor activities. since the absence of sitting rooms, there are many visitors sitting on the breezeway in circulation path. it disturbs visitors who need to pass because the circulation path becomes narrow and create a visitor crowd (see: figure 6 and 7). it happens especially in tunjungan plaza 1 and 3, while it doesn’t happen in tunjungan plaza 2 nor tunjungan plaza 4. it doesn’t happen in tunjungan plaza 2 because this plaza is destined for lifestyle plaza only where cafés and restaurants located. it also doesn’t happen in tunjungan plaza 4 because it is destined for high-end segment where its interior atmosphere makes non concerned visitors unwilling to come. related to the fact of no sitting room or sitting area in tunjungan plaza 1 and tunjungan plaza 3, and based on the visitor interview result, it is shown that they need these kind of sitting facilities for free. when they are waiting for their girlfriends, wives, or friends, they do not have to wait in a cafe or restaurant. they also want to be facilitated with the public sitting area, so when they have to wait, or meet a friend up, or just relaxing in a mall, they can just sit and enjoying the mall atmosphere. for some visitors, a mall atmosphere alone is already an interesting entertainment. figure 6. visitors sitting in circulation path at tunjungan plaza 3 71 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life sriti mayang sari, et.al.. qualitative circulation space application figure 7. visitors are relaxing in circulation area at tunjungan plaza 1. some of them sit while talking each other and seeing around the mall, and the others laying on the hydrant area. parametrical aspects which give visitors new experiences and they need to stay longer in shopping mall relates to decorations, artworks, and other elements. interior finishing aspect which is related to art work is only implemented in tunjungan plaza 4, as a painting at the ceiling along the corridor in restaurant areas and void (see: figure 8 and 9). while on the floor, as a circulation area, there is flooring patterns creating circulation path. for decorative aspect, tunjungan plaza management doesn’t decorate permanently its shopping mall because automatically it has been created by the existence of many kind of window display at shop-front. temporary decoration is usually created by tunjungan plaza management with special themes relevant to on going events. this condition in fact has made the mall visitors happy, according to their opinion the atmosphere has become less monotonous, and this condition has become one of their reasons visiting tunjungan plaza. figure 8. artwork at the ceiling of tunjungan plaza 4 72 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 figure 9. artwork at the ceiling of tunjungan plaza 4 conclusion conclusion of this research is that tunjungan plaza has implemented public circulation space qualitative requirements, even though not all parametrical aspects has not been implemented. aspects which is related to artworks, sculptures, and permanent decoration can be ignored, because the spatial atmosphere has been created by the existence of window display in the shop-fronts. besides, the existence of temporary decorations has supported the atmosphere of shopping mall which is always change dynamically. recommendation for public circulation space qualitative requirements which should be considered is the availability of public sitting facility in circulation areas so it can make visitor enjoy the atmosphere of shopping mall. recommendation for the next research is to follow up the research on circulation in tunjungan plaza shopping mall with phenomenological approach. by this approach, it can be gained visitor’s new experience in interactions with space, and this experiences will be useful for designing shopping mall based on visitor needs. the same parameter can be applied in the other shopping malls the big cities in indonesia, so that it can be found reliable shopping mall parameter. references sari, m.s. (2010). sejarah evolusi shopping mall. journal dimensi interior, ___ yuli, a. s., aditya, f., & suharnoko,w. (2006). indonesia shopping center. jakarta: pt. griya asri prima. coleman, p. (2006). shopping environments evolution, planning and design. burlington: architectural press. creswell, j.w. (2009). research design: qualitative, quantitative, and mixed methods approaches (3th ed.). thousand oaks california: sage pub. ishananto, o. (2010). mal surga tanpa tuhan ruang tanpa waktu. surabaya: jaring pena. 73 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life online resources pt pakuwon jati tbk http://pakuwon.com/property-portfolio. tunjungan plaza, 2013, http://tunjunganplaza.com/. tunjungan plaza, 2013, http://tunjunganplaza.com/front/aboutus. editorvol1no22014.pdf (p.2) npscn001(2).pdf (p.1) jurnal ijcas vol . 1 number 2 desember 2014.pdf (p.3-112) 1 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral tradition cultural survival, continuance and the oral tradition: mendu theatre of the riau islands province, indonesia karen kartomi thomas research fellow performing arts academy monash university, 3800 email: karen.thomas@monash.edu abstract this article seeks to describe mendu theatre that is performed in sedanau, natuna regency (kabupaten) of one of indonesia’s newest provinces, the riau island.1once popular at the turn of the 20th century and in the 1970s and 1980s, there were local mendu groups in every village of natuna in parts of northern and eastern bunguran island, and other smaller islands such as sedanau, pulau tiga, karempak, midai, siantan, and anambas (k.s. kartomi 1986; illyassabli, 2013; akib 2014). the oral tradition keeps a people’s culture alive across generations by performing episodes from memory. mendu theatre episodes express and reinstate the cultural values of the natuna people. language, culture, customary laws and how the people think are transmitted orally through the arts and through the embodied knowledge of theatre performance practices. keywords: mendu theatre, oral tradition, cultural survival introduction figure 1 here. caption: map of riau islands’ province (kepulauan riau) and it’s five regencies (kabupaten), natuna, anambas, lingga, bintan and karimun. 1 i am grateful to the director of semadun dewa mendu almarhum bp. ahmadiah zalman, the lead female actor kak uchy sulfarini,and the lead male actor and group’s manager bp sukardan for the information they generously imparted to me and for allowing me to record a mendutheatre performance during my visit to sedanau, natuna regency in 2013. and also professor margaret kartomi, my mother and research companion, who made this research possible and enjoyable. 2 editorialbook of reviewijcas: vol. 2, number 2 december 2015 natuna regency, an archipelago in the northern most tip of indonesia among the riau islands, was once part of the centuries-old maritime route between china and india via the malacca straits, with numerous shipwrecks found in the area. these shipwrecks were found to contain old artifacts such as chinese ceramics and other crockery, weapons including kris and metal spears, metal coins, and musical instruments such as gongs. manyhistorical artifacts are now stored and displayed in the sri serindit museum in ranai, with new items frequently being unearthed by locals even today. the riau islands’ province broke away from riau mainland in sumatra just 10 years ago gaining its independence only in 2004. since then the province’s local governments have embarked on a quest not only to rebuild their communities through improved infrastructure, education, and address crime and other social issues, but also to revitalize their arts in order to claim and frame their cultural identity (drs h. daria 2014). this article focuses on theatre practitioner and director, bp ahmadiah whom i met in january 2013,and his efforts in revitalising mendu theatre. the local government of natuna has identified and nominated mendu theatre as one of its distinct cultural symbols that represents the regency and itsculture to the outside world (illyassabli 2013). this led bp ahmadiah’s semadun dewamendu group to compose and produce a contemporary version of mendu theatre in the last decade with a regional and national audience in mind. in the past, the mendu legend of dewa menduwas performed at life-stage celebrations such as weddings and communal healing ceremonies, often at allnight performances for days on end. traditional performances up to the late 1980s lasted 4-8 hours finishing after midnight or in the early hours of the morning. once popular at the turn of the 20th century and in the 1970s and 1980s, mendu theatre was performed in bunguran, sedanau, pulau tiga, and siantan of the natuna islands (karen s. kartomi 1986). a related form of mendu developed independently in the west kalimantan regency of mempawah, about 70km north of pontianak, at least since the early 1900s (see skeat 1967, p. 520), which has seen a modest revival since the 1970s (sataruddin 2014). the mendu story as performed in natuna is about a hero known as dewa mendu, a panji-like malay hero and his adventures with his brother angkaran dewa on earth. the two brothers are confronted by challenge after challenge either in physical battle or mystical contest after being thrown into one of the earth’s deep seas by the gods from above. the story tells of their many extended journeys, and also of their descendants who, after traversing the earth far and wide and ensuring prosperity among the mythical lands they rule as malay sultans, they finally leave the human world and return to the land of the gods. as a contemporary expression of an old theatre practice, in its reinvention mendu provides a space in which to re-examine and reimagine accepted malay ancestry, and to reemphasize malay cultural survival, identity and continuance. rootedin a long-standing oral performing art form, contemporary mendu is a 3 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral tradition new iteration of the oral tradition, a reinvention that sets out a space in which to retell, reanimate, and vocalize accepted stories to reassert its nature and connect with the contemporary audience. mendu theatre is only fully realized in live performance. each performance sheds light on views on relationships (1) of the present to the past malay heritage, (2) between the living and the dead, and (3) between social disparities and the people’s moral world. materials received from the past are repeated, elaborated, condensed, extended and expanded or deleted entirely, all at the performers’ whim (see further drewal in fiebach 2002: 27). the oral tradition keeps a people’s culture alive across generations by performing episodes from memory, which express and reinstate the people’s values through theatre practices. one of the significant ways the language, culture, customary laws and how the people think is transmitted orally through the arts and through the embodied knowledge of theatre performance practices. i have written elsewhere about the traditional practices and techniques of mendu that i recorded in ranai, the capital of natuna 30 years ago in 1984 (karen s. kartomi 1986). there i examine the structures of plot development, charactertypes that are established through stylized language and informal dialogue, movement, dance and music, the use of rhythm, alliteration and rhyme of kernel phrases, sentences and song-texts, dance, movement and melody. i also briefly discuss the role of the director (kalipah) who not only directs the action on stage but also, in his capacity as a healer (dukun), calls upon the spirits to enter the stage area and enlist their assistance for the success of the performance (syafaruddin 2002). i further discuss some of the motifs and themes in conjunction with the role of music that characterize the traditional form and that are essential methods employed by performers to generate each production.performers draw on all of these elements performatively, that is, they are stored in memory, and recalled orally in the moment of subsequent transmission in performance (see further rosenberg 1987: 80). no scripts or texts are written or used. formal rehearsals as a whole production are therefore minimal and infrequent. actors’ improvisational techniques employ the network of traditional linguistic, movement and musical motifs, which are transmitted orally in performance for generations, and which are familiar to local, community audiences. the slow moving action is traditionally embellished by elaborate and extended items of dance and music, with frequent interspersions of comedy. actors who generate the mendu style of oral, embodied discourse assume character-types – such as dewa mendu, siti mahdewi, raja langkadura and the villain raja laksemalik that tend to be noticeably stark, memorable and monumental rather than three-dimensional (see further ong 1982: 34-40; 152). in addition, masks are worn by clown-type characters such as the villain’s jin assistant, nenek kebandan (bakar 200?). masks deliberately distort the physical appearance of the face. they are characterized by somewhat more threedimensional elements than the stark or monumental of the heroes, and form one 4 editorialbook of reviewijcas: vol. 2, number 2 december 2015 of the primary sources of the theatre’s aesthetic. during the course of the event, the director introduces clown figures when he notices audience attention waning in order to inject humor and energy back into the performance (ahmadyiah, 2013). the term “oral tradition” refers to the transmission of “…cultural items from one member to another, or others” specifically in face-to-face contact (goody and watt in goody 1968: 58-59). i take this definition further to include not only face-toface, verbal contact but contact that consumes the whole body, a definition that incorporates the kinesthetic and the rhythmic both in sound and movement. the production of mendu theatre is a living example of the culture’s oral discourse as being, among other things, slow moving, additive, frequently redundant, and as relying on mnemonic patterns in language, music, dance and gesture. the contemporary theatre continues to draw its inspiration from local beliefs, customs, ritual, stories and history that make up the region’s rich oral repository. no scripts or texts are used. the creation of the theatre in the performative moment continues to rely on oral composition and its many hallmarks such as repetition, redundancy, additive and mnemonic pattern in language, dance and music motifs, the craft of which is transmitted orally from one generation to the next. scenes in contemporary performance progress in ways that are reminiscent of traditional mendu performances.. traditional conventions have re-appropriated into contemporary mendu. one of these reappropriations is the typical stage formation of court scenes in which the king stands or sits behind a table facing his three ministers, the perdana menteri, the wazier and the pahlawan (figure 1). another is the use of codified acting and gestures such as those performed in scenes in which members of the nobility communicate with one another by holding a fan in the right hand, singing verses, and performing gestures in mirror image of one another or in unison (figure 2). figure 1 here (dsc_0267). caption: raja langkadura meets with his three ministers, the perdana menteri, the wazier and the pahlawan. accompanied by biola, gendang panjang player and gong. sedanau, natuna regency, 2013. 5 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral tradition figure 2 here (dsc_0331dm). caption: dewa mendu (right) and brother angakaran dewa perform gestures of communication with fans in hand between people of noble rank. sedanau, natuna regency, 2013. combining the music, song, movementand dialogue is integral to the narrative, aiming to stir the emotions of the listeners and to close the distance (or break the barrier) between the narrative and the audience. the audience expects the verbal to convey the conventions accurately but in an improvised manner, yet members of the audience do not necessarily pay attention to every word.language, dialogue, speech, words are not paramount (as in modern theatre built on the aristotelian tradition) but of equal importance to the music, song, dance, gesture, and plot of the production as a whole. mendu theatre is more than simply the coming together of visual and aural components. the attraction of the audience depends on the possession of charming voices equal to an ability to narrate and move the plot along through dialogue within the confines of the conventions, both linguistically and kinesthetically. it is the balance of many components as a whole – the gestures, the music, the words, the individual charm of the actors – that give rise to the production of one of the theatre’s most important malay-indonesian conventions, that of pesona (charming, magnetic quality).a performance is an allbody, experiential, bodily event critical to creating pesona or that particular space in which a physical relationship with the onlookers is grippingly formed (see further thomas 2013: 392). conclusion the oral tradition keeps a people’s culture alive across generations by performing episodes live from memory, episodes which express and reinstate the people’s values. the language, culture, customary laws and people’s thinking processes are transmitted orally through the arts and through the embodied knowledge of theatre performance practices. the oral tradition ensures both cultural survival across generations by performing episodes from memory, and also continuance of an old theatre form that carries with it a distinct malay-indonesian heritage. in the case of mendu, bp ahmadiah responded to the local natuna’s government’s 6 editorialbook of reviewijcas: vol. 2, number 2 december 2015 invitation to indigenous artists to assist in revitalizing the region’s performing arts. his re-appropriation of indigenous mendu theatre conventions in recent years brought about a re-imagination of an ancestry and identity in a performing art form, which has reinvented not only a space in which to animate and vocalize the mendu story but has cultural survival and continuance as well as forged new connections with changed, contemporary audiences. references ahmadiah zulman, almarhum bp. 2013. personal communication, sedanau, natuna, riau islands, january daria, drs. h. (bupati lingga, riau islands province), 2014. personal communication, daik-lingga, riau islands, june fiebach, joachim. 2002. “theatricality: from oral traditions to televised ‘realities,’ substance, vol. 31, no. 2/3, issue 98/99, pp. 17-41 goody, jack (ed). 1968. literacy in traditional societies. cambridge: cambridge university press. illyassabli, drs h. (bupati natuna, riau islands province). 2013. personal communication, ranai bungguran, natuna, riau islands, january. kartomi, karen sri. “mendu theatre on the island of bunguran, natuna, indonesian” ba honours thesis 1986, monash university. ong, walter j. 1982. orality and literacy. new york: methuen rosenberg, bruce. a 1987. “the complexity of oral tradition.” oral tradition, vol 2, no 1, p73-90 sataruddin. ramli. bp. 2014. personal communication, pontianak, west kalimantan, september. syafaruddin. bp. “tinjauan bentuk penyajian kesenian mendu di sedanau, kecamatan bunguran barat, kabupaten natuna, propinsi riau.” ba thesis (s1) 2002, fakultas seni pertunjukan isi yogyakarta. thomas, karen kartomi. 2013. “enchanting the audience: dramatic devices of sakura mask theatre in west lampung, sumatra,” asian theatre journal, vol 30, no. 2. 35 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economyi wayan adnyana. pita maha social institutional capitaltepika rodsakan. comparison of the effects of using traditional thai musical instruments comparison of the effects of using traditional thai musical instruments and carl orff’s instruments on mentally disabled children’s perception and reaction to the musical elements tepika rodsakan department of music education, faculty of fine arts, srinakharinwirot university, bangkok, thailand. abstract this research dealt with the comparison of the effects of using traditional thai musical instruments and carl orff’s instruments on mentally disabled children’s perception and reaction to the musical elements. the objectives of the research were 1) to study the results of the effects of using traditional thai musical instruments on mentally disabled children’s perception and reaction to the musical elements 2) to study the results of the effects of carl orff’s instruments on mentally disabled children’s perception and reaction to the musical elements 3) to compare the results of the effects of using traditional thai musical instruments and carl orff’s instruments on mentally disabled children’s perception and reaction to the musical elements. the sample used in the research were 11 educable mentally disabled children from panyawutikorn school aged between 8-10 years old. the sample had been tested and confirmed by the psychologist to have iq range from 50-70, to be non-sound sensitive and to be devoid of any multiple handicaps. the sample were selected using purposive sampling. the tool used in this research were an interactive 9-question test of the sample group’s perception and reaction to musical elements using traditional thai musical instruments and carl orff’s instruments. the sample group responded accordingly to the different given tasks in the test including singing, physical movement, playing musical instruments and musically melodic creation. the data obtained are then analyzed using statistical calculation, i.e. median, percentage and mean. the test results revealed the following findings; the results were as follows: 1. results of the effects of using traditional thai musical instruments on mentally disabled children’s perception and reaction to the musical elements were found to be in the “good” criteria. 2. results of the effects of using carl orff’s instruments on mentally disabled children’s perception and reaction to the musical elements were found to be in the “good” criteria. when considered each factor individually, the perception and reaction to sound was in the “fair” criteria while the perception and reaction to rhythm and melody were in the “good” criteria. 3. by comparing the results of the effect of using traditional thai musical instruments and carl orff’s instruments on mentally disabled children’s perception and reaction to the musical elements, it was found to be different on the whole. when considered each factor individually, there was a difference in the perception of sound while there was no difference in perception and reaction to rhythm and melody. keywords: traditional thai musical instruments, carl orff’s instruments, mentally disabled children, perception and reaction, and musical elements 36 editorialbook of reviewijcas: vol. 2, number 2 december 2015 introduction music therapy is a science of implementing music and its elements to bring about a change, development or maintenance of physical, mental and social wellbeing. a music therapist systematically carries out various well-defined, scientific musical activities which lead to determined objectives. the goal of music therapy does not emphasize on mere musical skill, but a holistic development of physical, mental and social aspects according to each patient’s needs. music therapy can be cross-applied in educational and medical field, to name a few. music therapy has in itself many distinctive characteristics (tweesak sirirat-rekha. 2553: online) suitable for both normal and handicapped. one of the key elements of music therapy is musical instruments. musical instruments is such a significant tool that can draw a patient’s attention towards the therapy without knowing that one is being treated. currently, the musical instruments used for treating the handicapped are imported from foreign countries of the western hemisphere including carl orff’s instruments. moreover, the researcher has also found that the application of traditional thai musical knowledge and instruments for the purpose of music therapy is very much limited, though, considering its suitability for thai people lifestyle and culture. traditional thai musical instruments, like other musical instruments, could be fitting for treating thai patients. busakorn samrongthong and group (2544:1) cited that the study of possibility of using traditional thai musical instruments as a tool for music therapy is an interesting topic and should be seriously researched. the obtained results can be beneficial in treating thai patients as thai people are more familiar to their own musical experiences and instruments. on top of that, thai musical repertoires are often rearranged as look thoong and look krung songs whose lyrics are widely understood by the people of all ages and genders, including handicapped and children with mental disability. the mentally disabled children, however, have a slower development rate compared to that of normal children. when tested with standard intellectual test, it is found that their intelligent quotient (iq) are below average. their abilities to adjust themselves are also limited. their behavioral adjustment skills are below average by at least 2 fields of skills or more, such as communication skills, social skills, skills dealing with using public property, self-caretaking skills, inhouse living skills, self-control skills and learning skills. mental disability can be classified in to 4 categories which are 1) mild disability, iq 50-70 2) moderate disability, iq 35-55 3) severe disability, iq 20-40 4) extremely severe disability, iq 20-25 (alternative medicine bureau. 2551 : 68-69). due to this, a therapist has to carefully consider selection of suitable musical instruments for a child so that the best outcome can be reached. at present, however, there has been no serious study regarding the comparisons of the results of perception and reaction after using traditional thai musical instruments against carl orff’s musical instruments. there are, however, few researches on comparison of the effects of using traditional thai musical instruments and foreign musical instruments on 37 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economyi wayan adnyana. pita maha social institutional capitaltepika rodsakan. comparison of the effects of using traditional thai musical instruments mentally disabled children’s. the results of these research can be very useful in planning a therapy program for mentally disabled children. with the current situation and its significant mentioned, the researcher was inspiringly driven to conduct a research entitled “comparison of the effects of using traditional thai musical instruments and carl orff’s instruments on mentally disabled children’s perception and reaction to the musical elements”. the research can be useful to any concerned individuals in planning a supportive program for mentally disabled children’s development so they can adjust and prepare to live a happy life with everyone around them. r e s e a r c h o b j e c t i v e s 1. to study the results of the effects of using traditional thai musical instruments on mentally disabled children’s perception and reaction to the musical elements 2. to study the results of the effects of carl orff’s instruments on mentally disabled children’s perception and reaction to the musical elements 3. to compare the results of the effects of using traditional thai musical instruments and carl orff’s instruments on mentally disabled children’s perception and reaction to the musical elements materials and methods population and sample group scope population population used in the research were mentally disabled children whose intelligence quotient score lie in between 50-70 sample group the sample used in the research was 11 educable, mentally disabled children from panyawutikorn school, bangkok, thailand, aged between 8-10 years old. the sample had been tested and confirmed by the psychologist to have iq from 50-70, to be non-sound sensitive and to be devoid of multiple handicaps. the tools for collecting data for this research was a test on mentally disabled children’s perception reaction to musical elements (the researcher determined particular issues for testing the integrated musical instruments concerning the perception and reaction to musical elements, i.e. rhythm, melody and sound by implementing various musical skills such, i.e. listening, singing, physical movement, playing musical instruments, musical creation and interpretation of musical signs. the children would in turn indicate their perception and reaction through clapping, tapping, singing, dancing along music, patterned or free physical movement, patterned musical instruments execution and other means of creative thoughts regarding music and expression.) by using traditional thai musical instruments and carl orff’s instruments which were invented by the 38 editorialbook of reviewijcas: vol. 2, number 2 december 2015 researcher. data obtained were then analysed using statistics, which were median, percentage and mean. the test consisted of 9 tasks for testing the perception and reaction to sound, rhythm and melody which run in the following orders. 3 tasks of 15 points for perception and reaction to sound 3 tasks of 15 points for perception and reaction to rhythm 3 tasks of 15 points for perception and reaction to melody the total score of the test was worth 45 points and was evaluated into 3 levels as follow: 34.51 – 45.00 points indicates good perception and reaction to musical elements. 24.51 – 34.50 points indicates fair perception and reaction to musical elements. 0.00 – 24.50 points indicates poor perception and reaction to musical elements. the test was then inspected by 3 specialists, i.e. a special education experts and 2 musical experts for content validity, revised following the specialists’ advises and then conducted as try-out with the mentally disabled children who are characteristically similar to the sample group to find out the test’s reliability. finally, the test was conducted to the sample group of mentally disabled children. the invented test for perception and reaction to musical elements was introduced to the sample groups, i.e. 11 mentally disabled children using traditional thai musical instruments and carl orff’s instruments. the sample were divided in to 2 groups. the first group consisted of 5 children whereas the second consisted of 6 children. the first were tested with traditional thai musical instruments and the second with carl orff’s instruments. after completing the questionnaire, the groups interchanged the instruments and the procedure was then repeated. after the completion of the test, 2 sets of data obtained from using thai musical instruments and carl orff’s instruments was then analyzed, compared and concluded into a complete published research. statistics used for data analysis. 1. median 2. percentage 3. mean discussion by comparing the effects of using traditional thai musical instruments and carl orff’s instruments on mentally disabled children’s perception and reaction to the musical elements, the results can be concluded as follows. by comparing the results of the effect of using traditional thai musical instruments and carl orff’s instruments on mentally disabled children’s perception and reaction to the musical elements, it was found to be different on the whole. when considered each factor individually, there was a difference in the 39 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economyi wayan adnyana. pita maha social institutional capitaltepika rodsakan. comparison of the effects of using traditional thai musical instruments perception of sound while there was no difference in perception and reaction to rhythm and melody music elements sample (n = 11) effects on perception and reaction thai musical instruments carl orff ’s instruments perception and reaction to sound perception and reaction to rhythm perception and reaction to melody 13.54 12.81 11.63 8.45 12.81 11.09 5.09 0 0.54 total 37.98 32.35 5.63 form the table of aggregate element-wise comparison table of the effects of using traditional thai musical instruments and carl orff’s instruments on mentally disabled children’s perception and reaction to the musical elements. conclusion from the comparison of the effects of using traditional thai musical instruments and carl orff’s instruments on mentally disabled children’s perception and reaction to the musical elements, the researcher can conclude that: there was different effects of perception and reaction to musical elements between traditional thai musical instruments and carl orff’s instruments. it was found that the perception and reaction to sound using traditional thai musical instruments was in “good” criteria whereas the perception and reaction to sound using carl orff’s instruments was in “fair” criteria. as the results suggest, traditional thai musical instruments are most suitable selection for educable mentally disabled children’s perception and reaction to sound. in terms of perception and reaction to rhythm and melody, there was no difference between the two results, which was found to be in the “good” criteria. therefore, traditional thai musical instruments and carl orff’s instruments can both be chosen to develop educable mentally disabled children’s perception and reaction to rhythm and melody. from the results, it could be implied that traditional thai musical instruments could well be used as effective tools to enhance development of a mentally disabled children due to children’s familiarity, its abundant availability and relatively low cost. 40 editorialbook of reviewijcas: vol. 2, number 2 december 2015 references samrongthong, budsakorn and group. (2001). final research report on music therapy project: thaitraditional music as a means of therapy using akaboshi’s principles of music therapy. the thailand research fund.49. thai alternative medicine office. (2008). music therapy. thai alternative medicine office, department of thai medicine and alternative medicine promotion, ministry of public health of thailand., 68-69. online resources siriratrekha, taweesak. ( 2010). music therapy. http://www.happyhomeclinic.com/ a06musictherapy.htm,. august 10, 2010. visual methods in social research on lanna mural painting: a case study of wat phumin, nan province tawipas pichaichanarong silpakorn university bangkok, thailand email: tawipas.p@gmail.com a b s t r a c t according to most of tourists who have visited thai temples and have seen thai mural paintings with untrained eyes, they might not understand a story on walls at first sight. it may be because thai mural paintings look confusing, crowded with colorful figures that appears similar in detail and character, leaving no place to focus one’s attention (david k. wyatt, 2004). thai mural painting is a disparate of the visual arts because of conventions that are entirely its own. this research is designed to study the capability of thai and foreign tourists in order to apprehend lanna mural painting through visual methods in social research. for methodology, questionnaires were used by collecting the data from the total of 411 thai and foreign tourists who have been visited wat phumin, nan province. at the same time, qualitative method was used by collecting the data form tourists who have been visited wat phumin, nan province. the data then were analyzed using mean, descriptive statistics, and qualitative data. this study concludes that the comprehension of lanna mural painting at first sight from thai and foreign tourists at wat phumin, nan province are not positive. in addition, the results reported that our respondents have verified that there is no direction in order to understand stories on lanna mural painting from the beginning. furthermore, the results reported that our respondents have established visual methods in social research in order to discover more effective solutions to facilitate thai and foreign tourists to obtain the information of the storytelling in lanna mural painting at first sight as possible. keywords: visual methods, social research, lanna mural painting, nan province i n t r o d u c t i o n in his ‘study of thai traditional architecture’, wattana boonjub (2009) describes that mural paintings recreate the walls consists of ordination and visual images with some texts which designed for spiritual instruction. he points out that mural painting are used in order to teach thai people dates back before the 20th century. at that time the majority of thai population were illiterate, only buddhist monks were educated in the temple, which to study the ancient scriptural language ‘pali’. as a result, murals were used to represent the teachings of buddha because they were easy to understand and remember. as times went by for many centuries, thailand’s heritages become the tourist’s attraction for tourists all around the world. more research supports thailand’s tourism, mingsarn kaosa-ard (2002) found that the composition of tourism consists of 26 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 three characteristics; there are 1. the product is composed of natural resources which are public goods: beaches, waterfalls, mountain, and the general environment. 2. safety and infrastructure are also important elements of the product. 3. a nation’s people and their culture, and visitors’ access to both are important components of any tourism product or package. one of thailand’s cultural heritages is mural painting. the problems emerged from tourists’ experiences. another study (hacker, 2008) explained about experience for the first time to look at thai mural painting, the author was fascinated by exuberant painting on the wall, and felt impossible to decide where to start to look. l i t e r a t u r e r e v i e w lanna mural painting at wat phumin, nan province in this study, the researcher determines to select lanna mural painting at wat phumin, nan province as a case study to be the scope of study. according to lanna mural paintings, nan province has unique characteristics that can reflect lanna arts and cultures more precisely. much of the content inside these works is from wat phumin in nan province. nan mural paintings consider as lanna art, which represents the northern part of thailand, known as ‘the kingdom of lanna.’ as the matter of fact, this study will focus on the government’s region that represents ‘the kingdom of lanna,’ consisting of 8 provinces (chiang mai, chiang rai, lampang, lamphun, phayao, phrae, mae hong son and nan). nan province, located in the most eastern part of northern thailand and at the border with laos, is a sparsely populated part of the country. only about 500,000 people live in the valley along the nan river and in the mountain ranges on both sides of the river. this geography is reflected in the ethnic make-up (amalia rossi, 2012), they are made up of various different ethnic or language groups such as the mon-khmer speaking minorities lua, htin, khamu, mlabri, and the hmong and mien groups (davis, 1984; delcore, 2008; rossi, 2012). in addition, nawit ongsavangchai (2013) points out that nan has been ranked thailand’s top five most livable cities for many years. it is well known among tourists as a living old town and becomes a famous destination for thai tourists who love living heritage. the rich culture of nan city and abundant nature of nan province have attracted many tourists to make a visit. the numbers of them have increased every year; nonetheless most of them pay a visit to only some famous places. especially, in the city such as, muang district, the city centre where many famous temples and noble family’s houses are located. for this reason, wat phumin, nan province will suitable to be a focus place in this study. v i s u a l m e t h o d s the definition of ‘visual methods’ (hine, 2005) or ‘digital methods’ (rogers, 2009) explains these methods include the adjustment and transformation of conventional 27 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ... research techniques such as participant observation, interview, focus groups and surveys, as well as innovative proposals. the use of visual methods to resolve interactions and build understandings within social science research. for example, this research will focus on visual materials such as lanna mural painting and the processes associated with the audiences. as a result, this research aims to enhance visual methods and build spread across the social science research in effective ways. methodology questionnaires were used by collecting the data from the total of 411 thai and foreign tourists who have been visited wat phumin, nan province. at the same time, qualitative method was used by collecting the data from tourists who have been visited wat phumin, nan province. the data then were analyzed using mean, descriptive statistics, and qualitative data. in addition, qualitative data were arising from questionnaire and in-depth interview. tool of measurement the participant’s responses were measured by scales adapted from barbara sommer (2011). the five-point differential scale asked respondents to rate whether storytelling on lanna mural painting from tourists’ standpoint that there were a lot of information to obtain at first sight while they were at wat phumin, nan province. in addition the question was asked a tourist to rate whether is there a starting point in lanna mural painting at wat phumin, nan province. procedures to test the hypothesis, information was gathered by a questionnaire with the approval of the tourists. to ensure instrument reliability and to prevent respondent sensitization, respondents were instructed to answer the questionnaire with conditions of storytelling of lanna mural paintings at wat phumin, nan province, storytelling of lanna mural paintings in general, and storytelling of thai mural paintings in general. r e s u l t s for the questionnaire, there’re 411 representative samples by random sampling. there are 161 male (39.2%) and 250 female (60.8%) which is accidentally equal. for the status issue, there are 12 persons (2.9%) for young tourists, 388 persons (94.4%) for thai tourists, 11 persons (2.7%) for foreign tourists. for the education level, there’re 22 persons (5.4%) have primary school education, 48 persons (11.7%) have secondary school education, 15 persons (3.6%) have vacation school education, 249 persons (3.6%) have bachelor degree education, 70 persons (17%) have master degree education, and 7 persons (1.7%) have ph.d. degree education. test of hypothesis to test the hypotheses were used range of means from the measured scale. the 28 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 intervals of measured; there are four intervals, which are 11.8 refers to very little, 1.8 – 2.6 refers to little, 2.6 3.4 refers to somewhat, 3.44.2 refers to very, and 4.2 – 5 refers to very much. this study tests the comprehension from thai tourists and foreign tourists; h-1 predicted storytelling on lanna mural paintings contain a lot of information, which was overwhelming for tourists to obtain at first sight. to test h-1, q 4.1, q5.1 and q 6.1 refers to storytelling of mural paintings in different setting; table 1 questions for storytelling of mural paintings in different setting mean q 4.1 predicted storytelling on lanna mural paintings at wat phumin, nan province contain a lot of information, which was overwhelming for tourists to obtain at first sight. 3.65 q 5.1 predicted storytelling on lanna mural paintings in general contain a lot of information, which was overwhelming for tourists to obtain at first sight. 3.26 q 6.1 predicted storytelling on thai mural paintings in general contain a lot of information, which was overwhelming for tourists to obtain at first sight 3.16 finally, the result of mean scores (3.65) from q 4.1 determined that most tourists agree that storytelling on lanna mural paintings at wat phumin, nan province contain a lot of information, which was overwhelming for tourists to obtain at first sight places in the measured scale 3.4 -4.2 which refers to very agree. h-2 predicted most of tourists do not know there is a starting point for looking at lanna mural paintings at wat phumin, nan province. to test h-2, q 4.2, q5.2 and q 6.2 refers to mural paintings in different setting; table 2 questions for refers to mural paintings in different setting mean q 4.2 predicted most of tourists do not know there is a starting point for looking at lanna mural paintings at wat phumin, nan province. 4.08 q 5.2 predicted most of tourists do not know there is a starting point for looking at lanna mural paintings in general. 3.64 29 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ... q 6.2 predicted most of tourists do not know there is a starting point for looking at thai mural paintings in general. 3.46 finally, the result of mean scores (4.08) from q 4.2 determined that most of tourists do not know there is a starting point for looking at lanna mural paintings at wat phumin, nan province places in the measured scale 3.44.2 which refers to very agree. reliability tavakol and dennick (2011), both professors, have pointed out that reliability is concerned with the ability of an instrument to measure typically. in fact, the reliability of an instrument is cooperative with validity. in general, there is a widely use ‘cronbach’s alpha’ to measure of reliability. to test the reliability of this questionnaire, this research use cronbach’s alpha to find the reliability of q 4 (4.1 and 4.2), q 5 (5.1 and 5.2), and q 6 (6.1 and 6.2). table 3 questions cronbach’s alpha number of items q 4 (4.1 and 4.2) .629 2 q 5 (5.1 and 5.2) .673 2 q 6 (6.1 and 6.2) .775 2 kanlaya vanichbuncha (2002) explains for most widely use cronbach’s alpha to validate the reliability of items, they have accepted the value of cronbach’s alpha at 0.7. however, if the value of cronbach’s alpha is less than 0.7 but exceed 0.6. it also considers the value of cronbach’s alpha > 0.6 is trustworthy (peterson, 1994; chen et al., 2007). in sum, the evaluations of the questionnaire were acceptable from the results in table 3. in addition, the findings from in-depth interview from thai and foreign tourists, we can finish that there is a problem to obtain arts and information from lanna mural paintings at wat phumin, nan province at first sight and we also can confirm that most tourists do not know where to start to look at lanna mural painting inside wat phumin, nan province. 30 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 qualitative methods: an example from some tourists at wat phumin, nan province. r e s e a r c h q u e s t i o n what are the personal experiences from tourists who have been seen lanna mural paintings at wat phumin, nan province? are they any problems to obtain information from lanna mural painting at wat phumin, nan province? theories integrated the framework used was the process-context approach to demographic behavior (willekens, 1990; de bruijn, 1999). leo j.g. and van wissen (1999) added the process context approach in demographic research has got momentum in recent years. this development is emulated not only in theoretical developments but also in an alteration in the methodological at the center of the field. fieldwork approach focus group discussions were used to identify the broad range of opinions on storytelling of lanna mural painting’ among tourists who have been visit wat phumin, nan province (figure 1). focus group discussions were conducted with both women and men, who were older and younger with average ages between 23-40 years old, and from urban and rural areas. in order to learn about personal experiences about looking at lanna mural painting, the researcher then conducted in-depth interviews with individuals who were selected from the focus group discussions. the fieldwork lasted for one day. when developing the study, the researcher was uncertain whether it would be possible to collect information on subjective issues from tourists. in fact, the researcher founded that some of tourists came to wat phumin only to see a renowned painting ‘poo marn yar marn’ (‘whispering of love’) (figure 2), it was famous internationally. indeed, most of tourists do not know the storytelling from the painting on the wall entriely. when the researcher told the tourists the right ways to look at storytelling on lanna mural painting. all tourists felt appreciating more about the storytelling on lanna mural painting. there are three categories for storytelling on lanna mural paintings at wat phumin, nan province; first: ‘story of the buddha’, second: ‘previous life stories of the buddha’, and third ‘the ordinary life of local people’. according the amount of storytelling on lanna mural painting are in great numbers. the researcher asked individual tourists to place in order of importance, which storytelling from the wall they would to see in moving images; first: ‘the ordinary life of local people’, second: ‘previous life stories of the buddha’, and third: ‘story of the buddha’. however, some tourists said they don’t have time to watch the moving images. it should be short and interesting instead of making longer and have too much information. 31 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ... the conclusion from in-depth interview from tourists, we can conclude that the tourists’ personal experiences came to be important role in order to develop proper solutions to facilitate tourists to obtain information from lanna mural paintings at wat phumin, nan province for this study. figure1. wat phumin, nan province figure 2. ‘poo marn yar marn’ (‘whispering of love’) 32 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 quantitative vs. qualitative in this research, the researcher used both quantitative and qualitative to test hypotheses. due to the nature of their differences, christian rohrer (2014) suggested that quantitative methods has a better explanation about the events, it is dealing with how many and how much types of questions. whereas qualitative methods are more suitable for answering questions about why or how to fix a problem,. the following figure (figure 3) illustrates how two methods affect the types of questions that can be asked. figure 3 discussion the results support the mentioned hypotheses. this study concludes that the comprehension of lanna mural painting at first sight from thai and foreign tourists at wat phumin, nan province are not positive. furthermore, the results report that our respondents have verified that there is no direction in order to understand stories on lanna mural painting from the beginning. in addition, the results report that our respondents have established visual methods in social research in order to discover more effective solutions to facilitate thai and foreign tourists to obtain the information of the storytelling in lanna mural painting at first sight as possible. as a result, this study can use ‘personal experiences’ from tourists in order to design a preliminary item or new knowledge in order to solve the problem of this study effectively and usefully. 33 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ... bibliography boonjub, w. (2009). the study of thai traditional architecture as a resource for contemporary building design in thailand. bangkok: graduate school, silpakorn university. chen, c. & tsai, d. (2007). how destination image and evaluative factors affect behavioral intentions?. tourism management, 28, 1115-1122. davis, r. (1984). muang metaphysics. a study on northern thai myth and ritual. bangkok, thailand: pandora de bruijn, b.j. (1999) foundations of demographic theory. choice, process, context. amsterdam: thela publishers. delcore, h. (2003). non-governmental organizations (ngos) and development in nan province, northern thailand. american ethnologist, 30(1), 61-84. doi:10.1525/ ae.2003.30.1.61 hine, c. (2005). virtual methods: issues in social research on the internet. oxford: berg. hacker, t. (2009). of muscular gods and tattooed men:transformations in thai mural painting. singapore: department of southeast asian studies, national university of singapore. kaosa-ard, m. (2016). development and management of tourism products: the thai experience. chiang mai: social research institute, chiang mai university. ongsavangchai, n. (2013). the study of architectural and cultural resources in nan municipality area for encouraging community based tourism. international critical tourism studies conference v. bosnia and herzegovina, 358-373 peterson, r. (1994). a meta-analysis of cronbach’s coefficient alpha. journal of consumer research, 21(2), 381-391. retrieved from http://www.jstor.org/stable/2489828 rohrer, c. (2014). when to use which user-experience research methods. nngroup.com. retrieved 8 august 2016, from https://www.nngroup.com/articles/which-uxresearch-methods/ rogers, r. (2009). the end of the virtual: digital methods. amsterdam: amsterdam university press. rossi, a. (2012). turning red rural landscapes yellow? suffi ciency economy and royal projects in the hills of nan province, northern thailand. austrian journal of south east asian studies, 5(2), 275-291.doi:http://dx.doi.org/10.4232/10.aseas-5.2-6 sommer, b. (2016). scaling: semantic differential. psc.dss.ucdavis.edu. retrieved 4 august 2016, from http://psc.dss.ucdavis.edu/sommerb/sommerdemo/scaling/ semdiff.htm tavakol, m. & dennick, r. (2011). making sense of cranach’s alpha. international journal of medical education, 2, 53-55. vanichbuncha, k. (2002). the statistical analysis: statistics. for administration and research (6th ed.). bangkok: chulalongkorn university press. willekens,f.j. (1990) beweging in de demografie [movement in demography].inaugural lecture, rijksuniversiteit groningen (in dutch). wissen, l. & dykstra, p. (1999). population issues. new york: kluwer academic/ plenum publishers. wyatt, d. (2004). reading thai murals. chiang mai, thailand: silkworm books. 70 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 effect of color composition in work space against job performance rahmawan d. prasetya department of interior design – indonesia institute of the arts yogyakarta, jl. parangtritis km 6,5, yogyakarta 55118, indonesia. email: deprazz@yahoo.com abstract this study investigates the influence of the physical environment on the work performance, regarding the composition of the colors used in the workspace. thirty students of academy of management and secretary were recruited through announcements on their campus and are grouped into three, namely the harmonious, disharmonic, and the control group. an experimental task that must be done is to copy the article to a computer for 2x2 hour, interspersed with rest for 1 hour. results of their work in the form of typing is calculated based on the number of pages, rows, and the number of words with word count on microsoft word program. by using spss software version 17, the data were analyzed using analysis of variance model. the results showed that there were significant differences in performance influenced by the composition of colors in the workspace based on the number of pages as indicator. but the other measurements based on the number of lines showed no significant difference. the measurement based on the number of words also showed no significant difference. with these results we can conclude that the work performance resulting in a workspace using harmonious color composition on the floor, walls, and windows has no significant difference with the performance produced in the work space with disharmonic and neutral color composition. argumentation and future research suggestions are discussed. keywords: work performance, color composition, workspace introduction the existence of the workspace is an important factor in a firm institution. digital age which obligates a company to have a website address does not reduce the significance of the existence of work and office space. consumers, though familiar with the company through website, are still looking towards the physical existence of the company as a major requirement to gain trust in business. physical presence was represented in the form of office spaces in the management of the company concerned. seeing the significance of influence of the office space, the company tried to put in order of priority in development. leading interior designers are called, first-class building contractors deployed, many funds allocated to it, to obtain office space which can represent the company’s image. everything was done to get a positive image from consumers and potential consumers. 71 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music rahmawan dwi prasetya. effect of color composition the tendency shows that designing workspaces in a company has been in the ranks on the priority list of attention. on the other hand, the trend also shows that the company is preparing the office with a more aiming to focus on imaging issues. in fact, numerous studies have shown empirically that the workspace has a lot of influence psychologically for company employees. room temperature, noise level, space organizing, arranging lay out, as well as the shape and position of furniture work are aspects of the study that has been shown to influence the psychological conditions of its inhabitants. similarly, the color of the workspace, prasetya states that the composition of colors in the workspace is also the most important aspects that proved to affect a person’s psychological aspect, such as work stress (prasetya, 2007). this is in line with the statement of naning adiwoso (adiwoso, 2005), a leading interior designer in indonesia, who said that the presence of color applied to the work environment was necessary to compensate for the speed work in a variety of rapid change and dynamic. the colors chosen are certainly capable of providing psychological support for workers in carrying out their duties, which keep them away from negative effects such as fatigue, illness, and stress. but what often happens is that the selection of colors is only based on a mere design trend. as postmodern color trends that emerging today. citing the opinion of jean-francois lyotard, kvale said that postmodern encourage a person to judge the beauty of something without any criterion of beauty itself. it prioritizes language games which are heterogeneous, inequality, instability, disunity, and conflict (kvale, 2006). so is the postmodern-style design. postmodern design has always tried to present the diversity of colors (polychromic), ornamentation, metaphors, symbolism, and a variety of conventions as said by fuller, in sumartono (sumartono, 2004). in an extreme way it was even said that this post-modern design style provides an opportunity for the designer to confuse what is different and from different anywhere what was coming, then he can play around with all of it. it certainly has a psychological impact for someone when applied to the workspace. the source of all of it was essentially the company’s productivity. employees who are in a healthy mental condition will surely maintain their productivity, and in turn will increase the productivity of the company. this study will focus on the investigation of the influence of the composition of colors applied in workspace towards the performance generated by the people who work in the space. will the disharmonic color composition applied to the workspace affect job performance? several studies have investigated the relationship between a person’s working environments with their psychological condition. as performed by evans and johnson, which stated that there is a significant correlation between the noise in the workspace with job stress and job performance (evan and johnson, 2000). as part of the work space, workspace decoration or modification as the physical environment found able to reflect the existence of its inhabitants (sommer, 1974; sundstrom, 1986). personalize workspace apparently affect the personality, uniqueness, and its status within the company, including its affiliates in a group (heidments, 1994; konar and sundstrom, 1986; wells, 2000). what about the color of the workspace? a study conducted prasetya found that the color composition applied to the workspace were affecting stress of someone worked in it (prasetya, 2007). 72 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 1. workspace color composition according to raymond and cunliffe, an office interior visible involves three elements, namely set (floor walls, ceilings), set dressing (furniture and accessories), and lighting (raymond and cunliffe, 2000). architecturally, ching asserts that space is a physical limit was the floor, walls, doors, windows, and ceilings (ching, 1996). however, part of the space which has a primary color area, which can provide visual effects dominantly for users is the wall, floor, and window (gilliat, 2001). these three elements are called the major areas of color. therefore, those three elements manipulated in this study. the use of color in workspace requires many considerations. one is the color composition arrangement consideration which is a major consideration in applying color to the workspace. color composition in workspace is the application of color with a certain composition in workspace. the color application includes all elements of the room (floor, walls, and ceilings). harmonic color composition is based on the color scheme which refers to the color wheel invented by sir david brewster (levenson, 1980) and refined by albert munsell (darmaprawira, 2002). which was then called the munsell system (figure 1). some of the harmonic color composition were monochromatic, analogous, and some complementary composition (direct complement, triad complement, split complement, complement alternate, and tetrad) (allen and stimpson, 1994; ching, 1996; levenson, 1980). figure 1. standard munsell color wheel disharmonic color composition is a composition that is not arranged by using the color scheme. ching argues that whether or not a color match with other colors in the end depends on how and where the color is used, and how the color matched in color scheme (ching, 1996). durret and trezone argues that the composition of colors that should be avoided in relation to human visual responses is the use of color in a pair of complementary color scheme (direct complement) and the composition settings that use more than four or seven colors (bridger, 1995). 73 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music rahmawan dwi prasetya. effect of color composition 2. job performance definition of work performance referred to as the performance or in english is called performance (hornby and cowie, 1987). many experts are trying to define the term performance. lawler says that the performance is a result that is achieved by the employee or job tasks efficiently and effectively (as’ad, 1991). lawler & porter stated that the success of work performance is obtained by a person from the act or result concerned (as’ad, 1991). in a broader scope, jewell & siegall stated that the achievement was a result of the extent to which members of the organization has been doing work in order to satisfy their organizations (jewell and siegall, 1990). similar definitions expressed by hasibuan which states that work performance is a result of one’s work achieved in carrying out the tasks assigned to him based on skills, experience, sincerity, and time (hasibuan, 1990). thus the work performance is more of a person’s level of success achieved to determine the extent of a person’s achievement being measured or rated. zeitz says that the work performance is influenced by two main things, namely organizational factors (companies) and personal factors (baron and byrne, 2005). organizational factors include reward systems, quality control, workload, values and interests, as well as the physical condition of the working environment. among the organizational factors, the most important factor is the reward system, where these factors will be given in the form of salary, bonus, or promotion. in addition, a second organizational factor that is important is the quality of supervision (supervision quality), where a subordinate job satisfaction can be gained if their boss is more competent compared to them. while personal factors cover characteristics of personality (personality trait), seniority, length of service, ability or skills related to the field of work and life satisfaction. for personal factor, which is also an important factor in work performance is a factor affecting the status and tenure. in general, people who have higher status jobs usually have showed good performance. the job status may give him an opportunity to obtain better working lives, so the opportunity to demonstrate the work performance is also getting bigger. companies always insist work performance on their employees. high employee performance will have an impact on increasing the productivity of the company and prevent employee turnover (in and out of the company). in addition, high work performance also impacted on corporate management establishment. conversely, a low employee performance can reduce the level of quality and productivity, increased employee turnover rate, which in the end will impact on the company decline in revenue. this study aims to obtain empirical evidence which states the presence or absence of influence of the color composition in working space toward work performance, and empirical evidence stating that harmonious color composition can reduce work performance, and vice versa disharmonic color composition can improve work performance. so with this study, emerge a new understanding especially about the color composition of applications associated with the performance of user space. thus, it is expected that aspects on employee performance will be used as an important consideration in setting workspace color composition within the scope of office interior design. 74 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 material and method the study subjects involved in this experiment were 30 students from the secretary department of the akademi sekretaris dan manajemen (academy of management and secretary) that were recruited through advertisements on campus notice boards concerned, which contains an offer to participate in a study. the selection of subjects from the department secretary of asmi is done on the basis that the duty of a secretary is dealing with correspondence and assumed each participant is able to operate microsoft word program. characteristics of participants are women, 20-30 years old, and have an ability to operate microsoft word program. women participant had been taken because stoney, et.al. said that there is sex difference in psychological response of stressor, women more sensitive on stressor than men (evans and johnson, 2000). methods of recruitment and selection of the subject refers to the method used by prasetya (prasetya, 2007). each participant was given honorarium as compensation for their participation. all participants declared in a state of normal vision through color blind test at the beginning of the experiment. participants who were 30 were divided into 2 treatment groups and 1 control group (each 10 people per group). this experiment is planned to last for 4 hours. at the beginning of the experimental session, as a cover story, the subjects were told that the experiment was conducted to determine the effect of computer furniture (tables and chairs) to the satisfaction and comfort in work of its users. color room is manipulated, especially the color on the walls, floor (carpet), and windows (curtains). all three are major areas of color (gilliat, 2001). the existing furniture is colored light gray (table and chairs) and working equipment such as computers and keyboards are white. in this experiment, first treatment condition is color work room with harmonious composition, using the primary colors in the munsell color scheme, which is blue. the color determination is based on the results of experiments conducted by hanna & remington, which states that the shape and color of an object was represented separately in memory recall recall (hanna and remington, 1996). thus, the color on the workspace can affect the subject, because the overall composition that forms a certain atmosphere, not because of the colors associated with the memory of the subject. the blue color will not be associated with a calm sea by the subjects. in addition, joy fisher revealed that the bluish-gray color is the only color without the “after image” left in our brain, light gray bluish produce great background for serious thinking. overall efficiency can be improved by using a blue sky and blue sea color (fisher, 2005). in the second treatment condition/workspace with non-harmonious color composition it is used more than 7 different colors (bridger, 1995), with red as the dominant color, while other colors applied are green, blue, yellow, orange, brown, purple, beige, which in composition arranging is irregular and purposely not considering aesthetic aspects. as a condition control, the white dominant color is used in the other room. experiments conducted in a room that measures 9 x 9 feet (figure 2). acclimatization and lighting conditions each room for the 3 experiment conditions (control condition, treatment 1 and treatment 2) is carefully controlled by using the tools anemometer, lux meter/light meter, and sound-level meter. 75 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music rahmawan dwi prasetya. effect of color composition all of participants were asked to copy writing with microsoft word on a computer program that has been provided from an article that has not relevant with this experiment at all (about aerospace), as in the experiments on the noise made by evans and johnson (evans and johnson, 2000) and prasetya (prasetya, 2007). furthermore, participants were asked to work with a relaxed attitude, as their work habits, and explicitly told that no one is watching over their work. this is done to avoid the impact of the supervision/monitoring on employee performance (larson and callahan, 1990), which feared could affect the outcome of this experiment. having lasted for 4 hours, the experimental session ended. subjects were asked to save their work on each computer. figure 2. work place setting. performance as the dependent variable is measured through achievement generated during the experiment. because the experimental task performed was typing using microsoft word software, then the resulting performance can be analyzed through the word count facility that can reveal the number of pages, number of words, number of characters (with and without spaces), number of paragraphs, and the number of lines. correlation coefficient of number of pages, number of lines and number of words with their score each of their total are significant statically. so, it can be conclude that word count facility in microsoft word have valid instrument. mean of word count is 2702.37, variance is 425630.52, and with a standard deviation are 652.40. the result of reliability test showed value of alpha 0.349. because of the minimal value of alpha is 0.30, so, it can be conclude that all of item in word count are reliable and can used to measure work performance. measurements were performed 2 times as pre-test and post-test. at pre-test, the subject has not produced any, so is considered 0 (zero). while the post-test was conducted 76 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 after the session is completed experiment by looking for a set of each subject by using word count on microsoft word program. result data were analyzed by anova using spss, statistical program assistance. anova (analysis of variance) is a procedure that tries to analyze the variation of response or treatment, and try to implement this portion of the variance in each group of independent variables. this technique simultaneously compares multiple variables that can minimize the possibility of error. the purpose of this variance analysis is to find the independent variables in the research and determine how they interact and affect treatment or response response (santosa and ashari, 2005). the design of this analysis is in accordance with the purpose of testing the hypothesis mentioned above. because this experiment consisted of 3 groups with 2 replicates observations, the design of 2-factor anova was used to analyze the data obtained during the experiment. the effect of independent variables on the dependent can be seen from the value of t on the results of analysis of variance calculations. to determine the effect of two independent variables and one control variable on the dependent variable together can be seen from the value of f obtained. results and discussion based on the mean number of pages produced, the control group showed the highest rate, which is 9.10 with a standard deviation of 2.424, followed by group harmonious 8.70 with a standard deviation of 1.829, and the group disharmonic 6.90 with a standard deviation of 1.287 (see figure 3). results of calculation of variance with levene’s test of homogeneity of statistics showed a value of 0.945 with a significance of 0.401. because the significance value is greater than the level of trust, then the decision is to accept h0. it means that the variance of the number of pages is the same in all three groups. figure 3. graphic of the average of pages. with these results, the anova test using the f-test can be done. the result shows calculated f value of 3.788 with a significance value of 0.035. with these results, it can be taken a decision to reject h0 because the calculated f value is greater than the value of f table. with these results, it can be taken a decision to reject h0 because the 77 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music rahmawan dwi prasetya. effect of color composition calculated f value is greater than the value of f table. thus, the conclusions were that the performance rated based on the average number of pages for workspaces with harmonic color composition, disharmonic, and neutral (control) was significantly different. in the analysis based on the number of lines, the mean generated by the control group also showed the highest rate, which is 378.80 with a standard deviation of 109.584, followed by group harmonious 363.30 with a standard deviation of 110.154, and the last group disharmonic 301.20 with a standard deviation of 47.960 (see figure 4). figure 4. graphic of the average of lines. through calculations with levene statistics, test results of variance homogeneity showed a value of 1.716 with significance 0.199. because the significance value is greater than the level of trust, then the decision is to accept h0. it means that the variances of the number of lines generated by the typing from the three groups are the same. therefore, anova test using the f test can be done. the calculation of the analysis of variance (anova) showed a calculated f value of 1.913 with a significance value of 0.167. it means that no significant difference among the three of group experiment. analysis for the performance based on the number of words typed showed same results with the performance based on the number of rows. the mean of the performance based on the number of words for the control group was 2346.9 with a standard deviation of 606.378, followed by harmonic at 2429.6 with a standard deviation of 703.749, and the group disharmonic of 2262.6 with a standard deviation of 378.527 (see figure 5). the results of the test of homogeneity of variance with levene statistics showed a value of 0.677 with a significance of 0.517 (> 0.05, not significant). these results are used as the basis of decision making to accept h0. this means that the variance of the number of words generated from the control group, harmonious, and disharmonic are the same. therefore, anova test using the f test can be carried out. anova test on the number of the word itself shows calculated f value of 0.208 with a significance of 0.814 (> 0.05, not significant). with results it can be taken a decision to accept h0. 78 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 it means that the resulting performance in the work space with harmonious color composition, disharmonic, and neutral (white and gray) are not significantly different. performance measurement based on the number of pages showed result that there is a significant difference between the three experimental groups, harmonious, figure 5. graphic of the average of words. disharmonic, and control. while based on the number of lines and words, the results of measurement and analysis showed no significant difference among the three treatment groups. it can occur because of differences in sensitivity between the three instruments. the fundamental difference of these three indicators is that the number of lines and words have more sensitively measure the results than which are achieved compared to the number of pages. thus it can be said that when performance is measured by using a less sensitive measuring instrument results obtained are significant, meaning that there are differences between the three experimental groups. however, when measured by a more sensitive measuring instrument, the results obtained are not significant, which means there is no difference between the three experimental groups. however, when measured by a more sensitive measuring instrument, the results obtained are not significant, which means there is no difference between the three experimental groups. conclusion the absences of significant differences between the three experimental groups are different from the results of research conducted by prasetya. his research that investigates the influence of workspace color composition on work stress resulted in the finding that the composition of neutral colors (white and gray) in the workspace tends to reduce job stress. while harmonious color composition in workspace tends to maintain, not increase but neither reduce job stress. instead disharmonic color composition in workspace increases job stress. thus, this study also produced findings that job stress does not always cause a decrease in job performance. the conclusion that there is no difference in the job performance generated by the working space with harmonic color composition, disharmonic, and neutral is not in line with 79 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music rahmawan dwi prasetya. effect of color composition research by prasetya (2007). nevertheless, there are shortcomings in the study that would otherwise need to be used as consideration in similar studies in the future. performance measurement using a word count should be accompanied by a counting on the typing error performed. thus it will be more likely to indicate the actual performance results. references adiwoso, n. (2005). color forecast 2004-2005. paper presented in seminar of design and color trend 2005, pebruari 2005, yogyakarta. allen, p. s. & stimpson, m. e. (1994). beginnings of interior environment. new jersey: macmillan college publishing company inc. as’ad, m. (1991). psikologi industri. yogyakarta: liberty. baron, r.a. & byrne, d. (2005). psikologi sosial. jakarta: penerbit erlangga. bridger, r.s. (1995). introduction to ergonomics. singapore: mcgraw-hill inc. ching, f. d. k. (1996). interior design illustrated. new york: van nostrand reinhold publishing inc. darmaprawira, s. (2002). warna dan kreativitas penggunaannya. bandung: penerbit itb. evans, g. w., & johnson, d. (2000). stres and open-office noise. journal of applied psychology, 85, 779-783. fisher, j.j. (2005). design psychology. california: ted blake publisher. gilliat, m. (2001). interior design course. london: conran octopus limited. hanna, a. & remington, r. (1996). the representation of color and form in long-term memory. memory & cognition, 24, 322-330. hasibuan, m.s.p. (1990). manajemen sumber daya manusia: dasar kunci keberhasilan. jakarta: cv haji mas agung. heidments, m. (1994). the phenomenon of personalization of the environment: a theoritical analysis. journal of applied communication, 21, 189-210. hornby, a. s., & cowie, a. p. (1987). oxford advanced learner’s dictionary of current english. oxford: oxford university press. jewell & siegall, m. (1990). psikologi industri/organisasi modern. jakarta: penerbit arcan. konar, e. & sundstrom, e. (1986). status demarcation and office design. in j.d. wineman (eds.), behavioral issues in office design. new york: van nostrand reinhold kvale, s. (2006). psikologi & posmodernisme. yogyakarta: pustaka pelajar. larson, j.r. & callahan, c. (1990). performance monitoring: how it affects work productivity. journal of applied psychology, 75, 530-538. levenson, h. (1980). creating an interior. london: prentice hall international inc. raymond, s. & cunliffe, r. (2000). tomorrow’s office: creating effective and humane interiors. london: e & fn spon. santosa, p.b. & ashari. (2005). analisis statistik dengan microsoft excel dan spss. yogyakarta: penerbit andi. sommer, r. (1974). tight spaces: hard architecture and how to humanize it. new jersey: prentice hall. sumartono. (2004). merenungkan kembali gerakan anti-desain. jurnal seni rupa dan desain, 01, 37-43. sundstrom, e. (1986). work places: the psychology of the physical environment in office and factories. new york: cambridge university press. wells, m. (2000). office clutter or meaningful personal displays: the role of office personalization in employee and organization well-being. journal of environmental psychology, 20, 239-255. ijcas cover_revisi.pdf page 1 ijcas cover_inner.pdf page 2 ijcas cover_back.pdf page 1 the secret of brahms cellos sonata no. 1 op. 38 and shostakovich cello sonata op. 40 asep hidayat wirayudha graduate school of indonesia institute of the arts yogyakarta a b t r a c t this study aims to find a technique solution behind the far interval and octave interval in brahms cello sonata no.1 opus 38 and shostakovich cello sonata op. 40 through literature and discography approach. the fingering problems may poses special difficulties to any cellists. according to the author’s assessment, there are two problems that warrant special attentions of the cellist. both intervals may cause serious problems on the performance of short fingers cellists. the size of the fingerboard on the cello as compared to other string instruments are longer, resulting in harder difficulties regarding obtaining tone (stowell, 1999). from the results of the far interval and octave interval and active involvement of the researchers, the results show that, what is shown that every cellist are anatomically different. the fingers of the cellists are naturally very flexible. it cannot be converted to another cellists. so flexibly that it is possible to overcome the problem in a simple and convenient. keywords: brahms sonata cello no.1 opus 38, shostakovich, octave, interval introduction the principles of neck-positions fingerings on cello have been evolved since the cellist of eighteenth-century extended their range beyond the first position. the principles have greatly improved the skill of cellists to performs musical composition. however, by its nature, fingering is a personal matter. what is regard as suitable principles or rules to one hand will not always suit another. therefore, one cannot lay down any strict rules of fingerings although there are certain general principles that can be followed. among many factors determines the suitability of any principles of cello fingering, the size of cellists fingers is one factor that seemingly out of notice. the available cello fingering methods generally suitable for cellist having relatively long fingers. those having relatively short fingers may find many difficulties to apply the principles. the aforementioned condition, which may cause serious problems on the performance of short-fingers cellists, warrants new methods or approaches to improve their skills. it is in this contexts the author process modifications of the available octave and far interval etudes in order to improve the performance of cellist. the brahms cello sonata cello no. 1 op. 38 and the shostakovich cello sonata op. 40 are used as cases of point. within the context of brahms sonata cello no. 1 opus 38, and the shostakovich cello sonata opus 40, the author divides the problem into two types. they are : (1) octave interval and (2) far interval problem. in order to make the problems clear, it 36 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 is imperative to define first the octave and far intervals. octave interval are intervals where cellist have to play two musical notes from the necessity to place the fingers in two far-separated positions. such a necessity may cause the short-finger cellists pain and discomfort. some cellists moreover may not reach the proper position at all. far interval are intervals where cellists have to move from one note to another that at least one octave higher or lower in a short time. far intervals, especially those required cellists to change position, are classic problem for virtually any cellists. the following passages describe the octave interval in the brahms cello sonata no. 1 opus 38, and shostakovich cello sonata opus 40 which according to the author’s assessments, may become serious problems to any shortfingers cellist. there for, those intervals were selected from the point of view of the relatively short-finger cellists. it followed then by the expositions of far intervals, from the same sonatas that may become problem for many cellist. octave interval problems there are seven octave intervals of brahms cellos sonata no.1 opus 38 that present special difficulties for the short-fingers cellists. the first difficulty is located at the first movement, measure (figure 2-1) the difficulty to perform this interval come from the fact that it requires the first and the fourth fingering to spread on two relatively far-separated notes, especially on the lower note. the second difficulty is located at the first movement measure 130 (figure 2-2) this interval became difficult to be performed since it compels two far-separated notesthe bь and f to be played at the same time in the context of fortissimo. the similar difficulties are found at the third movement, measure 13,35 and 45 (see figure 2-3 to 2-5). 37 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ...asep hidayat wirayudha, the secret of brahms cellos sonata no. 1 op. 38... the sixth and relatively difficult octave interval situated at the second movement, measure 49 (figure 2-6) the problem on this octave interval occurs from the difficulty to use the first and the fourth finger in order to exploit optimally lower notes in the contact of fortissimo. the seventh point of difficulty is found at the third movement, measure 31 (figure 2-7) 38 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 the difficulty to play the aforementioned interval come from the necessity to play the nearscroll interval atfast tempo and the dynamics of fortissimo.in the shostakovich cello sonata opus 40, the author finds four octave intervals that may become problem to the short-fingers cellist. the first interval is located at the first movement, measure 71 (figure 2-8). the difficulty to perform this interval occurs from the necessity to move the lower f≠ to upper f≠ at short time under the legatissimoexpressivo. other point of difficulty is located at the first movement, measure 149 (figure 2-9). this interval in figure 2-9 become difficult to be performed since it requires twofar-separated notes-the lower eь and upper eь to be played in the context of fortissimo. the similar difficulty are found at the first movement, measure 130, in the brahms cello sonata no.1, opus 38, (see figure 2-2) the fourth point is situated at the third movement,measure 74 (see figure2-11) 39 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ...asep hidayat wirayudha, the secret of brahms cellos sonata no. 1 op. 38... the interval above may become a problem since it necessitates the cellists to play the interval in the dynamics of piano phrase. such a necessity may cause the phrase unclear. the far interval problem there are four far intervals of the brahms cello sonata no. 1 opus 38. they are located at the first movement, measure 26-29 and 110-112 and at the third movement, measure 115 and 166-169. the difficulty to play the first point (figure 2-12) occurs from the fact that, firstly (at measure 26), it compels the cellist to move from the first to the fifth position and, secondly (at measure 28), from the fourth to the sixth position. the second point of difficulty (figure 2-13) necessitates the cellist to move, in a short time, from the dь in the fourth beat of the measure 110 to the same note situated one octave higher. moreover, such a movement is followed by the shifting, also in a short time, from the lower f of measure 112 to the upper fthat is two octave higher. the far interval at the third movement, measure 115 (figure 2-14) presents the optimality problem of the sound quality since it necessitates the cellists making a relatively far shifts. 40 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 the last far intervals that difficult to be performed, located at the third movement, measure 166-169 (figure 2-15). they compel the cellist to move from the note b to the note c≠ that is threeoctave higher. this is difficult to be played (it is the farthest interval in the brahms cellos sonata no. 1 opus 38). moreover, this may become a problem since it is located at the third movement. at that moment, the fingers may have already exhausted from the previous movement. according to the author’s assessments, there are two far interval problems in the shostakovich cello sonata opus 40. they are located at the first movement, measure 33 and 42. the first difficulty (figure 2-16) present a classic intonation problem. it compels the cellists to move from f in the fourth position to d in the fifth position. the second point of difficulty (figure 2-17) present a specific difficulty to short-finger cellists since they would find a constrain in order to spread their fingers properly on the note c and f in the seventh position. 41 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ...asep hidayat wirayudha, the secret of brahms cellos sonata no. 1 op. 38... solution to the octave interval problem fingers, by theirs nature, are flexible since they are built mainly by soft tissues and muscles. the flexibility of fingers is one main factor responsibility their spreadability. considering the cello playing, the spreadability of cellists fingers is very important since it has a direct correlation to their ability to play the octave interval. the shortfingers cellists would find difficulties to play the octave intervals at the first, second, third, and fourth position. nevertheless, short-fingers are not dead-end for cellist. the spreadability of finger, up to some extend, might be increase through practice and exercises. it is with this spirit the author proposes some stratagems, which may be used to increase the spreadability of a cellists fingers in this section, using the octave interval problems as case of pint. the discussion on the types and styles of problem show that even though the octave intervals in brahms cellos sonata no. 1 opus 38, and shostakovich cello sonata opus 40 are different in details, but fundamentally they are the same: the problems came from the difficulty of the first and the fourth fingers to reach the proper note when the size and length of the fingers are limited. the difficulty may be solved through the exercises depicted in figure 3-1. the authors proposes six of exercises that may be used to increase the spreadability of short-fingers cellist. the exercises are directed to the g string. all of the excercises, however may be applied and modified to other strings, fingers, and rhythms according to the personal need. solution to the far interval problems solution to the problem at the first movement, measure 26-29 of the brahms cellos sonata no. 1 opus 38 the fingers shifting always become problems. in the case of the movement 1, measure 26-29 of the brahms cellos sonata no. 1 opus 38 (figure 2-12), the requirement of fingers to shift from e (first position) to bь (fifth position) may result the discordant tone of the bь . to solve this problem, the author proposes the following exercise (figure 3-2). it consist of the playing of the e and g (open string) in slow tempo, to make sure that the intonation are concordant, following by the sifting from the e to a (open string) in slow tempo and glissando using the second finger. such a position would make the bь could be reached easily using the third finger. the repeatation of this exercise using the e-abь, bь-a-e, and their variations would give a better results. 42 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 solution to the problem at the first movement, measure 110-112 of the brahms cello sonata no. 1 opus. 38 to solve the problem at the case of the movement 1, measure 110 of the brahms cellos sonata no.1 opus 38, (see figure 2-13), the author proposes the following exercise (figure 3-3). firstly, play of the lower dь, and approaching the fifth position ,its role is changed by the second fingers. the pressing of the d string (flageolet) by the third finger should be used as an intonation controller. 43 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ...asep hidayat wirayudha, the secret of brahms cellos sonata no. 1 op. 38... the solution to the problem at the movement 1, measure 112 of the brahms cellos sonata no.1 opus 38, (figure 2-13) is basically the same as those for the measure 110. there are two alternatives to shift from the lower f to the upper f notes. the first alternative is pressing the lower f note that is located at a string using the second finger (four position). consequently, the d note that should be play at the first beat of the measure 111 is located relatively far from the f note and may not be reached properly. the possibility to use this alternative successfully would be increase through the following exercise (figure 3-4). firstly, play the f note using the second finger in the slow tempo. secondly, shift to the fifth position. by the end of this motion, the d major scale is established which, in turn, making the d note reachable. the second alternative (figure 3-5) is started by pressing the lower f note that is located at the d string using the first finger (fifth position). the pressing of the d string (flageolet) by the thumb should be used as an intonation controller. in such a configuration, the upper f note may be then reached by the second finger at the a string (fifth position). from the aforementioned explanation, it is clear two alternative are similar the main difference in the string used to define the lower f notes. 44 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 solution to the problem at the third movement, measure 115 of the brahms sonata no.1 opus 38. to solve the problem at the third movement, measure 115 of the brahms cellos sonata no. 1 opus 38, (see figure 2-14), the author proposes the following exercise (figure 3-6). firstly, press the d≠ note using the third finger. secondly, shift to find and reachable easily using the third finger. pressing the a string (flageolet), before shifting from d≠ to c, may be done control the intonation. solution to the problem at the third movement measure 169 of the brahms cello sonata no. 1 opus 38. to solve the problem at the third movement, measure 169 of the brahms cello sonata no. 1 opus 38, (see figure (2-15, the author propose the following exercise (figure 3-7). in essence, the exercise is similar to those for the third movement, measure 115 of the brahms cello sonata no.1 opus 38, explained above. firstly, press the b note using the third finger. secondly, shift to find and press the a note using the thumb in glissando. by controlling the flageolet, to make the fifth position, then the c≠ would be reached easily. 45 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ...asep hidayat wirayudha, the secret of brahms cellos sonata no. 1 op. 38... solution to problem at the first movement, measure 33 of the shostakkovich cellos sonata. opus 40 one alternative solution for the problem of the first movement, measure 33 of the shostakovich cello sonata opus 40 (see figure 2-16) is depicted in figure 3-8. firstly, play the f note in the fourth position using the second finger. secondly, shift to the d note in the fifth position using the third finger. control the last note using the open string d. the next exercise in to shift from the f-gь to d notes, and conversely. repeatation of the aforementioned exercise to make the stratagem second mature and, in turn, make the shifting from the f to c notes could be done directly. solution to the problem at the first movement, measure 42 of the shostakovich cello sonata opus 40 the following exercise (figure 3-9) might be used to solve the problem of the first movement, measure 42 of the shostakovich cello sonata opus 40 (see figure 2-17). firstly, play the c-e-f notes using the first, second, and third fingers, respectively. this exercise should be done repeatedly and the c note should be controlled using the open string c. all notes might be varied as depicted in figure 3-9. to minimize the strain during this exercise should be stopped when the cellists feel pain in any part of the body. 46 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016 conclusion the fingering problems may poses special difficulties to any cellists. according to the author’s assessment, there are two problems that warrant special attentions of the cellist. they are the octave and far intervals. the octave intervals may cause serious problems on the performance of short-fingers cellists. the problem occur mainly from the limitation of the spreadability of the short-finger cellists. nevertheless, the author believes that the inherent short finger are not dead-end. the proposes simple stratagems explored in details in this thesis show that there are many ways to compensate such limitation. more importantly, the author believes that there are still many stratagems to be explored. the far intervals, that become serious problem for any cellists, may also be mastered through some simple stratagems. as we can see many far intervals that may previously be seen difficult problems may not be difficult in their self. the problem may actually come from our limitation to find many side track. such side-tracks, that may not follow the traditional principles or rules of fingering, should not be regarded as a kind of desertion. they should be regards as products of creative minds, instead. the results show that, what is shown that every cellist are anatomically different. the fingers of the cellists are naturally very flexible. it cannot be converted to another cellists. so flexibly that it is possible to overcome the problem in a simple and convenient. bibliography clarke, eric. 2010 music and mind in everyday life. oxford university press. cograss, ulla. 2001. for the love of music. mcmillan ltd, new york. eisenberg, maurice 1957.cello playing today. london. lavender publication ltd. 147 g, verlag henle. 1977. brahms sonata klavier und violoncello no.1 op, 38 munchen. leonard rose. 2000 shostakovich cello sonata international music company no. 2087 new york. stowell, robin. 1999. enjoyment of the cello. united kingdom. cambride university press. stowell, robin. 2000 string quartet. sage, london. pleasant, hendry. 1990. music criticsms, sage, london. welden, v. 1999.the cambride companion to the cello. cambride university press.269. zen-on. 2000. shostakovich sonata cello and piano opus 40, tokyo. 85 djohan. editorialfortuna tyasrinestu. conference report conference report the asean socio-cultural community ascc for the office of the higher education for the asean fine arts symposium (afas) 2015 fortunata tyasrinestu afas 2015 was held on may 23, 2015 at grand millennium sukhumvit bangkok thailand. this is the third annual event held in bangkok, as one of the rapid developing cities with a dynamic economy and a progressive society in southeast asia. the city is developing into a regional center that can be a contender to singapore and hong kong. varied with cultural sites make bangkok as one of the most popular tourist destinations in the world. bangkok province is bordered by six other provinces: nonthaburi, pathum thani, samut sakhon and nakhon pathom. while sukhumvit is a special district in bangkok. while sukhumvit is an exclusive district in bangkok. it is home to fancy apartments, villas, restaurants, bars and clubs. popular among foreign visitors and expats, it becomes more and more a thai residential neighbourhood as you follow the road southeast. the asean socio-cultural community (ascc) reflects asean’s social agenda that is focuses on poverty eradication and human development. it is linked inextricably with the economic and security pilars of the asean community. social inequities can threaten economic development and in turn undermine political regimes. economic instability can exacerbate poverty, unemployment, hunger, illness and disease. social instability can emerge from environmental scarcity or the inequitable distribution among stakeholders of the use of enviromental assets. failure to address these critical and persistent social issues can further cause both economic and political dislocation (association of south east asian nation, 2015). implementing the ascc poa will require intensive and sustained capacity building at the national and regional levels in a wide range areas. active participation of various stakeholders in ascc activities will also be encouraged 86 editorialbook of reviewijcas: vol. 2, number 2 december 2015 to draw from their wealth of expertise and experience and to promote a strong sense of commitment and ownership of project and activities. building regionwide networks of ngos, training centres, academic institutions and other asean organisations will gradually weave into the fabric of the asean community and help to strengthen social cohesion. as stated by assoc prof. sineenart laedpriwan, who is the editor in chief, “the faculty of fine arts at srinakharinwirot university which has been established for 20 years and offer fine arts degree from ba, mfa leading to the da, with its goal to provide fine arts educations, researches and services will host asean fine arts symposium on fine arts in association with arts and applied arts institution from all parts of the world especially asean to provide association of southeast asian nations (asean) the concept of “one vision, one identity, one community” the primary goal of ascc is to contribute to realizingan asean community that is people-centred and socially responsible with a view to achieving enduring solidarity and unity among the nations and peoples of asean by forging a common identity and building a caring and sharing society which is inclusive and harmonious where the well-being, livelihood, and welfare of the peoples are enhanced. the ascc will address the region’s aspiration to lift the quality of life of its peoples through cooperative activities that are people-oriented and environmentally friendly geared towards the promotion of sustainable development. according to the 3rd asean fine arts symposium (afas) 2015 held by the university network from the collaborate academy such the indonesian institute of the artsindonesia, university of philippines, mirium college philippines, university of malaya. birmingham city university, illinois state university and srinakharinwirot university. the research papers are presented under the theme asean socio-cultural community moving forward by means of the region’s aspiration to lift the quality of life of its people through cooperative activities that are people-oriented and environmentally friendly geared towards the promotion of sustainable development. the ascc shall contribute to building a strong fondation for greater understanding, good neighborliness and a shared senses of responsibility. the secretary of the office of the higher education associate professor dr. pinniti rattananukoon says that there are full of social and economic ideas to develop the country in between asean to be much more strength in the area of fine arts. “however, we are such a country deeply in culture which has plenty of local wisdom. therefore, i would believe that if all those wisdom could increase the special identity brand for asean product such as music instrument, painting, sculpture, or even product of arts. in the meantime, the education should be 87 djohan. editorialfortuna tyasrinestu. conference report developed and concerned more in the research for socio-cultural community. there are so many parts of each country intellectual property and local wisdom wich are so delightful. the goal of this conference is to bring together researchers from academia and practitioners to share ideas, problems, and solutions. the conference have 26 research papaers separated to be six oral and 14 poster presentation. all research papers from delegate academic institution. the research papers are all in the proceeding report. each session consists of between 6 to 15 people with 4 reviewers. its implementation was technically made with oral presentation system consisting of three or four speakers. the presentations of the symposium was divided into 3 session. session 1 for ethnomusicology, asian music arts education, session 2 for visual arts and design, and session 3 for performing arts. each speaker was given the opportunity to present his papaer for 15-20 minutes, followed by a question and answer of the reviewer and the inter speaker and audiences. these full papers were peer reviewed from the editorial board from four institution: the indonesian institution of the arts, university of philippines, university of malaya, mirium college and srinakharinwirot university. including professors from the university in thailand such as chulalongkorn university, kasetsart university, bangkok university, etc. in the meantime, the education should be developed and concerned more in the research for socio cultural community. there are so many parts of each country intellectual property and local wisdom which are so delightful. all research papers should be worth for public and created the new knowledge to the world. 16 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 parody idioms in the visual characteristics of knil andjing nica reenactors andrian dektisa graduate school, indonesia institute of the arts yogyakarta 55141, indonesia email: andyt868@gmail.com abstract this research is to study the phenomena of wearing military costumes of the past as an alternative ‘means’ of visual communication. people in indonesia like old military costumes and celebrate them as reenactors (a name for the wearers of old military uniforms) in various social activities that can be categorized into two types of stage, namely main and parallel stage. the main stage is related to learning military history, while parallel stage correlates to euphoria for military fashion. both stages become an expression of mockery toward postcolonial mimicry and create a cultural postcoloniality that takes place in the contemporary life in indonesia. this research applies rose’s visual method that emphasizes the aspect of site image itself by making interviews and getting observation data in the groups of knil andjing nica reenactors in surabaya, bojonegoro, bandung, and jakarta. it also applies barthian semiotics unit analysis. keywords: parody idioms, reenactors, visual character. introduction this research studies the visual characteristics of knil andjing nica reenactorsas they can be found in recent years in bandung, jakarta, yogyakarta, surabaya and semarang. the appearance of the visual charateristics is an embodiment of euphoria in liking everything related to the military and war in the past. this phenomenon grows to be a new hobby, that is liking the soldier’scostumes,which has developed in indonesia since 2011. the enactors, a name for subjects wearing military costumes (webster, 2015), besides putting on soldier’s costumes, also act out the popular and legendary war happening in indonesia , such as bandung sea of fire, surabaya 10th november war, serangan umum satu maret in jogja, magelang battleground rises again, and others. the reenactors are included in reenactment groups such as historische van bandoeng (hvb), roodebrook soerabaia, or babad bandayuda yogyakarta, which have appeared and become popular since 2010. in doing their activities the reenactors put on replica/counterfeit uniforms (costumes) and properties (war tools/attributes) that are adapted to the war period/era in accordance with the play they act out. generally, the groups are divided according to the parties involved in the war as it really happened in the past. therefore, it is not unusual to find reenactors acting out as independence warriors, for example as the army of badan keamanan rakjat, tentara keamanan rakjat, tentara pelajar, laswi, and others, or as enemy soldiers (japan, england, gurkha, knil).the activities in the reenactment give rise to the trend of liking the visual characteristics in the form of 17 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics military costumes of the past. materials and methods the object of analysis in this paper is the reenactors who are putting on knil andjing nica’s uniforms of the independence war period of 1945-1949. the visual impression groups are interesting to be analyzed because: 1. as if indonesianpeople at present celebrated the visual characteristics of knil andjing nica’s soldiers, who were recorded as enemy soldiers in the history of indonesian independence and as traitors well-known for their cruelty. 2. the researcher of this paper views the visual characteristics of knil andjing nica’s soldiers as a phenomenon of visual arts because it becomes people’s expression at present in imitating the things done in the era of dutch east indies. this apparently becomes a kind of ‘celebration’and euphoria in visualizing the characteristics of knil soldiers by making up their appearance with various accesories and attributes. 3. the expression of visual characteristics of knil andjing nica reenactorsbecomes a kind of mimetic artifact of colonial knil andjing nica soldiers, and can be related to the concept of mimicry in postcolonial theory, namely as an attempt to imitate or borrow various elements and colonial signs by the colonized people.the imitation practice blends the elements and produces a new identity and formation that bring out certain characteristics of each element.this is called hybrid identity, which is one of the concepts in homi k. bhabha’s postcolonial study (1994:120) that will be a starting point for the analysis in this research. there are many activities the reenactors do as a part of their visual expression, but based on the characteristics of their activities they can be categorized into two types, namely activity related to the reenactment ofwar history and activity that is not at all related to history. the main stage is a special name in this research for the reenactors’ activity that is concerned with celebrating history, for examplethe celebration of independence war moments that happened in indonesia in the past; while parallel stage is for the reenactors’ activity that is non-historical, for instance taking a walk on malioboro street or a tour to yogyakarta palace, bicycling leisurely on car-freeday sundays, and many others.this research studies the phenomenon of reenactors’ activity in two different stages, namely the main stage and parallel stage. the following are examples of visual apperance of soldier characters in the main stage 18 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 figure 1. reenactors’ activityin theatrical action celebrating magelang battleground rises again, 2014 in magelang. (collection: andrian dektisa’s). figure 2. reenactors’ activityin historical dispay of the military in bandung, 2014 (collection: hosea bimo’s). 19 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics figure 3. activity of watching the film fury (above), and discussion on the film oeroeg (below), reenactor members of hvb in bandung. top picture: one of the reenactorswas putting on knil’s army costumeswith bagde andjing nica’s blue badge.( collection : hvb, 2015). 20 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 while parallel stage activities can be seen in the following pictures: figure 4. various reenactors’ impressionof bicyclers’ (called ontelis in indonesian) military costumes of 1940sin old bicyle riding in surabaya 2012. (collection: rubbin nanda’s, 2012). figure 5. maitendraai koninlijk insignia knil’s pinattached on javanese tight-fitting short jacket at a wedding ceremony. (collection: febri asnan’s , 2014). figure 6. knil’s costumesworn by an amateur singer at a wedding party in magelang (collection: febri’s collections, 2014). 21 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics figure 7. reenactors’ impression of knil andjing nica soldiersvisitingyogyakarta palace and taking picture with royal servants and tourists, 2015. statement of the problem the problem that will be studied in this article is why the visual characteristics of knil andjing nica soldiersat present are interpreted in the form of parody? research method this research applies interview and observation on the reenactors doing the reenactment and social activities in knil andjing nica soldier replica costumes 22 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 for data collection. the data are documented in pictures collected from june2013 to agustus 2015. the interview was carried out to 10 reenactors who acted out visual characters of knil andjing nica soldiersliving in jakarta, bandung, yogyakarta and surabaya. the observationwas done by watching closely and documenting the activities of the reenactorsin knil andjing nica soldier replica costumes in bandung,yogyakarta, magelang and surabaya. the methodof data analysis applies gillian rose’s visual methodology (2007) emphasizing on the site image itself considering the aspects of the site of production and the site of audiencing as an analysis support to obtain a more profound signification on the material objects. the main theory applied in this analysis is postcolonial one that is assumed to operate through visual expression in the form of costumes and military replica gears of knil andjing nica soldiers. discussion a. visual mimicry in the form of characters’ costumes of knil andjing nica soldiers costumes and accesories worn by knil andjing nica reenactors in the main stage and parallel stage activities are the same, namely characters’ replica costumes of knil andjing nica soldiers. the visual characteristics in the form of knil andjing nica soldier reenactorsseem to be an embodiment of colonial dutch contextualization. costume replica is a replica of military uniformsthat confirms hegemony and colonial power exercise, by which it can be interpreted as a form of mimicry/imitation of the application of colonial dutch hierarchy and military uniforms system. it also applies to the equipments of colonial products used as complementary accesories for the uniforms, for example gun replica, old bycicles, pipes, and many more. all the objects were colonial dutch’s means to make a social-economic stratification and were an embodiment of social behavior occuring in the dutch east indies era. the following are examples of visual imitation of the knil andjing nicasoldier characters: figure 8. the picture on the left is a figure of knil soldier character of 1949 used as a reference. the picture on the right is a reenactor imitating the picture on the left. (collection: rae wahyudiono’s, 2014). 23 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics figure 9. the picture on the right is a costume and setting imitation of past scene from the picture on the left. (collection: agung setiawan’s, 2014). the word ‘mimicry’according to glossarium indonesian dictionary(2014) means a form of behavior or appearance that first grows in some animals, especially insects, in which the species imitates other species in terms of behavior or appearance as a way to avoid threat in a confrontation with predators. the example is a flower fly, many of which look like bees. the concept of mimicryfirst introduced by franz fanon in black skin, white mask (1952) saying that the colonized people were forced to take off their traditional view of their selves and national identity and then started to learn to adapt their identity with their masters’. the concept of mimicryis used to describe the process of imitating or borrowing various cultural elements. mimicry phenomenon does not reflect a dependence of the colonized on the colonizers, instead the imitators enjoy and play with the ambivalence in the imitation process. mimicryis caused by an ambivalent relationship between the colonizers and the colonized. this ambivalent attitude is triggered by loving and at the same time hating something. according to bhabha,this ambivalenceshould not only be read as a sign of the colonial subject’s traumabut also as a characteristic of the colonial autority operation and as an expression of resistant dynamics at the same time. furthermore, bhabha also said that the colonial presence was always ambivalent, divided between presenting itself as original and authoritative and having an articulation that revealed repetition and difference. in other words, colonial identity is unstable, doubtful, and always divided (loomba, 2003: 229—230). homi bhabha understood mimicrybehavior as an attempt of imitation by the black toward the white that involved resistence. concerning mimicry as a form of resistence, murwani (2007:p.15) said that mimicrywas a behavior carried out as a result of inferior feeling covered up by imitating the behavior of those deemed to be superior. they denied and fought against their own lackness reflected by those who were superior by showing similar capability. richard king (1999) said that the relationship between the colonized and the colonizer was competitive in nature, meaning that the mimickingperson at the same time wanted to show their competitive power. by imitating and also showing his/her capability no 24 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 less inferior than those s/he imitated, his/her competitive power was no more a mere means of survival but a weapon to strike back.this happens because mimicryalways indicates an inappropriate and misplaced meaning.it is an imitation and at the same time a subversion. thus, mimicrycan be viewed as a strategy to face the colonizer’s domination. like a camouflage, it is ambivalent, perpetuating but also negating its domination. it can be seen that mimicryis the basic of hybrid identity. mimicry in relation to its material object can be found in imitating behavior carried out by the reenactors in character visualization of the figures other than their own characters.mimicryin reenactorsis not an attempt to avoid an enemy’s threat but even a part of euphoria celebrating to be a visual representation of the enemy, due to a demand for visual imitation for the stage in the signification. mimicryreenactor is said to be total if s/he looks similar as close as possible to the figure s/he imitates.. reenactor is a person who lives at present and carries out visual character impression refering to historical document; thus, it can be assumed that s/he imitates an enemy’s visual character figure of different era and not for the reason of avoiding a danger likethe concept of mimicry in animal, namelyit is carried out to look alike with its enemy. between mimicryreference figure and mimicryimitation there is a difference in time, and the imitator is not threatened by its patterns. therefore, mimicryin reenactor is the most supervicial attempt of copyingbecause it only imitates the appearance and its imitation is only on the surface. knil soldiers of local ethnicity in independece revolutionary era imitated the visual character of the dutch soldiers because both became a member of platoon carrying out a duty for the colonial interest. therefore, it can be said that knil soldiers of local ethnicity mimicked for the causes related to survival needs. thus, it can be understood that mimicrywas an attempt to acquire qualified life standards due to the lack of income and skill. while mimicryin the reenactorsseems to be a banal mimicrybecause it is not related to a world view or survival, but it is a visual mimicryof knil soldier charactersas an activity to get fun. in the material objects,there are two levels of mimicrythat i call ‘double mimicry,’ namely reenactors’mimicryover historical visualized figures of knil andjing nica’s soldiers of local ethnicity who mimicked the dutch characters and styles. in other words, historical documentation about the visual characters of knil soldiers of local ethnicity in the independence war is a mimicryof ‘their white masters’ and at present the figures become patternss to be mimicked by the reenactors. this is a mimicry over a historical mimicry. the first mimicrycarried out by knil soldiers in the independence war era can be a good example of local expression categorized by pramayosa (2013:8). it is an intrinsic individual condition as a part of colonized society. in relation to knil soldiers,it was a condition to be lived by an individual incarrying out the colonial army duty. local expression as a mimicryconstruct does not work fully, but a situation of dividedness also appears (categorized to be a form of ambivalence) from the postcolonial subjects, namely between admiring and imitating and loving and at the 25 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics same time hating the colonizers as explained by ashcroft (1995:139). this situasional dividedness of mimicryis called ‘mockery’. mockerycan be understood simply as a ‘blurred imitation’ and ‘mocking imitation’ that the postcolonial subjects try to do to the colonizers’ culture (ashcroft, 1995:139). b. mimicry dan mockery hybrid identity of mimicrybehavior can never be fully controlled by colonial authority because there is an ambivalence incolonial discourse. ambivalence is derived from psychoanalysis field that is used to describe the continuous fluctuation between wanting one thing and its opposite at the same time. in postcolonial discourse, ambivalence develops into a concept that explains the diversity of choices offered to the colonial subjects for identity formation. ambivalence refers to a nature that is unstable, oppositional, and unidentical with colonial discourse. this very ambivalencemakes mimicrydone by the colonized people never reach its fullness becauseof the ambivalent nature of the colonial discourse. therefore, the colonialconstruct about the colonizers and about the colonized subjects can signify many things, even oppose each other. the imitation done by the colonized people over the lifestyles offered by the colonialdiscoursedoes not necessarily mean submissiveness of the colonized toward the colonizers. on a certain level, mimicrybehavior can also be a mockery toward the colonizers becauseit does not fully imitate the models offered by the colonizers. mimicryas an ambivalentdiscoursebuilds a similarity on one side andkeeps a difference on the other side. the culture of the colonizers not only can be imitated but also can be played around. mimicrythen can be understood as a process that is imposed by the colonizers but is accepted by the colonized pretendingly (even with lying) to produce a situation that bhabha called “almost the same, but not quite.” in the material objectsof this research, the mockery condition appears when there is a significant contrast betweenhistoricalmimicryof knil soldiersand the reenactors’euphoria over knil soldiers, inthe form of ‘surfacial mimicry’ becausethe imitation is only on the uniforms of knil soldiers. the mimicryonly imitates the visual aspects on the costume motifs popularly known as knil soldiers’ identity with a motif of frog’s skin. this ‘frog skin mimicry’becomes an expression for what i think to be an expression in parallel stage. this frog skin mimicryis superficial in nature and is only carried out as an activity in contrast with its historical situation, and becomes a blurred mimicry or a mockery mimicry over the characters of knil andjing nica’s soldiers. therefore, double mimicry category that appears in parallel stage is a form of mockery expression. the mockery condition also appears when mimicrycarried out does not take place perfectly because situasional differences that appear betweenthe patternssand their mimicry, such as time frame (past and present), social and cultural condition (point of view on the military uniforms as fashion, point of view on binary oppositions, for instance about antagonist-protagonistinthe relation with historical perspectives on indonesian independence). 26 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 in bhabha’s postcolonial perspectives, the concept of mimicry is used to describe the process of imitation or borrowing of various cultural elements. mimicryphenomenon does not show the dependence of the colonized on the colonizers, but the imitators enjoy and play around with ambivalenceoccuring in the imitation process. related to the materialobjects, this practice also appears when mimicryproduced is based on visual photo reference whose objectivity is doubted. it means a picture is a visual construct to communicate something. this communication purpose sometimes makes the picture imbued with interest, for example a picture visualizing a war very likely and inevitably produces constructs that benefit one of opposing parties.these constructs are understood in the journalistic photography as framing. a picture published in a mass media has a framing content for the interest of the mass media; thus, it tends to be a visual fact with less objectivity. mimicryproduced from a content that is not framing-free tends to create a contrast while the significance of the reenactors’ mimicry is to achieve authenticity as optimal as possible. if there are visual data that oppose each other or are not congruent one with another, then the resultant mimicryis a confusing one becauseit is not standard, constantand flexible. anyhow, i assume this to be also a form of mockery expression.. situasional mockery also appears because mimicrypatterns does not come from the visualization of figure character from historical data, instead it comes from the previous reenactors’ figurein which one of them has been visually and digitally modified with a computer. this happens due to the tendency of diaspora inthe reenactor figureand also due to a trend in the society. in other words, people imitate visual character of soldiers not in reference to a picture or authentic visual data in accordance with history but to visual objectsof knil soldier reenactorsas a result of their creativity or a product of digital picture editing. it is difficult to identity whether a picture is original or has been edited digitally by only looking at it. an activity that seems to ‘play around’ with colonial culture brought about by reenactorsbecomes an expression that blurs the mimicryitself, and the appearing mimicryis not a form of complete mimicry, yet it appears as a mocking one. this assumption will be used as one of the arguments that mimicryin reenactorsis a way to create a contrast situation, mockery, and fun-making of serious colonial faces. mockery expression also appears indaily life activities of reenactorswhen they mix their daily social activity with their reenactment one, especiallythe one related to fun expression in group activity. the mimicryconstruct then produces interconnection whose characteristic emotion is euphoria and shared happiness. the resulting fun becomes a visual construct that can be categorized as funny, and it is in complete contrast with its original mimicry patterns. this can be assumed as a form of parody expression. the following are the visual examples: 27 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics figure 10. mockery mimicryexpression over the visual characters of knil andjing nica’s soldiers bya group of historical van bandoeng ina shooting session of the film lasjkar syetan, 2013. (collection: hvb, 2014). the mimicry is carried out by creating a hybrid construct of figures oriented to making fun. knil soldiersare now joking and ridiculous, no longer serious and scary. reenactors, costume producersand the society reproduce new meanings adapted to the interest of self-actualization, military fashion, and spectacle in line with a contemporary point of view. on this site hegemonic power is produced since the reenactors, society, and producers’ interest is controlled by capitalistic economic values. reenactors become a part of the production process and at the same time a package of contemporary spectacle ending in one outlet, that is fashion industry. 28 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 figure 11. the reenactors’ expression of the characters of knil andjing nica’s soldiersinan event celebrating serangan oemoem 1 maret 2015, and magelang kembali, 2014. (collection: imanez white and febri, 2015). funny elements are used as a communication model among the reenactor groups that are as outstanding as the theatrical activities themselves. as if funny behavior became a ‘second stage’ that was more interesting, entertaining, and acceptable to the society. while the main stage was a celebration of war event or education about the military history refering to a reality, the second stage operated on a social media facebook, being digitally edited using technology, and hyperrealitic in nature. reenactors celebrated costumes and gears that did not produce traumatic expression, in which the war was over and a game of war just began. the story of cruelty was only memorized orally or with verbal data commonly coming from the independence supporters. the reenactorsmade more impressions of valor, pride, and allegorical nuances of historical data from the enemy of independence fighters. 29 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics figure 12. a knil reenactor with ‘transgender’ impression (left). the second picture is entitled ‘strees’ on the facebook wall of agus knil, 28 april 2015 (right). (collection: agus knil, 2015). figure 13. the picture of knil bare-chestreenactor on a railway coach of ambarawa museum (left). the picture of hvb reenactor 2013 (right). (collection: errol and hvb’s, 2015). c. the space of parody representation reenactorsdo not have a complete historical view on psychological or emotional expression describing the expression forms that can be interpreted negatively about knil soldiers in the revolutionary era as a reference for their visual imitation. therefore, reenactorsmake use of their subjective imagination that tends to be pleasant and funny as a replacement for their lack of impression. the funny nuance becomes an important factor to create an appeal and brings out the audience’s appreciative attitude to produce memorable situation. formal mimicryimpression is used as a situasional mimicryfor serious theatrical stage act, highly respecting historical authenticity. however, there will be a contrast if an reenactor loses a reference for the next mimicry. the contrast is in the form of authenticity instability, scenario instability, stage instability, impression instability, but still in situasional demand to ‘stand out’. theatrical actbased on the scenario is over, but visual character figures of knil andjing nica’s soldiersremain; they still make impression and do their activities in knil uniforms. thus, hybrididentityis developed when the soldiers still make impression while the scenario is over, and the appearing hybrididentity tends to be funny. 30 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 this is used as a ‘middle way’ to avoid scenario lack and to maintain the existence of its mimicry. parallel stage brings about ambivalenceas an effect of improvisation and mimicry strategythat goes out of control and lets loose each individual’s subjective improvisation. situasional ambivalencecauses humor-ambivalence and also complements humor-mimicry on the parallel stage and makes it funny. it is assumed that there are two types of genre that operate inthe structure of visual characters of knil soldiersintwo stages. the first genre is oriented to historical mimicryby adopting authentic visual elements being kept and remembered from generation to the next as a form of historical heritage. the second genre is an expression of mimicry-ambivalence-mockery. both genres occur in the third space that becomes like a ‘middle way’ in the dialogical relation between western and eastern (local) points of view because both cultural elements are needed. this is a dialectical process that in bhabha’s concept is calledthe third space;henri lefebvre (1991) calls it a representational space; soja (1996) uses thirdspace/trialectic spacein which the historical and social aspects among the ‘parties’ meet; and foucault (1997) calls it heterotopia space (hidayat,2013), while interms of play and theater performance this third space has the potential to produce satire and parody (gilbert and tomkins,1996). homi bhabha’s concept of third spaceappears becauseof globalisationbackground inpostcolonial situation; therefore, culture as a survival strategy goes across nations and appreciation since intensity and frequency of foreign cultural interventioninlocal spaces of each person increase. basically, the third space is a hybridity to create a new expression, new style, and other things as a collaborative working of its constitutive elements. war has long been over, but ‘war theater’ still goes on and is maintained in imaginary space. colonialwar has been left behind and many dutch people now feel ‘guilty’ or sorry for what their ancestors had done to indonesia in the revolutionary era. however, for the reenactorsthe opposite is true. the military activity involving the character figures of knil andjing nica’s soldiers will alwayshappen again and again because it becomes a fashion expression and a part of visual culture. knil war costume accesories have long been buried or kept in the dutch museums with their bitter memory, but in indonesia they are even reenacted and celebrated again through contemporary creation of stages to accomodate the post-theatrical, post-history learning, post-film watching and discussion on war films, and many others. this square mimicryis celebrated in the form of ambivalence. results this mimicry is celebrated by the appearance of social groups and individual organizations coming from similarity and closeness due to certain factors as a form of culture club. reenactorculture club of knil andjing nica’s soldiersappears as a fetishover the visual character of the dutch soldiers celebrated at present. this culture club is not the next generation of knil, but it is understood as an artificial euphoria 31 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics to be different, to be a hybridmimicry thatonly celebrates its visual form, as one contemporary trend to celebrate its surfacial elements. western culture for some indonesians is considered as a construct related to idealization. ducth culture as one of the representations of western culture that has a close historical bond and is taken as ‘a part of indonesian past life’ turns reenactors’ activityof being knil andjing nica’s soldiersinto one alternative means to celebrate western idealization.learning from historical fact that this nation won the war becauseof negotiation pressure and not because of victory in battle,the reenactorsmake use of the historical realityas something that gives a significant influence in their impression. being visually attractive dutch soldiers seems to be more interesting to do. reenactors’mimicryof dutch soldier figuresseems to be used as a psychological fulfilment for the wishes of having the dutch virility. showing immitation of visual character and optimal achievement quality interms of visual contestation, costumes, and accesories of impressionis considered to be a challenge to prove the reenactors’ imaginary ideal of virility. being reenactors with visual impression of knil andjing nica’s soldiersis an attempt to make a visual reconstruction. this becomes what strinati (2007,263) called ‘retro-nostalgia’,namely an attempt to recycle the past in a different way since the excavation of historical values is covered in artificial elements. this recycle is an effort to grow retrospective attitude in the antagonist groups and also to deconstruct negative stigma published in conventional media. reenactors create a parallel stage as a new construct for antagonist figure who is no longer scary but is now a pleasant, iconic, and populist figureand yet having opposite point of view from the old one. reenactors of knil andjing nica’s soldiers are a representation of the effort to make a social regroupping. this means that the making of social group that is based on demographic and geographic aspects is considered to be obsolete. the newly created groups are based on the similarity of hobby and mindset or point of view (based on psychographic aspects). this is at the same time a new way or bonding element in the making of social group. the factors of newness like similarity in impression of knil soldiers, fetish sublime dependence on the soldier’s costume (authentic, relic, battle-proven) and having affiliation with the allied groups are used to preserve the need for mimicry. this need continuously grows in line with fashion fulfilment other than costumes and accesories, namely contemporary lifestyle and mindset to satisfy the desire for products controlled by production machines. the desire to have is a foundation for contemporary life that seems to be controlled by global capitalism. the desire operates through a worshipping mechanism on goods that are not substantiallyneeded. the desire through global capitalism changes want into need. need is created; it produces not only goods but also need; the desire lies behind the need to preserve the production. being reenactorsof knil andjing nica’s soldiers seems to be an alternative to enjoy an old lifestyle as has been done previously at the nostalgia celebration of past lifestyle, 32 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 for instancelove for old furnitures, local heritage of culinary recipe, old transportation, colonial house model, and many others (see lim & hidayati, 2010). inthe celebration of enjoying the past lifestyle, the reenactorscombine and mix up the related elements disregarding time, disregarding function of goods elements (for example an army cup hung on the trooper’s knapsack), mixing reality with imagination, reality with hyperreality, and others as a celebration of mimicry. mockery mimicry then becomes an expression of hybrid ambivalence when the newly created figure is even in constrast with the constituting elements. for example, the replica of 1945-1950 knil andjing nica’s soldiers at present carrying android smart phones, or doing an activity and interacting with the people in the theatrical event, becoming extras at war film, going on a tour to yogja palace, taking pictures with royal servants. however, they are still responsible citizens and play their role as good ones by joining the presidential general election or helping police officers manage the traffic. a group of individuals like this views colonial military uniforms as fashion, old-fashioned clothes being liked and appreciated or chosen as an alternative to attend a wedding party or prewedding event, to be wedding guest receptionists, and many others. i understand this as a phenomenon of postcolonial cultural expression construct, a cultural ‘attempt’ appearing incontemporary social life becauseof postcolonial influence. in other words, it is an appreciative attitude over interconnected points of view that people have on colonial artifacts influencing the identity of the people at present,as an expression, formative discourseor iconic sign of contemporary life (see setiawan, 2014:438). the formative discourse becomes a kind of culture, a word that has three orientations in williams’ terms (1983). first, it is a term referring to a general process of intellectual, spiritual, and aesthetic development. second, it refers to a certain worldview of the people, period, or group. third, it relates to the intellectual works and practices, especially artistic activities. substantially, the activities have the main function to show, signify, produce, or sometimes to be events that build certain meanings. culture in the third sense is synonimous with what the structuralists and poststructuralists call ‘signifying practices’ (williams, 1983: 90). applied on the material objects of this research, the phenomena of visual character of knil soldiers embodied in all activities and operations/consequences of the signifying strategy are a kind of social practices and discoursecarried out in the contemporary life. this is the reenactors’ attemptto produce certain signs and also meanings to be conveyed through their artistic activities. reenactors reproduce the visual characteristics of knil andjing nica’s soldiers through chains of mimic-hybridmozaic, but their production seems to be an effort to deconstruct their historical stigma. reenactors deconstruct and reconstruct the negative view and hatred passed on from one generation to the nextby applying various new expressions as a result of mimicry, hybridity, ambivalence, mockery, visualization desires, fetish, and media technology. this is a form of cultural postcoloniality, in which understanding of meaning and visual operation of 33 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics postcoloniality has been constructed ‘beyond’ the limitations of binary oppositions like traditional-modern-postmodern, real-imaginary, past-contemporary, serious-funny, and other blurred meanings. this is one of the phenomena of cultural postcoloniality. the third space as a stage of cultural postcoloniality inthis researchcan be visualized with the following chart: figure 14. third space chart (cultural postcoloniality) as a kind of tug-of-warbetween modern, civilized, and superior colonial space, and traditional, uncivilized, and inferior local space. (collection: dektisa, 2015). conclusion imitation of the characteristicsof knil nica’s soldierswhen related to postcolonial theory is understood as an attempt of visual mimicry. however, mimicrydoes not work perfectly when the impression display cannot be fully visualized. there is a lack of historical visual patterns that are added from the reenactors’ imaginary space. the effort to fill the lack can also be interpreted as a part of subjective psychological expression and at the same time an attempt to reach catharsis and seflactualizationthrough the impression they carry out. the filling expression of absent patterns and the effort of self-actualization become the ‘third space’ or ‘dialogical space’ that is ‘affirmation space’ betweenthe individual subject who still has a traditional point of view on the second space consisting of modern procedures and structure inthe context of colonialorientation. inthis very third space, reenactorsexpress their social activities and construct meanings and signs categorized as formal discourse and become a part of cultural postcoloniality. this culture becomes an alternative procedure that helps reshape contemporary social life. the third space also becomes a channel/medium for euphoria of subjectivity and a space for optimalizing character visualization of knil andjing nica’s soldiers. however, the third space cannot accomodate the power of imaginative mimicry impression that is ambivalent in nature. since, besides displaying postcolonial expression deriving from traditional and colonial faces, the third stage accomodates various needs of impression and replica activities. inthis research, the third space is 34 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 parallel stages, namely when visual mimicryproduced develops into hybridityand gets ambivalentinaccomodating various needs of reenactors’ activitiesin their contemporary social life. references ashcroft b, gareth g and hellen t. (2001). the empire writes back, theory and practice in post-colonial literatures. routledge publisher, london. __________. (2003). menelanjangi kuasa bahasa: teori dan praktik sastra poskolonial. qalam, yogyakarta. __________. (1995). the post-colonial studies reader. routledge publisher, london. bhabha, h.k. (1994). the location of culture. london & new york: routledgetaylor & francis e-library. barnard, malcom. (2005). fashion sebagai komunikasi, cara mengkomunikasikan identitas sosial, seksual, kelas dan gender. (terj. idi subandy ibrahim). penerbit jalasutra, yogyakarta. barthes.r. (1997). the fashion system (trans. by matthew w. and richard h.). university of california press, london. murwani, christina dewi tri. (2007). “max havelaar dan citra antikolonial: sebuah tinjauan poskolonial.” tesis program studi ilmu sastra sekolah pascasarjana universitas gadjah mada, yogyakarta. strinati. d. (2003). popular culture, an introduction to theories of popular culture, terj.: abdul mukhid, popular culture, pengantar menuju teori budaya populer. penerbit jejak, yogyakarta. sturken&cartwright. (2004). practices of looking: an introduction to visual culture, oxford university press, london. williams. r. (1983). keywords: a vocabulary of culture and society. oxford university press, new york. conference paper setiawan, ikhwan. (2013). jelajah pemikiran budaya. makalah di diskusi pusat studi kebudayaan ugm, yogyakarta. 101 adam wahida. empowerment of the students creativity conference report interdisciplinary and globalisation issue at the international conference for interdisciplinary studies 2014 (icis) in south korea prayanto widyo h globalization drives a country becomes smaller or narrower due to the ease of interaction between countries, be it in trade, technology, information exchange, and lifestyle. globalization is a worldwide intensification of social relations that connect between the events that occur in different sites with one another and cause many changes (smith and baylis, 2001). globalization caused by rapidly advancement of knowledges and sciences in information and communication technology. the information and communication technologies play the role in the process of agreements held between countries that are closely interwoven with various things including transactions in the field of economy. globalization becomes an important issue in the international conference for interdisciplinary studies (icis 2014) in busan, south korea. as stated by taehee kim, phd, who is the executive director of international cooperation, “this conference aims to invite international institutions of various disciplines and hoped to provide power to the national economy. the current economic character is not easily predictable and very quickly turned like a thunderbolt. all of the things cannot be separated from the development of the various disciplines that do exist.” icis 2014 was held on september 22 and 23, 2014. the goal of this conference is to bring together researchers from academia and practitioners to share ideas, problems, and solutions. this conference provided many opportunities for researchers to present the latest research findings and describe emerging technologies, new research problems, and directions in globalization issues. the conference seeks to contribute and present novel research results in all aspects of stregthening the country’s competitiveness in the globalization. in the current globalization, where bounderies among countries are obscured or borderless, where information is moving quickly, each country has its own challenges to improve their countries’ strengthening capabilities in many areas such 102 ijcas: vol. 2, number 1 june 2015 as technology, economics and business, exact and social sciences, culture and gender, law, hospitality and tourism, linguistics, communications and arts and design. in light of this, several universities in indonesia, in coopertaion with youngsan university in korea and its association with eight countries in the world, are planning to carry out an international conference called, “international conference for interdisciplinary studies (icis) : strengthening national competitiveness through cooperation in the era of globalization.” the conference will be the first conference designed mitigate these challenges. the president of youngsan university guwuck bu, lld as the host of the conference says that the value of creative attention and ‘convergence’ as a concept to make the changes. convergence is a new value and solutions in the world competition. this is the concept and context that will be discussed at this conference. exchange of knowledges and information between disciplines become the main concern. and it is expected to be the contribution and the strength of the national economy. this conference is considered appropriate to the conditions that developed at this time, both nationally and internationally where the issues of global (globalization) requires interdisciplinary studies. the conference which held in south korea is the first conference. this activity is planned to be implemented every year. for the international conference for interdisciplinary studies 2014 (icis 2014) on the theme: strengthening national competitiveness through cooperation in the era of globalization. icis 2014 held on 22-23 september 2014 held at youngsan university, busan, south korea. busan is the second largest and most important city in south korea after seoul. busan is a port city and metropolitan which is located in the southeast of south korea. the city is designed by south korean government as a tourist spot of foreign exchange from around the world that is increasing every year. young sun sin as the ambassador for international relations of busan metropolitan city in his speech said that the conference was perfectly held at this place because busan is a city where trade, ports, logistics, and strongest financial in asia. the conference is conducted in cooperation between the two countries, korea and indonesia are represented by a university from south korea, youngsan university, and several universities from indonesia; padjadjaran bandung, unikom bandung, bandung unpas, and upi bandung. the conference was followed and involved 107 presenters who were coming from many countries such as indonesia, korea, japan, thailand, the philippines, taiwan, malaysia, sudan, and dubai. participants/speakers of 107 people who had different background of disciplines, raging from masters, doctorals students and lecturer. the speakers convey their ideas or research’s results to the emerging issues at that time, both on economic issues, technology, communication, social, artistic, and political. the presentations of the conference was divided into 10 sessions with 10 rooms. those tenth session included: marketing business sessions; business management, entrepreneurial business, finance; accounting and aministrasi; education and hrd; it, arts and futures; social and legal 103 adam wahida. empowerment of the students creativity knowledge; globalization; social and information; and the last was tourism. each session consists of between 8 to 13 people with 2 reviewers. its implementation was technically made with panel system consisting of three or four speakers. at session 9 consisted of 13 participants/speakers were divided into three panels. one panel comprised between 4-5 participants/ presenters to focus on the discussion on arts, communication, and management. this session was specifically discussing about globalization. each speaker was given the opportunity to present his paper for 10-15 minutes, followed by a question and answer of the reviewer and the inter-speaker and audiences. hence, it can be concluded that globalization and interdisciplinary become a very important part in the conference. it is inevitable that the constantly evolving dynamics of international relations in line with scientific developments in various fields or disciplines. and the international relations between countries or between individuals from different countries, either in the form of political relations, culture, and economy, where each field has the important role that all of the necessary support interdisciplinary academic study. prayanto widyo h. conference report 50 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015book of reviewijcas: vol. 2, number 1 june 2015 video art: psychological status of orphans from the unrest in the three southern thai province i-na phuyuthanon department visual art, faculty of fine arts srinakharinwirot university sukhumvit 23, wattana, bangkok 10110, thailand email: nananashow@gmail.com abstract the greatest loss caused by the insurgency in narathiwat province which is in the south of thailand is the lives of the orphans whose parents or beloved ones have been deprived among conflicts and violence. even though the affected people have received different aids, such cases are not as important as the situation faced by the orphans. after the losses, no one truly pays attention to the extent to which the southern crisis affects these unfortunate children. even in time of peace, the children who will become adults in future have to face and suffers from severe social biases at home and elsewhere. they also have to face violence and the lack of safety in their lives. this is a result of the fire of vengeance between local people and the government’s suppression which is a game of those villains in power. the orphans will have to sustain their lives alone despite some aids from the government and private sectors. in order to create social awareness of the orphans’ daily lives in narathiwat province, which affects their psychological status, education, and security of individual, social, and country’s levels, the awareness is raised through video art creation. video art is a form of art which can reflects the way of lives of those who suffer from losses by presenting the stories of those who have lost, especially in terms of mental status after the loss. video arts also present views and cultures of the locals with motion pictures, picture placement, and actions and contemporary artistic framework to convey the important message to the society so that people will understand the reality. video arts are produced based on the researcher’s viewpoints and attitudes gained from the five senses – vision, hearing, smell, taste and touch. video art is also a type of media that fully responds to human’s imaginations. keywords: video art, psychology of art. introduction this research has been conducted for one year, since 27th january 2015 to 26th january 2016. in fact, this is a creative research as in vdo art format that has been conducted information, sources, overall history and, most importantly, the loss of parents which caused by the political unrest in the three southern provinces. as a matter of fact, the issue has affected daily lives of orphans who struggle to live each day. this research will focus mainly on the minds of the living victims. since 2004, narathiwat province is the most affected area in terms of loss and political unrest of the three provinces. it has been noted as the red zone, which unpredictable incidents always occur. the crisis in narathiwat province causes changes and damage in many areas such as economy, society and way of living. therefore, it is the province 51 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobongkaori okado. art management in javai-na phuyuthanon. video art: psychological status of orphans that has been under the strict control of the government ever since. although many of the involved units are continuously trying their best to solve this problem as in using internal and external authorities or even investing a great amount of money, the problem still incessantly goes on. even worse, the violence has been increasing each day. we have lost lives, properties, economy, and security. it is a national issue that has occurs for too long and we do not know the real cause beneath this brutality or how we should solve it. lives of innocent people, local staff including groups of people who use force to deal with this problem are affected every day. consequently, we are losing a sense of security. people are living with fright. the attack is reported daily. victims are local people and we never know who will be the next one. the civil disorder has been developing its severity continually. to handle this, the government has responded by putting more soldiers and polices into the area to take care of the issue at maximum capacity. authorities have put roadblocks in rural areas of the province, villages, sub-district and in the city area, but it doesn’t work. polices and soldiers have been attacked and killed every day. according to this matter, i have found that the attack on local staff will create fear of being close toofficials. people are afraid that they might get killed as well for doing so. indeed, it is a conflict of belief that where there is police and soldier, it is not safe. once i have actually gone there, i have sensed the gloom and depression all over the place. in addition, i’ve found that instigators will have their targets locked prior to the execution. the victims will be spied for some time before the actual attack begins. to be precise, some of the targets are not always officials. the random killings of local people, thai buddhist and thai muslim have installed nervousness, confusion and disorganization. sometimes, it also is the source of accusation, carried by word of mouth all over the three southern provinces insurgency. additionally, the rumors are being expanded within thai society via certain medium, which are responsive to exchange comments. the innocent people are being attacked and accused as a consequence in certain period of time. ways of living and local economy are both deteriorated by the unrest. materials and methods prof. srisompob chitpiromsri has given the interview in the 9th article in the 9th year in “the repetitive insurgency as in search for freedom of pattani still continues”, the deep south watch (dsw), center for conflict studies and cultural diversity (cscd), and prince of songkla university, pattani campus that the south thailand insurgency has already been 105 months. since january 2004 to september 2012, the total incidents are equal 12,377 times. as a result, the death toll and the injured are 14,890 people (death 5,377 people. injured 9,513 people). in 2012, 9 months have passed; there is a common belief that the unrest is becoming a chronic issue. certainly, there is an attempt to make it obvious in terms of the increasing brutality in which the frequency and the intensity are still on the same scale, while the content of the violence are on the rise. the insurgency has changed since 2007 up to present. since 2012 onwards, it is clear that the custom of the violence has become more complex and intensified. numbers 52 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015book of reviewijcas: vol. 2, number 1 june 2015 of incidents are too horrendous and frightening to see. also, some of the incidents are being broadcasted on media frequently. for instance, on march incident that 603 people were killed within the same period of time. another case was in august; there were totally 380 attacks. all in all, we could say that the two months have broken the record of monthly political unrest frequency in nine years and nine months, since january 2004 to september 2012. the statistic of monthly unrest was high since january 2004. the recent violence reflects that the three southern provinces insurgency is now severe. it might be a symbolic proof of a qualitative damage and an evidence of inescapable chronic issue of the three provinces. isranews agency has released a statistic number regarding southern insurgency matter. for the past eight years, there are 13,085 people affected. the death toll was totally 5,469 people and injured 9,653 people. the report in 29th july 2012 is as below: early 2012, the incessantly unrest in the southern on thailand on 31st march, there was a car bomb in had yai, songkla and another two in ramadan. however, at that time, the local staff still insisted that, based on statistical information, the overall of the situation was getting better and obviously much better than last year. according to the unrest report, the insurgency of the southern provinces has continually happened in the past eight years, affected the living of people and official work life. the characteristics of the attack are ambush, landmine and demolition of personal and official properties. in 2004-2012, the total insurgency in the three provinces and songkla equals 13,085 times, resulted as 5,496 death and 9,653 injured in which most of them are local people (75.04%). the violence incidents are increasing up to 2,078 times. the situation in 2005, the government announced the declaration of a state emergency in 2005. however, the insurgency was at its peak in 2007, there were equally 2,475 incidents. the unrest was then starting to decrease in 2012 and there is a tendency to continuously go lower. government has used the peaceful means, focusing on creating a local leader discussion forum in order to tackle with the problem with local insights. this method opens up new idea for everybody to think of solution for the insurgency. then the remedial measures of victims were brought to help those in the three southern provinces to change violence to peace. nevertheless, even though the result of policy changing was not concrete to evaluate, but the average of the insurgency decreases from 2.97 in 2011 to 2.42 in 2012. comparing statistic within six months, especially the ambush and landmine, incendiary incident between january to july 2011 and january to july 2012, reported by southern border provinces police operation center; the overall situation diminished from 406 times to 172 times. the bomb explosion has reduced from 147 in 2011 to 92 in 2012 or 37.41%. according to the deep south coordination center (dscc) and prince of songkla university, pattani campus have found that the statistic of the unrest in pattani, narathiwat and yala in january to june 2011 comparing with the same period in 2012, there is a tendency to decrease of insurgency in every province. the overall situation reduced from 511 incidents to 306 or 40.11%. the casualty in the three border provinces between january to june 2011 compared with the same period in 2012, 53 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobongkaori okado. art management in javai-na phuyuthanon. video art: psychological status of orphans reduced from 234 incidents to 145 or 38.05%. the total number of death toll between january to july 2011 comparing with the same period in 2012 has reduced around 216 people. moreover, divided by province, yala has death toll and injured figured decreased 78 people. for pattani, the death rates and injured are more or less the same. regarding narathiwat, the death toll and injured rate reduced 138 people. the risky targets are teachers and educational staff. between january to june 2011, death rate: 5 and injured 4 people. however, in 2012 there was no mentioned target being attacked at all. in terms of crimes, in the areas of provincial police region 8 responsibility (middle southern provinces) region 9 (lower southern provinces) in the three border provinces and sotocho(southern border provinces police operation center) have found that region 8 has the highest rat of crime. the average per day is 1.44. on the other hand, sotocho area has only 1.21 per day. the budget to cease the fire of the three southern border provinces from www. isranews.org/south-news, written by pakornpeungnetre on the 4th january 2012 reported that in the past eight years, the government has already invested 1.61 hundred billion baht. moreover, especially in 2012 the government set up a budget of 1.6 ten billion baht for soldiers and internal securities operations command (isoc) to empower their duties. more than 60%, the situation did not get any better. in the eight years, there were over ten thousand times of insurgency, approximately 2.7 times per day and more than 2 thousand bombs occurred. over five thousands people were killed because of the attack. more than 1.6 thousands of guns were stolen while the authorities can take the guns back only almost five hundred. the political unrest in the three southern border provinces and four districs in songkla would celebrate their 8th anniversary in order to commemorate the incidents on 4th january 2012 that officials were threatened and killed severely inside the 4thdevelopment division, kromluang narathiwat ratchanakarin camp, bann pileng tai, maruebo-oke, jaoairong district, narathiwat province. at that time, 413 guns were robbed. people are in continuous doubt if the government has been able to tackle the problem. during the crisis, thailand has already been governed under the seven teams and six prime minister. however, the daily killing still exists while there was also a heavy investment on money to solve this. according to the information, every changing government has put the insurgency to be a “national agenda” and; consequently, spent a great deal of money up to totally 161,278 million baht in nine years. the budget can be divided per year: in 2004, the government spent 13,450 million baht, 2005 – 13,674 million baht, 2006 – 14,207 million baht, 2007 – 17,526 million baht, 2008 – 22,988 million baht, 2009 – 27,547 million baht, 2010 – 16,507 million baht, 2011 – 19,102 million baht and 2015 budget is currently under consideration, the tentative of approved expenditure should be around 16,722 million baht. nevertheless, we should take into account that the budget are “functional budget” of certain ministries and divisions which includes the spendings such as living expense for the office of the national security council, under the supervision 54 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015book of reviewijcas: vol. 2, number 1 june 2015 of isoc. the budget excludes other funding such as monthly salary, extra costs of officials, budget for those who in need of recovery around three billion million baht. on 21th april 2012, isranews agency has revealed about the disabled students in the three southern border provinces that the amount ofdisabled students are over five thousand, while other students are victims also affected. the latter group is around 350 people. the budget to help these students equals 155 million baht in order to create learning centers for disabled students to elevate their well-beings. the objective is to let them grow or live effectively and independently. the payment was beling split up three rounds: 7.5 million baht by southern border provinces administrative centre (sbpac), 3 million baht by pattani and 4 million baht by government bond. the sbpac has used 155 million baht to set up a healthcare for disabled victims from the insurgency of the southern border provinces. after investigation, there are more than 5,000 disable children and over a hundred disabled people are taken cared of here. the meeting of strategic board of development, sbpac 2/2015 has proposed that the total disable students in the three southern border provinces are up to 5,406 people, only 3% of them has received a proper education. therefore, parents have requested to install more schools for disabled children in the local areas so that they do not have to send their kids off to the center of those provinces. the total disabled population of students is 5,406 people: 1,230 people from yala province, 3,446 pattani and 1,730 from narathiwat. for the victims of the insurgency that has become handicapped are as detailed: 350 from yala, 157 pattani, 123 narathiwat and 7 people from songkla. in terms of development and lift up education of disabled students and heal those affected from the attack, office of the basic education commission and bureau of special education have proposed to set up education centers and health care to take care of the disabled victims in budi, yala because of the free space of 30 rai. in this case, the budget for all cost are around 155.639 million baht. this is the budget between 2013 – 2015. the statistic of orphans and poor children from the three southern border provinces, written by isara institute (isranews agency), pointed out that the violence of the attack has caused children to become orphans approximately around 4,455 people. the total amount of orphans, which caused by the insurgency in four provinces from 2004-2011 are 4,455 people. divided by provinces would be: 1,691 from pattani, 1,027 yala, 1586 narathiwat and 150 from songkla. since the insurgency in the three southern provinces is in a constant severity, numbers of people were killed. people are living with fear. everybody is afraid of the next attack, they are afraid of the when and the how. some of the local people even relocate to live in new locations in order to escape the violence, but the fright has been planted within their minds. i am one of those people who are afraid of losing somebody i love. i am in a constant fear of the next insurgency to come, wondering when it is going to happen and so on. even though i have not heard anything from the news, just the thought of my hometown, my parents who live there, i cannot escape from the fear and anxiety. since i cannot predict anything in the future, i could never be peaceful from what to come. 55 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobongkaori okado. art management in javai-na phuyuthanon. video art: psychological status of orphans indeed, it is because the problem is deeply routed. i know for fact that the violence of the attack that is the source of orphans. even though those who are affected from the incidents should be given money and support from the government, yet nobody really pays attention to this issue. no one cares how much it affects the lives of children. although even when there is nothing happen, these children are already living among a war of social prejudice. nonetheless, being in the middle of insurgency begets a lack of insecurity. it is the result of local people who fight with the government that tries to control the situation with force. i believe this is what the criminals have planned it to be. the lives of victims, orphans who have to take care of themselves are getting harder each day in the three southern provinces. however, the orphans do not really express themselves and united with other people. they basically just repress their thoughts and feelings. yet they are not angry of what had happened. as a matter of fact, they believed that it is their predestinations. therefore, they still continue to live but mostly in gloom. the purpose of the thesis is to expose the truth of how the orphans live in the three southern provinces, which affects their minds, education including inner securities of each individual and society. all of this is combined in creative vdo art format. the vdo art can broadcasts real lives of local people and the lives of those who have lost. attitudes and cultures are portrayed in motions picture within the various layouts. it is a new way of representing art in the new era. other methods of creating this work of art are also included. the purpose of exhibiting is to express and show the fact as it is to the society. it is being crafted in my perspectives and my own five senses: see, hear, smell, taste and touch. i believe that the vdo art are very responsive to our imaginations to know the in-depth story of the orphans about the way that they live in pattani, yala and narathiwat. this set is call “every day i fear” which regards the research that has been conducted to study the consequences of insurgency in the three southern border provinces of thailand. it is a qualitative study. in fact, i have been conducted an information and data for three years to make this happens via vdo art. this research will further my experience of actually being in the areas, interviewing the victims and express all that i have to others. the reasons that i have chose this format is because it conveys our feelings. it is the one thing that can speak for the things that cannot in terms of what really happened over there. currently, the insurgency still exists. additionally, i’d like to make this fact known and more approachable than the previous work that comes from more experiences in real lives. methods of conducting the format for this whole research is in vdo art. it collects all the information to create a virtual atmosphere of orphans’ feelings and minds from the political unrest in the three southern border provinces, which are yala, pattani and narathiwat. this is to create an awareness of the true story and consider the future of children in those provinces or even the future of the country. children who live and grow among a war 56 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015book of reviewijcas: vol. 2, number 1 june 2015 will be the future of the nation as well. as i have been into the red ares, i have divided the three provinces into two sections. first is the search from sources such as books, journals and newspaper, television and internet, etc. the second section is the on-site investigation. • the first province to inspect is my hometown, yala province, for my own safety and convenience. • the second province is pattani. i’ve keen on this province since i used to study in the local school, leam thong upathumschool, and lived with my grandmother there at puyud, pattani. • the third province is narathiwat. this is the province that has lost most of the population because of the unrest. the on-site investigation has taken place on 1st april 2015 to 31st july 2015. the details will be as followed: 1. yala province i’ve chose to study this province first since, as mentioned above, it is my birth place. the actual date to start was april 2015. source of picture: http://www.yala.go.th/webyala/sitemap/history1.html 57 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobongkaori okado. art management in javai-na phuyuthanon. video art: psychological status of orphans i’ve investigated this areas by researching the history and profile of each household via observation, interview based on ta-se sub-district and yu-po sub-district, meung district. as interviewed directly with the orphans, i noticed that they are trying hard to make eye contact and even harder an attempt to smile. for instance, i have listed a short answer when they answered the question. 1. yesterday i came home. 2. i live in ta-kod. 3. since 7th grade. 4. dad died in 2014. 5. around the 7th grade. 6. he was shot at our home. 7. there was an attack. he died around 4.30 am on friday, after he came back from the mosque. 8. well, he was shot. 9. then i have a brother who was only 40 days old. 10. i was very sad because he is the one who took care of us. 11. we’re close. i always go with him anywhere. 12. he usually took me to have something delicious before go to school. we also love going to drink tea together at a nearby tea shop. 13. well, it’s different when i still had him. to decode the interview, i’ve sense their mentality and i could feel it from our first encounter. also, i have used her answers to create as a part of vdo art via story board to express the real story to public. 2. pattani province i’ve chosen as the second location of investigation because it is one of the places where i used to live. i also studied there from 1st grade – 6th grade. in fact, pattani has a long history to study as well. the location i chose were: pa-se-ya-wo sub-district, saiburi district, puyud sub-district, meung district, panare district, nongjik district, ya ring district, ya rung district, kok poe district, ma yor district, tung yang deang district and mae lan district. 58 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015book of reviewijcas: vol. 2, number 1 june 2015 source of picture:https://nokngamphol.wordpress.com/แผนที่จังหวัดปัตตาน/ีอาณาเขตและการปกครอง/ narathiwat province i used to lived there when i was young. now, it has become a red zone which refers to the insurgency in that area. narathiwat is the province that have lost most of its populations and political unrest incidents. source of picture: http://forums.panteethai.com/a/index.php?topic=1474.0 59 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobongkaori okado. art management in javai-na phuyuthanon. video art: psychological status of orphans discussion design, creativity and development as examined with documents, on-site interview and take note from observation, i have gathered all the information and created a story board divided into two sections. my inner motivation comes from the fact that i have also lost my uncle, father’s younger brother, and i used to observe the lives of his two sons his daughter. the first section of the board this includes the overall picture after the attack happened. everything is green and full of trees, but it is perfectly dry in the eyes of those who’ve lost their beloved ones. the second section of the board this section shows the true presentation of orphans, their ways of living. this also includes the overall atmosphere of the house, schools, playgrounds and a meeting point where orphans are united. problems and obstacles the on-site investigation challenges me in terms of, most importantly and mainly, how to not hurt interviewees’ feelings especially orphans. as a matter of fact, i have to know the true profiles and in-depth details of the orphans as well as to consult with the local psychiatrists. the creation of this vdo art set mostly brings out my personal perspectives in order to obviously express the problematic situation to society. i would like to make the fact known and feel the hardship those people have to endure in every day. in addition, in order to continue with lives, the only thing that holds orphans together religious belief. they believe it is the test from above that they must overcome. exhibition a. 1st event on 4-6 march a.d. 2013, imaginasia, nan province feedback: professors from taiwan suggested that they could only sense sadness but no fear expressed by people in the three southern provinces. b. 2nd event on 28 march – 18 may a.d. 2013 the researcher participated in the exhibition “non-being by itself” (the state of non-existence by itself) by kaminlertchaiprasert, cultural experts and modern artists. the topic of the exhibition was “an impressive person”. the researcher sent the video art to join the event, aiming to recount the story dominated by fears. even if the researcher does not live in the three southern provinces, beloved people of the researcher live there, including the researcher’s dearest father. he works in amphurtakbai, narathiwat. the researcher is afraid all the time, yet impressed by father’s persistence to dedicate himself to working for the nation. c. 3rd event on 20-24 june a.d. 2013 imagiasia international workshop by matsu county government & national chengchi university. feedback: the researcher received complimentary remarks as the video captured viewers’ attention with clear and sharp picture and sound. most people felt sympathetic towards the unfortunate people who lost their beloved ones. however, their comment was that they could not understand fear which the researcher tried to express. 60 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015book of reviewijcas: vol. 2, number 1 june 2015 d. 4th event on 26-28 august a.d. 2013 a single exhibition at the art gallery, the faculty of fine arts, srinakharinwirot university. “my fear, my everyday” (this time the pictures and the sounds of the video art were adjusted so that they were clearer. for example, the sound of people talking in tea shops, the sound of prayers to god, and the picture of people carrying a corpse to bury in pattani). feedback: most viewers said they saw another angle of the way of life in uncertainty, never knowing what would happen next. they had never known this point before.) e. 5th event on 4 september a.d. 2013 the researcher participated in the seminar project “iramaasli: hope in the song of a white pigeon” this video art included the pictures of a widower (who had just lose her husband) living alone in narathiwat. feedback: most viewers do not live in the south and said that “they have never known what was really happening to the local people” for they knew only from tv, newspapers, or internet. most news only presents pictures and news of what happens, but not the lives of those who had to live on after the loss. f. 6th event on 17 march – 19 april a.d. 2013 exhibition title: faith and fairy tales: new media art for thailand at adm gallery – ntu singapore curator: loredanapazzini – paracciani featured artist: piyatathemmatat, nawapolthamrongrathanarit, kaensanrattanasomrerk, taikisakpisit, chualayarnnonsiriphol, and i-naphuyuthanon results the research on “video art: psychological status of orphans from the unrest in the three southern thai provinces” enables the researcher to discover the approach to create video art to convey orphans from the unrest in the three southern thai provinces of those who lost their beloved so as to reinforce awareness of those who also live on the same land. the researcher has written storyboard, shot, recorded, and edited photos and sounds, all of which can be examples or guidelines to create such kind of work in the inhabited area. those who are involved or strive to sort out the insurgent crisis in the three southern provinces may have different understanding and perspective of islam, or may not understand thai muslim people. the communication through video art can serve as a means to build up understanding of the unhappy lives in the three southern provinces. such understanding is essential because the issue in the three southern provinces is sophisticated and dynamic. it is important to take a very close look at the problem affecting the people who live in the area as the problem has been around and does not seem to be better in a short course of time. the researcher, as the creator of the art, is inspired by the fear in own home town, and thus has conducted this research to convey the learning through this piece of artwork with the aspiration to be of benefits to those who would like to study this subject later on. 61 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobongkaori okado. art management in javai-na phuyuthanon. video art: psychological status of orphans conclusion work as a product of creative research the creative research “video art : psychological status of orphans from the unrest in the three southern thai provinces” has followed creative research methodology. the researcher would like to present this piece of creative research with the following conclusion: the insurgency in the three southern provinces keeps aggravating while nobody really knows the pain of those who have lost everything ranging from their beloved people – parents, spouses, offspring, relatives, friends, and properties – and even their privacy. the effect will never fade away and the broken-hearted will never be healed. the people in the three southern provinces still fear and wonder why and when they will become victims endlessly. they are unsuspecting targets and will continue to be till the end. what exactly is the cause of the insurgency? this question has been raised time and again while answers have been given by various sectors for a long time. the one thing that keeps the local people alive is their religion, to which they hold on. their religion is the key to their survival in the current social circumstances. the never ending loss causes fear to the local residents because the incident could even happen in their homes. humans and animals instinctively protect themselves all the time, thus sometimes becoming over precaution just to ensure they will survive. excessive fear can have a detrimental effect unless it is laid down. excessive fear is not a self-protective way, yet it happens uncontrollably. youtube link: http://youtu.be/u-5pqeqkpii references arpornsuwan, thanes. (2012), background of land segregation theories in the south of thailand. bangkok: foundation of social science and anthropology textbooks program. chaithongpan, prasit. (2009), they accuse (nujmuddin) an insurgent. bangkok: saiyai prachachon. chanchadfah, suppara.(2006), violence in the mist: what is what in three southern border provinces. bangkok: jatpimkobfa. chantavanich, supang.(2008), qualitative research methodology. bangkok: dansutth. wankaew, surichai, origin of southern fire. bangkok: thammada press. chantavanich, supang. (2012), social science theories. bangkok: tawee print. wankeaw, surichai. (2007), termination of southern fire. bangkok: thammada press. jehsorhoh,jehabdulloh. (2011), “appearance of local malays in pattani art exhibition.” bangkok: queen sirikit art gallery. kanpai, kitti. (2008), communication psychology. bangkok: rien-boon. konsanjorn, dime.( 2007), southern fire-devoted to sacrificing teachers. bangkok: wiriya business. manakit, peerapong. (2011), epic of three southern border provinces. bangkok: roongreungsarn. nararatwong, chumsak. (2009), southern fire crisis. bangkok: huajai-diewkan. nararatwong, chumsak. (2009), under the memory. bangkok: huajai-diewkan. 62 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 nunsathaporn, piyasin.(2012), composition of origins and roots of humanity inequality. bangkok: siam pritas. panpong, worapoj. (2007), crime scences. bangkok: open books. patan, muhammad-aryub. (2013), process of pattani’s peace in asian context.pattani: parp-pim. pengjan, pramuan. (2012), walk of peace in pattani. bangkok: charoendeemankong. prasongbandit, sunee. (2010), pierre bourdieu’s habitas concept and anthropology theories. bangkok: sirintorn anthropology center. samaputthi, kulthida. (2009), power of life, power of mind: fifty voices from southern border women. bangkok: dan-sathu. sarntisart, isra. (2010), nabi-muhammad, mercy of humanity. bangkok: mark m printing. sarochamas, panpimon.( 1995), thesis onroles of muslim newspapers in thailand. bangkok: chulalongkorn university. siamwalla, ammar. (2006), conflict between development and social state of three southern border provinces. bangkok: dhurakij pundit university. tangcharoen,wirun. (2010),vision of fine and applied arts. bangkok: santisiri. tangsabwattana, ek, phucharoenoraorn. (2009), problems of three southern border provinces: policy suggestions. bangkok: weprint. usman, suf-um.(2004), islamic way of freedom. bangkok: islamic academy. the development of formal ceremonial coronation attire of seri paduka baginda yang di-pertuan agong from i-xiv starting from 1957 until 2016. nor idayu binti ibrahim university technology mara (uitm), shah alam email: idayuibrahimy@gmail.com abstract there is specific formal attire wear by “seri paduka baginda yang di-pertuan agong”. the exploration related with malaysia royal institution and royal etiquettes are aspiring, interesting and there are numbers of printed publications had discovered in depth, onto this fields. unfortunately, most of them have not yet discovered in-depth research about the development of formal ceremonial coronation attire of “seri paduka baginda yang dipertuan agong”. the purpose of this paper is to discover the development of ceremonial coronation attire and to document the knowledge regarding the research paper topic. meyer schapiro theory of style is used in this research equivalent to feature its style and design of the ceremonial coronation attire. method applied was the qualitative method because it is the suitable approach to gathering valid data from the experience experts. it is also discussed on the style, muskat and the design of ceremonial attires of them. the coronation attire also known as royal regalia. the items are tengkolok di-raja, pending diraja, short keris and long keris. finally, this research hopefully will benefit and provide a vital source of references to the malay civilization, researchers, academicians, scholars, students, cultural activist, and also malaysian regarding with the formal coronation ceremonial attire of “seri paduka baginda yang dipertuan agong” especially back dated during the period of 1957 until 2016. keywords: coronation ceremonial attire, muskat, style, design. introduction seri paduka baginda yang di-pertuan agong is the highest ruler in malaysia. their ruler cycle rotate every five years of throne. clothing is needed of each individual, regardless of status and position. clothing is required in every activities of life, from the official ceremony to normal activities. each activities tend to have different type of clothing that suit in different agenda. clothes can be to wrap up the naked body from any element that could hurt body, adjust their body temperature with the fluctuate weathers, keep their dignity and pride and also give the comfy to the wearer by zubaidah shawal (1994). the royalty’s family and traders, they are taught to adorn beautiful clothes from the early ages. their costumes, are adapted from the foreign elements such 58 editorialbook of reviewijcas: vol. 3, number 1 june 2016 as wearing robes, wore coat made of satin and brocade textiles with striking fabric color. they also wear headdress with velvety materials ornamented with golds, and also wearing headband of gold thread, zubaidah (1994). this shows that, the royalties attire had been influence and been adapted from the out reign civilization. their clothes made from luxury fabrication that are high in quality and beauty. but yet, the malay identities can be trace from these costumes by observing thru the ornaments and the detailing. aim to discover the development of formal ceremonial coronation attire of “seri paduka baginda yang di-pertuan agong from i – xiv” from 1957 until 2016. objectives to explore the style that had been use for the ceremonial attire of “seri paduka baginda yang di-pertuan agong from i – xiv” from 1957 until 2016 and to document the knowledge regarding this research topic. significance this research will oblige as an informative documentation to the academicians and historians that can be directed as a reference guide. researchers may refer to this study and find other lacking data and be inspired to dig more on the “seri paduka baginda yang di-pertuan agong” related to the royal institution tradition and customs. this heritage knowledge that being inherited to the lovers can be preserved and persist for the upcoming generations. research question what is the specific style for the formal coronation attire of “seri paduka baginda yang di-pertuan agong? research methodology method of qualitative, based on semi-structure questions to selected respondents. the analysis of the finding been analyse by applying an art theory by meyer schapiro the theory of style. literature review “seri paduka baginda yang di-pertuan agong” is a representative from several states in malaysia. according to abdul aziz bari in his book entitled “majlis raja-raja; kedudukan dan peranan dalam perlembagaan malaysia” (2003), the federal constitution stipulates that a king was eligible to be elected as the “yang dipertuan agong” with several issues that must be consider, of 1) unless if he is not adult, 2) he told the “penyimpan mohor besar raja-raja” that he does not intend to be selected as “yang di-pertuan agong”, and 3) “majlis raja-raja” has adopted a resolution that he was not fit to run the tasks of “seri paduka baginda yang di 59 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ...nor idayu binti ibrahim. the development of formal ceremonial pertuan agong” due to infirmity of mind or physical or else for other reasons. the selection of “yang di-pertuan agong” is confidential. after the selection occurred, “yang di-pertuan agong” must be on duty for five years and the cycle keeps rotating for every five years. table 1: list of seri paduka baginda yang di-pertuan agong no details 1 negeri sembilan 31 august 1957 – 1 april 1960 seri paduka baginda almarhum tuanku abdul rahman ibni almarhum tuanku muhammad (24.8.1895-1.4.1960) 2 selangor 14 april 1960 – 1 september 1960 seri paduka baginda almarhum sultan hisamuddin alam shah ibni almarhum sultan alaeddin sulaiman shah (13.5.1898-1.9.1960) 3 perlis 21 september 1960 – 20 september 1965 seri paduka baginda almarhum tuanku syed putra alhaj ibni almarhum syed hassan jamalullail (25.11.1920-16.4.2000) 4 terengganu 21 september 1965 – 20 september 1970 seri paduka baginda almarhum tuanku ismail nasiruddin shah ibni almarhum sultan zainal abidin (24.1.1907-20.9.1979) 5 kedah 21 september 1970 – 20september 1975 seri paduka baginda almarhum al-sultan almu’tasimu billahi muhibbudin shah ibni almarhum sultan badlishah (born in 28.11.1927) 6 kelantan 21 september 1975 – 30 mac 1979 seri paduka baginda almarhum tuanku yahya petra ibni almarhum sultan ibrahim (10.12.1917-29.3.1979) 60 editorialbook of reviewijcas: vol. 3, number 1 june 2016 7 pahang 26 april 1979 – 25 april 1984 seri paduka baginda sultan haji ahmad shah almusta’in billah ibni almarhum sultan abu bakar ri’ayatuddin al-mu’adzam shah (born in 24.10.1930) 8 johor 26 april – 1984 – 25 april 1989 seri paduka baginda almarhum sultan mahmud iskandar alhaj ibni almarhum sultan ismail al-khalidi (8.4.1932-22.1.2010) 9 perak 26 april 1989 – 25 april 1994 seri paduka baginda almarhum sultan azlan muhibbudin shah ibni almarhum sultan yussuf izzudin shah ghafaru’llahullahu (born in 1928) 10 negeri sembilan 26 april 1994 – 25 april 1999 seri paduka baginda almarhum tuanku ja’afar ibni almarhum tuanku abdul rahman (19.7.1922-27.12.2008) 11 selangor 26 april 1999 – 21 november 2001 seri paduka baginda almarhum sultan salahuddin abdul aziz shah ibni almarhum sultan sir hisamuddin alam shah (26.4.1999-27.12.2008) 12 perlis 13 december 2001 – 12 december 2006 seri paduka baginda tuanku syed sirajuddin ibni almarhum tuanku syed putra (born in 17.5.1943) 61 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ...nor idayu binti ibrahim. the development of formal ceremonial 13 terengganu 13 december 2006 – 12 december 2011 seri paduka baginda al-watiqu billah,tuanku mizan zainal abidin ibni almarhum sultan mahmud al-muktafi billah shah (born in 22.1.1962) 14 kedah seri paduka baginda al-sultan almu’tasimu billahi muhibbudin tuanku alhaj abdul halim mu’adzam shah ibni almarhum sultan badlishah (born in 28.11.1927) finding “what is the specific style for formal ceremonial coronation attire of seri paduka baginda yang di-pertuan agong? finding, the styles for formal ceremonial coronation attire of seri paduka baginda yang di-pertuanagong are in two styles. the first and second seri paduka baginda yang di-pertuan agong wore a complete set of “baju kurung/baju melayu cekak musang”. both styles are complete from the headdress until to the bottom accessories. the headdress for the first agong, seri paduka baginda almarhumtuanku abdul rahman ibnialmarhumtuanku muhammad (31.8.1957–1.4.1960) is in “dendam tak sudah” style. the style of ‘dendam tak sudah’ is originated from the negeri sembilan. the second seri paduka baginda yang dipertuan agong, seri paduka baginda almarhum sultan hisamuddin alam shah ibnialmarhum sultan alaeddin sulaiman shah (14.4.1960–1.9.1960), tuanku sultan of selangor. tuanku also wear a complete set of baju kurung cekak musang in the same material from head to toe. the difference of both styles is on the headdress. the second seri padukabaginda yang dipertuanagong wore a tengkolok diraja in “setanjak balung raja” folded. this represents the selangor state style of tengkolok or “solek”, unfortunately tuanku had died before his throne ceremonial. the front side of the headdress “tengkolok”, compliment with the national symbol of a crescent and eleven pointed stars brooch. tuanku wore a full set of baju kurung cekak musang with a pair of pants with the same material. at the fastening front part of the baju kurung, it is included with five buttons. besides, tuanku also wore a samping in “dagang luar” style neatly fasten with a big size royal waist buckle “pending diraja” with national symbol at the center part. other accessories include, a short royal keris “keris pendik di-raja” and he also wore an honor of darjah utama seri mahkota negara (d.m.n) complete with breast stars, a yellow sash and badge. according to the interview with sulaiman ahmad (2016), the placement for the breast stars and its’ measurement is following the protocol and etiquette. the placement call as the diamond shape, 62 editorialbook of reviewijcas: vol. 3, number 1 june 2016 start at the middle parts, followed by the left side. the placement of breast star is depend on the total of breast stars that seri paduka baginda yang di-pertuan agong want to wear for that particular occasions. the ceremonial coronation attire for seri paduka baginda yang di-pertuan agong style had change from wearing the full set of baju kurung cekak musang to muskat starting from the third seri paduka yang di-pertuanagong, seri paduka baginda almarhum tuanku syed putra alhaj ibni almarhum syed hassan jamalullail (21.9.1960– 20.9.1965). tuanku wore a black suit of muskat with royal yellow songket of tengkolok and samping. tuanku also wore a black trouser with golden thread “tekat tuji” that being embellish to the hemline of the trouser in similar design of the muskat. the following seri paduka baginda yang di-pertuan agong the forth, seri paduka baginda almarhum tuanku ismail nasiruddin shah ibni almarhum sultan zainal abidin (21.9.1965 – 20.9.1970). the changes occurred at the samping and tengkolok in material of royal yellow songket has is change to black and golden thread songket. besides, the sash change from the yellow sash into the red sash with bow tie at the end. move to the sixth agong, seri paduka baginda almarhum tuankuyahya petra ibni almarhum sultan ibrahim (21.9.1975 – 29.3.1979), tuanku wear the same muskat with red sash but at the top part of the tengkolok di-raja there is a figure of the kelantan state symbol. figure 1: variation of maskat style. the seventh seri paduka baginda yang di-pertuan agong, seri paduka baginda sultan haji ahmad shah al-musta’in billahibni almarhum sultan abu bakar ri’ayatuddin almua’adzam shah (26.4.1979 – 25.4.1984) has made major changes on the golden thread muskat design, while the whole style remain the same. the design is in updates version which is in a specific details and intricate design. the hibiscus motif used is in more stylize pattern but still keep the “awan larat” pattern as a whole. the third changes of the muskat design occurred during the ninth seri paduka baginda yang di-pertuan agong, seri paduka baginda almarhum sultan azlan muhibbudin shah ibni almarhum sultan yussuf izzudin shah ghafaru’llahullahu ijcas,vol. 3 number 1 june 2016 67 thefollowingseripadukabagindayangdi-pertuanagongthe forth,seripadukabagindaalmarhumtuankuismailnasiruddinshahibnialmarhumsultanza inalabidin(21.9.1965–20.9.1970).thechangesoccurredatthesamping andtengkolokinmaterialofroyalyellowsongkethasischange toblackandgolden threadsongket. besides, thesashchange fromtheyellowsashintotheredsashwithbowtieat theend. movetothesixthagong, seripadukabagindaalmarhumtuankuyahyapetraibnialmarhumsultanibrahim(21.9.1975 –29.3.1979), tuankuwearthesamemuskatwithredsashbut atthetoppartofthetengkolokdirajathereisafigureofthe kelantanstatesymbol. figure1:variationofmaskatstyle. theseventhseripadukabagindayangdi-pertuanagong, seripadukabagindasultanhajiahmad shahal-musta‟inbillahibnialmarhumsultan abu bakarri‟ayatuddinalmua‟adzam shah(26.4.1979–25.4.1984)hasmademajor changes onthegolden threadmuskat design,whilethewhole style remainthesame.thedesignisinupdatesversion which isinaspecific details andintricate design.thehibiscusmotif usedisinmorestylize pattern butstillkeepthe“awanlarat” patternasawhole. the third changesof the muskatdesignoccurred duringthe ninthseripadukabagindayangdi-pertuanagong, seripadukabagindaalmarhum sultanazlanmuhibbudin shahibnialmarhumsultanyussufizzudinshah ghafaru‟llahullahu(26.4.1989– 25.4.1994),the goldenthread design hasfinally changedintomoresimpler design butstill maintain thesimilarelementofnationalflower,thehibiscus andrepetitionof“awanlarat”patternalong themuskatwitha singlelinealong theopening partofthemuskat. otherthan that,thestyle remainsthesame.lastbutnotleast,the current tuanku,seripadukabagindayangdipertuanagongbagindaalsultanalmu‟tasimubillahimuhibbudintuankualhajabdulhalimmu‟adzamshahibnialmar hum sultan badlishah(startingfrom13.12.2011) haveachangesatthe sashpartfrom theredsash intotheyellow sash.besidesthat, the sizeofthe royalwaistbuckleplateissmallercomparedto theprevioussize.accordingtotheinterview in(2016)the changesoccurisduetothecertain personal reasonsandbody first style second style third style 63 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ...nor idayu binti ibrahim. the development of formal ceremonial (26.4.1989 – 25.4.1994), the golden thread design has finally changed into more simpler design but still maintain the similar element of national flower, the hibiscus and repetition of “awan larat” pattern along the muskat with a single line along the opening part of the muskat. other than that, the style remains the same. last but not least, the current tuanku, seri padukabaginda yang dipertuan agong baginda al-sultan almu’tasimubillahi muhibbudin tuanku alhaj abdul halim mu’adzam shah ibni almarhum sultan badlishah (starting from 13.12.2011) have a changes at the sash part from the red sash into the yellow sash. besides that, the size of the royal waist buckle plate is smaller compared to the previous size. according to the interview in (2016) the changes occur is due to the certain personal reasons and body size of tuanku. in compliment with the muskat attire, the set of royal regalia for seri paduka baginda yang di-pertuan agong the tengkolok di-raja, short keris, long keris and royal waist buckle still in the same set back dated from 1957 until 2016. the ceremonial costume explain as an attire that suit with specific ceremony or event, in other words clothing worn for a very special occasions. for example, in academic protocol of graduation ceremony, all participants have to wear the graduation robe, complete set with the mortar board or bonnet. the exploration on the material, style of the garment comes with numbers of motif that embellished the coronation attire. the motifs, form and meanings of the embellishment and tekat tuji are explored in great detail. it is hopes that with greater understanding and appreciation among malaysians, the art of traditional malay attires and the exclusive embellishment of gold thread embroidery will be preserved and be maintained as our traditional malays heritage. the design and idea of the muskat must be agreed by majlis raja-raja. the ideas of golden thread embroidery for the muskat is being agreed by majlis raja-raja and being acknowledged by tan sri rais yatim the ministry of culture and tourism back dated in 1992. from that onwards, the design at the muskat remain until now. furthermore, the design of the “awan larat” with hibiscus has been recognized as national indication of malaysia. conclusion malay outfit born of the growth and development of clothing ancients through the changes process. these are due to the influence bring by the merchants and the surrounding community. result of this clash, various kinds of textile, variation of clothing, headwear, and accessories appear in malay. according to abbas and norwani (2003) till now the most popular women traditional attires are baju kurung, baju kebaya panjang, baju kebaya pendek, baju kurung kedah, and baju kurung pahang. the ceremonial costume explain as an attire that suit with specific ceremony or event, in other words clothing worn for a very special occasions. for example, in academic protocol of graduation ceremony, all participants have to wear the graduation robe, complete set with the mortar board or bonnet. the exploration on the material, style of the garment comes with numbers of motif that embellished the coronation attire. the motifs, form and meanings of the 64 editorialbook of reviewijcas: vol. 3, number 1 june 2016 embellishment and tekat tuji are explored in great detail. it is hopes that with greater understanding and appreciation among malaysians, the art of traditional malay attires and the exclusive embellishment of gold thread embroidery will be preserved and be maintained as our traditional malays heritage. the design and idea of the muskat must be agreed by majlis raja-raja. the ideas of golden thread embroidery for the muskat is being agreed by majlis raja-raja and being acknowledged by tan sri rais yatim the ministry of culture and tourism back dated in 1992. from that onwards, the design at the muskat remain until now. furthermore, the design of the “awan larat” with hibiscus has been recognized as national indication of malaysia. acknowledgement my big appreciation and thanks goes to my supervisor in uitm shah alam, dr. arba’iyah and to all who had supported me with this research. thanks a lot for the supports, patience and ideas in assisting me with this research. i also would like to express my gratitude to my family, my appreciation goes to all of respondents and colleagues who had provided the facilities and assistance during interview sessions and data collections, and to those who had lend me their hands, really appreciated that. references zubaidah syawal, “busana melayu,” kuala lumpur: jabatan dan antikuiti malaysia, 1994. abdul aziz bari, “majlis raja-raja; kedudukan dan peranan dalam perlembagaan malaysia.” selangor: dewan bahasa dan pustaka. siti rosnah, “raja permaisuri agong; payung mahkota ibu pertiwi”. unknown, 2006. radzuan bin radzi (2016, march 19). “the seri paduka baginda raja permaisuri agong attire.” nor idayu ibrahim-intervieweer. sulaiman bin ahmad (2016, may 24) “muskat seri paduka baginda yang di-pertuan agong.” nor idayu ibrahim-intervieweer. 98 ijcas: vol. 2, number 1 june 2015 book review byl, julia, antiphonal histories: resonant pasts in the toba batak musical present. wesleyan university press: middletown, connecticut margaret kartomi monash university, australia email: margaret.kartomi@monash.edu the toba batak ethno-lingual group who live around the samosir island in the province of north sumatra are well-known throughout the world as a very musical people who like to sing together in their coffee shops and have produced many famous groups of musicianssuch as the popular singer gordon tobing. some of their popular folk songs – such as “sing sing so” have become so widely known that they have acquired national status. commercial recordings of batak toba songs are widely available in indonesia’s record stores. however their ancient traditional musical traditions are much less known and understood. unlike the gamelan music of central and west java and bali, detailed ethnomusicological research oftoba musical genres has been minimal. partly due to the lack of infrastructure and difficulty of travelling around its extensive terrain, sustained research in toba areas began as late as the 1970s, a half century after javanese and balinese musicresearch began. although a german writer r. von heintze–had described the religious functions of some of the traditional music in the largely lutheran toba batak area as early as 1909, and claire holt and rolf de mare had filmed some of the dances in the bataklands in 1939 (holt 1971),a representative collection of toba archival music recordings was madeonly in the 1970s and 1980sby the german scholar artur simonand issued on compact disc by the museum fuervoelkerkunde in berlin, and simon also published some articles on the music,e.g. in 1991. another german scholar, rainer carle, published on batak opera in 1987 and 1990, and a japanese scholar yoshiko okazaki researched toba batak music in the catholic churches in 1994, while a batak scholar-musician maulypurba published on the gondangsabangunan ensemble music and its use in church settings in 2002, 2002-3, 99 adam wahida. empowerment of the students creativity and 2005. in addition, philip yampolsky issued aselection of musics of toba and other batak groups on the smithsonian folkways label in 1982.1 this charming book about the history and meaning of the toba batak music culture is therefore most welcome. it is the first book-length ethnography of toba batak music, dance and theatre performance, which it views as a legacy of the toba’s global history as well as a vital expression of their local experience. it takes cognisance of the fact that the bataklands have been located on an important international trade route over the past one and a half millennia, and have thus been exposed to considerable culture contact with neighbouring malays, indians, perso-arabic peoples, and – through colonisation and christian proselytisation – europeans. the author draws on her extensive collection of oral histories and local myths collected in the field to show how toba musical performances document their diverse roots. thus, byl argues, there are many histories of toba musical genres, ranging from the centuries-old tuned drum and gong-chime ensembles of former hindu times through nineteenth century lutheran hymns and brass band music to global musics, as manifested for example in the adoption of jimmie rodgers’ yodelling techniques in their folk and popular songs. the book adopts what its author calls a “hybrid methodology”. it combines a vertical/ historical exploration of the contemporary music traditions with a horizontal/ chronological analysis of “the place where historiography meets ethnography” in order to discover “what is behind and above the traditions, not just how they unfold chronologically” (pp. 20, 22).byl describes the interaction between the vertical and the horizontal as “antiphonal” in their response to and affirmation of each other (as opposed to the word’s greek meaning of “voices in opposition”). the first part of the book uses family histories to reveal the ways in which toba musical and cultural practices have engaged with the global and local past, using stories of the ancestors to reveal what they know about the indic and the islamic pasts as well as the colonial and the national. the second part investigates the toba habit of looking back to interpret the present. focusing on select performances, the author aims to show how multiple toba histories are revealed in the performative moment through the interpretations of the participants. in short, byl’s bookis highly recommended as an original and vividly written reflexive autobiography that is largelybased on personal reflections and stories of the toba people whombyl has met over the course of her fieldwork. finally, ethnomusicological research on other batak sub-groups includes a.d. jansen’s thesis on simalungun batak music (1980) and the muslim angkola and mandailing sub-groups in the southwest of the province (kartomi 2012,and a pair of prize-winning vinyl discs on the baerenreitermusicaphone label 1983 a, b). music of the pak-pak dairi in the northeast was studied by lynette moore at monash university (e.g.1979). 1 details of these references are listed in margaret kartomi, musical journeys in sumatra, university of illinois press, 2012. margaret kartomi. book review 100 ijcas: vol. 2, number 1 june 2015 references carle, rainer, ed. (1990), opera batak: das wandertheater der toba-batak in nord sumatra, 2 vols., hamburg: dietrich reimer verlag. heinze, r, von. (1909), “ueber batak-musik”, in nordsumatra, vol 1, 373-381. berlin: d. reimer. jansen, a.d. (1980), “gondang music; its structure and function in simalungun batak society in sumatra”, phd diss., university of washington. kartomi, margaret. (1983a), the angkola people of sumatra,baerenreitermusicaphone vinyl disc, bm30sl2568. ______________ (1983b),the mandailing people of sumatra,baerenreitermusicaphone vinyl disc, bm30sl2567. ______________ (2012), “the mandailingraja tradition in pakantan, chapter 11, musical journeys in sumatra, urbana: university of illinois press, 221-250. moore, lynette. (1979), “songs of the pakpak of north sumatra”, phd diss., monash university. okazaki, yoshiko. (1998), “liturgical music among the toba batak people of north sumatra: the creation of a new tradition. crossroads: an interdisciplinary journal of southeast asian studies, 55-74. ______________ (1994),“music, identity and religious change among the toba batak people of north sumatra”, phd diss., university of california, los angeles. purba, mauly. (2003),“gondangsabangunan ensemble music of the batak toba people; musical instruments, structure and terminology”, journal of musicological research 21, nos 1-2, 21-72. simon, artur. (1991), “gondang, gods and ancestors, religious implications of batak ceremonial music, yearbook for traditional music 25, 81-88. yampolsky . (1982), (vol4) music of nias and north sumatra: hoho, gendangkaro, gondang toba,music from indonesia 4, smithsonian folkways recordings 40420. 87 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ...nor idayu binti ibrahim. the development of formal ceremonialnoni sukmawati. literary performance in the act of pendendanggiulia panfili. making wayang along anthropology and artstephanus evert indrawan, tri noviyanto p utomo. book review book review digital fabrication, architectural and material techniques iwamoto, lisa stephanus evert indrawan, tri noviyanto p. utomo interior architecture universitas ciputra digital fabrications is one of many progressive architectural books that encourage young architect to explore the world of digital design. lisa iwamoto is explain the collaboration of digital design and geometry-findings process. there are five cluster of explanations in this books that explains the types of geometrics organization, such as tessellating, sectioning, folding, contouring and forming. this category allowed readers to understand the process of complex form and geometry from the presented examples. iwamoto is categorizing projects from emerging practices of architects that pioneered fabrications techniques. each category was explained by five to seven unconventional projects. digital drawing has been known for more than thirty years. cad program are known as the most efficient drawings application. yet for many years, the technology of drawing shifted from traditional, cad (computer aided drawing), bim (building information modeling) and lastly generative design. cad enables to replace traditional tools but the buildings still looks the same. one form and two dimension representation can be solved but it takes three dimension simulation and fabrication technologies to expand the ideas of architecture’s form and construction process. digital fabrication is the answer to the changing times that occur in the world of architecture and design. nowadays, architecture or building technologies are heavily informed by its representation and construction because of the development of digital media and emerging technologies. particularly, digital fabrication was believed as a trigger for design revolution. the invention and innovation that has been done by progressive architects are shifted into another level. material techniques and digital knowledge bridge the simulation model that can only be seen in computer into physical artifact. this theme is the main subjects oft his books. robin evans explains that the separation between drawing, drawing as medium and building as the end result are become less. drawing is an informative medium of design, digital production narrows the gap between representation ideas and building. however there’s still a invariably gap among the modes of making. facing this 88 editorialbook of reviewijcas: vol. 3, number 1 june 2016 situation, there are still some technical tools that can be used but every tools has their own constraint. digital fabrication has a capability to document the architecture process through digital design and innovative constructive projects. some examples explains why digital fabrication sparks the new generation of designers. the examples was beautifully curated by iwamoto, it is focusing on work that designed and built by emerging digital practices and supported by fabrication process. by means, this projects was done by many practitioners and architecture students. the case shows that digital fabrication is a form of applied design. architects that involved in projects are mostly seeks leverage of digital design and manufacturing process for perceptual, spatial and formal effect. iwamoto realizes that buildings consist of series of parts, the assembly process are strongly depend on techniques of aggregating and manipulating. the five cluster type of geometric organitation digital fabrication brings architects to experience the perception of their creations. in this books there 5 category that mentioned by iwamoto, there are sectioning, tessellating, folding contouring and forming with five to eight examples each. 1. sectioning sectioning is a session there was a comprehensive explanation about the history of sectioning method. sectioning is a part of constructions history. this method was a usually being used to construct the surface of airplane and shipbuilding industry. the shape of airplane and ship building were firstly defined sectionaly as a series of construction elements. this method was adopted by le corbusier to study the construction of ronchamps roof. it can be seen on a paper model of ronchamp during its internal construction studies. frederick kiesler works was also related to digital fabrication context, especially for endless form. greg lynn uses the digitally generated sectioning method as his legendary influential design methodology. from this explanation, iwamoto clearly explains that there is a history relevance between digital fabrication and the evolution of form during early modern era. shop architects presenting the sectioning method in a good combination form and perceptual elevation. this projects won p.s.1’s young architects program. this installation was built and designed by architects self. dune scape is an architectural landscape element, constructed by a series parallel and stack of lumber. the methodology was completely digital driven, the manual workers needed to cut, assemble and fasten the joinery during actual construction process. the works of mafoombey also a good example of sectioning method that related to function. mafoombey build an installation out of corrugated cardboard. the build form is free curvy space that was constructed by a stacked of cardboard. all of 360 layers of seven millimeter cardboard are cut by controlled cutter machine that operated under computer. 89 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ...nor idayu binti ibrahim. the development of formal ceremonialnoni sukmawati. literary performance in the act of pendendanggiulia panfili. making wayang along anthropology and artstephanus evert indrawan, tri noviyanto p utomo. book review 2. tessellation tessellation is a collected form that applied on a form or surface. tessellation are known during ancient rome and those byzantine empire to the screen wall of islamic architecture to filter the lights, define space or convey symbolic meanings. tessellation are strongly related to handcraft culture and digital fabrication gives a different point of view for producing the work of tiling. by working digitally, user can produce nonconventional modules and not depend on standard fabrication. iwamoto takes the explanation of tessellation definition into another level, digital works reduces handworks constraint. applicating material on curved surface become predictable and creating a fluid process. this explanation makes readers realized that tessellating can be relevance for large scale of building complex. buckminster fuller’s geodesic dome is one of the early examples, how tessellation principles applied on large scale objects. the structure was light and its designed for mass production. in 2007, brennan buck designs a life-scale prototype that constructed by doubly curved, designed digitally but the fabrication technology is completely standard. this installation consist of fourteen hundred uniquely cut flat panels and it creates a seamless elegance of curved surface. bucks presents a kaleidoscopic study of three dimensional pattern in an unconventional approach. 90 editorialbook of reviewijcas: vol. 3, number 1 june 2016 3. folding folding is a powerful techniques to turn flat surfaces into three dimensional form. folding structure has an ability for self-support and wide span structure. folding principles has been embraced by architects for more than fifteen years and iwamoto explains this principles in a scope of material operation. the works of chris bosse explains the application of folding principles as origami installation that was designed digitally. each origami modules was made from cardboard. 4. contouring contouring is method to stack flat surfaces to construct 3d objects. digital fabrication enables this method to trancend the idea of handcrafting in unorthodox practices. the works of erwin hauer was supported by this principles named bone wall. this works is a group of cell’s shape object that should be deformed along the composition of general shape. each shape has a different scale and unique forms. contouring method make this installation done smoothly. 91 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ...nor idayu binti ibrahim. the development of formal ceremonialnoni sukmawati. literary performance in the act of pendendanggiulia panfili. making wayang along anthropology and artstephanus evert indrawan, tri noviyanto p utomo. book review 5. forming forming is a mass production method that applicated into architectural projects. from iwamoto’s explanation, readers can understand the principles of digital fabrication and using it as a ground support knowledge for developing digital design approach. 71 11 some analytical consideration on indonesian metal music gianluca cellini abstract the widespread of metal music had crossed the borders of its native lands as a musical and socio-cultural phenomenon that emerged many studies mostly starting from sociological standpoint. by emphasizing the musicological aspect, this paper tried to show how the theoretical proposals of some scholars may be reflected in particular metal music through structural analysis approach. the analysis of a particular folk metal music in indonesia showed the inclination of its instruments to mimic the interlocking of balinese gamelan in terms of patterns, hierarchy, and scale. the character of folk metal music in indonesia was explained as the rebellion against a world unrestrained consumerism yet in the same time was an attempt to follow the post-modern need to find meeting points that is practicable. this paper suggested to insert the phenomenon of indonesian metal music in the broader framework of worldwide expansion of this genre. keywords: metal music, folk metal, structural analysis, transnational metal music is since many years a musical genre that has crossed the borders of its native lands to spread globally as a musical and socio-cultural phenomenon of this phase of capitalist modernity .there are a lot of studies, much of whom starting from a sociological standpoint, that focus on this huge transnational expansion of the genre, placing it in relation to its own cultural dynamics of globalization ongoing process. i will return to these studies in the conclusions, trying to show how the theoretical proposals of some scholars may be reflected in what i will analyze in short. for now i just propose some statistics to show how the global spread of the metal is a reality that cannot be overshadowed. first of all we observe that in international encyclopedia of hard rock and heavy metal (jasper et al. 1983), only 15 of the 1.500 listed band were born outside from europe, america and australia; in 2011 the online encyclopedia metallum contained 47,626 band from 129 countries (wallach, berger & green 2011). the recent research by jeremy wallach and esther clinton on google trends show that countries with more research for the terms heavy metal music genre are, in order: indonesia, chile, el salvador, costa rica. the ranking for the terms trash metal is: chile, paraguay, costa rica, colombia. we find again in first place indonesia for the search of death metal, immediately followed by 72 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017book of reviewijcas: vol. 4, no. 1 june 2017 22 chile, costa rica and el salvador (clinton & wallach 2015). these simple statistics, without any pretension of being exhaustive, put quite clearly to light that the geography of metal music is today reshape, bringing almost in balance the relationship between the west and the rest. the indonesian situation fits into this general context. the country has a huge metal scene: in the important site aforementioned metal-archives.com, 1,167 bands are well reported to have originated from the archipelago (www.metalrchives.com/list/id consulted on 23/09/2015. note that some of the band marked are reported as "split up". it is anyway likely that the band no longer existing are still fewer the those who have never been added to the site.), and for example, in the city of yogyakarta, considered by many a little "metalheads" city, you can listen to a live metal at least once a week. ascertained therefore the size of the expansion of the metal, i would now be more specific about some strictly musicological issues, because it seems necessary today to try to fill the gap between the sociological and the more closely musicological work on the topic: i am convinced that only a careful analytic work on the sound data can help increase our understanding how and why millions of people around the world feel the need to express themselves through metal music. of particular interest for the research that i am conducting are those bands that fit into the trend of so-called folk metal, one of the many sub-genres that are part of the heavy metal galaxy, characterized by the more or less explicit recovery of sounds, instruments and melodies from traditional music. born in northern europe in the 90’s, it is experiencing today a major globally expansion, and new current seem to grow steadily. in indonesia there are not many bands that refer to their genre as folk metal. the scene is still quite small and perhaps immature, but there are nevertheless interesting cases. pioneers of the genre in the country were the balinese eternal madness, formed in 1994 in denpasar, that define their genre as 'lunatic ethnic black metal'. their way of composing was analyzed by jeremy wallach in his important book modern noise: fluid genres (wallach 2005 and wallach 2008) fundamental book about popular music in indonesia. already in this volume the american scholar highlighted as some special metrical-rhythmical particularity of some song of eternal madness were due to the fact that the assemblages of the melodic lines of the various instruments were designed to mimic the interlocking of balinese gamelan. it's the eternal madness's instrumental piece trance elixir, from 2007 cd abad kegilaan that i start to consider analytically. the song begins with a bass guitar solo performing a melody in eighth note that we could write as follows: 73 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts lifekiki rahmatika, consistency ning-hui hung, transmission and innovation of kasidah in indonesiagianluca cellini, indonesian metal music 33 image 1: introduction of trance elixir it is a structure formed by different phrases, each of which of 4 beats; this pattern is then repeated throughout the introduction with the gradual incoming of the other instruments that determinate the increasing of sound strength. although the previous transcription can actually be exhaustive, thinking all in the more usual 4/4 of metal music, just having a little knowledge of indonesian traditional music is enough to understand that perhaps things are not exactly like that. let's try for example to consider the first two eighth note not like the first time of a 4/4 beat, but rather as the first gong of a traditional composition, and to write, rather than with the western notation, with the numerical notation in use for gamelan (the sound used are, as we have seen, e, f, g, b, c. in the numeric trancriprion they became 1, 2, 3, 5, 6. the 1 and 2 in bold indicate the note at higher octave): (1) 35 16 15 31 35 16 15 3(1) 35 16 15 11 16 13 12 1(1) 15 16 11 11 15 16 12 6(1) 15 16 11 13 15 13 12 1(1) what results, therefore, it is a structure formed by three 8 times rhytmic cycle, with the second repeated after the third. to confirm the feeling such organization there is the occurrence, starting from the second cycle, of a particularly evident event in correspondence with what, in a traditional composition, it would be the gong ageng: more specifically, for the first four times, it is the intervention of the ride of the drum set that make a triplet, to which are added in the fourth repetition keyboards and in the fifth the chords of the guitar and so on, creating a big growth of the sound. there are other aspect that may be taken in consideration in this few second of introduction, such as the use of effects for the bass guitar that modify the envelope of the sound, making it in some way similar to that of percussion instruments with central bulb, 74 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017book of reviewijcas: vol. 4, no. 1 june 2017 44 but i believe that the particular metrical sense of the song is more interesting because, in a direct way, it connects with the second song that i would consider. this is the song tirta kedustaan from the album menuju keagunganmu by beauty of blood, band coming from sidoarjo, surabaya. this group seems to be particularly interesting because, stated that its wish is to combine metal music with the traditional music of indonesia, they uses in the line-up two saron. this links them to many european folk metal band, but it is a situation that, to my current state of knowledge, is unique in the metal scene of the indonesian archipelago. once again we are faced with an instrumental introduction where the main instrument is precisely the saron. image 2: introduction of tirta kedustaan once again we can see that this part of the song could be easily understand as the six-times repetition of a eight note 4/4 bar but, even in this case, everything seems to work better if we consider the first e as the first gong ageng, and we face with the same situation found above: (1) 5 3 5 1 5 3 5 (1) also in this case the song assumes a different form, becoming an eight-times rhythmic cycle, in which the function of the gong ageng is assumed by guitar, bass guitar and drums, which mark the right end of each rhythmic cycle. in the same song we find a rhythmic ambiguity even in in the section immediately following. here, western and indonesian metrical organization seem to be used together. on one hand the drum play the most common 4/4 metal backbeat, and that does not contradict the accentuation pattern of the saron which, while respecting their traditional performance practice, seems to play without giving much relevance to any beat. completing these two sections mainly instrumental, where a growl voice appared only occasionally, there's a long section sung by the clean female voice. the aspects that i think 75 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts lifekiki rahmatika, consistency ning-hui hung, transmission and innovation of kasidah in indonesiagianluca cellini, indonesian metal music 55 is necessary to consider are at least two, because they help us to understand the way of thinking and acting of the musical group in question and, more widely, of the metal indonesia band. fist of all i want to notice technique used by the singer. unfortunately the recording quality and the presence of all the instruments playing at the intervention of the singer make it almost impossible an accurate analysis of the spectrum. however, taking in consideration the second 1: 34, in which the singer stops on a single note, we can derive the spectrogram shown in figure 3. image 3: spectrum of second 1,34 of tirta kedustaan as we can see, it takes a considerable reinforcement of the formants located approximately in the range between 7000 and 1400 hz, which means, as it is possible to perceive also listening, a certain nasalization of sound. obviously the sound position within the mask is not comparable to the vocal technique of sindhenan, but not even close to the lyrical one used by most female singers of the european metal scene . it seems to me that, once again, the technique and the traditional sounds attempt in this piece of the beauty of blood to adapt and blend with a completely different stile (the issue of vocal techniques use in metal seems to be very important fot the understanding of the genre. on one side there are analytical and classifiers studies; mesïa & ribaldini 2015; on the other scholar tries to investigate how the the extremes vocal techniques, as well as other aspects of timbre, is usefull to create an overall "affective overdrive"; wallach, berger & 76 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017book of reviewijcas: vol. 4, no. 1 june 2017 66 green 2011; for the symbolic value that vocal timbre can have, the mediation operated by beauty of blood seems to be particular interesting). the second, emerging from the analysis of the female vocal in tirta kedustan, is related to scale systems in use in indonesian folk metal. the case seems particularly proper, but we could find similar situations in other pieces (i.e. in the song doxa, by the band fadhalius from yogyakarta). listening to the voice it seems pretty clear that something is wrong between this and the instruments, which play a diatonic accompaniment (note that, like shown in image 2, the saron are diatonically tuned to match with the western instruments), enough to make it appear that the singer is jarring. but measuring the fundamental frequencies (thus trying as much as possible to remove the ornamentation), we can trace a sequence of six intervals whose difference in hz is the following one: note la si do re mi fa sol hz balance 43,1 21,5 64,6 86,2 75,3 43,1 interval s s s? l l s once again we are facing with an ambiguous use of the musical elements, in this case the height of the notes, and the resulting scalar system. as we see from the table above, only two of the intervals in the model are the same, while among the other passes differences rather obvious. so, rather than thinking at the use of a minor scale, i suggest that the underlying logic of the organization is which of big and small interval of the traditional pelog scale. in the previous pages i tried to frame some musical elements from two songs that i consider interesting and representative of the indonesian folk metal scene, trying in this way to open up the field to a few broader conclusions that, however, will require further study that will pass necessarily from the ethnomusicological tenets, such as field work and the multi musicality: only these steps will confirm or refute the hypothesis that, now, i'm going to expose. the phenomenon of metal in indonesia should be inserted in the broader framework of the worldwide expansion of the genre; the most significant attempt to understand this phenomenon in the context of the cultural dynamics of globalization has been done in the volume metal rules the globe: heavy metal around the world (wallach, berger & green, 2011), where it is shown that the construction of a transnational ideal community of enthusiasts and practitioners is a possible way to respond to those that the authors consider the two major challenges of globalization: the questioning of traditional values for the ever more frequent contact with other realities, and the rapid and often 77 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts lifekiki rahmatika, consistency ning-hui hung, transmission and innovation of kasidah in indonesiagianluca cellini, indonesian metal music 77 violent change of entire cities and regions caused by the worldwide capitalistic expansion. becoming part of the metal scene, in the thought of the authors, is a way to refuse both the most common answers to these upheavals that are on one hand the subjection to the consumer society, and on the other the total rejection of change and the self-segregation in a world sharply divided between "us and them". the above examples seem in a fair measure to go to confirm the truth of this hypothesis, since, on the one hand, the rebellion against a world unrestrained consumerism is expressed by the sound elements of its genre (distorted guitars, growl voice etc.), while on the other the attempt to harmonize two traditions strongly distant seems to follow the post-modern (or post-postmodern?) need to find meeting points that are not only compromises, but third practicable ways. in the globalized and transcultural world, even the form of expression have became transcultural: the indonesian folk metal seems to be a good example of this crossbred way of thinking and acting and, therefore, a good test for those who want to confront with making music in the xxi century. references berger, h., m. 1997. the practice of perception: multi-functionality and time in the musical experiences of a heavy metal drummer, in ethnomusicology 41 (n°3) pp. 464488, university of illinois press. barone, s. 2015. metal identities in tunisia: locality, islam, revolution, modern heavy metal: markets, practices and cultures. edited by karjalainen, t-m e karki, k. available as an on line e-book at http://iipcblog.wordpress.com/publications/ clinton, e, wallach, j. 2005. recoloring the metal map: metal and race in global prospective, in modern heavy metal: markets, practices and cultures. edited by karjalainen, t-m e karki, k. available as an on line e-book at http://iipcblog.wordpress.com/publications/ ferrarese, m. 2015. heavy metal nothingness: alluring foreignness and authenticity construction in early 2010s malaysian metal, in modern heavy metal: markets, practices and cultures. edited by karjalainen, t-m e karki, k. available as an on line e-book at http://iipcblog.wordpress.com/publications/ mesiä, s, ribaldini, p. 2015. heavy metal vocals: a terminology compendium, modern heavy metal: markets, practices and cultures. edited by karjalainen, t-m and karki, k. available as an on line e-book at http://iipcblog.wordpress.com/publications/ wallach, j. 2005. engineering techno-hybrid grooves in two indonesian sound studios, in green, p. d. e porcello, t. (a cura di), wired for sound: engineering and technologies in sonic culture. wesleyan university press, middletown, pp. 138-155. wallach, j. 2008. modern noise, fluid genres: popular music in indonesia 1997-2001. university of wisconsin press. madison. wallach, j, berger, m, h, green, p, d. 2011. metal rules the globe: metal music around the world. duke university press. durham. weinstein, d. 2000. heavy metal: the music and its culture. new york. da capo. 78 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017book of reviewijcas: vol. 4, no. 1 june 2017 88 sitography www.beautyofbloodsidoarjo.blogspot.com www.eternalmadnessbali.blogspot.co.id www.metal-archives.com www.modernheavymetal.net c o n f e r e n c e r e p o r t performers (‘) present festival and symposium 2016 at yong siew toh conservatory of music singapore 25th october-1st november 2016 oriana tio parahita nainggolan orianatioparahitangl@gmail.com yong siew toh conservatory of music singapore (ystcm) organized performers (‘) present festival and symposium 2016 on 25 october 1 november 2016. this event is held to celebrate the anniversary of the conservatory. the event was held at the campus of yong siew toh conservatory of music singapore. participants who attend this event come from singapore, malaysia, australia, thailand, netherlands, america, england, norway, and so on. in this series of festivals and symposia, the whole series of events are arranged in an interesting and very indulgent ‘ear’ to all the participants who attended this event. performers (‘) present festival and symposium 2016 begins on 25 october 2016 preceded by pre-symposium activities with workshop cello workshop by 4cellists, brass masterclass and panel discussion by boston brass and ystcm faculty brass, and ends with a piano concert by pianist melvyn tan. the second day activity of performers (‘) present festival and symposium 2016 begins with a vocal masterclass by donald george, followed by a masterclass for chamber music by gabor takács-nagy and ends with a percussion concert by vanessa tomlinson. on the third day, the performers (‘) present festival and symposium 2016 event begins with the opening of a symposium by brett stemple as the convener event. the symposium session was preceded by a presentation from prof. kua ee heok with the title “music, mood, and memory-all in your mind”. prof. kua has been conducting research for 12 months and in collaboration with the national university system and jurong aging study to trace the benefits of choral singing in delaying and managing dementia, anxiety, and depression in senior citizens. after presentation from prof. kua, the symposium is divided into several spaces. all participants who participated in the symposium were given the opportunity to attend symposium topics appropriate to 84 ijcas: vol. 3, number 2 december 2016 their respective subjects and interests. after lunch, a “lunchtime concert” was held by bart van oort and petra somlai. this concert is a piano concert with the use of “mozart piano” which is almost similar to harpsichord but its shape is like a piano without pedal.the concert lasted for an hour. after the lunchtime concert, the symposium begins again. at the ends of the symposium held violin concert with theme “quiet is beautiful” by mieko kanno. the first day symposium event was closed by a music concert from boston brass and ystcm faculty brass that amazed the audience. the fourth day of symposia begins with a symposium session which is then continued with lunchtime concert by wu xian chamber music ensemble. after the concert, the symposium begins again. after the symposium is complete, all of the participants of the symposia enjoyed the guitar and percussion concerts by paul cesarczyk (guitar) and joachim lim (percussion) for one hour. the second day’s activities ended with a concert piano by melvyn tan and conservatory string ensemble. the fifth day activity of the present festival and symposium 2016 begins with presentations & provocations sessions on “illuminating the score: the past represented” topic with panelists: gabor takács-nagy, wong kahchun and darrell ang, followed by rehearsal by gabor takács-nagy which was allowed to be witnessed by all symposium participants. after this activity, the symposium is resumed, followed by lunchtime concert by luk vaes. after lunchtime concert followed by presentation and provocations session again with the topic “warping the performer’s present? the recording conundrum with panelists: vanessa tomlinson, zhang manchin, albert tiu, and young hoon song. the next session is a masterclass session by andrás schiff pianist. piano masterclass session is open to the public and all symposium participants. after the masterclass session, the symposium session resumes and ends with three music concerts. the first music concert was a music concert with the theme “creative project” by jonathan dove and 1st and 2nd year ystcm students. the concert was a creative exploration concert of all 1st and 2nd year ystcm students. the second music concert was a concert piano by thomas hecht. the third concert was a music concert by lorong boys. lorong boys is a music group whose members are alumni from ystcm, and to this day the group is very active in holding various music concerts in singapore. the last day of symposium began with symposium sessions and symposium activities concluded with presentations & provocations sessions with the topic “sowing the future present” with panelists: peter tornquist, anothai nitibhon, schott harrison and wong kahchun. all symposium activities concluded with music concerts from jonathan dove and 1st and 2nd year ystcm students and preview bangsokol workshop, a requiem for cambodia by ystcm ensemble, musicians from cambodia living arts with conductor adrian chiang. this event is an event to give the experience of listening to music, critical thinking about music in this century and provide a new understanding of the music that is around us. this event is packed with a very interesting and certainly an event to form a networking of music players, academia, and students who follow this event. c o n f e r e n c e r e p o r t the socio-technical constitution of resilience: structures, practices, and epistemologies kurniawan adi saputro graduae school of indonesia institute of the arts yogyakarta on 21-22 june 2016, school of humanities and social sciences, nanyang technological university and future resilient systems, singapore-eth centre held a conference on socio-technical constitution of resilience. twenty eight scholars from as various disciplines as humanities to civil engineering convened and discussed the subject from various angles. at the centre of attention was the concept of resilience, which inherited its meaning from socio-ecological system research, referring to its capacity to absorb disturbance and maintain its integrity. however, the concept was recast for a more specific context, namely sociotechnical context, characterised by intentions of both human and technological agents. in such specific context, resilience comprised of three core aspects: its informational relations, its sociomaterial structures, and its anticipatory practices (amir and kant, 2017). informational relations referred to “how information is organised and managed to support continued operation of sociotechnical system” (ibid.), while sociomaterial structures referred to “mutual entanglement of human organisation and material structures” (ibid.). finally, anticipatory practices referred to “construction of regular activities aimed at anticipating possibilities of what would occur in the future” (ibid.). these three aspects of sociotechnical resilience were greatly expanded and enriched by case studies, ranging from water scarcity in panama, makeshift dwelling in hyderabad, scientific discourse of sidoarjo mudflow, cross-media audiences of mt. merapi eruption, and many others. in addition to case studies, several researchers problematised resilience by politicising and historicising the verb, by complementing systemic perspective with situated perspectives, by diversifying its epistemologies, and by casting it as an active participation by citizens. case studies and concept problematisations were strategies to approach a problem as hard to resolve as resilience since it encompasses different, often contradictory, dimensions. for example, technical systems require rigid and exact protocols and standardisation, whereas social systems are inherently and 94 editorialbook of reviewijcas: vol. 3, number 1 june 2016 promote flexible and negotiable arrangements. this is only one of many problems that refuse easy solutions, maybe an inexistent path to choose. accordingly, participants were eager to localise the problems in different contexts, approached it carefully and holistically, and attempted to locate the concept in a certain historical trajectory to not lose sight of its limitations and biases. the following parts will report the discussions chronologically as they happened in the two days of conference. ashley carse discussed the case of water scarcity in panama as an “infrastructural event” since it was not something that was inevitable but produced by the country’s policy choices to prioritise their economic development relying on their ship canals. hence, in the face of el-nino related droughts, they wanted households to limit their consumption of water while continuing to increase the capacity, and water supply, of its canal. stephen healy problematised the current conception of resilience as a a property in “systems ecology” that can universally be found despite differences in cultures and histories. he proposed complementing the universalising tendencies of western thought with more particularistic and situated perspective. in his words an assemblages “gather together not only the technical elements specific to particular places or processes but also the social and moral meanings, and agential forces that people bring to bear along with these technical elements to produce circumstances in which events occur” (p. 42). the two paper had shown that resilience, and vulnerability as its flip side, were as complex as society’s historical developments, people’s meaning-making, and particular usage of technical instruments. makoto takahashi and masaharu kitamura studied the incident of fukushima daiichi nuclear power plant failure that resulted in its meltdown and evacuation of approximately 100,000 people. they found that the incident could have been worse it it was not due to the current good practice conducted by the personnels. shin-etsu sugawara and kohta joraku examined how the fukushima highlighted the complicated nature of its real-time simulation technology, called sppedi, which did not perform sufficiently, created controversies among governmental bodies. the technology of warning was also examined by jennifer henderson in her study of weather forecast offices in the us, which found that the meteorologists shifted their practice from making better and accurate predictions to interpreting and communicating the findings to different government bodies and the publics. the shift to informing the “customers” and making impacts created an ethics of resilience, in which they orientate their scientific knowledge and institutional practices toward making the wider public more resilient, rather than merely recording information and making predictions without clear guidance as to how to interpret and use the predictions. diganta das observed how slum-dwellers in high-tech hub city of hyderabad showed resiliency despite losing their lands and primary source of income. he focused on spatial dimension of people’s resilient practices, in claiming and governing their own private and communal spaces. scott gabriel knowles and 95 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ...nor idayu binti ibrahim. the development of formal ceremonialnoni sukmawati. literary performance in the act of pendendangkurniawan adi saputro. conference report jose torero reframed the problems of universal versus particular approaches to resilience to a problem of command-and-control versus historico-political realities of vulnerability. by focusing on how political struggles unfolded between managements, engineers, and public health overseers, the authors revealed that the current focus on resiliency concerned more about winning society’s agenda, rather than ensuring that the inventories of weaknesses and vulnerabilities had been dealt with. vivek kant and justyna tasic proposed to blend top-down with bottom-up approach by starting with the activities in the bottom, then moving to discovering relations. they made use of the concept of holons to identify parts of the system that simultaneously functioned as a whole, namely purpose, act, agent, scene, and agency. socio-technical systems as meshworks of holons provided insight into resilience as one of its systemic properties. small business provided insights into soft non-structural measures of resilience in the form of financial support for small and medium enterprise’s business operations, as had been studied by bingunath ingirige and gayan wedawatta. another form of “soft” measure to increase resilience post-factum was to create an authoritative report of accidents so that a nation could “reach consensus”. chihyung jeon, hyungsub choi, and sungeun kim found three types of reports, namely legal, technical, and bureaucratic reports of accidents since 1990s in south korea. these three types of reports served “narrow institutional needs”, while neglecting social and structural narratives. ryuma shineha and mikihito tanaka drew conference’s attention to gaps between national and local media focus on disaster. in japan after the march 2011 tohoku earthquake, local media did not have the power to draw national media’s attention toward issues of their concern, which did not improve on their resilience. anto mohsin discussed the ambiguities of map as an instrument of power (to contain and manage affected population) and instrument to assert rights (by affected citizens themselves). his study of lapindo mud in east java show how murky the scientific claims of causality and government’s attempt at mitigating the impacts, exemplified by the map that kept changing during the ongoing crisis. charlotte cabasse problematised the underlying assumption of resilience as a move toward normalcy, which contradicted the changing, abnormal reality of polynesian people affected by climate change. megan finn’s study on public information infrastructure revealed that following events of disaster, state reasserted its authority to define what information infrastructure was and should be using the language of resilience, although the infrastructure itself was privately owned. in other words, resilience opened the private infrastructure of information for state’s intervention. the last two papers concerned seeing resilience as a distributed capacity of the society, enhanced by the unprecedented capacities of modern information and communication technologies. kurniawan adi saputro offered a model to understand mediated disaster as a move from society’s collective attention, mediated by media, toward collective action to help the affected people. the 96 editorialbook of reviewijcas: vol. 3, number 1 june 2016 move was uncertain and faced with different challenges, yet could show great potential as was shown in the successful disaster relief efforts in the wake of mt. merapi eruption in indonesia 2010. katrina petersen and monika buscher reported their project to design ict for “spatially and culturally distributed disaster management” (p. 306). it went beyond security versus freedom discourse and moved toward identifying risks as they were realised in complex interactions based on “data, technology, and movement” over borders. the result of this conference will be published in anthology on sociotechnical resilience sometimes in the year of 2018. 94 ijcas: vol. 1, number 2 december 2014 book review the pleasure of research, helsinki: finnish academy of fine arts by slager, h. (2012) barbara bolt faculty of the vca and mcm university of melbourne,australia email: bbolt@unimelb.edu.au what can you expect of a book called the pleasure of research? there are two key words in the title of the book that need to be unpacked before we can begin the project of assessing the value of this book—pleasure and research. the origin of the “pleasure” comes from the old french word “plaisir” to please. add the english suffix, “-ure”, which gives an inflection that implies action. it is pleasing to do research: what is then pleas-ure in doing research? the word research derives from the late sixteenth century french: recerche (noun) recercher (verb). the word consists of two elements, re-, which expresses an intensive force and cerchier, ‘to search.’ it is both a noun and a verb: we do research and we research.however there is another sense of the “re” of re-search that needs to be considered. “re-“ is the prefix of the word “search.”“re” means “again,” “again and again” and implies a withdrawal or backward motion. it is a repetitive action that returns to a previous state and repeats. however, our common sense understanding tells us that research doesn’t offer us the same again, but rather something “new”. this is confirmed by all the policy documents and literature around research. the australian government, for example, defines research as: the creation of new knowledge and/or the use of existing knowledge in a new and creative way so as to generate new concepts, methodologies and understandings. this could include synthesis and analysis of previous research to the extent that it is new and creative. (arc, 2008: 1) research is not a repetition of the same. if we consider the two different nuances of “re-“ together, we may understand the “re-“ of research to consist of an intensive force and repetition. we return again and again, but through the intensivity of this “search”, we are taken somewhere else. here we begin to talk about the “new” of research, as the difference that emerges from the intensive force of repetition.thus, we could say at the outset that the pleasure of research is the movement in thought, word and deed that 95 ayu niza machfauzia. self-management strategies of music teacher occurs through the back and forward of re-search. in the pleasure of researchhenkslagerdoes not set out tochronicle the whole field of research, a field that has been dominated by scientific research. rather, hefocuses specifically on an emerging type of research and a new type of researcher;artistic research and the artistic researcher. through this focus, the book aims to position artistic research as an autonomous ‘experimental method and an implicated form of artistic thought’, and it is the artistic researcher who gains intellectual pleasure through this process.1 at first, i doubted whether it was appropriate to do a review of this “european” take on research, with its references to the “bologna” process, in the context of the development of artistic research in south east asia.2 however, while the book is written from the viewpoint of a european artistic researcher, the book offers the reader and the budding artistic researcherssome “kernels” of ideas or concepts and asks them to use these as a provocation to commit research. further it directs the reader to artistic researchers and artistic projects from across the globe to demonstrate how the concepts work in practice. the pleasure of research is not the definitive tome on artistic research and researchers, nor is it an end in itself that sets out the state of this emerging research field. rather, it is a thin pocket size book, something like a guidebook that one carries around when one goes to a new place and is looking for places to stay, the best restaurants to eat at, or the most important landmarks to visit. or else, one could see it as some sort of a newfangled dictionary; it offers us words, concepts and examples of artistic projectsthat may be useful in our journey into this emerging world. it asks us to set off on our own unique path of discovery rather than offering us the rules of the game. in chapter 2, slager introduces us to the idea of “experimental aesthetics” and the laboratorium. he explains that ‘a shift has emerged from art practices focusing on end products to art practices dealing with experimental, laboratory-style environments and researching novel forms of knowledge and experience’ (slager ,2012: 22). to exemplify this shift, he draws on laboratorium, an interdisciplinary project conducted by hans-ulrich obrist and barbara vanderlinden in 1999. laboratorium investigated the possibilities, congruencies and antagonisms between the scientific laboratory and the artist’s studio. the project, which involved artists, curators, writers and scientists addressed the question: what is the ‘meaning and role of “the experiment” and to what extent is it of importance for knowledge production that the experiments taking place in the studio or the laboratory ultimately are made known demonstrably to the public?’(slager, 2012: 22). in some senses the experimental space of artistic research, the laboratorium, may be seen to have a kinship with the scientific laboratory. science has its laboratories, its 1 see thedust jacket blurb of slager, h. (2012) the pleasure of research, helsinki: finnish academy of fine arts. 2 the bologna framework involved the structural reform of higher education in europe. in the arts it has resulted in a shift from the art academy to modular based higher education programs and the introduction of doctoral programs. see ute meta bauer’s publication education, information, entertainment: new approaches in higher artistic education (2001). barbara bolt. book review 96 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014book of reviewijcas: vol. 1, number 2 december 2014editorialbook of reviewijcas: vol. 1, number 2 december 2014 strict laboratory practices, controlled experiments, methods and data analysis, its modes of dissemination (the peer reviewed journal article) and its audience. scientific experiments also have requirement that the method is explicit and can be replicated in order to validate the results of an experiment. art also has its audiences. however, as slager points out, drawing on the duchampian idea that every work of art should be approached as if it is the first work of art, the studio is a ‘laboratory without protocol’ (slager 2012: 22).3 in a world where we are told to “listen to what the science says”, what does the notion of a laboratory without protocols offer us? philosopher of science, bruno latour, who was one of the “scientists” to take part in laboratorium, suggests a critical distinction between science and research: science is certainty, research is uncertainty. science is supposed to be cold, straight and detached; research is warm, involving and risky. science put an end to the vagaries of human disputes; research fuels controversies by more controversies. science produces objectivity by escaping as much as possible from the shackles of ideology, passions and emotions; research feeds on all those as so much handles to render familiar new objects of enquiry. (latour quoted in slager 2012: 23)4 where we have come to equate science as the model of research par excellence, slager, draws from latour to argue that the character of a model of research emerges from “practice” is central to the “spirit” of research: emergent, context-specific, particular, multiple and responsive. through each of the nine chapters in this handbook, slager sets himself the task of teasing out and teasing us with the possibilities that these “qualities” in artistic research enable. this, is for slager, the pleasure of research and why estelle barrett has argued that artistic research constitutes a new paradigm of research or “successor science” (barrett 2014: 7). references australia research council (arc). (2008). ‘era indicator descriptors’, december2008, available online at: www.arc.gov.au/pdf/era indicator descriptors.pdf [accessed on october 2009]. bauer, u. (2001). education, information, entertainment: new approaches in higher artistic, vienna:edition selene. barrett, e. (2014). ‘introduction: extending the field: invention, application and innovation in creative arts enquiry’ in material inventions: applying creative arts research, (eds) e. barrett and b. bolt, london: i.b. tauris. bolt, b. (2011). heidegger reframed: interpreting key thinkers for the arts, london: i.b. tauris. feyerabend p. (1978) against method: outline of an anarchistic theory of knowledge, london: humanities press. latour, b. (1998) ‘from the world of science to that of research”’ science, volume 280, number 5361, issue of 10 apr 1998, pp. 208-209. 3 see paul feyerabend’sagainst method: outline of an anarchistic theory of knowledge (1978). see also ‘art as research’ in barbara bolt’sheidegger reframed: interpreting key thinkers for the arts (2011),for a discussion that distinguishes between scientific research and artistic research. 4 see bruno latour ‘from the world of science to that of research”’ science, volume 280, number 5361, issue of 10 apr 1998, pp. 208-209. editorvol1no22014.pdf (p.2) npscn001(2).pdf (p.1) jurnal ijcas vol . 1 number 2 desember 2014.pdf (p.3-112) 51 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economyi wayan adnyana. pita maha social institutional capital pita maha social-institutional capital (a social practice on balinese painters in 1930s) i wayan adnyana indonesia institute of the arts yogyakarta email: kun_adnyana@yahoo.com abstract research topic: pita maha social-institutional capital (a social practice on balinese painters in 1930s) aims at describing creative waves of balinese village youth in designing new paintings. the artwork is considered to be the latest development of classical paintings of kamasan puppet. the pattern of development is not just on artistic technique, but also on aesthetic paradigm. yet, the invention and development of painting concept, which were previously adopted from stylistic pattern of puppet kamasan has successfully disseminated paintings as a medium of personal expression. the artist and patron consolidated art practice in the art function, which was well ordered and professional. agents including palaces, balinese and foreign painters as well as collectors and dealers were united in arts social movement, named pita maha. despite the fact that pita maha also encompassed the sculpture, this research focuses more on the path of paintings. socio-historical method is applied to explore the characteristics and models of social capital-institutional ideology that brought forth and commercialized paintings on pita maha generation. this topic is also an important part of the writer’s dissertation entitled pita maha: social movement on balinese paintings in 1930s. the discussion on socialinstitutional capital enables expansion and exploration of a more complete socio-historical construction on pita maha existence. the study on social capital aspects, which embodies the initiation of pita maha, has constructed a tremendous growth of balinese paintings, both in terms of aesthetic “ideology”, and institutional competence of the painters. keywords: pita maha, social-institutional capital introduction the artistic image of balinese paintings of 1930s is substantially different from what the writer used to see in his childhood, the kamasan puppet painting style. in every temple, the puppet painting decorated the wooden plank (parbe) section of the temple’s pavilion (bale-bale) and the various ritual paraphernalia such as banners (umbul-umbul), flags (kober). similar ones also appeared on rerajahan paintings (drawings with magical propensity used in the cremation ritual, ngaben) and on ceremonial curtains (langse), which has been popular since the reign of balinese king dalem waturenggong who ruled bali in the 15th century bce, complete with narrative themes from the mahabharata and ramayana epics and the traditional mystic teachings as irreplaceable props of balinese religious rituals. when closely examining the personal history of balinese painters of the 1930s, it becomes clear that they already had an advanced skill of painting kamasan 52 editorialbook of reviewijcas: vol. 2, number 2 december 2015 puppet far before the establishment of pita maha. the painter anak agung sobrat exhibited an excellent skill and perception of painting a proportionally accurate figure of the imaginary wayang world in his 1930s works, collection of puri lukisan museum. the work shows narrative heroic figures of rama, laksmana, sugriwa, hanoman of the ramayana epic with correct proportions and composition pattern filling the entire surface of the 46.3 x 59.1 cm paper, and visually already departing from the kamasan puppet composition; and similarly, other painters such as ida bagus made poleng, i ngendon and others whose juvenile works even already exhibited proficient technical skill and awareness of myth behind the wayang theme. the juvenile painting talent later blossomed and found its definitive professional creative identity when the pita maha institution carried out its socialization process and collective creative learning. the mutual activities between pita maha institution and its member painters produced a creative ethic that successfully gave birth to a new balinese painting aesthetic character. the existence of this new balinese painting is strongly associated with the collaborative atmosphere of balinese painters with foreign artists, in particular walter spies and rudolf bonnet and the active roles of senior artists of the time such as gusti nyoman lempad, ida bagus gelgel and ida bagus kembeng. the two western painters were facilitated by the ubud palace elders namely tjokorda gde raka sukawati and his younger brother tjokorda gde agung sukawati who opened a wide interaction space for them with local artists. the establishment of pita maha in 1936, and puri lukisan museum (inaugurated in 1956) was a “highway” and an estuary for the art social movement of 1930s. in addition the artistic gene of the balinese also contributed to the flourishing of art in an era where geo-politically the world was in chaos due to wars. the creative endeavor continued to progress until the artistically gifted youth matured with their painting skill, became proficient in aesthetic concepts, and grew accustomed to the creative pattern of western painters, and thus produced an awareness to manage and to optimize the utility circuit of these creative agents. not only painters (painting producers), but the palace institution, the bali museum (which was already established in denpasar), and the art market (collectors and dealers) were involved. the art social movement’s arena was born out of the existing collective awareness. in a house, which architecturally was built partially with rocks –the locals called the house the office palace—the kawan palace ubud of tjokorda gde raka sukawati, the pita maha was founded on 29 january 1936. pita maha accommodated all painters who throughout the 1930s conducted a constructive dialog of interacting with bonnet and spies. even to this date, the pita maha aesthetic continues to provide inspirations and styles to bali’s new generations, particularly painters of ubud, batuan, and village of kapal, badung. despite technical complexities inherent to pita maha painting style, which requires a prolonged working hours, it still has militant followers. 53 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economyi wayan adnyana. pita maha social institutional capital although some of its followers jumped into another style, this painting style is still attractive. the complex birth of pita maha painting and its influence to the painting world of bali generates curiosity and enthusiasm for further research. study formulation 1. what is a pita maha social-institutional capital of 1930’s? 2. how was the social-institutional capital functioning to safeguard the social practice of 1930s balinese painters? 3. how was the social-institutional capital of 1930s balinese painters contributing to the formulation of pita maha painting aesthetic “ideology” and have built a new habitus? purpose based on the formulated research questions, the purposes of this research are: 1. to analyze and understand the pita maha social-institutional capital of 1930s. 2. to explain comprehensively the role of the social-institutional capital in safeguarding the social practice of 1930s balinese painters. 3. to explain the role of pita maha social-institutional capital in the formulation of balinese painting aesthetic “ideology” and new habitus of 1930s. theory of art social practice to obtain a comprehensive analytical result of the topic pita maha socialinstitutional capital (a social practice on balinese painters in 1930s), bourdieu sociology theory is used as a basis, which is contextual with the field of art and socio-culture studies owing to its concepts of fields, capital, habitus and practice. the concept of fields by bourdieu is defined as a series of structure manifestations of social agents involved in the art arena, which inherently contain struggles and strives to obtain a certain amount of position by the specific capital ownership and by the position already established in the specific capital structure (1993: 30). it is fitting that this concept is positioned more as a field of forces, and “a field of struggles.” fields at all time become an objective relation system of forces between social position and symbolic points: works of art, artistic manifesto, political declaration, etc. fields structure becomes a balanced relation between the above mentioned points and capital distribution (harker, mahar & wilkes, 1990: 8). an understanding of fields concept in the context of pita maha institution, comprehensively traces the structures of agents in the production circle of paintings in the 1930s that developed in ubud and surrounding villages. and also analyzes the struggles and relation patterns amongst agents to access the ideal value that was collectively aspired for in the pita maha institution. in the creative practice agents compete by using creativity capital and relation capital they have. 54 editorialbook of reviewijcas: vol. 2, number 2 december 2015 meanwhile the practice concept conducted by agents was born within the perimeter of habitus specific. bourdieu proposed the theory of habitus as a set of dispositions formed and formulated through combination of objective structure and personal history. dispositions are obtained in the various existing social positions within an arena, which carry implications of subjective adaptation for the position (harker, mahar & wilkes, 1990: 10). in brief, habitus is a product of history, produced by an individual and also by a collective; hence, the history follows the scheme produced by the history (bourdieu, 1977: 82). regarding capital, bourdieu defines it very intricately, i.e. it encompasses material things that have symbolic values, “untouched” attributes but carrying cultural significance, and also linked with cultural capital, which includes in it tastes and consumption patterns (harker, mahar & wilkes, 1990: 13). in the context of pita maha institution, or more specifically pertaining to arena condition of arts in the pre pita maha, it became very clear that agents endowed with cultural capital and social attributes became the determining agent of the creative practice’s continuity, such as the existence of the palace figure tjokorda gde raka sukawati, and also the senior local artist gusti nyoman lempad who emerged as social patrons. “the theory of the mode of generation of practice, which is the precondition for establishing an experimental science of the dialectic of the internalization of externality and the externalization of internality, or more simply, of incorporation and objectification” (bourdieu, 1977: 72). practice, as bourdieu’s concept clearly analyzes, is an outcome of the dialectic dynamic between exterior internalization and interior externalization or the dialectic dynamic between the internalization of everything experienced and observed from the social actor’s exterior and the expression of everything that has been internalized to be parts of the social actor (rusdiarti, 2003 : 33). this practice theory is employed to analyze the dynamics of 1930s balinese painters by looking at the works being produced, to show the reciprocity between the dynamic of internalization and externalization. these include self potentials, social space, and tradition heritage. an analysis pattern that can be developed of the social-institutional capital of pita maha is [(habitus) (capital)] + arena = practice, where practice is a result of an accumulation of arena, habitus and capital. bourdieu rejects the understanding of this formulation as an objectification, and encourages a dynamic effort to examine it (mahar, harker & wilkes, 1990: 7). for the subject study of pita maha social-institutional capital (a social practice on balinese painters in 1930s) this formulation is utilized more to build an articulation and analysis on conditions and facts that can be woven into the complex path of capital, arena, habitus, and also art practice. 55 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economyi wayan adnyana. pita maha social institutional capital research method 1. research form and approach this study is a qualitative research using an art social history approach, in particular using bourdieu’s sociological theory, and an aesthetic study from the perspective of depth-hermeneutical by thompson. a qualitative research according to kirk and muller stems from qualitative observations, which emphasizes more on natural qualitative aspects as it pertains understandings, concepts, values and characteristics inherent to the research’s object (kaelan 2005:5). qualitative research has minimum four philosophical foundations; one of them being truth can be obtained from capturing the phenomena or the signs that radiate from the research objects (arikunto, 2002: 12). the writer uses purposive sampling method, i.e. deciding samples based on certain considerations that deem to give maximum data (arikunto, 2002: 15). 2. source and data collection technique this research requires many sources and data. the sources and data are 1930s balinese paintings, interview notes, and documents like pita maha exhibition catalogs and the djawa magazine (published by java instituut) in the 1930s and 40s that featured pita maha. one such pita maha institution exhibition catalogs is the pita maha exhibition in the bandoengsche kunstkring, 20-27 november 1938. in this exhibition a term “moderne balische kunst en kunstnijverheid” was introduced to name the era of pita maha paintings. this catalog also included a price list as well as an admission fee of f 0.50. in addition, the catalog also inserted an article by h.f.e. visser, which indicated that pita maha was founded on 29 january 1936 (1938: 3). other data sources are an exhibition of rudolf bonnet’s collections at bataviasche kunstkring, 29 october-20 november 1940; pita maha’s exhibition at bataviasche kunstkring, 3-12 february 1939, and other pita maha catalogs. regarding data in the form of paintings, chosen were samples selected from numerous pita maha painters who lived wide spread in villages around ubud, batuan, kamasan and denpasar. the writer decided samples following these reasoning: first, they represent the generation of painters who were most intensive in the social arena of pita maha institution. and the painters certainly have worked and interacted within the social atmosphere of rural arts before interacting with bonnet and spies. second, these balinese painters later had good reputation due to their excellent works. thus, chosen beside lempad (ubud, 18621978) are ida bagus gelgel (kamasan, 1900-1937), kembeng (tebesaya, 1897-1952), and eight other painters, namely anak agung sobrat (padangtegal, 1917-1992), 56 editorialbook of reviewijcas: vol. 2, number 2 december 2015 ida bagus made poleng (tebasaya, 1915-1999), gusti ketut kobot (pengosekan, 1917-1999), anak agung meregeg (padangtegal, 1908-2000), ida bagus nadera (tegalinggah, 1915-1997), i reneh (batuan, 1910-1976 ), i gusti made deblog (denpasar, 1906-1986), and i nyoman ngendon (batuan, 1903-1949). data were obtained from direct observations, studying photographic documents, and literature reviews. and instruments to collect data include a tape recorder, a questions list, and a camera. the interview techniques include (sutopo, 2002: 135): reflective interviews (of both the painters’ subsequent generations, and art supporting institutions like museum owners), observations, and interpretation of documents. 3. data analysis technique the data analysis technique was done referring to the sociological approach of bourdieu, and in the context of this research, the emphasis was on the analysis of art social-institutional capital, and the diachronic history of painting practice in bali during pre-pita maha, pita maha, dan post-pita maha. the concept of art social practice pertaining to habitus, capital and arena as the practice of the agents were believed to exist by the roles of habitus, ownership of compound capitals, and arena condition. the writing model of this art social history refers to the understanding that the 1930s temporal setting, as was the onset of the 20th century, was marked by a process of acceleration, thus must abandon evolution theories. art historians were writing their response over modernism (fernie, 1995: 16-17). the pita maha institution era was also faced with a movement that was not a product of slow growth, be it the emergence of a new arena, and the growth of habitus, capital, and a new pattern of art practice. consequently, the data are verified over the encompassing sociological and aesthetic potentials. research result and discussion a. beginning history: heritage and tradition the history of balinese painting is identical with a long series of balinese sociocultural movement in developing the mapping-formulation of aesthetic concept and visual artistic achievement. the evolution of aesthetic concept began with the official recognition of an art profession by ancient balinese king around the 11th century bce. the aesthetic concept also appeared as myths abound in bali in legends and folklores. meanwhile the artistic achievement that can be enjoyed as proofs of the balinese paintings’ long journey has generated several evolutionary styles: from the magic-sacred drawings to relief arts on hermitage’s walls; the klungkung classic kamasan puppet painting era, and the pita maha style of 1930s. the visual aesthetic and painting artistic technique can be stated as experiencing a progressive advancement at the closing of 1920s till the 1930s through the birth of a new art style that later popularly called the pita maha painting. before delving 57 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economyi wayan adnyana. pita maha social institutional capital into the artistic achievement and aesthetic concept of this new balinese painting, it is important, however, to trace the art concept that was formulated by ancient balinese king pertaining to the official recognition of painting profession, the foundation of subsequent art movements. the ancient balinese king, marakata created the batuan edict around year 944 çaka (1022 bce), which mentioned the profession of citrakara (masters of drawing and painting), culpika (masters of carving/sculpting), and other art profession terminologies (goris, 1954: 97). citrakara is a title for painter, akin to the term “artist” in the western terminology, which refers to the notion of a “painter.” the king’s pronouncement of the term “citrakara” is a proof of formal recognition for the continuity of painting profession’s community. written on the lontar tantu panggelaran, usana jawa and niti praja that the gods in heaven descended to earth to teach human beings life skills as the gods were concerned to see human beings were no different from animal packs that only sleep, and eat readily available food only. art and skills were unknown to humans. thus, the gods took the initiative to descend to earth to teach humans various arts: brahma taught the art of metal weaponry; mahadewa taught silver and gold forging; citra gotra taught jewelry making; bhagawan ciptagupta taught painting; and bhagawan wiswakarma taught architecture (sura et al, 2003: 109; ramseyer, 2002: 60). such was written on the myths how gods taught these art professions to humans. art, thus, became a sacred entity and a communal pride, and it is sacrilegious to perform any act that defiles the art profession since art is integrated in the balinese daily life. the integrated relation between the king’s order and the myths puts a high moral code on this profession. artists are subjects; legal owners of art autonomy rights, and they honor the profession as life’s dignity. art embodies the breath of life; embedded as an ideology, a spiritual conviction, a path and daily discipline. so much so that balinese of the past did not see any need to specifically define art. even if there is an attempt to construct the meaning of arts as such, epistemologically it will be faced with a discussion of arts that intertwine with the daily life of balinese people. the terms pertaining to arts inherited today—at least from the literatures that the writer has access to—are in the sense of art as a profession, like the terms citrakara, culpika, and others that point to a profession/ work, not to the resultant art works. it is considerable indeed the authority held by the citrakara group, proven by revivals in every generation. say for example the generation of sangging modhara (a renown painter in kamasan at the closing of the 19th century) ascertaining the achievement of kamasan puppet painting as we can see on the ceiling of the kertagosa hall, klungkung. meanwhile the generation of ida bagus gelgel, ida bagus kembeng at the onset of the 1930s popularized a grounded new perception to narrate epics. next, the generation of anak agung sobrat, idan bagus made poleng declared a more realistic drawing structure and showed a beginning sign myth’s deconstruction. see for example how ida bagus made dared to portray a 58 editorialbook of reviewijcas: vol. 2, number 2 december 2015 barong heading to a river; a very peculiar approach in his time as barong is a very sacred object. a simple summary can be made that at the onset of the second centennial of the second millennium, bali already recognized the artist profession as an autonomous space for every holder of the profession to work accordingly. as citrakara is a label of profession, it can be understood also that art for balinese is a totality of life’s calling. doing art is not a mere filling of one’s leisure time. art unites in the mind and totality of daily life. a text on painting as an etching of wayang subject on a copper plaque inscription dated 1126 çaka or 1204 bce was found of kehen temple, bangli. etched on the plaque was bhatara guru adikunti fashioning four hands surrounded by halo (prabha). in java, an illustration of such prabha only began to appear in the majapahit era (goris and dronkers. 1955: 193). many sources mention that the etching on that very beautiful ancient inscription was the first evidence of a balinese painting, which developed subsequently during the golden age of king waturenggong of klungkung in the 15th century as the wayang painting legacy, commonly called the classical kamasan style. the appearance of puppet painting reached its zenith (almost in time of the renaissance of europe) when the kamasan painting era with its wayang figures became an integral piece of bali’s sacred rituals history up to the 19th century. technically, the kamasan puppet painting emphasized the coloring scheme of sigarmangsi (a gradual coloring scheme around the drawing subject’s boundary) with natural dyes traditionally prepared. the dominant colors are ocher, black, red, blue and white. visually, the kamasan puppet painting emphasizes an epic’s hierarchical narrative. the balinese painting experienced a modern revolution in the 1930s with the appearance of pita maha era. its presence was driven by painters who were united in the pita maha organization in 1936, ubud. the arrival of this new balinese painting can be said born from the three archetypal artifacts previously mentioned: the sacred and magical rajah drawings (visually surrealistic); the naturalistic gestures of reliefs on walls of yeh pulu hermitage; and the puppet figures of kamasan paintings. apart from the ancient artifacts, the birth of the 1930s new painting was also prompted by bali’s condition as an open cultural entity, pulsating in the ongoing ethos of cultural rejuvenation. the journey of balinese painters’ each generation synthesizes the aesthetic legacy with personal exploration. they experiment with the aesthetic legacy of the past and create an authentic new achievement. in short, the balinese painting has evolved nearly a thousand years. it underwent a metamorphosis from an “aristocrat” entity approved by king as a form of devotion of master artisans to the god (the supreme creator) to a more secular rural-agrarian art, and to its most recent expression—a solitary creative experimentation. 59 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economyi wayan adnyana. pita maha social institutional capital b. interaction as a model of habitus and new social-institutional capital. the tradition of uniting in a certain community has taken place in bali for generations, let it be based on a territory like banjar organization, based on genealogy/clan (dadia), or solidarity amongst holders of certain special talents (sekaa). the three organization models must be noted down as the social capital of how the balinese artist generation of 1930s pioneered the establishment of a painter community. the values and norms that exist in the balinese society very clearly express an attitude of tolerance and openness that certainly encompass the principles of honesty and trust in a relationship, such as shown by how the painters lived side by side with walter spies and bonnet in building an atmosphere of intensive socio-cultural interaction. the social capital inherited from the tradition of gathering and organizing brings forth an open and adaptive attitude toward the influences of external cultures. culturally, bali started to brush with the west when the government of the dutch east indies pioneered tourism in 1914, where bali was one of the must-visited destinations (picard, 2006: 30-31). the expansion of the dutch colonial over bali at the end of the 19th century with the incidence of puputan jagaraga war in buleleng, and at the onset of the 20th century the wars of puputan badung and klungkung intensified the encounter. as bali lost the wars, all matters pertaining to the governance administrations came under the direct control of the dutch east indies authority in batavia. via the first tourism in bali, the colonial government also desired to preserve the unique balinese culture; the daily religious-agrarian way of life. but the dutch east indies’ tourism vision of wanting preservation (more specifically isolation) of balinese culture was clearly a trap to make bali a static cultural space. this was non-historic looking at how bali pulsated in the past with amalgamation of outside cultures (china, india, and java). the account of western painting influencing bali took place as a direct interactive connection. at the end of the 1920s and throughout the 1930s a unique phenomenon took place: a direct “intervention” of western artists that would give a particular feature on subsequent developments of balinese rural arts. the artists were walter spies and rudolf bonnet, who together with the patron from ubud palace, tjokorda gde raka sukawati, peddled the development toward a new balinese painting movement. ubud painters such as ida bagus made poleng, anak agung sobrat, dewa putu bedil and others can be construed of being introduced to western artistic views by spies and bonnet, whether it was on composition pattern, plasticity of forms or themes. all of these, however, through an open artistic attitude—the path of western knowledge and ancestral artistic conviction—the balinese painters synthesized a new creative model of modern balinese painting. bonnet and spies definitely played roles on the emergence of the new paintings (adnyana, 60 editorialbook of reviewijcas: vol. 2, number 2 december 2015 2007). but ten bonnets and ten pita mahas could not alone culture a new balinese painting if it weren’t for the flexibility of spirit of balinese painters to adopt new things and willingness to change (yuliman, 2001:301). 29 january 1936, pita maha, the balinese artist organization was proclaimed with the founders being tjokorda gde raka sukawati, tjokorda agung sukawati, walter spies, rudolf bonnet, and gusti nyoman lempad. the name pita maha was taken from the kawi language (ancient javanese) meaning the great ancestor, referring to the shakti of brahma, saraswati, the goddess of knowledge. elected as the head was ida bagus putu, and the secretary tjokorda gde rai (an administrator from peliatan palace). rolf neuhaus, a gallery and an aquarium amusement place owner in sanur was also chosen as a secretary in 1936, and then replaced by marianne van wessen in 1938. the management and members accommodated all bali social strata, including art supporting components, like galleries. in addition to painters, pita maha membership also included carvers and sculptors. the total number of artists was around 120-150 (couteau, 1999: 3031). pita maha was soon filled with activities and became quickly popular. couteau (1999) wrote that the first exhibition was at sesono budoyo yogyakarta hall in 1936 supported by the kunstkring. subsequent exhibitions were in kunstkring batavia (1936, 1937, 1939), in bandung (1936, 1938), in tegal (1938), medan, palembang and surabaya (1939). exhibitions also took place abroad in prestigious places such as the koninklijk kolonial instituut, the netherlands; in paris, new york, and nagoya, as well as in private galleries in india, europe and united states. furthermore, bonnet took an initiative to exhibit works of pita maha painters to many places by bridging contact with mrs j. de loos-haaxman, a commissioner of bon van kunstkring and with ver v. vrienden van aziatische kunst (association of asian art lovers) in the netherlands. through these contacts, works of pita maha members were exhibited at museum aziatische kunst-amsterdam; kunstzal van lier-amsterdam; pulchri studio-den haag, and calman gallerylondon (dermawan t, 2006: 30-31). in addition to bridging relationship with collectors and art lovers, pita maha painters also received good response from art critics, a new art world as a model of new habitus. bimbaum compared batuan paintings with works of douanier rousseu and ubud paintings with beardsley—a painter adored by bonnet. and in 1940 a renown art critic jo de gruyter wrote about the beauty of balinese sculptures endowed with peculiarity of natural balance and stylistic feature, and wrote about the paintings being symbolic and naturalistic (hinzler in couteau, 1999: 31). names of pita maha members started to become known and popular: anak agung sobrat, anak agung meregeg, ida bagus made poleng, gusti ketut kobot, anak agung raka puja, nengah madia, ketut tungeh, dewa putu bedil, wayan 61 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economyi wayan adnyana. pita maha social institutional capital tohjiwa and others. their works projected both a collective identity of unique balinese character and a stunning personal achievement. c. pita maha: balinese painting social practice pita maha was an artist organization glittered with dazzling achievements. its membership encompassed many fine art professions in bali. its success should be noted down for both an ability to formulate a new concept of stylistic form in balinese paintings and to successfully popularize numerous genuinely talented painters. it was this first generation of pita maha who created the balinese painting technique of a systematic process, which no longer followed the coloring pattern of sigarmangsi where colors are placed in gradual sequences of light to dark using natural pigments as in the kamasan puppet painting, but instead applied a more complex and layered one, and thus more time consuming. in general, the pita maha painting technique starts with sketching (ngorten), creating rough drawing narrative and composition. next is creating drawing characters (nampad) to emphasize outlines and borders and to create the drawing’s subject characters, usually done in chinese ink. following this is a wash technique to create light and dark (ngabur) also with chinese ink but diluted. after dark and light contrast, white color is applied to create a sense of volume (nyelah). next is coloring (ngewarnain) with a much diluted tempera, and then adding details (nyawi) by making definite lines on the ornaments and other parts, and finally accentuating colors on dominant parts to emphasize plasticity and lighting drama (nyenter). the color complexity and depth that viewers feel from the paintings speaks for the long and arduous procedures. apart from the painting technique, the most fundamental revolution was actually the birth of an awareness to introduce human figures in day to day lives as theme of paintings. activities such as temple rituals, rice harvest in the paddy fields, traditional festival procession in villages, commotion in marketplaces, and also the lives of animals. even if wayang or puppet figures or narrative of the wayang world once in a while still appeared as a theme, the figure’s image and composition have developed toward more naturalistic ones. there was treatment toward volume, and the beginning of perspective in paintings. in brief, it can be explained that the pita maha painters’ achievement was no longer loyal in perpetuating the classical kamasan wayang painting style. the theme has evolved, and the rendering of human figure’s details underwent significant changes: the flat wayang figure, though still served a creative reference, was naturalized closer toward objective truth of normal human proportion. the painting technique was also made more complex to attain plasticity of objective figuration and clamor of landscapes atmosphere. the drawing’s subject composition of the new painting style completely filled the space, leaving scarcely any empty space, unlike that of the kamasan wayang painting, which treated empty space as the sky only to be dotted with few cloud motives, and the rest 62 editorialbook of reviewijcas: vol. 2, number 2 december 2015 is left white. the pita maha painting which is still celebrated up to this date utilizes the complexity and the crowded space as a means to narrate the entirety of balinese nature where human beings live in harmony with the beautiful surroundings. so many fragments of lives are offered in the paintings, which render it impossible to find a single focus. the pita maha painting style has existed more than 80 years and its journey continues to undergo continuous transformation to this date. every time, a new generation is born bringing a new creative trait. each perpetuates the style of pita maha in the direction of artistic dissemination, i.e. an effort of each generation to maintain as well as to spread the legacy of this 1930’s painting technique to its surrounding communities as well as to informal students. this concept of legacy and expansion gives birth to custodians of this very complex painting technique. created individually and collectively; and thus a history based upon a scheme created by a history (bourdieu, 1977: 82). from here we can analyze that the path of creative ideas and also artistic codes that have been created by each balinese contemporary artists for recent days, example ketut teja astawa (sanur), wayan sudarna putra (ubud), i wayan bendi (batuan) and many others still offers artistic codes of pita maha style, can be viewed as a habitus disposition, whether they have been generated by personal history (painters’ families and their surroundings) or by subconscious conditions. conclusion the pita maha social-institutional capital of 1930s was the estuary of a long journey of balinese painting history. a history that is identical to a series of sociocultural movement of balinese people in developing the mapping-formulation of an aesthetic concept and a visual artistic achievement. the evolution of the aesthetic concept began from a formal recognition of an art profession by ancient balinese king around the turn of the 11th century. the aesthetic concept also existed in myths scattered around bali as narrative in stories and folklores. the artistic achievement that can be enjoyed as a proof of the long history of balinese painting has given birth to several evolutionary styles from traditional magicalsacred drawings to relief arts on walls of hermitages, an era of classical kamasan puppet painting, and the pita maha style of 1930s. the visual aesthetic concept and the painting artistic technique experienced a progressive acceleration at the end of the 1920s and throughout the 1930s via the birth of a new painting style commonly called the pita maha painting. the progressive movement of pita maha organization became a social-institutional capital; a capital that advanced from the spirit power of cooperation amongst painters, art patrons, and critics in advocating an aesthetic ideology. the pita maha institution succeeded in becoming an excellent artist organization of great achievement due to the social capital inherent to this organization. the excellence can be noted down as the success to formulate a new stylistic form on 63 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economyi wayan adnyana. pita maha social institutional capital balinese painting and also to popularize numerous genuinely talented painters. the pita maha painting style has existed more than 80 years and its journey continues to undergo continuous transformation to this date. every time, a new generation is born bringing a new creative trait. each perpetuates the style of pita maha in the direction of artistic dissemination, i.e. an effort of each generation to maintain as well as to spread the legacy of this 1930’s painting technique to its surrounding communities as well as to informal students. this concept of legacy and expansion gives birth to custodians of this very complex painting technique. references adnyana, i wayan. 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(2005), metode penelitian kualitatif bidang filsafat, paradigma, yogyakarta. mirsha, gusti ngurah rai., aa putra agung, dkk., (1986), sejarah bali, pemerintah daerah tingkat i bali, denpasar. odette scalliet, marie, koos van brakel, david van duuren, & jeannette ten kate. (1999), pictures from the tropics: painting by western artist during the dutch colonial period in indonesia, koninklijk instituut voor de tropen/royal tropical institute, amsterdam. 64 editorialbook of reviewijcas: vol. 2, number 2 december 2015 pastika, i dewa made., aa gde yugus, dan i dewa ayu sri suasmini. (2009), kajian estetis seni lukis gaya pita maha (laporan penelitian), fakultas seni rupa dan desain isi denpasar. ramseyer, urs. (2002), the art and culture of bali, museum der kulturen, basel. rhodius, hans, & john darling. (1980), walter spies and balinese art, tropical museum, amsterdam. rusdiarti, suma riella. (2003), “bahasa, pertarungan simbolik dan kekuasaan”, dalam majalah basis, no. 11-12, november-desember 2003. spruit, ruud. (1995), artis on bali: w.o.j. niewenkamp, rudolf bonnet, walter spies, willem hofker, a.j. le mayeur, and arie smit, the pepin press, amsterdam. sura, i gede, dan tim., (2003), alih aksara dan terjemahan: tutur rare angon, siwa guru, dan tantu panggelaran, dinas kebudayaan provinsi bali, denpasar. vickers, adrian, (2012), balinese art: paintings and drawings of bali, 1800-2010, tuttle publishing, singapura. yuliman, sanento. (2001), dua seni rupa (sepilihan tulisan), ed. asikin hasan, yayasan kalam, jakarta 79 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economyi wayan adnyana. pita maha social institutional capitaltepika rodsakan. comparison of the effects of using traditional thai musical instrumentsrachel mediana untung. organizing system of tayub performancegabrielle kelly. book review b o o k r e v i e w “i liked it, didn’t love it,”3rd edition screenplay development from the inside out, los angeles, ese (edwards skerbelis entertainment by edwards, r. & skerbelis, m. (2016) gabrielle kelly faculty of nyu graduate film program, tisch asia, singapore email: gabriellekelly51@gmail.com first an explication of the title. even for those with some knowledge of the complex business of hollywood screenwriting, it can be a confusing world. “i liked it, didn’t love it,” is basically a phrase that is the kiss of death for a screenplay in the extremely competitive world of top-levelscreenplay development and filmmaking. “like” just isn’t enough to propel a screenplay through the formidable obstacles to make it to production. like “good in a room,” another hollywood industry phrase that means someone who is entertaining, memorable and charismatic in their pitching skills, “i liked it, didn’t love it,” is basically a pass, a rejection of the screenplay at this point in its development. wishful thinking wants to focus on the “like” part but more attention must be paid to the words “didn’t love it” because this describes a screenplay that doesn’t pass muster, for whatever reasons, in the high stakes game of judging screenplay material. the book is primarily focused on screenplay development hollywood-style which is the template for so many other film businesses around the world and there is certainly much to be learned from the way filmmaking and storytelling evolved there.in an increasingly global marketplace, knowledge of how feature films are developed, written and made in hollywood is crucial even if it is not the model that always works for other countries and cultures. the hollywood system has many critics as well as many fans. for more auteur filmmakers, the “indie” world is where real art is made and studios focus more on commercial fare for the global mass audience. however, it’s becoming less simple as in the new world of netflix, amazon and hulu, the borders that used to exist 80 editorialbook of reviewijcas: vol. 2, number 2 december 2015 are in the process of being replaced by these global streaming services promoted by social media and films which once were barely seen in their own country can now reach a world audience. for this reason alone it’s important to know how hollywood does it, though the sophisticated and expensive infrastructure of the studios and film companies there are not really replicated anywhere else in the world right now. the rise of china will certainly change that, but the unique history and practices of ‘tinsel town’, as it’s affectionately known by cognoscenti, are one of a kind. because hollywood is the template imitated in some way or other by the rest of the world, it has come to be the model for how a film should be made. the life cycle of a feature film has been developed to its most complex level in the studio system and the indie system of american film production. it used to be when you said movies, you meant hollywood but today with the rise of china’s box office might and the globalization of the film business combined with the disruptive changes in distribution and technology, the era of hollywood’s dominance is being re-visited. still there is much to learn about how films are brought into being by many hundreds of people, incredibly skilled in their art and craft and in chapters like, “the story department” and “agents and managers and the deal,” we are taken through the arcane and invaluable inside knowledge as to how a film comes together. a careful balance of history, anecdote, exercises and summaries and a guide among other things in how to procure a job as a story analyst and which jobs will help the neophyte screenwriter, the book manages to inform, inspire and educate. if you are a writer wanting to perfect your craft, find out how current best development practices came to be or explore jobs to enhance your career as a writer, it is covered. split into 3 parts, “i thought movies just got made … don’t they?” “too many platforms, not enough devices,” and “apps gadgets and websites, oh my!” the encompassing overview takes in both film history and the resources to navigate the increasingly fractured and complex landscape of today’s filmmaking world. to be sure there are many more opportunities for filmmakers now but with them come the need for more complex skills. today’s filmmaker must have mastery of the entire film cycle from development to production and most importantly, distribution. this book serves as a manual for such a demanding world. the third edition of “i liked it, didn’t love it,” screenplay development from the inside out,” hasbeen considerably updated to incorporate many of the rapid changes and upheavals in the business, and it seeks to equip the reader with all they need to know to turn “like” into “love” and be successful in the glittering mirage underpinned by talent, hard work and a huge amount of luck that is hollywood, the movie business is its most industrialized and complex form. as noted, the lessons apply wherever you are located and there is a wealth of information apart from breaking down the hard work of writing a really first rate screenplay. 81 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economyi wayan adnyana. pita maha social institutional capitaltepika rodsakan. comparison of the effects of using traditional thai musical instrumentsrachel mediana untung. organizing system of tayub performancegabrielle kelly. book review having that screenplay in hand however is only the beginning in the challenging world of connecting with those decision makers and financiers who can get it made. the book serves both as a bible for the screenwriter seeking to find out how to get their script to screen as well as many other subjects like how compose a great resume, what coverage is (summaries of screenplays with detailed breakdowns of what works and what doesn’t) what agents, managers, producers and other key industry figures actually do and how new technologies are changing the very nature of storytelling. theoften-paradoxical world of the film development process takes place in a hierarchy which is laid out clearly in many helpful charts. this world has its own language including slang and passwords, which the hopeful screenwriter and filmmaker tries to break into for the holy grail of filmmaking – production of a feature film. it always comes back to the screenplay. renowned director alfred hitchcock noted you need three things to make a great film, script, script and script. a great screenplay can attract name talent and that in turn, attracts theatrical distribution, an increasingly difficult target to achieve as more films are made every year so as everyone involved in filmmaking will tell you, it always comes back to the script. the now fast-changing world of visual storytelling has expanded vastly from the 90-minute feature film that plays in darkened movie theaters. today think cable, tv and the newly breaking forms of storytelling, vr (virtual reality), ar (augmented reality), and hybrids of both for which we are still struggling to find language. increasingly the audience is being brought into the story world as a character in it. the formerly passive viewer is now more like the author of the story in immersive environments, which are more akin to games than the movies with which we are familiar. the rapid pace of change is why this book, a detailed and well respected guide for writers of the screen, small and large has been updated to better reflect the constant change and reinvention of a business itself only a little over 100 years old. we have to always remember it’s called “show business” not “show art” though without art in the business, the stories will never capture the imagination of the audience and do what no other art can do, engage millions in an imagined universe for they pay upfront to sit in the dark and be transported to other worlds, other realities. and it always starts with the story. the subtitle says this book is “screenplay development from the inside out,” and now that we know the first part of the title is one of the most commonplace utterances writers will ever hear in hollywood, what does this mean, to develop a screenplay from the inside out? taking an idea and putting into words, which then become images, is a form of writing that turns money into light. filmmaking is the most expensive art form and its final product has been, up to this point, projected onto a huge silver screen. the written words have become images, shot by the director, and the images projected large are the final stop in a journey that is often known in hollywood as 82 editorialbook of reviewijcas: vol. 2, number 2 december 2015 development hell, ” for the many voices giving opinions and seemingly endless rewrites. while the playwright’s work is legally protected so that not one single comma can be changed in a play, screenplays are often the work of many and indeed the role of the screenwriter is to balance their own original voice with what the market wants. there is an endless process of notes, rewrites and more notes where the resulting script may seem to be the work of a committee rather than an original piece of writing. we are mainly talking here about scripts that go through the development process with a studio, network or experienced indie producer. because a screenplay is a work of art but also a business plan, it’s the only form of writing drawn from imagination that also acts as a directive as to how many speaking roles there are, what they wear, where the scene takes place etc. screenwriting, despite the fact that so many attempt it, is one of the most difficult and challenging forms of writing, demanding art as well as technical expertise. edwards & skerbelis really do go deep inside both the history and the many steps taken to get from idea to screen and it’s a complex and unpredictable journey showing that for all the negative spin on script development, it’sa required part of a production process to ensure the best possible film. these films in the hollywood system are expensive business propositions with a very high degree of risk so anything that be done to predict a successful outcome, will be done. the idea of so many voices being part of the creative process may grate on the more independent minded of filmmakers but film is the most collaborative medium and art and the team approach was established in the very beginnings of hollywood and movie making. also, all that edwards and skerbelis describe and analyze is not only relevant for the extremely prolific and competitive world of hollywoodscripts, but has relevance for all screenwriters wherever they may be working. it was hollywood, then called hollywoodland, that concretized the development process for purposes of producing films in the vast quantities the market demanded. in the early days of the studio system, before their monopoly on talent was broken up, the entire production team was under one roof, under the studio roof and under the control of such visionaries and demanding studio chiefs as samuel goldwyn, walt disney, and jesse lasky. this absolute control resulted in many masterpieces of world cinema but like the advent of sound and more recent groundbreaking changes in technology and distribution models, the business and art is always undergoing multiple and complex changes where the old must give way to the new and unimaginable ideas become reality. if you told most hollywood studio bosses ten years ago that their foreign box office would today vastly outstrip their domestic box office, you would have been laughed off the studio lot, but this has indeed come to pass and faster than anyone imagined. the authors take us behind the scenes of all the steps of getting a film made, much as you can walk behind the “flats” or painted backdrops of a studio set and realize you are not really on a new york street, but in the bright sunshine 83 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economyi wayan adnyana. pita maha social institutional capitaltepika rodsakan. comparison of the effects of using traditional thai musical instrumentsrachel mediana untung. organizing system of tayub performancegabrielle kelly. book review of california. understanding the power hierarchy, how things are done and why they are done a certain way, sets us up for section 3, “apps, gadgets and websites, oh my!” where the changes are not only described but elucidated by the comprehensive list of resources which can be used to manage these changes and for the screenwriters to take their place in the new world of apps, downloads and transmedia projects. this is knowledge that is hard to find in any one book. the world of movie making is a very closed system, although it is changing now with the interconnectivity of social media but it still presents formidable barriers to entry. while it is easier to make a film today due to changes in technology, there is much more product and it’s therefore harder to find an audience. the information and advicegiven by edwards and skerbelis are encouraging but with a sharp dose of realism. when they tell us that many tens of thousands of scripts are registered each year at the us writers guild of america, it gives some sense of the competition, a note the authors sound throughout the book – this is not an art or business for the faint of heart. it’s possible to succeed but not guaranteed and it is a very demanding profession. information is summed up usefully at the end of each chapter and nailed home with exercises to expand screenwriting and networking skill sets. combined with the many tips, tricks, connections and strategy, edwards and skerbelis take us through not just the history and current practices of the film, television and in fact the visual media business, but educate as they ask questions about its future. dense but readable, the style is bracing, humorous and informative. with the film business becoming ever more global at a greater speed and the shifting power bases from the west to east, what relevance we may ask, does this book have outside the very specific world of hollywood and us filmmaking which is more production line than the perhaps kinder, gentler worlds of say european filmmaking with its state subsidies of the arts? hortense powdermaker’s seminal book, “hollywood, the dream factory,” (1) shows the denizens of hollywood as as a tribe with its own gods, shamans, sacrifices and ceremonies. from this tribe we learn that the lessons learned in edwards and skerbelis’ book are indeed relevant worldwide. powdermaker’s study has never been more relevant even as the book has gone out of fashion. her name alone seems like the creation of an imaginative screenwriter! “liked it, didn’t love it,” explores the contemporary tribe of many thousands who run the hollywood dream factory and its imitators – those who write the stories they hope will become successful films of tomorrow. one of the key strengths of “i liked it, i didn’t’ love it 3rd edition screenplay development from the inside out” is to put in context this vastly sophisticated system of turning an idea into a movie. starting with chapters which scope out the early years of hollywood in a history that enlightens us about frank e. woods, considered to have written the first feature-length motion picture scenario. he was relatively unknown name in the glamour roll call of actors, directors and 84 editorialbook of reviewijcas: vol. 2, number 2 december 2015 the like, but someone without woods, the screenplay as we know it today would not exist. how the “scenario” of early hollywood became today’s screenplay is a fascinating story in and of itself but edwards and skerbelis do not linger there because there are 13 other chapters to cover the vast trove of cinema knowledge in this 365 page how-to manual combined with history, sociology and some gripping anecdotes all of which make this a must-have for any serious screenwriter and filmmaker seeking to perfect not just their script but how they go about getting it made. i didn’t just ”like” it, i loved it, andit succeeds as a guide to bringing ideas to life as words so that they may become visual images and render through the magic of film, a great story on screen. 1. powdermaker, hortense (1950). hollywood the dream factory, little brown and company, new york 1 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of death sound and celebration of death: gong ensembles in the secondary mortuary rituals of the jarai (central vietnam) compared with those of the dayak benuaq (east kalimantan, indonesia). do they originate from the dong son culture? della rata italy abstract the jarai people are an austronesian language speaking group living in central vietnam. they reached mainland southeast asia from northern borneo, or possibly from the malay peninsula, around the 5th century b.c. as part of the more general migratory movement that took the austronesian people from formosa to madagascar, westwards, and to easter island, eastwards. the pa thi ritual is one of the most remarkable of the many ceremonies celebrated by the jarai, in terms of its magnificence and the complexity of the elements involved. pa thi (the “tomb abandonment”) is a secondary mortuary ritual that allows the spirits of the dead to reach their final destination. when the ritual is held, the tomb, carefully decorated with symbolic elements, becomes the centre of a sumptuous feast, lasting three days, which includes gong music, dances and buffalo sacrifices. the aim of this paper is to analyse some features of the pa thi ceremony and to compare them with some of the scenes depicted on the dong son bronze drums (heger i type). in fact, as many scholars such as goloubew (1929) and bemet kempers (1988) have pointed out, there is a connection between the people of dong son and “men who might be the more direct ancestors of the indonesians we know from the archipelago”. as evidence of this connection, these scholars explicitly mentioned the culture of the dayak people of borneo and the mountain populations living in central vietnam. in addition to my analysis of the jarai ritual, i will give a few comments on the kwangkai, the secondary mortuary ritual of the dayak benuaq people (east kalimantan, indonesia). rather than attempting to provide a definite analysis of the bronze drums, this paper intends to open some new perspectives for a better understanding of the scenes depicted on the bronze drums as well as giving an interpretation based on the comparison with living rituals. 2 editorialbook of reviewijcas: vol. 3, number 1 june 2016 introduction in his monumental work on the bronze drums, bemet kempers (1988: 132), commenting on the scenes represented on the tympanum of the dong son bronze drums, stated: “the people in the figured bands obviously transfer us to an ‘indonesian’ atmosphere not a primeval indonesian, ‘austronesian’, and thus neolithic kind of population, but of men who might be the more direct ancestors of the indonesians we know from the archipelago in more recent times, bronze age people who lived on the mainland, for a certain time in northern vietnam probably, before they migrated to insular southeast asia.” this hypothesis was not completely new, as goloubew (1929: 39) had already considered a possible connection between the “people of the bronze drums” and the dayak people of borneo, also proposing a link with them and the people living in the highlands of indochina. “ainsi, le tambour de hanoi avec sa riche décoration figurée serait le témoin d’une civilisation primitive dont il subsiste encore des traces chez les dayak de bornéo. il en est de même quant aux bronzes sortis des fouilles de dông-son. le fait n’a rien qui puis se nous surprendre. les travaux de h. kern ont démontré depuis longtemps la proche parenté entre les malayo-polynésiens et certaines races de l’indochine. d’autre part, on a trouvé des crânes à affinités indonésiennes dans les provinces de ninh-binh et de hoàbinh, et même au nord du delta tonkinois. “ also coedès (1966: 18) made a similar hypothesis, regarding the indonesian identity of the dongsonians: “were the dongsonians indonesians? it is tempting to suppose that they were, and to regard them as latecomers in the later stages of the indonesian migration from the continent to the islands, and the ancestors of the backward peoples of indonesian type who inhabit the vietnamese mountains.” calo (2009: 159-161) has more recently reaffirmed this connection, adding new elements borrowed from blust’s linguistic analysis: “what i propose is a possible austronesian influence resulting from the contact between the settled population of north and north central vietnam, speakers of an austroasiatic, or perhaps a daic language, with new settlers from southwest borneo, speakers of an austronesian chamic language, who reached central and north vietnam in the second half of the first millennium b.c. [...] the region of north-central vietnam, just to the south of the dong son region, or perhaps the dong son region itself as suggested by blust (19841985), could have been reached by the progressive settlement of austronesian chamic speakers from borneo. hence, it is possible that the settled austroasiatic mon-khmer, or perhaps daic, speaking peoples of north vietnam, with knowledge of bronze technology, and the austronesian speaking new settlers, bearing their own set of cultural traits, would have come in contact with each other. the extended contact would have lead to a series of mutual exchanges in which exotic austronesian traits would have been absorbed and elaborated in their new context by the settled population». in short, according to these scholars, there seems to be a close connection between the “people of the bronze drums”, the dayak people of borneo and the 3 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of death mountainous populations of central vietnam. this paper will not attempt to definitively solve the problem of the meaning and origins of the bronze drums, and i do not intend to discuss the issue of their origin, whether it be “chinese” or “vietnamese”. instead i will make a comparison between the bronze age culture of dong son and the living culture of the jarai and dayak benuaq peoples. i will comment on the jarai and dayak benuaq secondary mortuary rituals and i will try to establish that the scenes depicted on the bronze drums of the “heger i” type represent this kind of ritual. the dong son bronze drums however, before analyzing secondary mortuary rituals, i would like to briefly refer to the dong son culture and their bronze drums. dong son is among the main bronze age sites of southeast asia, which flourished between the 6th century b.c. and the 1st century a.d. this site is known worldwide for its production of bronze artifacts, including the unique bronze drums. i will only refer to the bronze drums of the “heger i” type, an example of which is the “ngoc lu” drum. these drums are carefully decorated with many scenes, themes, and motifs, the interpretation of which has always been controversial. i shall start with the description of the most relevant scenes. the tympanum of the bronze drums is the part where most of the scenes are depicted, in a series of concentric bands. the main scene is the so-called “parade of the feathered men”. these men dressed in feathers seem to be warriors, as they brandish weapons such as spears and clubs. they seem to dance or stride in parade, moving in an anti-clockwise direction. in the other scenes that appear in the same band as the parade, there is a house within which a person is using sticks to play what seems to be a bonang-like instrument, a gongchime. then we see a woman shooing away a bird and two people beating large pestles in a mortar. next to them, we have a scene that is rather difficult to interpret. two people are inside a house, on the roof of which there is a bird, or in some cases two. it is not very clear what they are doing, but i think it is probable that they are having sexual intercourse. this interpretation is supported by the bird on the roof, which i interpret as a symbol of fertility. on the right we can see people sitting on a platform with what looks like some large jars underneath. many animals such as birds, deer, frogs are shown on the decorations of the “heger i” type bronze drums. the most remarkable animals are certainly birds, as such a great varietv of different kinds of them are depicted. what appear to be storks or herons fly around the tympanum, in the same direction as the parade of the feathered men. but there are also peacocks, pheasants, hornbills, etc. at the very center of the tympanum there is a central star, perhaps representing the sun, around which everything moves. on the mantle, on the sides of the drums, there are boats that are supposed to transport the souls of the dead to the afterworld. the soul is accompanied 4 editorialbook of reviewijcas: vol. 3, number 1 june 2016 on its journey by the boat’s crew, who hold various weapons. one of them is presumably a psychopomp, who guides souls to their final destination. the jarai i would now like to briefly refer to the austronesian linguistic family, to which the jarai and the dayak benuaq languages belong, and to the austronesian colonization of southeast asia and beyond. linguistic evidences show that the island of formosa was the starting point of the migratory movement of the austronesian peoples. from here they initially travelled south to the philippines and then to the indonesian archipelago. others travelled from one island to the next until they reached madagascar to the west and easter island to the east. the jarai people – an austronesian speaking group now living in the central highlands of vietnammay have originated in northern borneo and reached mainland southeast asia as a part of this migratory movement, probably in the 5th century b.c. let us now focus on the jarai secondary mortuary ritual, called po thi, or “tomb abandonment”. po thi is a secondary mortuary ritual, which allows the spirits of the dead to reach their final destination: the “village of the spirits”. the jarai believe that when somebody dies, his or her soul leaves his or her body but remains in this world. it is the duty of the living to take care of the spirits’ needs, by bringing food, water, and various offerings to the tomb. after a few years, they decide to celebrate the po thi ritual in order to finally free the spirits of the dead from all earthly attachments. at this time the tomb is decorated with statues, paintings and carved friezes. after the ceremony has been held, the tomb is abandoned and left to decay naturally. the ceremony lasts for at least three days and is attended by many people from all the nearby villages. the cemetery becomes a joyful place, crowded with people playing gongs and dancing. buffaloes and oxen are sacrificed, as every guest has to join the sacrificial meal as well as drink the ritual liquor, a rice wine fermented in a jar. the jarai have various kinds of gong orchestras; the one i’m referring to is called cing arap, or cing ceng. this ensemble consists of bossed gongs, or ceng, playing the accompaniment, and flat gongs, or cing, playing the melody. it is completed by a drum (hogor), and by a pair or more of cymbals (sang sar idiophones that are rubbed or scraped together). each person holds only one gong and the music produced is the result of an intricate polyphony, which can be defined, taking the term from lomax (1968), as interlocking. there is a difference between the music played by young people more linear and with more regular patterns and that played by older people, which is more evanescent, mysterious, and less regular or rigidly defined. the jarai believe that the sound of gongs summons the spirits, which should be informed of all important events within the living community. the dance, which is called soang arap or simply soang, is performed by both men and women. both the gong-players and the dancers move in an anti-clockwise direction, which is the direction of death. 5 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of death i would now like to focus on the jarai tombs. there are about 300,000 jarai people, spread over a wide region. thus there are some differences between the tombs of the different jarai subgroups but, for the sake of simplicity, i will analyze only the most magnificent type of tomb, in the southern or northern jarai territories, as they are decorated with basically the same symbolic elements. the statues celebrating the beginning of life are an important feature of jarai tombs. this category of statues concerns fertility, which is the prerequisite of pregnancy. this is made possible by sexual intercourse. child nursing and nurturing are then the consequences of pregnancy. then there are statues depicting daily activities, such as cooking, beating in a mortar, collecting water, sewing, and so on. in the same way, the category of modern themes represents aspects of the jarai life as it is lived nowadays, consisting of soldiers, guitar players, soccer players, motorbike riders, and so on. these two categories represent the central stage of life. the secondary mortuary ritual itself is also represented. people are represented dancing, playing gongs and drums, drinking rice wine from jars, riding elephants (which was once a feature of the pa thi ritual), and so on. the final stage of life -deathis represented, together with the tomb itself, by kra kom, literally: “the monkey who cannot act”. this is a statue of a figure squatting on its heels and holding its face in its hands. its expression is sad and disconsolate as after the pa thi nobody will take care of the tomb anymore. the jarai refer to it as a “monkey” as they believe that everything in our world turns into its opposite in the afterworld, and so every statue representing a monkey will become a human in the “village of the spirits”. animals incarnate many qualities; for instance, elephant tusks are a symbol of strength, and peacocks are a symbol of beauty. birds have a very particular symbolic meaning, as they are believed to have special relationships with the afterworld, both good and bad. it is believed that a vulture is the king of the “village of the spirits”, and a monkey is his deputy. birds are seen as supernatural creatures that enable men to contact the afterworld and sometimes that can transport the spirits of the dead there. i would now like to refer to the roof of the tomb. its meaning remains controversial but it very closely resembles the shape of a boat. its protruding elements on each side resemble the prow and the stern of a boat. on the top of the boat-like roof, we can see one or sometimes two high poles or boards. this pole carved with many different elements, such as flowers and geometrical motifs represents what has been defined by anthropologists as the “cosmogonic tree”, which is a microcosm of life. birds and other animals are sometimes painted at either side of it. at the top of the tree are the sun, the moon and the stars. i particularly want to bring your attention to the sun, the generator of life. it often appears alone, in the middle of the “boatlike” roof, and its counterpart -the moonis usually represented on the side of the tomb, in order 6 editorialbook of reviewijcas: vol. 3, number 1 june 2016 to complete the dualistic unity. the sun is a key symbolic element in the jarai culture, depicted in many important contexts, such as on the top of the sacrificial pole and of the communal house, as well as on tombs. stars are also depicted on the top of the roofs of tombs, but are always represented in pairs. the dayak benuaq now let us turn to another secondary mortuary ritual, the kwangkai of the dayak benuaq people (from east kalimantan, indonesia). this celebration is the last of three rituals, performed in order to help the spirits of the dead to reach their final destination in the afterworld. it is a very elaborate ritual, so i will give comments only on a few of its elements. the kwangkai ritual lasts for at least 21 days (three times 7, the number of death). the dayak benuaq call the spirits of the deceased three times a day in order to give them offerings, spend time with them and dance with them. gong music is played in order to summon the spirits as well as to make the music for dancing with the spirits themselves. the ensemble consists of a bonang-like instrument, called the kentangan, seven suspended gongs, called gningt, and three long drums, called prahi. the evanescent sound of the idiophones, accentuated by their irregular rhythm, creates a magical and mysterious atmosphere. the dance, as well as the piece which is played for it, is called ngrangkau, and it is performed by both men and women in turn. the dancers dress up like warriors wearing special hats, and they move slowly in an anticlockwise direction. they dance around a box, where the bones and the skull of the deceased are kept. the box hangs on an elaborate structure symbolizing the “cosmogonic tree” upon which wooden models of birds as well as various kinds of offerings for the spirits are hung. the kivangkai is concluded when a boat, dug out of a single tree-trunk, is brought to the house and a ritual symbolizing the journey to the afterworld is celebrated. conclusions now let us examine the main question of this paper: do the secondary mortuary rituals of the jarai and the dayak benuaq people originate from the dong son culture? i have showed you a few elements of these rituals that seem to correspond with the scenes depicted on the bronze drums. the anti-clockwise motion of the dance, the gong-chime instruments, the symbolism of the birds, boats, and the cosmogonic tree, are all elements shared by the jarai and the dayak benuaq. certainly, at the present time one can only formulate hypotheses about the dong son culture, but are many evidences to suggest that there is a connection between these three cultures. as bernet kempers (1988: 136) stated, «there are many points of contact and closely comparable scenes that cannot be called ‘coincidences’ or ‘elements that are shared by all kind of popular art’, and therefore cannot be disregarded». 7 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of death references bellwood, peter (1995) austronesian prehistory in southeast asia: homeland, expansion and transformation; in the austronesians. historical and comparative perspectives (edited by p. bellwood, j. j. fox and d. tryon); the australian national university press, canberra bernet kempers, august j. (1988) the kettledrums of southeast asia-a bronze age world and its aftermath; a.a. balkema, rotterdam blust, robert (1984-1985) the austronesian homeland; a linguistic perspective; asian perspective 1988, 26(1): 45-67 calò, ambra (2009) the distribution of bronze drums in early southeast asia: trade routes and cultural spheres; archeopress, oxford. coedès, georges (1966) the making of southeast asia; [1962] university of california press, berkeley and los angeles goloubew, victor (1929) l’âge du bronze au tonkin et dans le nord-annam; bulletin de l’ecole française d’extrême-orient. tome 29 hickey, gerald c. (1982) sons of the mountains: ethnohistory of the vietnamese central highlands to 1954; yale university press, new heaven lomax, alan (1968) folk song style and culture; americanassociation for the advancement of science, washington d.c. pawley, andrew-ross, malcolm (1995) the prehistory of oceanic languages: a current view; in the austronesians. historical and comparative perspectives (edited by p. bellwood, j. j. fox and d. tryon); the australian national university press, canberra thurgood, graham (1999) from ancient cham to modern dialetics: two thousand years of language contact and change; hawaii university press, honolulu film della ratta, vincenzo yanagisawa, eisuke (2013) po thi; short documentary movie della ratta, vincenzo (2011) kwangkai; unpublished conference report 14th international conference for asia digital art and design yusup sigit martyastiadi faculty of art & design universitas multimedia nusantara, indonesia yusup.martyastiadi@umn.ac.id asia digital art and design association and universitas multimedia nusantara, indonesia held an international conference on art and design based on digital technologies on 1 2 november 2016. the conference held at santika hotel, seminyak bali, indonesia. sixtytwo scholars from various disciplines as art & design to information technology convened and discussed the subject from various angles. the papers were covering various facets of research and practice on digital arts and designs. papers were organised into topical areas, such as ‘digital system & service’, ‘digital museum’, ‘media art & interactive system’, ‘virtual reality’, ‘history, theory & analysis’, ‘algorithm’, ‘game & gamification’, ‘digital content’, ‘visual effects’. they were spread across nine parallel sessions and one poster & demo core session. the centre of interest was the innovative, high-quality results and trials in arts and designs based on digital technologies. there were two keynote topics on the conference. the first keynote was yoichiro kawaguchi; he is a professor of the university of tokyo and japanese cg artist since 1975 with phenomenal artwork, which called ‘growth model’. he presented his reflection on computer graphic and multi-media arts from the vantage point of his own 40 years of working with them. the presentation titled ‘art and self-organization’. he pointed that creative things should be separated from habits and tendency using tools which created in advance. artists cannot let themselves on the software as a tool to push the creativity. independence and originality should be the core of artistic creativity. his artworks were based on living things, which were created under a quasi-reconstruction method of the natural laws of the world. the artwork forms shaped and coloured according to the natural world and the cosmos. kawaguchi stated “the enlargement of those realms of existence will certainly render a moulding cut off from the framework of earth or mankind possible. this will come to question its main constituent in the very process of selecting various subjects. consequently, the way of existence of the object itself is already a product of conception, which is not cut off at all from the artistic qualities from which it should be separate. the very laws themselves concerning form have arisen and grown, creating their own present system which is self-propagating. in other words, the process has hypothesized something which retains energy within. it is something which has advanced one step beyond a simulation of a cross-section of the natural world. it is an approach to nature in another sense” (adada, 2016). 86 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017book of reviewijcas: vol. 4, no. 1 june 2017editorialbook of reviewijcas: vol. 4, no. 1 june 2017 the second central speaker was daniel harjanto; he is one of the founders of pt. bali animasi solusi ekakarsa, an animation studio with one important mission; to produce competent animation experts in indonesia. as a technical director at base animation, he involved in the production process of many projects; be it for feature length animated film or animated tv serials. there are shortlists of animated film projects, which daniel contributed in, such as meraih mimpi (sing to the dawn), tatsumi, garfield tv series, franklin and friends, dr. contraptus, octonauts, peter rabbit, sonic boom. in his presentation titled ‘animation as a new creative industry in indonesia’, daniel harjanto described the development of animation industry in indonesia, which is newest promising in creative sector. he explained some indonesian small-scale animation studios that collaborate with some international animation studios in some projects. the main point was transfer knowledge and production behaviour adaptation from bigger studios (existing international animation studio). they need to create and modify their production pipelines to be more effectively and efficiently meet the needs of their line of business. once they adapt more advanced technology, more works can be created with significant results in quality and quantity. in addition, daniel harjanto stated that education also have responsibilities to empowers students as prospectus talents to learn how to think creatively, to understand how technology might support their creative works, and how it becomes the part of their creative process. consequently, the indonesia education is also a part of the creative industry development. in parallel session day 1, there were some sessions that run in same time. firstly, digital system & service session discussed topics about ‘mood-based procedural music generation using markov chains’, ‘relationship between perceived value in omnichannel shopping and repurchase intention’, ‘the development of apisnote a digital sticky note system for information straucturing case study into the innovation workshops at i.school the university of tokyo’, ‘a method for automatic generation of pictorial maps using sns’, and ‘study of the types and characteristics of channel shift of omni channel service’. at the same period, virtual reality session convened ‘the effect of squash and stretch principle in 3d character’s facial wrinkles’, ‘graphic user interface on virtual reality tour scene of simigapi’, ‘visual storytelling using 3d immersive animation, study case: news television explanatory’, ‘a study on virtual reality storytelling by story authoring tool algorithm’, ‘a study on vr game interface based on mobile hmd -focusing on fps game-’. secondly, after lunch break, the parallel session continued with digital museum session topics, such as ‘animated ramayana story in multiscreen display using wayang beber visual language’, ‘“bhuyakha”: experimental animated documentary installation about endangered freshwater fish of sentani lake’, ‘development of glocal culture contents utilizing an hmd : ‘muru in wonderland’, a vr content for children’s experience of gwangju’, ‘the proposal for personalized service and exhibition model based on audience tendency in virtual museum’, ‘digital restoration attempt on jindeyuan temple in jakarta’. the next session was media art & interactive system, which discussed about ‘a system for generating musical score indicating the hitting hand for drum performance’, ‘taifurin: it sound installation as a typhoon warning system’, ‘breathing shelter—relieve citizen pressure with the breath control’, ‘a study of digital media art utilizing 2d 87 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts lifekiki rahmatika, consistency ning-hui hung, transmission and innovation of kasidah in indonesiagianluca cellini, indonesian metal musicyusup sigit martyastiadi. conference report animation’, ‘development and case study of a sensor platform system for media art and live performance using wireless microprocessor module twe-lite’, ‘clock light design based on sunrise and sunset time’. at the same time, history, theory & analysis session convened ‘animating history of celebes sea region in 19th century: reviving historical context through animation’, ‘practice of open sharing at yamaguchi center for arts and media [ycam]’, ‘visual persuasion on bukalapak.com online video advertisement’, ‘history of modern korean typeface: investigation and analysis of new korean types (1876~1909)’, ‘a study on classification of user onboarding factors using service blueprint (focusing on mobile commerce applications)’, ‘a study on modern alienation & ambivalence through collection of urban inner side’. parallel session day 2, after second keynote speaker presentation, session of algorithm talked about ‘analysis of artificial flock characters moving pattern based on boid method’, ‘medallion: 3d-printed wall plaques based on procedural modeling’, ‘perception of impossible figures focusing on inconsistent rectangles’, ‘toy which simulates group behavior with multidicple range sensors’, ‘a study on graphic pattern generation software’, ‘local pressure correction model for position based fluids’. in parallel, the session of digital content discussed ‘the supporting method for creating a character gaze animation based on viewer’s preference’, ‘the halo effect of webtoon characters on consumers with a high psychological aversion to advertisements: with a focus on webtoon ppl(product placement) marketing’, ‘an adaptation of the endangered togutil tribe’s local wisdom into an animation character design’, ‘performance of joshua a short film through curated online video platform viddsee’, ‘colour implementation with fauvism style to limited amination character “we are different yet we are same”’, ‘media facades brand communication based on visual density’. the second parallel session consisted two areas, first of all, game & gamification session talked about ‘development and verification of the game “locomo de balamingo”’, ‘sidestep and sneak peek: spatial actions in augmented reality games’, ‘design concept of digital visual novel based on giri kedaton history to develop tourism in sunan giri museum’, ‘environtment design on 2d pc puzzle platformer game ascender’, ‘a study of the interaction trend of pc mmorpg linked app ― focusing on the elements of user motivation’, ‘from techo-gaia to kala isvara: gamification on introduction to ict development course for visual art & design students in 2013 2015’. the other room session discussed the main area of visual effects with sub-topics of ‘utilizing traditional watercolor media for backgrounds in digital 2d animation pipeline’, ‘research about the causal attributions of vfx effects in special effects’, ‘the research for withering plants movie’, ‘the application of non-photorealistic rendering to create low poly visual style in 3d animation “balloon”’, ‘the adaptation of balinese sculptures within the visual effect elemen desain of “bali strait legend”’, ‘battle scene : 2d and 3d animation techniques analysis in “the rebuild of evangelion”’. there was also poster & demo core session, that involved nine studies, such as ‘observation with hearts and hands’, ‘typhoon soudelor: comparing remotely-sensed data and tweets’, ‘a gui movement system by back-of-device interaction for onehanded operation on a large screen smartphone’, ‘unistroke gesture on the eye 88 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017book of reviewijcas: vol. 4, no. 1 june 2017editorialbook of reviewijcas: vol. 4, no. 1 june 2017 tracking system’, ‘kokyu: a non-contact sensing system with a scalable sphere for visualization breathing’, ‘dancing mirror: an interactive installation for discovery of aesthetic in motions’, ‘development the interactive tonality blending system and artworks’, ‘development and case study of a sensor platform system for media art and live performance using wireless microprocessor module twe-lite’, ‘mood-based procedural music generation using markov chains’. the selected papers of this conference published in international journal of asia digital art and design, vol. 21 no. 01, 2017, issn 2189-7441. references program committee adada, (2016), program book adada 2016, 14th international conference of asia digital art and design association, bali, indonesia page 1 page 1 page 1 page 1 95 global studies consortium (tenth meeting) 7 – 11 june, 2017 shanghai university, china retno mustikawati global studies ph.d student, shanghai university, people republic of china retnomustika7@gmail.com quoted jan nederveen pieterse that occasionally one hears that ‘one should never study something with the word “studies” in it’. the idea is that ‘studies’ lack the structure, depth and craft of the disciplines. if we consider the wide and growing array of studies— international studies, development studies, area studies, cultural studies, gender studies, black studies, ethnic studies, world system studies, postcolonialstudies, urban studies, border studies, media/communication/film studies, transnationalstudies, global studies, feminist studies, and so forth—they all concern new objects of study, domains, approaches or subjects and sensibilitiesthat did not exist or were not recognized at the time when the disciplines took shape, largely in the course of the nineteenth century. a discipline is a field of study (with a community of scholars,a distinctive terrain and principles or methods of research), so disciplines and studies are synonymous. the distinction runs essentially between early and latecomers, a matter of seniority.the early comers claim to be foundational while the latecomers claim new objects of study.the ‘studies’ often exist in an uneven (sometimes fraught) relationship with the disciplines because the new domains are also studied in the disciplines (e.g. sociology of culture) and broaden and rejuvenate the disciplines, and the ‘studies’ often break down according to the disciplines (such as development economics, development sociology, urban anthropology). the rationale of the emergence of ‘studies’ is that the disciplines are inadequate in relation to thefield of study which requires an interdisciplinary approach and/or that they involve agency and subjectivity which is marginalized in established academe, as in the case of women, minorities,and migrants. unlike the disciplines, ‘studies’ lack a canon or there tends to be greater unevenness in what is recognized as expert knowledge, if only because of the relativen ewness of the field. unlike the disciplines, the ‘studies’ lack a recognized place in academia, where the disciplines occupy the main arena and act as gatekeepers for newcomers. hence‘studies’ are often introduced first at young or newcomer universities, which cannot compete with the established universities in the disciplines, but can try to establish themselves and attract faculty and students in new terrains. 96 ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017 global studies, then, shares several features with other ‘studies’—global studies is new, interdisciplinary, uneven, and innovative. its object of study is also researched in the disciplines, largely under the heading of globalization—a field that, arguably, has been colonized by the disciplines. global studies, then, represents the third wave of research, because global knowledge and data exist prior to the category ‘globalization’. to facilitate the features sharing and to represent this third wave of research, the global studies consortium (gsc) is established in 2007, at santa barbara, california. member programs of the global studies consortium are aarhus university, arizona state university, berlin graduate school for transnational studies, university of california at santa barbara, university of leipzig germany, london school of economics and political science (united kingdom), economic history department, roskilde university (denmark), department of society & globalization, university of vienna (austria), department of history university of wroclaw (poland), institute of international studies, hanyang university, hitotsubashi university japan, university of illinois at urbanachampaign, university of minnesota, lomosonov moscow state university, the new school university of north carolina at chapel hill, university of pittsburgh, rmit university, rutgers university-newark, shanghai university, sophia university, wilfrid laurier university, australian national university, the american university in cairo, shantou university, ghent university, university of graz, monash university. the annual meetings are held every year since then. in 2017, it was held in shanghai university. global studies consortium statement of purpose in this critical moment in the life of universities around the world, academic programs have responded to the forces of globalization in creative ways, conducing to new graduate programs in global studies. the purposes of this consortium are to promote and facilitate graduate teaching programs in global studies and to foster cooperation among them. the consortium is open to any academic program in the world that offers a graduate m.a., m.sc., m.phil., or ph.d. related to global studies. it also includes programs that are transnational, transcultural, global/local, world systems, or cross area, and that are hospitable to interdisciplinary and multidisciplinary approaches within the humanities and social sciences to global studies. the tenth global studies consortium in shanghai was devided into two improtant meetings,the first half of the meeting, from 7 to 8 june, will be  a research-oriented conference on the theme  asia to the middle east : asianization of middle east with economic , and the “core” portion of the consortium meeting, covering gscspecific issues and business, will take place on june 9 and 10.  june 11 will be for social activities. this report will be specifically focused on the “core” portion of the meeting, withein 9-10 june, 2017. the meeting’s co-chairs were : guo changgang (shanghai university), mark juergensmeyer (santa barbara, california). presenters: guo changgang (china); david wank (japan); paul battersby (australia); matthias middell (europe); ilya ilyin (russia); evelyn davidheiser (n. america); mahendra lama (india/south asia); zhao wuming (respondent, shantou university).  97 daniele zappatore, tarantismchayuti tassanawongwara, malaysian siam music in northern malaysia waiyawat saitum, the study of solar incident salima hakim, you selfie, therefore we areandreas slamet widodo, visual aesthetics “djarum black motodify” chanakarn ruangnarong, the suitable fabric for thai art retno mustikawati, conference report on the dayone / friday june 9, guo changgang, the dean of global studies center, shanghai university delivered his welcome speech, and followed by mark juergensmeyer . the opening plenary took place in the next two and a half hours, brought an important global studies status report, 2007-2017: trends across the regions, as all the presenters were delivering their thoughts and ideas. the next agenda was the plenary session, brought a focus of discussion about the interdisciplinarity as a research framework in global studies, vladimir pacheco cueva (chair, aarhus); zhao wuming (shantou); michael goodhart (pittsburgh); jie-hyun lim (sogang); tommaso durante (respondent, rmit) were discussing about the field of global studies opens new ways of examining socio-economic, political and cultural phenomena that transcends the national, regional and area studies perspectives, yielding ground breaking studies that expose the connections between seemingly unrelated concepts or that show how local issues are reflected at the global level. the plenary session were devided into different issues: panel 1:  internships and service learning: beyond study abroad this panel allows global studies scholars to review past and current programs, and explore new trends and opportunities for global studies internship and service learning. presentations are especially invited, but not limited, to engaging with transformation of traditional study abroad programs to address experiential learning practices and methodology covering the various aspects of global studies education, to discuss cultural, social and academic perspectives pertinent to different institutional locations and/or geographic regions, and challenges facing the development of global studies internship and service learning programs. panel 2: publication initiatives, editorial opportunities the session will be devoted primarily to a brief update on the new rollout of the global studies online journal global –e and editorial board roles available to consortium participants, followed by a presentation by david famiano, journals editor at the university of california press, updating last year’s presentation about the recently approved uc press online journal platform global perspectives, and editorial and contributor opportunities for gsc scholars. panel 3: global studies curriculum design: from undergrad to graduate framing the consortium’s perennial topics of curriculum design and “foundational courses” in such a way as to engage new participants representing undergrad and graduate programs (as well as those only dreaming of one), this session discussed types of courses, intended outcomes in terms of student skills/knowledge from different types and their combination, and how these integrate with and meet the overarching themes or goals of the program. this panel included representatives of programs ranging from ba to ma/phd. 98 ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017 panel 4: global learning and global language studies university academics generally fail to acknowledge the importance of multilingual knowledge and skills for the future careers of their graduates. this panel explores the role of language learning, teaching, and research in the context of the “global” education underway today in diverse settings, including contemporary entrepreneur-style universities. discussion topics included among others the business and economic value and the political power of languages that are looking to drive today’s education and global learning agenda. on the daytwo / saturday june 10 of the consortium, the panel discussion was continued. panel 5: populist movements and the challenge for global studies this panel invites responses to the question: is there a challenge to global studies when populist politicians or parties argue heavily against globalization, and if so how do you react to it with your program? then the closing plenary discussion was focused on the next 10 years of global studies consortium. on the daytwo, the consortium was closed by a farewell dinner in the evening. the last event was the sightseeing of shanghai on sunday, june 11. by following and listening to the global studies consortium, i came to the conclusion that global studies is closely related to looking at the same problems, globally, worldwide. in contrast to international studies the more portion looks at the prevention of problems that occur in two or more countries, based on an agreement between two or more parties, based on bilateral or multilateral relations. global studies, however, are at the opposite angle of international studies, which is centralized in the concept of local and global connectivity, which often departs from a postcolonial perspective, and is intended to analyze the phenomena happening globally through critical multicultural lenses. globalization as growing interconnectedness, thus a multilevel approach follows from the interdisciplinary character of global studies, for disciplines such as anthropology, sociology, geography, and history function at multiple social scales. unlike the international studies referred to as “right wing,” global studies are identified with the term of “left wing” when globalization has an impact that can no longer be contained throughout the world, and because national boundaries between countries are no longer relevant to tackling the impact of the wave of globalization which then leads to the dependency / relationship that must be built on the economic, social, cultural and human levels themselves. global studies aspires to be more comprehensive than studies of globalization by combining diverse perspectives, new problematics and understandings. the new knowledge platforms take shape, so global studies has the potential to be more comprehensive and sophisticated than studies of globalization, which is driven by social science and humanities disciplines, while global studies are interdisciplinary. global studies, then, refers to viewing global issues from diverse, multicentric perspectives and redefining international affairs accordingly. to the extent that it meets this standard, global studies is appropriate to a multipolar world and more relevant to contemporary dynamics than disciplinary approaches. thus, the need to analyze critically on global issues can only be solved by conducting multicultural analyzes in the global world. 97 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life sriti mayang sari, et.al.. qualitative circulation space application yohanes don bosko bakok. electric sasando of east nusa tenggaradjohan. conference report conference report new research on indonesian traditional and contemporary arts: an exchange between indonesian and italian perspectives djohan indonesia institute of the arts yogyakarta, indonesia. email: djohan.djohan@yahoo.com as a part of efforts to improve our education quality, universities are collaborating in the forms of research, publications, seminars, exhibitions, performing, lecturer and student exchange. one of the collaborations has been successfully arranged between indonesian institute of the arts yogyakarta and la sapienza universita di roma, italy. la sapienza universita is a coeducational, autonomous state university in rome, italy. it is the largest european university by enrollment and the oldest of rome’s four statefunded universities. sapienza is present in all major international university rankings. it is among the best italian universities. sapienza university is regularly ranked first among italian universities along with the university of pisa. the value of arts higher education is often phrased in enrichment termshelping scholars find their voices, and tapping into their undiscovered talents. this becomes an effective tool in the wide reform of the art higher institutions and in fixing some of biggest educational challenges. both institutions had signed an agreement to realize the collaborations, and two years ago, we conducted a joint international seminar at sapienza, while at the same time isi yogyakarta held an asia-pacific conference on art studies. scholars have opportunities to relate practical application of research with a theoretical base and thus complete a full picture about research processes and creative strategies which shape the potentials of the artistic studies. it means that art schools stand at the threshold of a multidisciplinary art research and an interdisciplinary art productionnot just as one more theoretical seminar or multimedia studio among the stubborn, traditional courses or one more state-of-the-arts degree, but as the next wave of the cultural production. and we must try to understand these new patterns of creativity fully, in order to provide the nation with historical memory and real experimentations. 98 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014book of reviewijcas: vol. 1, number 2 december 2014editorialbook of reviewijcas: vol. 1, number 2 december 2014 several italian scholars participated in the seminar to present their working papers on theatre and ethnomusicology and indonesian scholars presented papers on ethnomusicology, music, visual and performing arts. the conference resulted in a peer-reviewed journal. we evaluated the programmes and concluded that the second international seminar was necessary, which was held on november 2014, by the dipartimento di scienze documentarie, linguistico-filologiche e geografiche, la sapienza universita, italy. the department of documental, linguistic-philological and geographical sciences focuses on the studies of language, text, document and territory and its purpose is to investigate methods, languages, forms and environments of the transmission of cultural evidence. its educational calling is mainly expressed in the fields of linguistics, philology, literature, geography, archival science and library science. (http://www.dolinfige.uniroma1.it). all agenda of the seminar took place at the museo nazionale d’arte orientale “giuseppe tucci’-palazzo brancaccio, opened by the director and the vice chancellor for general affairs of la sapienza university. the museo nazionale d’arte orientale “giuseppe tucci’-palazzo brancaccio or in english called the ‘giuseppe tucci’ national museum of oriental art opened to the public in 1958 as a special superintendence of national relevance under the direction general for fine arts of the ministry of education; since its establishment in 1975 the ministry of cultural heritage confirmed and reinforced the national relevance of the museum, e.g. provider of guide lines and/or assistance on scientific study, filing, exhibit and conservation/restoration of oriental archaeological/ art objects in italy. in 1958 the main bulk of the items on display in the museum consisted of the archaeological and art collections belonging to the italian institute for the middle and far east (ismeo), whose president, prof. giuseppe tucci, the italian scholar renowned worldwide, played a pivotal role in promoting the establishment of the museum. (http://www.museorientale.beniculturali.it/index.php?en/331/themuseum). the first day was opened with the museum’s presentation about their time-spanning collections and conservations of oriental artifacts. the museum, through the ministry of cultural heritage, was able to acquire asian archaeological and art objects on the italian antiquarian market, relevant items and/or collections were donated by private individuals as well as by private and public institutions, or acquired through pair-exchanges with asian museums. the museum also provides various services to scholars and general public, including a library specialized in oriental art, a rich photographic archive, restoration/conservation laboratories, and a diagnostic section of optical and electronic microscopy. it also supervises the archive of the oriental art collections in italy, that includes a very rich archive of images and scientific files. then, on the first session, an ethnomusicologist, giovanni giuriati, and the head of the graduate school of isi yogyakarta discussed about gamelan from different perspectives. gamelan as a cultural product which is cannot be separated from its culture supporter, that is its own society as the owner. the product of culture namely gamelan is the form of an idea expression, or society attitude which is poured into 99 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life sriti mayang sari, et.al.. qualitative circulation space application yohanes don bosko bakok. electric sasando of east nusa tenggaradjohan. conference report one of culture elements. hence, the existence of gamelan cannot be separated from the existence and the attitude of artists include its listeners. the session ended with a presentation from the association of oral tradition studies, who represented by the ministry of education of indonesia. on the second presentation, a researcher from universita di napoli “l’ orientale” delivered a very interesting paper on oral tradition of dayak borneo and a young researcher from la sapienza discussed his study on the austronesian percussion music. the two papers were highly informative for indonesian audiences, who had not heard or were not familiar with the subjects. the session was concluded with a javanese dance performed with contemporary style by two italians who learned traditional arts (dance and karawitan). as they learned javanese dance movements they learned a javanese way of seeing and understanding the world. movement is embedded with cultural meaning. the second day was opened by direttore del dipartimento di scienze documentarie, linguistico-filologiche e geografiche and the responsabile area internazionalizzazione la sapienza explained the activities of the research cooperation. the session was followed by italian scholar of his studies on javanese and balinese theater in the 20th century. for the case study he spent quite a long time to meet and talk with indonesian theatre artists. the second speaker, scholar of the graduate school of isi yogyakarta, offered an ethnophotographic perspective on the biases of photography. when objects of photography represented a certain demographic class or facets of social realities, they were often misunderstood as symbols of poverty or other social plights. ethnophotograpy photographs threaten to show too much and reveal other perspectives or material with the potential to deflate the pretense of the ethnographic present. the actual ethnographic situation that included subjects would challenge the grip of the ethnographic present, with presenting ethnographic factors out such complications. the first session was concluded with marta de falcos’ (universita di milano “biococca”) examination of identities and feminity of papuan women in the local handmade craft. after the break, on the second session naima morelli, an independent researcher, gave a presentation on indonesian contemporary visual arts. she gave a quite wide breadth of information on the contemporary arts although its whole existence was beyond her grasp, such as the ommission of several prominent indonesian artists from her list of informants. before the lunch break, the activities concluded with a discussion on postmodern orientalism in the italian contemporary fine arts. the paper attracted the audience’s attention as evidenced by their discussion to compare different genres of art. one of a young researcher based in paris, in the final session presented his two years of ethnographic work on traditional music of madura, which showed his strong data presentation and analysis. we then shifted our attention to lorenzo chiarofonte’s research in the spiritual aspects of burmese percussion. the topic had some resemblances with indonesian music since both belonged to the south-east asian countries. the final speaker spoke about the spirits of javanese traditional female 100 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014book of reviewijcas: vol. 1, number 2 december 2014editorialbook of reviewijcas: vol. 1, number 2 december 2014 singer. by the end of the seminar, it was evidenced that the anthropological streak of the presentation was dominant, although we can also see some critical sociological perspectives offered. to conclude the two day seminar, all participants were entertained with a gamelan concert from the indonesian embassy in vatican, whose musicians were all students of universita la sapienza. the concert was a result of two months rehearsals, led by a lecturer from the department of dance at isi yogyakarta. the cooperation will be further strengthened by la sapienza’s participation in the next 2015 conference in yogyakarta. continuing to hold this conference will be such a perfect place to share ideas and knowledges , and this also becomes a fresh opportunity for both institutions to fulfill its obligation of contributing to the world by pursuing high quality arts education and research environment that foster the intellectual courage needed to support our society in the future. in common sense, this is about facing the global market or maybe collective behavior within arts higher institutions. but what about the concern of academician if we approve that one of the main goal in arts education according to the culture and heritage context is systematically discover and try to do a kind of revitalization, restructurization or maybe renewing the traditional arts. at one side, there are a lot of inquiries that based on the scientific purposed to develop concept and theories in order to understanding the position and function of traditional arts. of course one of the important thing is how all of the inquiries could be as an inspiration to create a modern arts. in other words that the scientific inquiry would become a basic of modern arts creation. even though in a beginning to realise an idea of exchange experiences and knowledges through east and west perspective seems as a common point of view, a greater investment in the arts is indeed becomes one of the effective ways to equip today’s scholars with the skills they need to succeed in their future. because the art higher institutions try to address the difficult challenge of how to get more arts into the institutions in various ways, a complex patchwork of arts education services with a mix of delivery models is resulted. the inquiries of traditional arts have the logic consequence about conservation as one of the important aspect of the heritage value. especially in the context of the existence of arts inquiries which hopefully could confer input to the government for the protection of tradition treasure with all of their aspects. one of an efforts that artist and academician could work together through the similar pint of view, concept, understanding, concern, passion, and awareness of their own culture. by the expectation of the sameness understanding then agreed if concern about herritage means face and regarding to the consciousness of present time and contextual. la sapienza university and indonesia institute of the arts yogyakarta are indeed, we have something in common, we were founded to educate prospective artists at the 101 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life sriti mayang sari, et.al.. qualitative circulation space application yohanes don bosko bakok. electric sasando of east nusa tenggaradjohan. conference report leading edge of their disciplines so that they can grow into professional artists and researchers. fostering professional artists and researchers who will take the lead in the near future of culture with spirit of creativity. as a part of academic exercises between scholars, students, and lecturer in a term of collaborative works could be said that these kind of activities would bring a scientific benefit for both institutions in the future. editorvol1no22014.pdf (p.2) npscn001(2).pdf (p.1) jurnal ijcas vol . 1 number 2 desember 2014.pdf (p.3-112) 77 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ...nor idayu binti ibrahim. the development of formal ceremonialnoni sukmawati. literary performance in the act of pendendanggiulia panfili. making wayang along anthropology and art making wayang along anthropology and art giulia panfili fcsh-universidade nova de lisboa, iscte-university institute of lisbon, centro em rede de investigação em antropologia (cria) email: giupanfili@hotmail.it abstract practices of art and anthropology are interlacing a dynamic dialog especially for the methodology of research, the process for awakening knowledge. historically anthropology treated art in its various expressions as privileged field of study for being in a certain way caught up in social and cultural relations. nowadays more and more the both practices share ways of thinking through making and making through thinking in processes of active going along, engagement with the surroundings and self-discovery. in researching how wayang kulit is being alive in yogyakarta at the present on going time, art to be intended as creative doing and practical understanding became all in one object, subject and process of the research. learning by making and performing wayang kulit as well as observing, sharing and discussing with people gives path to experience and question some issues about ways of knowledge and skill transmission; practices of growing between forces, materials and gestures; borders of completion of never-finished objects and practices; relations between practitioners, materials and surroundings; projections of imaginative design between local and global dynamics. keywords: anthropology and art, making, wayang kulit, liveness introduction in this paper i intend to explore the traces that the fieldwork research is leaving along its creative process. this fieldwork experience is part of a phd research project that carries the working title “making wayang in between. performing cultures with rasa, komunitas, nusantara and unesco”. its utopian aim is to draw/portrait how wayang kulit practices are being alive in the continuous tension between changing and permanence at the contemporary on going time in yogyakarta, and to which extent its practices are being shaped by 2003 unesco designation of indonesian wayang puppet theatre as masterpiece of humanity and by related intangible cultural heritage discourses. similarly sarah anaïs andrieu studied for her doctoral degree the political anthropology of the sundanese (west java) wayang golek and its process of patrimonialization, questioning the present and contemporary appropriation of wayang golek (andrieu 2009). as several scholars especially in the field of heritage studies widely demonstrated, heritage as well tradition is being made, invented. the heritage formation indeed is a dynamic field of social action with power relations, involving different actors at local, national and global levels (smith 2006). in her doctoral dissertation 78 editorialbook of reviewijcas: vol. 3, number 1 june 2016 sadiah boonstra also illustrates the dynamics of heritage formation such as standardization, codification and institutionalization from the colonial to the postcolonial era, at national and global levels, as well as the political dynamics at play on wayang (boonstra 2014). it is to explore anyway how people engage with society, its politics and economy, so how people perform culture and address issues of inclusion and exclusion, in a kind of linkage between the past and the future. in another way and in this specific case, it is to disclose how in the life/ alive experiences, multidimensional relations between puppets, people, stories and places make wayang alive. a concert of many voices, opinions, methods, subjects, perspectives and processes are being taken into account. for the sake of time and space in this paper i only try to express some resonances of my research. in that intention particularly enlightening has been the reading of tim ingold’s making (2013) whose argument is that anthropology, archaeology, art and architecture are ways of thinking through making since making is a correspondence between maker and material. said another way all four disciplines are linked by the practices of “knowing is movement”, an incessant correspondence with the world. it definitely helped to handle with the unavoidable and nevertheless not less unbearable fragmentations of experiences, reflections, sensations, actions and the mores of life, showing a possible way to correspond with it, proposing me one of the threads to pull for untangling the previously created and amassed skein. art and anthropology interaction along history the relationship between anthropology and art is old. the early anthropologists for long time have investigated and collected together with private collectors and museums the artefacts of often small-scale non-western societies, represented in the western myth of the noble savage. those far away ethnic groups’ objects were referred as primitive art, a controversial term that later was criticized for being based on ethnocentric criteria, therefore replaced by tribal, folk, ethnic and adjectives the more. this previous remoteness between the scholars and their “object of study” was then shortened at the end of the 19th century beginning of the 20th by the new anthropologist – now an individual fieldwork researcher – which marked the modern phase of the discipline. the encounter with the other and its intensity opened up wider methodological and epistemological issues to discuss. anthropology have revealed the plurality of cultures and strove to interpret other societies in its own terms and values, distancing evaluative judgements. in the analysis of other cultures’ works of art, an ethnographic approach seeking to relate them to their context of cultural meanings and values prevailed. in so doing, the same art definition criteria were challenged. during the second half of the 20th century the anthropology of art treated art in its various expressions as a privileged field of study for being in a certain way embedded into sociocultural relations and related processes of shaping identity, to be observed and interpreted (gell 1998). it came that the works of art were mostly treated as finished objects, so analysed in a reverse attribution of meanings 79 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ...nor idayu binti ibrahim. the development of formal ceremonialnoni sukmawati. literary performance in the act of pendendanggiulia panfili. making wayang along anthropology and art and intentions. similar approach can be found in the fields of material and visual culture that mainly focused on the dynamics and interactions that create, use, make circulate and confer values to the objects and images (appadurai 1986). notwithstanding the creative, direct, practical and sensuous processes that give rise to art were not contemplated. in the wake of postmodernity and the “writing culture” critique in the 1980s reflexive or critical anthropology, however, new theoretical frames emerged. the ethnographer authority as well the observer neutrality was criticized for a new understanding of ethnography: no more a ready-made and neutral knowledge rather a creative process that is inescapably based on the experiences of the subject, therefore partial, being one perspective among potentially many (clifford 1988). that is that the third-person writing was gradually replaced by the firstperson. this new theoretical frames were not only auto-reflexive, anthropologist’s navel-oriented, it goes that in parallel anthropologists redesign the position and approach with the object of study, if of the object of study it is still possible to talk. the growing and renewed attention paid to the subjective dimension in the engagement with the surroundings paved the way for a kind of reawaken of senses as is reflected in the contemporary anthropology of emotions. the relative dimension of the experience highlighted the importance to be aware of the particular space and time in which the experience itself happens. its dynamicity and in a certain way its elusiveness for being in constant changes are now highlighted. cultural processes, practices, actions and changes are questioned in the field of anthropology of performance (schechner 2002) and in the wake of auto criticism the definition of the other itself were questioned. the fieldwork was redesigned to include together with the classical small-scale non-western societies also metropolis, urban communities, the researcher him/herself. new disciplines such as anthropology of complexity and urban anthropology arose and what was until now considered objects and subjects blurred. back to the art, keeping in mind what has been shortly described above, it can be understandable in which directions can be recently traced a dynamic dialog between art and anthropology. increased attention is paid to individual artists and their processes of creativity. new life is conferred to the previous deadobjects through the movements of nouvelle museology and critical museology. anthropologists are exploring new forms of research and representation beyond written texts: the so-called visual anthropology offers some examples of the wide possibility to link research methods and visual representation between anthropology and art through drawing, photography, video, digital media and so on (banks and morphy 1997; macdougall 1998; grimshaw 2001; pink 2004). since early the drawings, then the photographs and later the videos, were first used for illustrative purposes as accompaniment of the words, then given the reconfiguration of ethnographic strategies take a role no longer merely auxiliary but as one of the research and questioning media of anthropology, as illustrated by the pioneering work of margareth mead and gregory bateson in bali on 1942. 80 editorialbook of reviewijcas: vol. 3, number 1 june 2016 on the other hand, following the so-called “ethnographic turn”, contemporary artists have adopted an “anthropological” gaze and methodologies such as fieldwork and observant participation or appropriation of the archive of the memory (enwezor 2008). collaborations between anthropologists and artists have been few (schneider and wright 2006, 2010) nevertheless art and anthropology nowadays more and more share their practices, their ways of thinking through making and making through thinking in processes of active going along, engagement with the surroundings and self-discovery. most illustrative examples however are found in the field of art. “born into brothels: calcutta’s red light kids” (2004) an indian-american documentary film about the children of prostitutes in sonagachi, kolkata’s red light district directed by zana briski is based on the increasingly common technique in visual anthropology to give informants cameras. in so doing photography and video are both recording device and research tool. in 2014 a young argentinian-born artist called amalia ulman used her instagram and facebook profile for staging a five months elaborate online performance called excellences & perfections. selfies taken on her iphone became one of the most original artworks of the digital era, shown in tate modern’s “performing for the camera”, which examine the relationship between art performance and photography, and at the same time it could be perfectly an ethnography. finally, another type of collaboration can make us reflect in general on disciplines and fields of knowledge as well as on art as a catalyst for investment today: the european organization for nuclear research cern provides artist residencies and research at its laboratory with the conviction that “particle physics and the arts are inextricably linked: both are ways to explore our existence, what it is to be human and our place in the universe. the two fields are natural creative partners for innovation, research and development” (http://arts.cern/home). fieldworking “remind, this is a phd in anthropology not in art” my lecturer’s advice is still resonating in me. at that time, sitting in the seminar room at the university, although surprised by the direct recommendation to respect the boundaries between disciplines, i felt prepared to receive it being in a certain way already aware of the institutional codes and pretending to know where those moreover fictitious margins resides. anyway once in the fieldwork it happened the inevitable: art and anthropology correspond to each other and blurred. its unavoidability was due to the encounter itself between the student carrying on this phd research project – a not irrelevant aspect if considering the reflexive turn in anthropology – and the fieldwork. she is a nearly 30 years old italian, cultural anthropology student, traveller and art practitioner. the field of research is wayang kulit liveness in yogyakarta and despite its polysemy does not leave to be stressed, in several situations wayang is considered seni (art) as well as its performers seniman (artists). 81 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ...nor idayu binti ibrahim. the development of formal ceremonialnoni sukmawati. literary performance in the act of pendendanggiulia panfili. making wayang along anthropology and art along the encounter or the negotiation that as anthropology student i was expected to pretend, i realized the difficulties to fully explain – or be understood, depending on the angle – the reasons for my presence or rather the research objectives. it seemed as if on one side each one of my interlocutors pulled toward his or her nearest conceivable experience the reasons for me to be there and as though on the other side i feed these understandings since my actions imitate their own. after some attempts i went to the game, so the chameleon performance has begun. as i am learning in practice how to make and perform wayang kulit, suddenly i became an aspiring puppeteer or possibly a singer in the midst of puppetry students – “mau jadi apa? dalang atau sinden?” – and an artist or artisan even with some previous mastery as already at the doctorate – “sudah s3!” – in the middle of puppet-makers students. since my arrival in indonesia on july 2015 i was told that “for being a dalang take much imagination, for that art especially if heart and mind are not fused it would be difficult. on the contrary if heart and mind are already merged and pleased observing continuously and practicing, after time you will be able to” (from a short talk with bapak sumardi, coordinator of museum wayang at jakarta and also dalang, puppeteer). key words such as menyatu (becoming one) and pake rasa, senang dulu (with feelings, enjoy it first) are repeated several times and actually they are practiced too. observing, listening, feeling and doing became mainly the learning process. that is for learning both how to make and perform wayang kulit puppets, after a brief demonstration if any, i was soon sat up in front of the leather, tools in the hands. i had the privilege to attend carving and coloring (tatah sungging) class from the state academy of art and culture community yogyakarta (akademi komunitas negeri seni budaya yogyakarta aknsby) held at mr. sagio studio (griya bapak sagio), in gendeng village, bantul. these weekly three days classes are part of the one year experts primary education program, a joint program between the yogyakarta regional government (daerah istimewa yogyakarta diy) and institut seni indonesia isi. already at its second edition, this program is funded by the yogyakarta regional government and can be only attended by yogyakarta residents. its purpose is to train puppet makers as well as dancers and gamelan players who once passed the final exam according to the contract should work for desa budaya (culture) or wisata (tourism), villages in diy. for learning how to perform wayang kulit, i have followed the first semester of theoretical and practical course of puppetry (pedalangan) at institut seni indonesia isi yogyakarta university. after that, i enrolled in the puppetry evening course at the sultan palace (kraton) traditional school (sanggar) named habirandha. as the performance involves music, vocal technique, javanese language and the more, i am joining the basic singing and vocal technique (macapat) course at sanggar hadiningrat, another traditional school of the kraton and i am having private lessons of javanese language. 82 editorialbook of reviewijcas: vol. 3, number 1 june 2016 with time, making and performing wayang kulit as well as observing, sharing and discussing with people gives path to a personal deeper understanding of javanese wayang kulit. by making’s revelatory reading i realized that my fieldwork could correspond with what tim ingold experienced at his early career and later stressed, namely that “the only way one can really know things – that is, from the very inside of one’s being – is through a process of self-discovery. to know things you have to grow into them, and let them grow in you, so that they become a part of who you are” (ingold 2013: 1). studying with people, being involved in their activities, learning by doing lately reconfigured the fieldwork or rather the researching process. learning revealed itself to be a personal inner understanding in practice, not an already made package of knowledge to acquire. in his thesis that “making is a correspondence between maker and material” ingold argued that the material is alive and that the maker intervenes in worldly processes that are already going on. that is making is a practice of growing between forces, materials and gestures. working with leather it is vividly confirmed. leather from goat, cow and buffalo – in order from the least to the highest quality – is used for making wayang kulit. therefore as part of animals, the leather undergoes a particular process for being transformed into parchment. “the parchment should not take neither light nor water” the man who treat and prepare the raw leather ready to be cut and curved, advised me. i was probably not yet aware of tropical weather consequences and part of the leather i bought for making wayang became an abstract painting while i was away for a while for the christmas holiday. visibly other forces such as humidity, fungi and insects preceded me into the process of giving form to leather to become possibly wayang. making, giving form to things, arises through movement, the dynamic properties of materials and the balance of the forces at work. indeed the leather is carefully carved with wood gavel beating metal spikes whose ends are previously sharpened against a whetstone (batu asah). to avoid that the spikes ends are broken the leather is leaned on a log of sawo wood (manilkara zapota, commonly known as sapodilla) the consistency of which dampens the hits. at the same time the leather remains stable thanks to a weight whose top moreover is covered by wax in which systematically the spikes ends are rubbed in order to impart more slipperiness. the puppet maker sat at the table, the right hand rhythmically hit with the gavel while the left hand guides the spikes on the leather. in act, there is a mutual correspondence between the maker and the material. in this kind of empathy the maker mood is especially involved in the creation of the puppet character. the master maker bapak sagio revealed that he used to spend one week for his own preparation for making a new character. he needs to feel and behave as the puppet would feel and behave. nowadays a drawing photocopy or another existing puppet is used as pattern for new creations. anyway each one is still different, reflecting the mood and temperament of its maker as well as the surroundings circumstances. 83 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ...nor idayu binti ibrahim. the development of formal ceremonialnoni sukmawati. literary performance in the act of pendendanggiulia panfili. making wayang along anthropology and art in practice together with my companions i learned that the leather is not all of the same thickness, therefore the more the puppets are small and graceful more the leather should be thinner, vice versa the more the puppets are big in size more the leather is thick. it happened to me to make a seemingly graceful and delicate female puppet, that however once removed from the flat surface it bent, it could not stand. so i realized that also the single puppet requires the thickest part of the leather to its base at the foot and the thinnest at the head. i could realize that only performing and manipulating the puppets. once again only performing i could understand the importance of the puppets sizes as they seem to be reached and established for a comfortable handling. in this progression of making and learning another issue was opened up that is if there is any point of completion establishing when the puppets is finished. ie making the puppets corresponds to what will be their function and somehow it is uncertain to affirm when the process is complete. nevertheless of course takes a different direction, different performative ways, this problematic exists even in the case of puppets made for decoration, collection or touristic souvenirs to be exhibited on the wall or in any other way. in fact puppets made for these purposes require attention and care for their maintenance such as for example the white gloves of the museum conservator or the ritual pusaka (heirloom) cleansing at the kraton (sultan palace). it seems to be puppets are rather never-finished objects, continuously in movement, alive. according to jan mrazék “it is fruitful to discuss visual and performing arts together because in indonesia they are indivisible in their world” (mrazék 2008: 292-293). objects are practices. the coloration given to the puppets allows and helps the puppeteer to empathize more with the character that he or she is performing – moving, giving voice and making alive. performing we look at the puppets, especially the face, and when there is action especially battle which is rapid the colours help to quickly identify the key parts of the body. that is a reason for reading from book is not so helpful. other reason is that do not train memory for memorize the stories and the dialogues, so even the improvisation becomes more difficult finally as can be seen learning in practice and sharing activities allow me not only to know wayang kulit from the inside but also to experience and question how wayang knowledge and skills are transmitted. actually its transmission can occur through family tradition and inheritance, informal learning at local sanggar (studio), governmental initiatives namely vocational high schools, graduate programs and specific courses and also as autodidact mostly with the help of video recordings. as earlier pointed out the first appreciated approach to wayang is a full involvement by feelings (rasa), to be interpreted however not only literally and innocently inasmuch patterns to follow are provided. indeed these models are a source of discussion for the next generations since both in making and performing wayang by some is considered to affect the dimension of improvisation and creativity while by some others is highly recommended in order to secure the local style. 84 editorialbook of reviewijcas: vol. 3, number 1 june 2016 taking part of the wayang kulit liveness at yogyakarta, it was possible to meet and share with people differently related to it: lecturers and teachers, students and lovers, puppeteers and scholars, artisans and artists, association members and politic representatives. in the middle of those relations (or lack of relations) and their discourses became evident what anthropologists and other social scientists remarked that culture is also politics. despite the research inevitably has led to other regions as well, daerah istimewa yogyakarta diy constitutes the main place where the until now one year fieldwork focused. its scenario shows itself to be particularly challenging in order to question and open up how the interactions between diverse individuals, groups and organizations evolve and shape wayang kulit for international appreciation and local tasks. wayang kulit is performed in the court, in rural areas and in museum for tourism promotion, it is used for business and political purposes while its aesthetic is borrowed by visual and performance artists. this makes the boundaries between what can be considered traditional and contemporary wayang continuously blurred; the same can be argued in relation to the global and the local dynamics of art and heritage formation that are also continuously blurred. the peculiarity of diy as the designation itself suggests is in term of its decisional autonomy e authority, a separate administrative entity as recently the law reaffirmed through undang-undang nº 13/2012, concerning the privilege of yogyakarta (keistimewaan daerah istimewa yogyakarta) and reinforced by the regulation of the special region of yogyakarta (peraturan daerah istimewa yogyakarta) nº 1/2013, on the authority in privileged affairs (kewenangan dalam urusan keistimewaan). its distinctiveness is also known for the special region of yogyakarta being a center of classical javanese fine art and culture. it is reflected in cultural realities and politics, aiming for a dynamic and creative region especially for what concern culture, education and tourism. however its transisi situation and multidimensi character is also often stressed as at the meeting “peran komunitas budaya di era keistimewaan diy” (role of community culture in the age of the privilege of yogyakarta) held on august 2-3, 2016 at yogyakarta. places and ways of living are continuously shaped and affected by politics as it is tangible with desa budaya and desa wisata national program. so far, there are 42 cultural villages across the four regencies (kabupaten bantul, gunung kidul, kulon progo and sleman) and the city (kota yogyakarta) that constitute diy. diy and bali were appointed by the indonesian ministry of foreign affairs as ambassadors for cultural diplomacy thus the cultural village as the front guard and the cutting edge in preserving the culture (http://nasional.republika.co.id/ berita/nasional/daerah/16/04/05/o55zc5382-kulon-progo-dangunung-kidul-jadipusat-percontohan-desa-budaya). despite being emphasized a synergy with the local community, most of the initiatives for developing the cultural villages came from dinas, the local 85 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ...nor idayu binti ibrahim. the development of formal ceremonialnoni sukmawati. literary performance in the act of pendendanggiulia panfili. making wayang along anthropology and art governmental department, as well the funding. in some cases what is called gotong royong mutual assistance between villagers play an important role too. anyway the law undang-undang nº 23/2014 requires the grantee for tourist village shall be a legal entity. almost all of the initiatives in tourist village in the province of diy have not legal status. some have the status of village-owned enterprises, badan usaha milik desa (bumdes), but the status bumdes still unable to receive the grant because the ministerial regulation nº 4/2015 on the establishment, management and dissolution of bumdes failed to provide clear and specific guidelines regarding the ownership and management of village assets. these cultural initiatives and politics reflect dynamics between local, national and global dimension. in a certain way they are indicative of an imaginary design for the future. to think about how life is in specific times and places, how might or could be like, is or ideally should be the aim of doing anthropology and therefore the utopic aim to strive for in each meeting and discussion along this research. trying to do so i use the drawing as also a learning practice. drawing has all to do with the way one observe and imply a real and deep engagement with the surroundings. in a certain way the practice is also transformational, it changes the way to look at so the way to be in relation with it, to correspond to the world. drawing as ethnographic instrument however occupied various roles in the history of anthropological methods. for some authors it was indispensable for thinking and describing sociocultural realities, especially the invisible one. for some others drawing was ignored or relegated to a minor or subsidiary role in the fieldwork, if compared with other methods based on writings or words such as interviews, questionnaires, family stories, biographies and so on. recently anyway drawings regained a certain prominence in the ethnographic practices (afonso, 2004), as for example in urban contexts (kuschnir, 2011) and in the imaginative logic of discovery (taussig, 2011). in my experience turned out to be not entirely compatible the idea to draw at the same time of conversations. probably it can sound trivial, but apparently it wasn’t at least for me at the time i was projecting myself in the fieldwork. i imagined myself talking to people and at the same time to draw their portrait. with time and some initial frustration i realized it was not possible in the way i want it. drawing and discussing, both practices each in its own way, are engagement with, correspondence, sharing and cannot be done at the same time or better said i am not able to. i need to halt one of the activities to be fully committed to the other as also my interlocutor often stops his or her activity for corresponding. “anyway i appreciated that you were learning making wayang, instead of just reading about it” one of my puppet maker colleagues with a master degree in forestry said to me at the closing ceremony. finally someone revealed to me to be aware of my approach with wayang. “with hand into the mass” along the research i realized that the process of the research itself constitutes a creative doing and practical understanding where object, subject and process became all 86 editorialbook of reviewijcas: vol. 3, number 1 june 2016 in one. borrowing a performance studies’ expression, it is a kind of “performing fieldwork”, a dialog between anthropology and art in which objects are subjects are practices and in which learning is transforming the way to be in life. references afonso, ana isabel. (2004), “new graphics for old stories. representation of local memories through drawings” (with drawings by manuel joão ramos) in pink, sarah, kurti lászló and ana isabel afonso (eds.), working images. visual research and representation in ethnography, pp. 72-89, new york: routledge. andrieu, sarah anaïs. (2009), “heritage and paradox”, inside indonesia, nº 97, julsep, in<http://www.insideindonesia.org/weekly-articles/heritage-and-paradox> (consultedonnovember 14, 2014). appadurai, arjun. (1986), the social life of things: commodities in cultural perspective, cambridge: cambridge university press. banks, marcus and howard morphy, eds. (1997), rethinking visual anthropology, new haven: yale university press. bateson, gregory and margaret mead. (1942), balinese character: a photographic analysis, new york, new york academy of science. boonstra, sadiah. (2014), changing wayang scenes: heritage formation and wayang performance practice in colonial and postcolonial indonesia, amsterdam: vu university. clifford, james. (1988), “on ethnographic authority” in the predicament of culture. twentieth century ethnography, literature and art, pp. 21-54, cambridge: ma. enwezor, okwui. (2008), archive fever: uses of document in contemporary art, gottingen, steidl, new york: international center of photography. foster, h. (1996), the artist as ethnographer, the return of the real: the avant-garde at the end of the century, cambridge: mit press. gell, alfred. (1998), art and agency: an anthropological theory, oxford: clarendon press. grimshaw, anna. (2001), the ethnographer’s eye: ways of seeing in modern anthropology, cambridge: cambridge university press. ingold, tim. (2011), being alive: essays on movement, knowledge and description, london and new york: routledge. ingold, tim. (2013), making. anthropology, archaeology, art and architecture, london and new york: routledge. kuschnir. k., 2011, “drawing the city. a proposal for an ethnographic study in rio de janeiro”, vibrant, v.8 no. 2, pp. 609-642. macdougall, david (1998), transcultural cinema, princeton university press. morphy, h.; perkins, m. (eds.), 2006, anthropology of art: a reader, oxford, blackwell. mrazék, jan (2008), “ways of experiencing art: art history, television, and javanese wayang” in mrazék, jan and pitelka, morgan (eds.), what’s the use of art?, pp. 272-304, honolulu, university of hawaii press. pink, sarah. (2004), “situating visual research” in pink, sarah, kurti lászló and ana isabel afonso (eds.), working images. visual research and representation in ethnography, new york: routledge. schechner, richard. (2002), performance studies: an introduction, london, new york: routledge. schneider, arnd and christopher wright, eds. (2010), between art and anthropology: contemporary ethnographic practice, oxford: berg. smith, laurajane. (2006), uses of heritage, london, new york: routledge. taussig, michael. (2011), i swear i saw this: drawings in fieldwork notebooks, namely my own, chicago: university of chicago press. 1 elly kent. input : output input : output exploring participatory art practice from within elly kent school of art, college of arts and social sciences, australian national university, canberra, australia, 2614. e-mail: ellen.kent@anu.edu.au abstract this paper explores the theory, practice and ongoing outcomes of two projects in relational/dialogical/participative art, narrated from two subjective perspectives: that of a participant, and that of artist. the two projects explored are fx harsono’s “in memory of a name curatorium” and my own resulting project “nee (born as).” this paper positions contemporary participatory art practice as a medium, through which differing cultural perspectives can be explored. in this model, methodology is a kind of a neutral construction -uncultured to which artists and participants apply their own experiences of culture and context, extracting raw data from which creative responses emerges. input: output. keywords: participatory, art, cultural exchange, research, practice introduction what name were you given when you were born? what name do you use now? what name will you be remembered by when you are gone? what’s in a name? this is one of many questions i came across in the path towards the paper i present to you today. what is in a name, and how can conversation be art? i’ll be exploring the theory, practice and ongoing outcomes of two projects in relational/ dialogical/ participatory art. the first is fx harsono’s in memory of a name project in 2011-2012, part of the four year ‘edge of elsewhere project in community art practices at 4a contemporary asian art space and campbelltown arts centre. as a participant of in memory of a name i developed the second project, neé (born as) which i have implemented in various social and institutional settings over the past eighteen months, and will continue to do so in the future. i approach both of these projects from different subjective perspectives: that of a participant, and that of artist. in this process, i am both of these, and in integrating the two perspectives as a researcher, it might be possible to suggest a third persona; the artist as ethnographer. for the artist, the practice of ethnographic field research provides a framework which requires both an immersive, “emic” approach, and a distanced, etic phase. from an emic position, a conciously analytical response to the material is replaced with a reflexive, intuitive approach: i participate in the projects, converse informally with 2 ijcas: vol. 1, number 1 june 2014 participants and work alongside them. questions, where they arise, are unstructured, formulated in response to the situation at hand. this is a contingent approach, dependent on the involvement of the participant rather than the artist, with the intention of understanding the participant’s position and facilitating their contribution to the project. the etic position provides a counterpoint, and requires periods of concentration on the reading and writing of theory. in my methodolgy, field notes are a part of this analytical period, and are written soon after, but not during field activities. writing requires a self-distancing from (art) activity, and this provides space for reflecting on the experience of being within the project. reading provides context from social and art histories, theories, and discourses. it provides viewpoints for resistance and for admission. figure 1. the first in memory of a name curatorium workshop at 4a centre from contemporary asian art, june 2011. (image courtesy 4a centre for contemporary asian art) 1. input 1.1. master: led by indonesian artist fx harsono, ‘in memory of a name’ formed what kwon would call a ‘temporary invented community’(kwon, 2004). we consisted of a curatorium of artists, poets, emerging theorists, curators, social researchers and historians; harsono introduced us to his own familial background. he described how an exploration of his personal experience grew outwards to become broader research into social and institutional discrimination against chinese indonesians, and then returned to a subjective standpoint in in his creative practice. 3 elly kent. input : output figure 2. fx harsono presenting his recent research to the in memory of a name curatorium. (image courtesy 4a centre for contemporary asian art) the familial background harsono detailed for us was that of a chinese indonesian, with strong javanese influences from grandparents and a formal catholic education. in accordance with chinese tradition, harsono was given the name oh hong bun at birth, a name drawn from his family’s hokkien lineage. in 1966, when harsono was 18, a cabinet decree “recommended” all indonesian citizens of chinese descent adopt an indigenous name. a set of historical, political and social factors – too complex to explore in depth here – influenced this decision, which in effect obliterated signifiers of otherness from indonesian society (dieleman.,koning & post, 2010). harsono chose to use franciscus xavier, his baptismal names, and harsono, a name he chose in consultation with an acquaintance. figure 3. voice without voice/sign, 1993 – 4, silkscreen on canvas (9 panels), wooden stools and stamps, 143.5 x 95.5 cm each panel, fukuoka asian art museum collection. (image courtesy the artist) since the late 1970s, harsono has been amongst a cohort of indonesian artists who have explored and exposed political and social repression in indonesia. during more than three decades of his new order regime, president suharto oversaw unprecedented 4 ijcas: vol. 1, number 1 june 2014 economic growth through exploitation of natural and human resources, and consequently created an enormous majority of poverty-stricken citizens underneath small business elite. harsono and his fellow artists stood up to expose what was known as kkn, or corruption, collusion and nepotism. within indonesia their work was often subtle enough to fly under the radar of officials, who at times prevented exhibitions that were deemed excessively political. whilst artist moelyono’s exhibition to commemorate 100 days since the murder of labour rights activist marsinah was banned, harsono recalls an official visit to his voice without voice/sign (figure 3) installation. “i know a government spy came to the gallery to see the work, asking questions about the meaning, but i wasn’t there, so i got lucky. the person in the gallery lied and told him he didn’t know the meaning of the work” (koleshikov-jessop, 2010). after the fall of the new order in 1998, many artists hit a creative vacuum. figure 4. preserving life, terminating life #2, 2009, diptych, acrylic and oil on canvas, thread, 200 x 350 cm, artist’s collection. the painting draws on images from harsono’s family photo album and his father’s documentary photography. (image courtesy the artist) harsono turned to his family history to explore the personal intricacies and individual costs of the abuse of human rights during indonesia’s history. through detailed social research and documentation, including films and photography, harsono explores the experiences of chinese indonesians. in 2009, in a poetic embodiment of his research and his own experience, harsono created the performance video ‘re-writing the erased’. in the performance, harsono is seated on a wooden chair at a marble-top table. on top of the table is a pile of paper, a brush and an inkwell. painstakingly harsono repeatedly renders the characters of his original hokkien name, like a child learning to write for the first time. each time he completes a page he rises from the table and places it within a grid that slowly fills the viewer’s field of vision. 5 elly kent. input : output figure 5. rewriting the erased, 2009 video documentation of performance, ink on paper, furniture. (image courtesy the artist) this is a highly personal response to harsono’s experience of name change, but it is informed by the larger research he has conducted, collecting primary data through interviews and site visits, documentation and reflection. some of the documentation is eventually exhibited in fairly conventional documentary style, but it is the studio works in response to the research that signifies the result: where a conventional social historian might have analysed statistics and cross-checked individual statements with empirical data to produce a representation of political and social circumstances around name change, harsono has interpreted his data through aesthetic form. the experience of loss becomes palpable through the repetition of line, which also serves to point to the enormous numbers of people who have experienced the same thing. the viewer is encouraged to sense, rather than to count these multitudes. we are to feel the loss, rather than to know of it. the background to harsono’s practice, and in particular this work, formed the jumping off point for our curatorium to explore the context of naming, name change, discrimination and power in the australian context. after the contextual introductions, we began by talking about our own names. where are our names from; what do they mean; how have they changed and why? what broader issues about name change can we identify from our own experiences? figure 6. writing in the rain (2011), video performance exhibited in conjunction with works by the in memory of a name consortium, 4a centre for contemporart asian art 6 ijcas: vol. 1, number 1 june 2014 a key aspect of harsono’s methodology in his recent practice is ‘social research’, reaching for and listening to other people’s stories. we were set the task of delivering our own ‘case studies.’ with the creative flexibility of the term emphasised we documented our findings in film, narrative prose, spread sheets, dot-points and poetry. some explored the spiritual dimension of naming, beliefs in the pre-destination of the ‘right’ name. others talked to migrants and refugees, searching local history records to find tales of alias and mis-spelling, discrimination and even deception. the topic of naming was surprisingly controversial; many subjects refused permission to have their stories retold, even with anonymity. to change one’s name is sometimes to save one’s life – to reveal how and why might cause death. 1.2. apprentice: my own research into maiden-names swung me from ambivalent, to stridently adversarial, to a state where my personal position was the only clear thing i could lay my hands on. i had set out to change my surname to my husband’s, and experiment in the bureaucracy of name-change, for art’s sake. i looked up the statistics on name change and was shocked that according to one website 85% of new brides in australia take their partner’s surname. my resolve wavered – perhaps there was more to my name than just a name? outside of the conventions of academic research in place, i was able to interview my mother and sisters and discover stories i never knew. how my mother had kept her maiden name until bowing to the pressure of her family, who insisted on writing cheques she couldn’t cash until she was mrs kent. how a close family member’s fiance was shocked to discover she did not intend to take his name when they married. i wrote to my grandmother to ask about her maternal line and their maiden names; her reply was fulsome on the paternal line, but she could tell me little after her mother’s mother. i spoke to a close friend, who readily took her husband’s name when she married; she gave up her estranged father’s name, a name she no longer shared with any of her family members, from a chapter of her past she was happy to leave behind. i decided not to change my name, but remain conflicted about my children having my husband’s name. and my political compass was thrown out by the pragmatism of my friend’s name-change. perhaps there is no clear answer? perhaps there doesn’t need to be? 7 elly kent. input : output figure 7. reply letter from grandma beth. beth started the letter on email, then gave up, printed it out and finished it on the typewriter with a hand-written post-script. 2. output figure 8. the curatorium discussing proposed projects with 4a staff. together and separately, curatorium members developed proposals for creative work. responses included bus tours of significant sites, an experiment in creating indonesian names for participants, a symposium, a radio podcast, a book to activate smartphone apps filled with stories of lost names. with the help of 4a staff and harsono, proposals were reviewed and discussed, and with great difficulty some were ruled out. 8 ijcas: vol. 1, number 1 june 2014 of those which were realised (you can read more about these on the in memory of a name blog) several centred on bringing the experience of the curatorium, and the insight gained through the case studies, into a public space. i too wanted respond by creating a space to generate more of these conversations. i wanted make room for the ambiguity i had experienced as part of my journey through the process of ‘social research’ that harsono had initiated. figure 9. my husband’s surname on fabric from the wedding dress i didn’t wear. 2.1 premise figure 10. my daughter with her first ever attempt with needle and thread, during the first née (born as), 26th january 2012 9 elly kent. input : output and, so i began nee (born as); an invitation to sit, and stitch, and share the stories of names. starting off from my original case studies i chose to invoke the women’s work of embroidery. but to open up the contingency of the project, to broaden the potential for the unplanned, i moved away from the feminist perspective and asked participants simple to reflect on their own experience of lost or found names. each participant chose a name to memorialise on a brick sized rectangle of fabric. each soft rectangle of malleable fabric became part of an unstable, movable memorial wall. quilted memorials, embroidery as subversion, stitching as contemporary art: none of these are new ideas. tracey emin stitched the ‘names of everyone she ever slept with’ into a tent, but long before this, jailed suffragettes stitched their names as messages of hope for their comrades outside. the aids memorial quilt began in the mid 1980s and its 48,000 plus panels are now being digitally archived – and of course, the tradition of stitching, quilting and weaving as a communal activity is a long and varied one. we can only imagine the cultural shifts and resistance that has been generated over thread and fabric, needle and loom. figure 11. american alexandra chambers deliberately left behind her nickname sasha when she emigrated to australia it is this sense of contingency that i wanted to emphasise in this project; the unpredictable and transformative potential of the conversation. initially i saw the stitching and the fabric as a means to an end; a way to slow participants down long enough to talk and listen; a point of shared experience for participants, who were sometimes acquainted, sometimes strangers. making was an ice-breaker; what fabric will you use, what colour thread, whose name will you stitch? at first, the inherent value of the project was in these conversations that followed. but the object began to take on a life of its own. 10 ijcas: vol. 1, number 1 june 2014 2.2 practice figure 12. more neighbours, friends , family and colleagues conversing and stitching during née (born as) in canberra. i conducted the first iteration of nee in my garage/studio. already participants began to affect the object and concept. they brought fabric a little too large or small, for my imagined bricks. small children who couldn’t write stitched abstract compositions. by the second iteration, at 4a gallery one saturday in february, i was learning how integral to the concept the flexibility of fabric was. i was reminded that not all script travels horizontally. figure 13. this participant used horizontal korean script, challenging my aesthetic skills. 11 elly kent. input : output but oh, what conversations we had, sitting, stitching! what sadness, to hear that this is a ritual of grief, of grief for her father, recording his name in clear black korean script, on the auspicious 49th day after his death. how curiously unlike his english name his greek name sounds. how wonderful that she stitches the comedic name she was given in-utero, whilst her own unborn child rolls inside her belly. how proudly she shapes her new name, adopted on her wedding day. how defiantly he stitches the name he rejected, when as a 5yr old he told his teacher his name was pedro, not peter! name change may seem banal, but through the prism of names we expose a wide range of challenging discourses. through our conversations about names we traced discrimination, power relations, gender stereotypes, domestic and social violence, the negotiation of identity, familial interaction and assimilation of the other. figure 14. née (born as) at 4a centre for contemporary asian art, during the in memory of a name symposium, 18 february 2012. claire bishop has criticised participatory art practices that take an ameliorative stance, rather than an antagonistic one, warning of the danger artists face as neo-liberal governments seek to outsource social cohesion (bishop, 2012: 194). but in this project our conversations revealed rather than concealing our traumas and experience of social homogenity, state repression, and familial discord. in this project, my goal as an artist was not heal but to create a platform to share new understandings of different experiences. i sought not to antagonise participants, but to disseminate recognition of the multifarious ways in which our society and governments repress pluralism 12 ijcas: vol. 1, number 1 june 2014 and difference, and the equally manifold ways in which we resist and reject these (sometimes) invisible strictures on our lives. these conversations revealed things about each other that could be shared by looking at each other’s stitching: the experiences of humanity, passion and ambivalence, suffering and empowerment. figure 15. née (born as) at 4a centre for contemporary asian art, during the in memory of a name symposium, 18 february 2012. in my studio practice, i try to create works that open up liminal space – juxtaposing imagery from the mundane elements of life into images and patterns of implied exotica. it’s a way to emphasise the transformative potential of being in-between one state and another. the work of neé, the work of conversation, placed me in that liminal space, over and over: the space in between idea and object, between personal and political, between narrative and document. it was not a space of exhortation, or a place to negotiate a consensual representation. it was a space to step out into, to listen, and to see what happened next. it may seem naïve of me, but i had not expected the physical object that resulted from these conversations to become so precious. the value of the fabric wall is created by the time and emotional commitment that participants invest in its creation. it was no longer a point of conversation, but a tangible record of memory and story, relationships and loss. at casula powerhouse near liverpool, artist ray beattie brought a tiny white singlet with several small flowers already machine stitched on to it. over the course of the evening, ray added letters spelling out boitran, the name of his beloved wife who had died only months before. he shared their life, love and art stories. with us were three young university students, cousins recalling childhood nicknames on old pyjama fabric; we giggled and grieved in turn. 13 elly kent. input : output figure 14. late night participants on the final night of the nee (born as) residency at casula powerhouse. 2.3 theory in 1995 hal foster argued persuasively against the artist as ethnographer, identifying a tendency among artists working with ethnic and culturally sited communities to make assumptions about the political tranformativity and alterity of the their subjects. this alterity, as a key aspect of anthropology, is what foster contends draws artists to the ‘quasi-ethnographic’ turn, fulfilling a desire to ‘self-otherise’. in foster’s reading there are three main assumptions that drive ethnographic art projects; that artistic transformation creates political transformation and from elsewhere; that the other is always outside and also the site of subversion; lastly that “if the invoked artist is not perceived as socially and/or culturally other, he or she has but limited access to this transformative alterity, and, more, that if he or she is perceived as other, he or she has automatic access to it” (foster, 1995: 302-309). another important issue raised in foster’s text is the problem of representation on behalf of whom; which institutions, formal or otherwise may lay behind the artists work and thus influence the representational forms that emerge. this is indeed an important point, made later in an art historical context by bishop (bishop, 2012), who identifies the parralel interest of neo-liberal government and the socially engaged artist; the former’s interests lie towards handing over all social responsibilities of government to the community, the latter’s (sometimes) intentions to ameliorate social discord fulfilling this abrogation. both of these problems are linked through a central issue; what or who is the ‘community’ in any given art work, and how does the artists’ position relate to a specific community? miwon kwon has addressed these complications comprehensively, suggesting that the term “collective art praxis” might be a more useful term than “community art”, with projective rather descriptive aims (kwon, 2004: 100-155). 14 ijcas: vol. 1, number 1 june 2014 these theoretical positions are all pertinent to, and, i will argue, undermined by processes implemented in the projects i describe above. in the first example, in memory of a name, harsono’s position is neither other nor from outside, and yet the success of his body work investigating chinese-indonesian experiences of discrimination (exhibited widely internationally and locally) indicates that the art-world regards his non-alterity as a form of authority. harsono, is inside of the ethnically sited community that forms his subject matter, furthermore, the work harsono undertakes does not assume political transformative alterity, but in fact responds to and amplifies transformations that are already underway, in particular the slow shift back to visible displays of chinese heritage (dielman., koning & post, 2010). in the second example, my project neé (born as), the co-option of ameliorative art practices by the state is also an implied risk. the premise of the project also lies in revealing the personal impacts of institutionalised discrimination, through personal interactions. does this kind of activity merely distract from the real work of breaking down such discrimination, providing a quiet voice for minor narratives while the meta-narrative goes unchallenged? recently australia’s government commisioned a review into the national curriculum’s history component, which reported that the curriculum “uncritically promoted diversity” and undervaluing western civilisation and “the significance of judeo-christian values to our institutions and way of life” (taylor, 2013). this is the theory promulgated by australia’s current conservative federal government, but in practice it is at odds with both the statistical and aesthetic experiences of most australians. of australia’s 23 million population, around a quarter were born elsewhere and over 3 million people speak a language other than english at home. over half of these speak arabic, cantonese or mandarin (australian human rights commission, 2012). so being in australia involves regular encounters between different people from different ethnic, linguistic and religious backgrounds. but how often do these encounters include exchanging personal narratives? in neé (born as) encounters between personal narratives are inherent in the structure; countering a neoconservative attempts to whitewash diversity in a small act of resistance. nee (born as) cannot achieve large-scale policy change on a state level. but it can act to set the conditions for individual political changes, that is changes in the way participants view each other, and connections that may never have occurred otherwise. during the project’s residency at casula powerhouse, flyers were distributed in nearby liverpool shops. one morning i returned to a shop to find the attendants deep in conversation. the flyer had sparked a conversation between the two women about their personal experiences of cultural and gender-based name change that they had never broached before. in the right conditions, these small-scale impacts might be the catalyst for larger shifts. the impossibility of knowing this for sure, the contingency on participants acting on their own experience, is part of what makes this an art work and not social work. perhaps it is operating in what bourriaud calls ‘social interstices,’ after marx’s alternative economic systems (kwon, 2004: 154). both projects approach community and paticipation from different perspectives, but both ask participants to reveal past experiences to the artist or fellow participants. 15 elly kent. input : output kwon’s projective ideal does not account for community through shared historical trauma. in the case of harsono’s social research and subsequent individual performance works, description is in fact the goal; to re-describe lost identities, and to testify to the discrimination and abuses of power that lead to these long suppressed experiences. additionally, the collective art praxis model does not offer flexibility for the kind of community participation that is conducted as part of the process but not directly documented in the outcome. but perhaps the collective artistic praxis paradigm invoked by kwon has more relevance to neé (born as). as a project, it has been implemented in diverse sites, rarely with the involvement of a specific community. instead, participants usually come to the project unexpectedly; their commonality with those they converse with is often, but not always, merely that of being in the same space and time. the work itself moves through communication, but is in no way the sum of its disparate parts. it is “to suggest the impossibility of total consolidation, wholeness and unity in an individual, a collective social body like the “community”... (bourriaud, 2010: 113); it is a clamour of voices and stories that testify to the diversity of human experience and the urgency of tolerance. i propose what kester has described as ‘dialogical aesthetics’, as a theoretical paradigm which counters the essentialisation of participation and community orientation by invoking pragmatic, dialectical rhetoric as a basis for these kind of art projects. “…a dialogical aesthetic requires that we strive to acknowledge the specific identity of our interlocutors and concieve of them not simply as subjects on whose behalf we might act but as co-participants in the transformation of both self and society” (kester, 1999: 19). kester sees the dialogical aesthetic as a potential alternative to more traditional object-oriented aesthetics frameworks, but he too warns of the dangers of discourse becoming merely an aesthetic compensation rather than a mechanism for change. to this i would argue that change, at least on an individual level, is an inevitable consequence of encountering the experiences of other people’s lives. the purpose of an art-work based in dialogue, is precisely to ensure that we do directly encounter, feel, see, sense, percieve – as in the original definition of the word aesthetic – their experiences. in his 1992 essay conversational art, homi bhabha identifies an anti-epistemological stance in which conversation acts as a dialogue between culture and community, ‘shrinking the distance between the object and the subject and shattering the silence around art objects’. bhabha writes: this results in an aesthetic strategy that articulates hitherto unconnected moments between memory and history, revises the traditional divisions between private and public and, rearticulates the past and the present and through the performance of the artwork, fosters unexplored relationships between historical or biographical events, artistic innovations and an enlarged sense of cultural community... contextual contingency liberates us from a binary and polarised view that opposes reason to passion, the present to the past, it also commits us to living our lives and making our art from experiences that ambivalent, contradictory and unresolved (bhabha, 1998: 42). 16 ijcas: vol. 1, number 1 june 2014 conclusion figure 15. nee (born as) at the scullin shops party, canberra, march 2013 the last iteration of nee (born as) to date was at street party held in my neighbourhood to celebrate our city’s 100th birthday. i was surrounded by my communities; mothers from my children’s school sat down and told me the stories of the names they inherited from their ancestors, and the ones that were discarded in the rush to assimilate to their new home; my dear friends played songs about our town and its histories in the background; the local hairdresser dyed kids hair for free and i got to know the people of my place that little bit better. it is the freedom in this project that is its greatest asset, by which i mean that the project itself is free from me, and any of the other restrictions and negotiations that have limited other participatory projects i have worked on. it is a real conversation, both in its physical and meta-physical presence; it can happen anywhere, anytime; it can be formal and structured, part of the agenda of a larger institution; it can be loose and responsive, just as likely to turn to tragedy as to love. clifford geertz has said that, through long acquaintances with extremely small matters, the anthropologist “confronts the same grand realities that others historians, economists, political scientists, sociologists confront in more fateful settings: power, change, faith, oppression, work, passion, authority, beauty, violence, love, prestige; but he confronts them in contexts obscure enough...to take the capital letters off them. these are all too human constancies…..but that is exactly the advantage. there are enough profundities in the world already.”[15] perhaps this says something for artists too. so it will go. stories about love, politics, oppression, acceptance, rejection, migration, loss, identity, family; a wall that holds but does not contain them. i have learned a little of what is in a name. 17 elly kent. input : output figure 16. stiching together the differents traces of stories about names; building a soft memorial to the lost and found references bhabha, h. (1998). conversational art. in m. j. jacob (ed.), conversations at the castle: changing audiences and contemporary art. mit press, massachusetts p. 42 bishop, c. (2012). artificial hells; participatory art and the politics of spectatorship. london: verso.p.194 bourriaud, n. (2010). relational aesthetics. paris: le presses du réel, p113 dieleman, m., koning, j., & post, p. (2010). chinese indonesians and regime change (vol. 4): brill. foster, h. (1995). the artist as ethnographer? in g. e. marcus (ed.), the traffic in culture: refiguring art and anthropology (pp. 302-309). california: university of california press. p.302 kester, g. (1999). dialogical aesthetics: a critical framework for littoral art. variant supplement, 9, p.19 kwon, m. (2004). one place after another: site-specific art and locational identity: the mit press see also taylor, a. (2013). neoconservative progressivism, knowledgeable ignorance and the origins of the next history war. history australia, 10 (2), 227-240 for an analysis of the use of the term judeo-christian in neo-conservative in rhetoric. geertz, c. (1973). thick description: toward an interpretive theory of culture the interpretation of cultures. new york: basic books inc. ignorance and the origins of the next history war. history australia, 10 (2), 227-240 for an analysis of the use of the term judeo-christian in neo-conservative in rhetoric. 18 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 online resources australian human rights commission (2012) face the facts some questions and answers about indigenous peoples, migrants and refugees and asylum seeker http://www.humanrights.gov.au/publications/2012-face-facts, accessed 11/02/2013 hurst, daniel, http://www.theguardian.com/world/2014/jan/10/christopher-pynecurriculum-must-focus-on-anzac-day-and-western-history, accessed 11/02/2014 kolesnikov-jessop, (2010) http://www.nytimes.com/2010/03/12/arts/12iht-jessop. html?pagewanted=all&_r=0 accessed 15/09/2011 ijcas cover_revisi.pdf page 1 ijcas cover_inner.pdf page 2 ijcas cover_back.pdf page 1 91 book review dance dramaturgy (collecting articles) edited by: pil hansen and darcey callison kiki rahmatika dance dramaturgy’s book is a book that consists of articles based on creativity experience of choreographers. each choreographer had written their experience and make it to be dramaturgy. based on pill hansen thesis, the dramaturgy of choreography has become a widely established practice for contemporary dance artists interested in current understandings of bodies and their potential encounters with environment, activity, spectacle, the other, lived-experience, and theatre. dramaturgical research focusing on these interests seamlessly merges with scholarly research in areas such as cultural memory, materiality, somatic knowledge, and performance/ choreography. new concepts to understand dramaturgy are being pursued in institutions of higher learning, in contemporary dance companies, and by independent dance artists. the book provide both of the dramaturgical practices and thinking that advance current discourse and a reflection upon those collaborations that focus on either the choreographic process or the dancing body. in other words, the discussion evolves from the agency in which an individual dramaturg anticipates compositional motivation and knowledge, through an agency which maps points of interaction and their affect from a position in between creators, to an agency depend ipon the development off different modes of attention and awareness in the dramaturg; indeed, he or she can become a facilitator or particular way of thinking and looking at the effect and affect of interactions. ultimately, such a focus on awareness can distribute dramaturgical agency and responsibility among collaborators and spectators, or embed it in a task based system of dance generations. there are three chapters on this book. the first chapter is about agency that there are three articles who written by bojana bauer, andre lepecki, maaike blecker. the second part that talk about awareness also have three articles that written by freya vass-rhe, vida l. midgelow and pil hansen. and the last chapter which is tells about engagement contains of three articles that based on creativity experience of choreographers like katherine profeta and thomas f. defrantz, nanako nakajima with performing koosil-ja and bonnie brooks. 92 ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017 agency in this articles there are some of the original experiences that spurred dramaturgs. through an analysis of discourses produced by dramaturgs on the subject of their practice, as well as through a detailed examination of two example cases, bauer propose a shift in orientation that locates the dramaturg as a subject in the creative process rather than a mediator at the centre of the tired theory/practice dichotomy. initially this step introduces another dichotomy, one that opposes the subject of experience to the subject of knowledge. however, the divergence between the traditional dichotomy and the one that is initially proposed here allows me to discuss dramaturgy—and dramaturgical agency—at the level of the subject, acknowledging and challenging the generally held conception of the artist as a figure that is already deeply embedded within the theory/practice divide in the general art discourse. dance practice has revived the theory/practice debate, and i believe that a deconstruction also allows me to depart from the tradition of philosophical discourseand instead observe the empirical transformation of the dramaturg into an essentially pragmatic figure—a subject of a certain type of action, who therefore needs to be understood in terms of the strategies and functions he/she initiates. a dramaturg can be present in rehearsal everyday for months at a time and still persist in treating choreographic material from the distance of an observer, merely theorising it. importantly, there are choreographers who themselves rely on exteriority to let the process unfold. along these lines, ivana muller states that the ‘outside eye’ does not present a problem because the ‘outside’. paradoxically, and when considered on a larger scale, i propose that this flexibility of positioning has more to do with pointed us to—proximity as a metaphor—than with actual, measurable, physical presence in the process. furthermore, this flexibillity is closely related to certain structural changes in the field that have had a transverse effect on its epistemological, aesthetic, political, and labour definitions. awareness the creative process and its phases are briefly described to mam out the complex constelation of dramaturg, choreographer, performers, themes, ideas, materials, bodily exercises, dialogues and much more that it entails. the dramaturg, while practicing critique and analysis, is also affected by by and involved in sensory, aesthetic, and emotional processes. important implications for dramaturgical practice is the deeper involvement of dancers in the process of creation; dancers are invited to creatematerial and thus to share part of the conceptualand dramaturgical responsibility within a given creation. the writing of the piece (the choreographic practice) becomes the result of a shared praxis that also engages the performers. the process of creating a piece, then, can no longer be defined as one that entails work on fine details of movement and perception accomplished under the watchful eye of the choreographer; nor can choreography be conceived as an authoritative process of organising the body in predetermined movement patterns. 93 daniele zappatore, tarantismchayuti tassanawongwara, malaysian siam music in northern malaysia waiyawat saitum, the study of solar incident salima hakim, you selfie, therefore we areandreas slamet widodo, visual aesthetics “djarum black motodify” chanakarn ruangnarong, the suitable fabric for thai art kiki rahmatika, book review instead, the dancer creates the material through a practice that is drawing upon her subjectivity and its capacity to produce singular types of attitude and behaviour. this practice of subjectivity is intertwined with the context of process and the conditions it proposes, not only types of bodily practices, techniques, exercices, and experiences, but equally readings, writings, film influences, image references, time spent together and so on. one of the consequences of from it, tend to morph and become incorporated into the development of the piece’s overall composition. however, this incorporation remains only tendency as such an approach still marks two territories: that of the creation/studio; and that of the stage. even though the dividing line might be fine between the two, the reality of the studio is necessarily distinct from stage reality and this separation is materialised through the structuring of the material. this means that the practice should meet the conditions of theatrical reception through the shaping of performance, in other words some form of composition that is comparable to the theatrical staging must take place. in the words some form of composition that is comparable to the theatrical staging must take place. engagement dramatugs typically shift between, combine and modify these modes, depending on the needs of individual projects. though celebrating the adaptable nature of dramaturgical modes of engagement, our authors also offer unique examples of the memory and facilitation of dramaturgical agency and awarenes that a sustained and deep rooted engagement with a specific choreographic practice can lead to within a company, between colaborators, and in relationship to audiencs – all the spheres that extend the cycle of distributed dramaturgical agency. conclusion all chapters this collection touch upon the interlated concepts of agency, awareness and engagement; however, each chapter addresses these concepts differently and makes proposals that emphasise one over the others. this introduction disscusses the matrix of agency, awareness, and engagement through both our authors’ and others’ voice from the discourse on dance dramaturgy, so that the concepts are contextualised and reflected as key concern of this book. ironically, the dramaturg may hold a key to solving this dilemma. his or her focus on the approaches, principles, strategies, and sociocultural implications of different projects and artistsalso enables the dramaturg to help extract and articulate tropes that are pursued in unique ways by choreographers and their collaborators across multiple projects. such articulations can help feed the marketplace with something more complex and artistically relevant than icons and extend an invitation of engagement to spectators. these articulations are drawn from space between the initiating artists’ discovery of artistic questions and the collaborative work through which those questions are pursued. as such, they are not anchored in, nor are they transaltions of, an artist’s intentions; rather, they 94 ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017ijcas: vol. 4, no. 2 december 2017 reflect the collaborative and fully embodied thinking that takes place in a creation process. further, these articulations do not interprete or render meaningful a performance for the audience; instead, they synthesiseprinciples at work. the contemporary dramaturg that i am beginning to evoke here is not an intellectual who, at a distance from the creative process, claims knowledge and objectivity while holding the emerging structures of a new work up against established and recognisable models that are celebrated in the marketplace. 67 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks patternkarna mustaqim. drawing perform’stepika rodsakan. music: a tool in transforming the social status music: a tool in transforming the social status of special needs children tepika rodsakan srinakharinwirot university, thailand tepika_joy@hotmail.com abstract there are some attempts to politically encourage the rights of social status to special needs children by both thai government and non-government organizations. practically, the fact indicates that the special needs children’s social status and roles are vaguely partial in terms of whether opportunities or social rights. the researcher has experimented by organizing traditional thai musical activities to special needs children, the case study of panyawutikorn school. pre-test and post-test results and observation evidently have shown that the musical skills are increasingly improved. similarly, an empirical data presents they took pride proudly when they are being praised in their developing skills by teachers, parents as well as h.r.h. mahachakri sirindhron princess, has been at panyawutikorn school in order to attend thai musical performance of special needs children, the attention of princess can encourage them to be more engaged in musical performance of special needs children and also people involved. as mentioned above, ‘music’ is utilized as a tool to transforms the social status and give them a chance of playing role as givers. the traditional thai music ensemble of special needs children is requested to broadly show their abilities in many places such as hospitals, elderly cares, and in other school activities. truly, music therefore is effectively able to transmit the social status of the special needs children from previously they were defined as always receivers to be currently understood as givers. furthermore, the study also provided the number of children is stepping up and paying more attentions in musical activities. this is to really consider the attempts to push up special needs children in the same level of citizenship hierarchy. keywords: music abilities, special needs children, social status introduction as a word ‘citizenship’, leads us to consider about a status of being citizen; people are factors of society which prosperously propel the countries for development. all the people thus deserve to be treated impartially in terms of human rights and security as basic elements in welfare service of equality. on the other hand, in fact of reality, there are some groups of people with special needs exist in societies according to national statistical office of thailand has revealed that almost two million (3%) of thai population are special needs children including the physically handicapped (ph), the deaf and hard of hearing (de), the blind and visually handicapped (vh), the learning disabled (ld), and the mentally retarded (mr). previously, they lacked of opportunities to be served 68 editorialbook of reviewijcas: volume 5 number 1 june 2018 the privilege as ordinary people, however, there had been some attempts to politically encourage the rights of social status to special needs children for a long-standing. in 2007, thai government has approved an empowerment of persons with disabilities act for special needs children, synopses of an act is to consider promotion and support of activities of state and private agencies related to the empowerment of persons with disabilities. they have the right to access and utilize public facilities such as education, vocational rehabilitation, as well as acceptance and participation in social, economic and political activities etc. nonetheless, in the reality, role and status of special needs children are unobvious neither social opportunities nor the right. art is beneficial to encourage special needs children’s development. from previous studies and researches pointed the results out that art enables to elevate the sicial development effectively. the purpose of art for special needs children tends to expectedly focus on developing behaviour and being in readiness in real life. in addition, art is a process of decreasing a social gap by group activities mixing ordinary children with special needs children. music is known as art of sound which contributes the benefit in encouraging development for special needs children in many ways. for applying music as a tool to improve special needs children’s behaviour in terms of health, emotion, social, and intelligence by musical activities, which are comprised and organized by numerous disciplines. the music activities are designed in order to apply diverse functions for special needs children e.g. rhythmic movement, singing, music creativity, musical practicum. moreover, the musical activities also help special needs children to commonly blend together with whether special needs children or ordinary children and to strengthen relationship with teacher and parents. musical activities still help to cut down a gap between music and special needs children. likewise, music is not only limited to serve to normal people but music also worthily enact in many ways. to expand music for serving in diversity of dimensions, music can be spotlighted to particularly involve assisting development of human behaviour and to widen the function of music as tangible knowledge. a readiness of mutually coexisting and interacting with other people for special needs children, music is defined as neutral tool to be utilized for teaching special needs children, and be able to aid them achieving the goal. teachers are just contributing person who organize learning environments, but absolutely an activity is supposed to be propelled by children. the musical activity for special needs children is a real expression to the intellectual knowledge of music to society and emphasis in equality. the musical activities are a learning process that to advocate and stimulate the special needs children’s ability. furthermore, contribution of social act can cause and accomplish the understanding of people as well as change social attitude of realization and opening mind in acceptance. 69 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks patternkarna mustaqim. drawing perform’stepika rodsakan. music: a tool in transforming the social status music for special needs children the teaching development by using musical instrument is wildly affirmed of encouraging special needs children learning development as a science of development and fulfilment of ability in terms of health, emotion, social, intelligence as well as way of life and important skills to survive in reality. as a result of research, an integrated musical instrument for the mentally disable children, the tool was specifically designed by considering about correspond with connecting to special needs children, considered about figures, sizes, colours, and playing of instrument. to refer to thai music by basically introducing four skills of thai music including picking, bowing, rapping, blowing and adding two more skills are shaking and pressing, all of six skills are gathered in order to contain in an integrated musical instrument. an instrument was made for testing with maximum 18 children. figure 1: an integrated musical instrument for the mentally disabled children. tepika rodsakan in experimental research, the sample used in the research was 8 educable mentally disabled children from panyawutikorn school aged between 8-10 years old. the sample had been tested and confirmed by the psychologist to have iq from 50-70, the sample were not sound sensitive and neither multiple handicaps. the test were used emphasize on behaviour observation and interview. result of the research presents general responding of the mentally retarded (mr) children are fine and additionally, their musical skill were being developed during testing. the behaviour observation has found that special needs children were interested and joyful in musical activity and from interview shows special needs children are satisfied playing solely and also playing together. musical skill development test is an assistance to stimulate a skill of music and special needs children enabled to improve higher skill. so that, special needs children who have sufficient skill could gather together in panyawutikorn ensemble. the ensemble has presented thai music in public places. getting compliments from parents and teachers are willpower of special needs children. the impressive situation is h.r.h. princess maha chakri sirindhron, visited at panyawutikorn school in order to attend thai musical performance of special 70 editorialbook of reviewijcas: volume 5 number 1 june 2018 needs children, the attention of the princess highly encourage them to be more engaged in musical performance of special needs children. figure 2: h.r.h. princess maha chakri sirindhron watching panyawutikorn thai music ensemble. tepika rodsakan music: a tool in transforming the social status of special needs children while there are some attempts to politically encourage the rights of social status to special needs children, but practically special needs children are still different from normal children. they are always identified as receivers and usually need social association. a matter of fact, they have thought not to be understood as always receivers nor treated as if they were burdens of society. their self-esteem pushes them up and they steadfastly desire to be citizen of country as normal. their skills are able to contribute something to national progression in terms of education, economy, politic, social, and culture similarly as major population. social capital improvement of special needs children is needed because the social capital is a factor to raise them to be visible appearance. an appearance as social status is lucid for them to act as possible as normality. for instant, a case of panyawutikorn special needs children are encouraged in musical skill to continuously perform in ensemble by full team special needs children members. because of continuity, it can establish cultural capital according to pierre bourdieu (1997) said, ‘cultural capital’ means that the value individuals receive from the social engineering process. this value has become a property that allows people to increase their value. as indication of music ability is a cultural capital, to change music into a tool for transforming and to enhance and support social status and opportunity of special needs children. the activity also encourages them to alter the role as receivers into givers. to refer to ‘voluntary concert at ramathibodi hospital’, 71 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks patternkarna mustaqim. drawing perform’stepika rodsakan. music: a tool in transforming the social status special needs children would be lulling traditional thai music for patients on every first tuesday in first week monthly at the hospital at first round is 9.00 10.30 a.m. and second round is 10.30 a.m. 12.45 p.m. and other weeks performing by military thai music ensemble or the provincial electricity authority thai music ensemble. the traditional thai music ensemble of special needs children is requested to broadly show their abilities in many places such as elderly cares, and in other school activities. because of outside activities, special needs children can feel they are not lonely and activities support them to be confident in the role of givers. they tend to be more enthusiastic in participating musical activities and subsequently inherit to the other next generation. as the director of panyawutikorn school ms.oranuch chaiphat mentioned, “the feedback from performing music at ramathibodi hospital is all appreciated in musical ability of special needs children, many of the audients expected the musicians were ordinary children and moreover, every times playing are the happiness of special needs children through they feel eager and expressing their smiling”. the happiness is a power to support them to continue a role of citizen and responsibility. conclusion musical cultural capital is progression which fully encourages special needs children about music skill shows their potential development and. music and special needs children role currently is constructed to help each other. music becomes a tool in transforming the social status of special needs children. previously they were identified as receivers and so far they can play role in the giver status as similar as members of society. references bourdieu, pierre. the forms of capital. in richardson, j. handbook of theory and research for the sociology of education. westport, ct: greenwood. 1986, 46-58. chaiphat, oranuch. personal interview. september 11, 2012. tepika rodsakan. the creation of an integrated musical instrument for the mentally disabled children. d.f.a. (music). bangkok: faculty of fine and applied arts, chulalongkorn university. (2013), 97-98. 59 musical parody of acapella mataraman: a creativity compromise for the performing arts market in yogyakarta firmansah mercu buana university abstract this study aims to identify and understand the creative process of artists in the performing arts market. the concept of creativity is often the response of the high degree of creativity. basically an assumption appears if the artist is able to survive in the market is the result of creativity in the performing arts is a form of alternative or compromise. this phenomenon occurred in the group acapella mataraman. this case study is based on the concept of jennifer lindsay and umar kayam about the existence of performing arts groups. the primary data are gained from the interview process with pardiman djoyonegoro, then, it is completed with the secondary data through a focus group discussion to explore deeper about creativity process on acapella mataraman. the results show that the repertoire of pangkur jenggleng and emperan nuswantara is a form of compromise. musical sounds and rhythms of modern music elaborated and presented through acapella techniques. supplemented by the concept of parody that has appeal and value to the consumer tastes of the performing arts. this form is an effective medium for the delivery of criticism and moral content on each of the repertoire. keywords: creativity compromise, performing arts market, pangkurjenggleng, emperannuswantara and acapella mataraman introduction yogyakarta is one area in indonesia which is known as a city of culture. in this city also there are plenty of activities for the performing arts do have a lot of individual creative and performing arts groups. some groups such as: kua etnika, hip hop foundati, puppet hip hop, and acapella mataraman. each of these groups have in common is creativity by elaborating traditional and modern elements in the form of a musical. but attention is acapella mataraman because it has characteristics as a differentiator from other groups in the performing arts market arena. the repertoire through genres of musical parody of acapella mataraman is the result of creativity pardiman djoyonegoro as a major figure. he was known as a skilled artist imitating the sound of musical instruments through acapella techniques and elaborated with local cultural elements are then presented with a humorous style. for decades, the genre was maintained and became unique to this group. the use of such genres as the value 60 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 of the watch allows the consumer to use his services frequently performing arts to entertain in a variety of events. most of the play at the position at the end of the show so that viewers are willing to wait long to see his performance. starting from the uniqueness of it, the writer interested to study musical parody group acapella mataraman. the existence of the group comes from the creativity pardiman djoyonegoro as the main figure to see opportunities in the performing arts market. the assumption appears that the possibility of creativity is one form of compromise or alternative. indirectly, this allows the group's repertoire is kitsch art that is only concerned with economic factors or kitsch or art popular in mataraman acapella has a different meaning and not just economic factors. creativity compromise creativity compromise is a form of strategy for the artists or performing arts groups to persist in the performing arts market. according to kayam (in lindsay, 1991) for the existence of kitch or commercial art, a way of presenting must actively changing according to the times in which he exists. this is useful in order that the work of art to be popular and attracted the attention of the audience for making money in order to stay alive. than, in the opinion of khayyam (1997) the context of indonesia is currently in popular culture where the situation was still very fluid, bound with traditional culture, the tendency of people to consume foreign cultures was through commercialism dictation. basically, the popular music composition of course, the simplicity was the main thing for the purpose of easily understood or enjoyed by consumers. the simplicity was found in the musical compositions with periodization or phrasering, the harmony structure was built relatively easy, rhythm repeated, short in duration and without more expansive processing (mack, 2012). likewise the song forms uses general forms that is a-b (binary) the two parts or ternary form (a-b-a ') wherein a is theme and beggining period, b is the contrast period, and a' is a recapitulation. this can be described as a musical proximity (listener habitus) of the general public. when referring to both opinion, in order to get the exchange against the spectacle rate, the repertoire of acapella mataraman has the simplicity in form to make it popular. in order tosee the simplicity of form, the pangkur jenggleng reperotar had been chosen because according to pardiman djoyonegoro it is a representation of acapella mataraman. in addition, a new third-generation repertoire which was often played together with jenggleng pangkur that is emperan nuswantara had also been analyzed. in emperan nuswantara repertoire, melody or rhythm can be seen as follows: 61 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts lifekiki rahmatika, consistency ning-hui hung, transmission and innovation of kasidah in indonesiafirmansah, musical parody of acapella mataraman soprano as vocal and sometimes imitating the sound of the guitar, alto also imitate the sound of the guitar, tenor imitating the sound of ketipung but still use the tone and bass sounds to imitate the sound of a bass guitar. the intro rhythm on soprano and made repeatedly by the placement of tone e statically. in alto the rhythm is repeatedly sounded acted with the tone c-c1. likewise also the bass acts as a companion with a simple rhythm pattern by placing on the tone c area. the tone was sounded repeatedly. then in the tenor voice, the rhythm pattern was somewhat enlarged with a tone composition of c1, e1, f as decomposed. the use of that rhythm gives the feel of dangdut music in this rereptoar. at bar 10 in the tenors was found a first interpellation to mark the same phrase. however, the rhythm and melody on soprano voice then developed with a previous rhythm pattern. second interpellation on the soprano voice in bar 22 and 26 interpellations are as follows: 10 1st interpellation 2nd interpellation interpellation on both of bar 26 above was used as a cue for the entry of lyrics with a simple rhythm and melody pattern: 1 2 1 2 frase i frase ii figure 1. melody and rhythm of emperannuswantara repertoire figure 2. 1st interpellation of emperannuswantara repertoire figure 3. 2nd interpellation of emperan nuswantara repertoire figure 4. phrase 1 and 2 in the rhythm and melody pattern of emperannuswantara 62 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 the rhythm of the song was made in a simple symmetrical form. this can be seen in the first phrase where there are two different motifs. in the second phrase there are also different patterns of motif but the motif is the same as the first phrase. but in the second phrase, the melody occupies different locations as in the picture above. overall, when listening to emperan nuswantara it creates the impression of dangdut music. then, in the pangkur jenggleng tune at the opening comes a manyura phatet. furthermore, there is a significant change that is using rap music. the rhythm pattern is fairly simple, played continuously and repeatedly. however, it is sometimes interspersed with the sound of beat box different from before. for example, sometimes imitating the sound of a drum set and then varied by imitation sound of a dj (disc jokey). the rhythmic pattern used in beat box was as follows: basic rhythm pattern variations in rhythm pattern wherewith the melody, rhythm patterns of the melody was created with the expansion of the rhythm in bar 4, 5 and 7, which are marked by a red line. it seemed that this was to to avoid the impression of monotony in the song. but the variation is not enough transformed drasticly and developed quite simple. melody of the song was also only played in tone e, f # and g. it can be seen in the image below: 4 5 phrase i figure 5. basic rhythm pattern of beatbox and repertoire variations of pangkur jenggleng figure 6. rhythm pattern of melody, phrase i of pangkur jenggleng 63 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts lifekiki rahmatika, consistency ning-hui hung, transmission and innovation of kasidah in indonesiafirmansah, musical parody of acapella mataraman 6 7 8 phrase ii analysis results of the second form of acapella mataraman repertoire has the simplicity in form that made it to be is said as the kitsch art or pop music. there is a standardized pattern as it follows the popular music namely rap and dangdut. this is also confirmed by the opinion of mack (1995) that popular music is more simple, has a standardization and more want to satisfy the audience for commercial purposes. although both of the repertoire belongs to popular music types, but there is a difference in the emperanin nuswantara. it has the indonesian impression in lyrics and musical forms. what is meant here about the indonesian in the form of music was the sound of dangdut music that was presented in the tenor's rhythm pattern: according to frederick (ibrahim, 1997) and wientraub (2010) dangdut music is a popular music of indonesia. being a political media to construct public taste in music. indeed emperannuswantara was not a dangdut piece but a musical parody genre known as hybrid art. so it is possible that impressions of other genres of music in the repertoire occurs. however, on both opinions and the dangdut impression that was presented pardiman djoyonegoro in the emperan nuswantara, was found fundamental matters. that is, the characteristics of indonesian pop music was that the strong accent was on the light part or syncope (marked with a red line). this basic rhythmic pattern was occured on the opening and on the way the sounds are parsed into three lines, the alto, tenor and bass. according khayyam (1997) in the era of globalization, popular music runs parallel to the orientation of indonesian contemporary cultural and urban masses especially the young generation and liberal economic system with an orientation toward mass consumerism. it figure 7. rhythm pattern of melody, phrase ii of pangkur jenggleng figure 8. strong accent/syncope on tenor rhythm 64 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 can be found under acapella mataraman that was the standardization of repertoire forms. on the concept of attali (1985), especially in music performance it was regarded as a representation. it was intended to use the value of spectacle involving the exchange and harmony. surrounded by concerned parties for political and economic purposes. in the exchange, was the entrenched capitalist economic system with the loss of the musicians. while in the harmony is the construction of the dominant party, such as what kind of music deserves to gain spectacle value. according to the concept of kayam and attali, it is known that in emperan nuswantara repertoire lies a characteristics of indonesian pop music in terms of accent. there was an economic and political objectives that were not awared, the use of the rhythm by pardiman djoyonegoro indicates that this repertoire is devoted to commercial and political purposes that was easily enjoyed by viewers/listeners besides that there were loads of criticism and ideology of nuswantara. but there is a difference to the concept of attali that emphasizes harmony in the intra musical and then linked it to politics and economy. the intra musical emphasis of emperan nuswantara that presents the characteristics of indonesian pop music was on its accents. these characteristics was the representation of the political and economic phenomena in the field of music in indonesia. in accordance with the opinion of khayyam and piliang (2003) on parody, it can be said that the reason of pardiman djoyonegoro remaining to stay on the genre of musical parody besides the commodity medium, as well as an effective medium to transfer content works of social criticism or 'ideology of nuswantara'. this repertoire as a representation to acapella mataraman. this can be seen through the reasons in following the era when presenting the repertoire. this means that the characteristics of pop music was intended for the young people in either music and the lyrics. in addition to the economic side, there is a moral message because he thinks that in popular culture the large media industry presents entertainment without moral message content and gave birth to promiscuity. teens also tend to prefer popular music (west) to gamelan music. from here then made a musical interpretation in a musical parody genre with a solid beat pattern (rap) and a humorous poetry. to deliver the moral message for teens through philosophy of javanese culture using popular music. the lyrics of this song is a representation of pardiman desire i that is to return to the state of indonesia which was safe and secure. same with pangkur jenggleng repertoire, the emperan nuswantara was also originated from 'nuswantara ideology' as a message for the current generation to appreciate what have been passed down by generations ago. this analysis found an understanding that the economy has a role in the form of repertoire presentation of acapella mataraman. the form in which significantly change the aspect of performance supporters such as the number of players, the artistic properties and costumes. while in the 65 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts lifekiki rahmatika, consistency ning-hui hung, transmission and innovation of kasidah in indonesiafirmansah, musical parody of acapella mataraman music, it carries popular music, editing the repertoire appropriate to the allocation of time given by the consumer and use the indoneisan characteristics in pop music. acapella mataraman existence in the performing arts market in accordance with the concept of khayyam (1991), for the existence of commercial art or kitsch such as acapella mataraman must posses the use of the value of the show with a change in the form of presentation. two previous repertoire became a representation of the use of the value of a show for the exchange of economic currents, had a harmony between the intramusical and extramusical that is following the public taste. these two repertoires were presented with the musicalparody genre combined between music, dance and theater in nuance of humor. creative services in the performing arts cannot be done individually. so in the interaction between the economy and production, there are some aspects to be taken into consideration that was adjusted by the amount of players, artistic property, stage location distance, demand on new work requests and the segmentation. the interaction between these two factors were also that promote changes in the form of presentation. changes in the form of presentation currently was significantly on the number of players, costumes and use of choreography. regarding the music, it was still presented using parody musical genre with pieces of repertoire used according to the allocated time of performance given by the consumer. business services in the show was run with an applied strategy such as segmentation expansion and creations of trinkets. it is also based on a consideration of the marginal cost and marginal benefit. the marginal costs was normally issued when consumers was of the middle down economiy. the fee was to cover the salary of players as a result of the cost of production was sometimes not enough to be allocated to the items of production. but the profits was obtained through that strategy, because through the expansion of segmentation it will also be a promotional event that increased popularity to enable a marginal profit. this also applies to the provision of trinkets to balance between the cost and marginal profits. besides the economic side, the implementation of segmentation strategy was also based on an institution or institutional arround pardiman djoyonegoro. where the values, norms, habits, culture, were all reflected in the economic activities done. the other side of implemeting segmentation was intended so every people can enjoy the work. either as appreciators or just lovers. in general, the purpose behind such enjoyment is the delivery of criticism content and moral message to the community. each repertoire was a result of creativity with inspirations in every aspect of life which is 'ideology nuswantara' until the socio-political events. the intrinsic motivation to cultivate it 66 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 into a piece of music was derived from his experience in the music world both in academic and non-academic. then from that creativity is able to generate economic income for the necessities of life. through this analysis can be obtained an understanding that parody and kitsch became one in the body of acapella mataraman, which lasted until today. musical parody genre became the characteristic in the performing arts market. through this characteristic it was considered to be an effective way to obtain the value of the show and the exchange of money. moreover, followed by expectations that the criticism in the content of the repertoire can be delivered through the entertainment of the genre. this is the reason for pardiman djoyonegoro to remain in its genre. changes in the form of presentation is not the only major factor that makes it able to survive in the market. but creativity makes this group has an existence for decades in the performing arts market. musical ideas parodi has developed into a study in postmodernism to declare lowness of an art. featherstone (in smiers 2009) argues that this is one form of celebration of lowness of a culture. obviously this leads to a problem of hybridity by the way through searching in history. questioning the depth of a culture since ancient times whereas cultural diffusion has occurred and allows no more original culture. similarly, when speaking of music, smiers (2009; 185) gave some examples to underline that since the first it has occured a cultural crossbreeding. along with the development of the era, when the music comes with some of the genre which marks the crossingbreeding sustainability. musical parody became one of the many in the world. today this becomes a kind of entertainment for public consumption. music and consumption become an interesting discussion event for the critics like adorno and horkheimer (budiarto, 2001), and benjamin (in strinati, 2009). commercial music in their view is a lost of aura and autonomy. when referring to this view it can be said that a parody musical genre has lost its aura and its autonomy. there is an element of commercialism and represents shallowness in culture. however, this view is probably misleading to be accepted outright. there is another side to be built from the parody. according to smiers (2009), hybridity should be known as a special purpose. there is an intention to bring it from experience in experiencing from their environment. similarly disclosed by piliang (2003) the effects of humor and absurd in a parody displayed in a manner by distorting or by making plesetan from the original, being ironicaly, critical, even by creating politically loaded and ideologically. dialogue occurred in the parody will rise to a form of serious criticism, polemic, satire, debate, humor or jokes from the form already exist. 67 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts lifekiki rahmatika, consistency ning-hui hung, transmission and innovation of kasidah in indonesiafirmansah, musical parody of acapella mataraman works of art, whatever the form been expressed will lead people into their human existence. playing an important role in the contribution of development of personal and collective identity. from some of this opinion, observing the repertoire of pardiman djoyonegoro with its musical parody genre occured other elements outside the economy. in intramusical, using diatonic tones in popular music elaborated with the local culture elements. of course there is an intention of its own why it is presented in the results of the creativity. he stated that many elements of 'ideology nuswantara' that characterizes his work. one of his works the pangkurjenggleng have an inspirational source from seratwedhatama. it contains life guidelines for the community of java in honouring the values of humanity and the local culture. created since the kgpaa mangkunegara iv and according to pardiman is still relevant to be a way of life for the present generation. criticism of the human condition today forgot its essence as a nuswantara generation. adopting foreign cultures without filtration to shape the behavior of harming people. such as radical beliefs, freeculture and tolerant attitude that has been lost. when looking at the history, indonesia since 1970 is indeed an urban society. has been flooded with the commodity and culture based on the consumer culture of global capitalism (foulcher, in abraham, 1997). this is the underlying moral message in the content of pangkur jenggleng repertoire. not just as an excuse, as every show always presented this repertoire. this is the reason other than the economy, there is a content of criticism and moral messages through the show of acapella mataraman. of the two earlier repertoire, although it was a popular music but not necessarily be stated to lose the aura of such expert opinion earlier. if it was stated as it means the indonesian society then was a society that had lost the aura in the art. especially when talking about emperannuswantara this means about indonesian matter. caused by the characteristics of indonesian pop music lies in the rhythm pattern of emperan nuswantara. this can be clarified with the opinion of lindsay (1991) on the popular arts. whereas, traditional art that was said to be valuable also has been changed according to the existing demands arts today comes from the arts of the past. so to say all kinds of music in indonesia is fairly popular. but it is clear that the elaboration of foreign culture and local culture in the parody musical genre, not only serve as a mass consumer entertainment but presents a moral message content. pardiman used musical parody genre in entrepreneurial activity creating creative services. his creativity in cultivating imitation of the sound of a musical instrument was also becoming a major force in implementing its musical ideas. this is to make his works still enjoyed for entrepreneurs should be smart in public taste. entering the popular culture 68 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 track to earn money exchange. this was caused by popular music which was more accessible to the public and provide a role in critics in the assessment. commodities, moral message media, criticism and creativity within pardiman produced musical ideas. it then becomes a repertoire that is demanded by the public audience. this is not a matter of losing the aura since until now acapella mataraman still exist through musical parody. this means that musical parody still has an aura both in criticism content and in commodities. musical ideas created by pardiman was proof that he had existence in the performing arts market. 1. the impression of dangdut music which was present in emperannuswantara implies that there was a political and economic content inside if seen in terms of intramusical. the political and economical purpose of dangdut music in extramusical has also been described by frederic (ibrahim, 1997) and weintraub (2010). 2. results of discussion between the author and (pd) on 'nuswantara ideology'. the glory and greatness of ancestors and their heritage. foreign cultures entered and damaged the local culture. from this discussion, the author obtained data about what is represented on the works of am. it is said that the curved like waves feature is a sign that the ancestors lived under the sea that is the royal queen of the south coast. the temple is also said to be a magnificent park of the palace under the sea. according to him generations should find out about it because the 'install culture' (translated by author: a collective memory) that exist in each human mind. because foreign cultures would be damaging if the generation was not aware about his true identity. 3. ibid 4. ibid references attali, jaques. 1985. noise: the political economi of music. minniepolis: the university of minnesota press. budiarto, c teguh. 2001. musik modern dan ideologi pasar. yogyakarta: tarawang press. denzin, norman k & lincoln yvonna s. 2009. handbook of qualitative reaserch. yogyakarta: pustakapelajar. hartono, agustinus. 2007. skizoanalisis deleuze & guattari; sebuah pengantar genealogi hasrat. yogyakarta: jalasutra. ibrahim, idi subandy. 1997. lifestyle ecstasy: kebudayaan dalam masyarakat komoditas indonesia. yogyakarta: jalasutra. lindsay, jennifer. 1991. klasik, kitsch, kontemporer: sebuah studi tentang seni pertunjukan jawa. yogyakarta: gadjahmada university press. mark, dieter. 1995. apresiasi musik: musik populer. yogyakarta: yayasan pustaka nusatama. ___________. 2012. ilmu melodi, second printed. yogyakarta: pusat musik liturgi. piliang, yasraf amir. 2003. hipersemiotika tafsir cultural studies atas matinya makna. bandung: jalasutra. smiers, joost. 2009. art underpressure: memperjuangkan keanekaragaman budaya di era globalisasi. yogyakarta: insist press. strinati, dominic. 2009. populer culture: pengantar menuju teori budaya populer. yogyakarta: ar-ruzz media group. weintraub, andrew n. 2010. dangdut stories: a social and musical history of indonesia’s most popular music. usa: oxford university press. 69 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts lifekiki rahmatika, consistency ning-hui hung, transmission and innovation of kasidah in indonesiafirmansah, musical parody of acapella mataraman attachment pic 1. members of acapella mataraman group (source: www.worldcangkem.com) pic.2 pardiman djoyonegoro (source: firmansah’s documentation) pic.3. performance of acapella mataraman (source: firmansah’s documentation) 25 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study” video art of “bannan0gsata case study”: women muteness i-na phuyuthanon srinakharinwirot university sukhumvit 23 road bangkok thailand ina@g.swu.ac.th abstract video art is conveyance of creation of human emotions from a person who share similar emotions using digital media. it is conveyed through spiritual and emotional movements of the creators with definite aims concerning traditions, customs, beliefs, religions, and local ways of life. a range of issues in three border provinces of southern thailand: yala, pattani, and narathiwat, were brought up. with depiction of separatist terrorism in the area, video art might be able to tell complicated, over-a-decade-long story triggered by two incidents: the tak bai incident and the clash at krue sae mosque, which brought the three provinces to public attention. the video art provides a way to understand the society, human empathy, and conflict of interest in bannangsata district. these aspects were conveyed through the local’s ways of life with religion as a spiritual keeping by believing that god has determined everything and that they, as human, have to face any test they are given. the end of the video art presented what cannot be narrated by words about the area, and showed more than what the news may offer, which intensifies fear.the researcher studied various aspects of bannangsata district and has shown them through a type of artistic media called video art, specifically about the issue of women’s suppression as experienced by those who survived series of tragic incidents. the video art aimed to raise awareness about changes of a way of life in the area and to create sympathy for fellow human beings there. the researcher realized that empathy for fellow human beings was significant for the existence of the world and that it cannot be relinquished. thus, this art media was made to portray the issue of complicated troubles in the area. keywords: video art, bangnangsata, muted introduction video art is conveyance of creation of human emotions from a person or a group of persons who share similar emotions using digital media. it is conveyed through spiritual and emotional movements of the creators with definite aims concerning traditions, customs, beliefs, religions, and local ways of life. a range of issues in three border provinces of southern thailand: yala, pattani, and narathiwat, were brought up. with depiction of separatist terrorism in the area, video art might be able to tell complicated, over-a-decade-long story triggered by two incidents: the tak bai incident and the clash at krue sae mosque, which brought the three provinces to public attention. the video art provides a way to understand the society, human empathy, and conflict of interest in bannangsata district. these aspects were conveyed through the local’s ways of life with religion as a spiritual keeping by believing that god has determined everything and that they, as human, have to face any test they are given. the end of the video art presented what cannot be narrated by 26 editorialbook of reviewijcas: volume 5 number 1 june 2018 words about the area, and showed more than what the news may offer, which intensifies fear. in defining context of video art, if art itself is not limited to aesthetically pleasing object but is hidden with political power, world dynamics, narration, transmission of creators works; video art, a novel form of art media facilitated by technology, thus refers to fusion of discourse on power relation wherein various agendas are used to recount complicated moments. the use and prevalence of video art as an expressive mean can be delineated to the field of visual arts as far back as 1960. creators hide an intellectual process that dwells on thought moment, which cannot be lumped together as product. however, such moment is nonetheless picked as a criterion against which video art is judged, moving it closer towards conceptual art. as video art becomes a globally recognized phenomenon, it allows for deeper perception and implication, between viewers and creators without direct reference, of subdued messages. in the past such productions were accomplished only with the help of simplistic hand-held cameras and cassette recorders whereas surveillance cameras, video recorder displayed in museums, and basic knowledge of videography technology, cinematography, human cultures are key improvement in the 21st century. the term “conceptual art” first appeared in american culture in 1961. in his article published in 1963, harry flint, a fluxus artist, used the term as a reference to a specific type of art that is sharply different from its counterparts in terms of wordplay. soon after, the term “conceptual” was replaced by “conceptual art”, which was coined by sol lewit. although his works were far from related to linguistic, his article “various paragraphs in conceptual arts” (1969) raised the interest and facilitated understanding of the term “conceptual art” to wider public. in 1969, a group of british artist who call themselves “the art-language” started a magazine called art language and identified it as a “conceptual journal”. in the same year, joseph kosuth, a young conceptual artist, declared that all artworks (following marcel duchamp’s) were in fact conceptual in nature because art was a matter of intellect. while it was arguable that conceptual art was already an international trend as early as in the late 1960s, there were nonetheless considerable debates surrounding the term itself. in 1973 gregory battcock collected artworks into a composition titled “idea art” while lucy r. lippard published a serial work called “six years: materialistic devaluation of artworks”, underscoring what conceptual art was, and organized a grand pilot exhibition for the first time in europe, demonstrating diversity of the contemporary art forms with exhibitions like “born in the head, attitude and body to shape, thought results, process, situation, news” (bern, 1969). conceptual art is seen to be highly theoretical and meant only for the literati, which is in a sense true since many artists often improve their works by incorporating theories of disciplines outsider their own. ludwig wittgenstein’s critical philosophy, logical postivism, french constructivism, roland barth’s works of semiotics, herbert marcuse’s theory are just few theories used 27 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study” experimentally in artistic expression. perhaps such subordinate theories, as reflected by conceptual arts, may be a consequence of aesthetic opinions by clement greenberg, an art critic, along with his alliance, whose group came to attention in the 1960s. greenbereg was against the adherence of conventional work. his belief can be related to epistemological concept of immanuel kant. according to greenberg’s opinion of gaining access to the art, regard less of branches, he posited that only when natural state of an art is thoroughly studied can one reach its true core value. amphoe bannangsata or bannangsata district is one of the districts in yala province known as the area of violence, the sullied, and brutality. since 2014, there has been mass murder of innocent victims as certain organization seek interests from the bloodshed. bannangsata district has become notorious for the violence in the area with a number of vicious murders. for examples, an assistant village headwoman was brutally decapitated and the government officers as well as local people were attacked. because of such overwhelming rate of violence, inhabitants in the area face constant difficulties of having to survive, feed their family, and emotionally cope with loss. the timespan studied in the field research was from the incident in 2014 in the topic of women’s suppression. bourdieu (1984) said that symbolic power of the socially-constructed cultures in the area is not less influential than economic power and that it affected people’s ideology. the research aimed to study the issue of class reflected by the incident, specifically the status of women who have been suppressed in terms of power. the suppression is not only due to local social stratification, but it is also a political struggle of the people in the society to create some visions for social world and to construct their own social identity. one of bourdieu’s significant concepts is habitus, meaning the embodiment that meaningfully and strategically shapes the actions of an individual. this historical concept derives from aristotle’s idea of the system of patterns according to which an action is guided by a certain condition represented by the per son. the action is not only determined but also a determiner, leading to concrete results and distinctive characteristics. bourdieu compares people’s social life to a game and habitus is like knowing the game and its final result of winning or losing, with a feeling of being a part of the game and also having the game as a part of their life. bourdieu admits that a capitalist society, as marx and weber suggest, embraces social class. yet, the kind of class he sees is not an economic one but relates to habitus and culture. class differences mean differences in capital which refers to an available set of power and resources in different dimensions including economic, social, and cultural aspects. bourdieu says that differences in taste and aesthetics are the determiner of class, placing the intellectuals as the elite because this group of people can more easily attain and own cultural capital (bourdieu 1984). the researcher finds that the suppression done upon the women is construction of their representation using bourdieu’s concept of game playing. its final result is a representation or an image of women as being subjected 28 editorialbook of reviewijcas: volume 5 number 1 june 2018 to social suppression. the researcher studied various aspects of bannangsata district and has shown them through a type of artistic media called video art, specifically about the issue of women’s suppression as experienced by those who survived series of tragic incidents. the video art aimed to raise awareness about changes of a way of life in the area and to create sympathy for fellow human beings there. the researcher realized that empathy for fellow human beings was significant for the existence of the world and that it cannot be relinquished. thus, this art media was made to portray the issue of complicated troubles in the area. materials and method to study the issue of women suppression in bannangsata district via video art, the area of the research was determined as follows. 1. this creative research was a documentary research covering a time span of 10 years from 2007-2017 and focused on concepts, theories, and philosophies relating to video art. 2. the research used historical information, theories, concepts, and philosophies about video art making since 1980. 3. information was collected in a field study at bannangsata district, yala province from one family for a period of five months. the procedure included, participant observation, and interviews (with artists, experts, and those concerned as interviewees). 4. the research is carried out in a period of 12 months. design, creativity and development as examined with documents, on-site interviews and field notes, the researcher gathered all the information and created a story board divided into two sections. inner motivation came from the fact that the researcher has also lost her uncle, father’s younger brother. the researcher used to observe the lives of his wife from puyuth district in pattani province, and witnessed women suppression in banangsata district, yala province. the format for this production is in vdo art in which all the information was collected to create a virtual reality of women’s feelings and minds from the women muteness in bangnangsata district. this was to create an awareness of the true story and recognize the future of women in those provinces or even the future of the country. the researcher has divided the bangnangsata district into two sections: data obtained from print sources such as books, journals and newspaper, television and internet; and on-site investigation. yala province is my hometown, yala province, for my own safety and convenience but not bannangsata district is one district of yala province it has become a red zone which refers to the occurrence of terrorism in that area. the first section of the board first is the search from sources such as books, journals and newspaper, television and internet, etc. 29 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study” the second section of the board the second section is the on-site investigation. yala province to inspect is my hometown, yala province, for my own safety and convenience but not bannangsata distict is one disrtict of yala province it has become a red zone which refers to the insurgency in that area. results one of the challenges in the on-site investigation was, most importantly and mainly, the paradox of having to acquire as accurate information as possible and without hurting interviewees’ feelings especially orphans. to ensure that both tasks were maintained, the researcher had to study the true profiles and in-depth details of the orphans as well as to consult with the local psychiatrists. discussion the creation of this vdo art set mostly reflected out my personal perspectives through a sincere expression of problematic situation in the society in question. i would like to make known the hardship those people had to endure on a daily basis. in addition, in order to continue living, the only thing that holds orphans together was their religious belief that all that whatever has happened is the test from above that they must overcome. conclusion in the area with long history of conflicts of interest in terms of power struggle, the researcher intended to contribute to creation of video art in the age of 30 editorialbook of reviewijcas: volume 5 number 1 june 2018 globalization with new understanding towards cultures and traditions by showing local ways of life amidst violence and with their faith for islam. it is hoped that the understanding, if achieved, will lead to a solution for the longstanding conflict in the three provinces in the southern border of thailand, which has not yet been resolved due to a lack of basic understanding of the area. the researcher employed symbolic presentation of social contexts through video art, a medium to speak of the unspeakable and uncover the unseeable with the intention that the research will contribute to future research and study. references arpornsuwan, thanes. 2012. background of land segregationtheories in the south of thailand. bangkok: foundation of social science and anthropology textbooks program. chaithongpan, prasit. 2009. they accuse (nuj muddin) an insurgent. bangkok: saiyai prachachon. chanchadfah, suppara. 2006. violence in the mist: what is what in three southern border provinces. bangkok: jatpim kobfai. chantavanich, supang. 2008. qualitative research methodology. bangkok: dansutthi. chantavanich, supang. 2012. social science theories. bangkok: tawee print. wankaew, surichai. 2008. origin of southern fire. bangkok: thammada press. wankeaw, surichai. 2007. termination of southern fire. bangkok: thammada press. kanpai, kitti. 2008. communication psychology. bangkok: rien-boon. konsanjorn, dime. 2007. southern fire-devoted to sacrificing teachers. bangkok: wiriya business. manakit, peerapong. 2011. epic of three southern border provinces. bangkok: roongreungsarn. nararatwong, chumsak. 2009. southern fire crisis. bangkok: huajai-diewkan2009. nararatwong, chumsak. 2009. under the memory. bangkok: huajai-diewkan. nunsathaporn, piyasin. 2012. composition of origins and roots of humanity inequality. bangkok: siam pritas. panpong, worapoj. 2007. crime scences. bangkok: open books. patan, muhammad-aryub. 2013. process of pattani’s peace in asian context. pattani: parp-pim. pengjan, pramuan. 2012. walk of peace in pattani. bangkok: charoendeemankong. prasongbandit, sunee. 2010. pierre bourdieu’s habitas concept and anthropology theories. bangkok: sirintorn anthropology center. samaputthi, kulthida. 2009. power of life, power of mind: fifty voices from southern border women. bangkok: dan-sathu. sarntisart, isra. 2010. nabi-muhammad, mercy of humanity. bangkok: mark m printing. sarochamas, panpimon. 1995. thesis on roles of muslim newspapers in thailand. bangkok: chulalongkorn university. siamwalla, ammar. 2006. conflict between development and social state of three southern border provinces. bangkok: dhurakij pundit university. tangcharoen, wirun. 2010. vision of fine and applied arts. bangkok: santisiri. tangsabwattana, ek, phucharoen oraorn. 2009. problems of three southern border provinces: policy suggestions. bangkok: weprint. usman, suf-um. 2004. islamic way of freedom. bangkok: islamic academy. 77 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks patternkarna mustaqim. drawing perform’stepika rodsakan. music: a tool in transforming the social statusasep hidayat wirayudha. conference report c o n f e r e n c e r e p o r t international symposium on practice as research (ispar) (controversies, challenges, conceptualisations east-west perfectives) dr (cand). asep hidayat wirayudha, m. ed. indonesia institute of the arts yogyakarta on 4-6 october 2017 the hongkong academy of performing arts held the international symposium on practice-as-research (ispar) with the theme “controversial, challenges, conceptualisations: east-west perspective”. this new paradigm in the last twenty years has been widely discussed by academics as an offer to the possibilities of the worldview of the arts as a product of knowledge. the blowing of this paradigm is particularly strong and exciting today, especially in asian countries, both by academics and artists who want to apply to their artistry. the thing that really caught the attention was why did par’s attract so much attention to academics and artists in asian countries? surely that question becomes a hot topic at the symposium. controversial, challenges, conceptualisations: east-west perspective is still in debate to be addressed by both academics and artists to interpret and create a formulation that will become the reference of artists. practice as research (par) in the present time is a new way of looking at the branches of art, such as design, theater, music, dance, media and television and other arts. basically par is very closely related to practice based research and led research where all of them are practical based research, but in principle there is still debate and different perspectives to formulate a common concept in formulating it. within arts and humanities departments there are ongoing debates about how to define this emerging research phenomenon, and there are a variety of models of practice research (practice-as-research, practice-based, practice-led, mixedmode research practice and practice through research), see for example screen media practice research. the potential, nature and scope for this research has been debated from the 1990s. 78 editorialbook of reviewijcas: volume 5 number 1 june 2018 research that takes the nature of practice as its main focus is called ‘practicebased’ or ‘research initiated by practice. this is done by practitioners, such as artists, designers, curators, writers, musicians, teachers and others, often, but not necessarily, in doctoral research such programs have spawned new concepts and methods in the generation of indigenous knowledge. it is important to make a clear distinction between practice-based research and pure practice. many practitioners will say that they do ‘research’ as an important part of their daily practice. as the published notes of creative practitioners show, searching for new ideas and finding new techniques for realizing ideas is an important part of daily practice, this type of research is directed towards individual-specific goals at times rather than looking to add to our shared store knowledge in a more general sense. the expert argument that the difference is that research-based practice aims to evoke a new cultural understanding that is not just a novel. practice-based research is an original investigation undertaken in order to gain new knowledge partly by means of practice and the outcomes of that practice. in a doctoral thesis, claims of originality and contribution to knowledge may be demonstrated through creative outcomes in the form of designs, music, digital media, performances and exhibitions. whilst the significance and context of the claims are described in words, a full understanding can only be obtained with direct reference to the outcomes. practice-led research is concerned with the nature of practice and leads to new knowledge that has operational significance for that practice. in a doctoral thesis, the results of practice led research may be fully described in text form without the inclusion of a creative work. the primary focus of the research is to advance knowledge about practice, or to advance knowledge within practice. such research includes practice as an integral part of its method and often falls within the general area of action research. the primary focus of this document is on practice-based research but there is much that is relevant to practice-led research also. it begins with a discussion of the basic concepts in the context of a doctoral research programme followed by a brief historical overview of the field. the generic structure of a practice-based doctoral thesis is then outlined with a short description of the expected content of each chapter. further sections include a discussion of the nature of knowledge in the context of doctoral research, a set of frequently asked questions, some definitions of key terms, a bibliography and web sources. par the term ‘practice as research’ carves out a territory for arts practice in academic environments, and refers to a broad range of research activity. practice as research might denote a research process that leads to an arts-related output, an arts project as one element of a research process drawing on a range of methods, or a research process entirely framed as artistic practice. 79 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks patternkarna mustaqim. drawing perform’stepika rodsakan. music: a tool in transforming the social statusasep hidayat wirayudha. conference report research might start or end in arts practice, draw on arts practice as a part of its process, or be wholly integrated into the shifting forms and outputs of an arts project. practice as research is therefore not a ‘method’ as such. arts practices draw on a variety of creative methodologies that might be incorporated into interdisciplinary research projects as methodological innovations, providing new perspectives on and extending existing knowledge as well as materialising a different kind of knowledge practice. there are a number of philosophical and political drivers here. perhaps most importantly, if we are to understand the role, processes and function of cultural practice more generally, it is important to be able to explore through doing. making art is an important means of understanding art and other kinds of cultural practice. furthermore, an art-making process can generate new insights and perspectives relevant to understanding a diverse range of social and cultural phenomena – identity, community, narrative and testimony, transformation, space and time … and so on. practice as research, in any disciplinary area, privileges action as a methodological imperative. in the arts, practice as research involves artist-researchers exploring, testing and extending a diverse range of creative methodologies and working across diverse contexts – exploring the relationship of creative interventions to both making and understanding the world. the outcomes of practice as research are multiple – insights into arts processes, understandings of a range of social and cultural phenomena, new kinds of artistic products, outcomes or relationships. importantly, practice as research may never include the action of writing anything down – it may never clearly articulate a research ‘question’, it is open to and uses sense, sensation and intuition as part of knowledge making, and may not lead to academic publication in the conventional sense. szeto, loh, leong, chow & tang, they discuss how does par benefit performers & pedagogies. the topic of the discussion was very interesting to the participants considering the symposium participants from various professions including educators, artists and other. certainly not easy to understand about the paradigm of practice as research applied to the two professions above, let alone this paradigm brought to the academic order of course there is still debate methods and aesthetics especially in asia that must have agreement with the academics. for instance par is used as a reference as an academic framework that will become a product of science, new problems will arise especially in content and standardization, it must be discussed more thoroughly in determining the tips to be used as a formulation in practice-based research. perspective as a practical, according to tang will a professional (musician, composer,) be a researcher? alau how the results of his research? is it scientifically justified and accountable? then what if a composer makes a musical work converted into academic area? musicians, composers is essentially a researcher for himself, the rest how both can formulate his ideas into a useful study for themselves and others. 80 editorialbook of reviewijcas: volume 5 number 1 june 2018 barbara bolt practice-led research is a burgeoning area across the creative arts, with studio-based doctorates frequently favoured over traditional research. yet until now there has been little published guidance for students embarking on such research. this is the first book designed specifically as a pedagogical tool and is structured on the model used by most research programmes. a comprehensive introduction lays out the book’s framework and individual chapters provide concrete examples of studio-based research in art, film and video, creative writing and dance, each contextualised by a theoretical essay and complete with references. more than a handbook, the volume draws on thinkers including deleuze, bourdieu and heidegger in its examination of the relationship between practice and theory, demonstrating how practice can operate as a valid alternative mode of enquiry to traditional scholarly research. taking pains to elaborate methodologies, contexts and outcomes, and emphasising the process of enquiry and its relationship to the research write-up or exegesis, this is an indispensable tool for educators and students. frans de ruiter further has a different perspective on research in and through artistic practice, how do ‘artistic researchers’ articulate what cannot be written? how do they oscillate from style to style, from rule to exception and from exception to rule again? what qualifies as a phd, when it is partly based on a composition or an exhibition? what if the text itself is a website, instead of a printed thesis? these and other questions surround the emerging field of artistic research in europe. it was discussed at the symposium on the last day. batty & kerrigen screen production research is the study of creation of audio – visual work that is disseminated on/with screen and can include theory – driven practice that use the screen to “do” research (e.g, research led practice), and systematic reflection upon a production to gain rigorous insights into how a work was made -(e.g, practiceled research). the term “screen production” has emerged through australian scholarship-elsewhere, for example, it is known as screen or media practice, filmmaking or video production-and its antecedence come about through a combination of film and television industry and the academy. in line with technological developments that made it possible to create and distribute work online and via mobile media, the australian industry embraced the term “screen” in 2008 with the establishment of screen australia, the national funding body for screen works. the screen australia act 2018 defines screen production and ‘as aggregate of images, or of images and sound, embodied in any material that can be viewed. the last day of the symposium concludes with a very good musical performance by students of the hongkong academy performance department playing the quintet compositions no. 2 opus 77 by antonin dvorak. 65 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ...nor idayu binti ibrahim. the development of formal ceremonialnoni sukmawati. literary performance in the act of pendendang literary performance in the act of pendendang noni sukmawati graduate school, indonesia institute of art yogyakarta, indonesia email: nonisukma@yahoo.com abstract this study is aimed to find out the power of pendendang as the main actor in sastra pertunjukan (literary performance), an art performance which places literature – in this case pantun or verse as the spoken literature of minangkabau – as the main medium. pantun is delivered through berdendang or singing tradition which is accompanied by an instrument named saluang. hence this performance is so called saluang dendang performance. the main strength of this performance is the selection of the pantun delivered by pendendang and his ability to build a contextual connection or to interact with the audience or the surroundings.pendendang combines the pantun with the new pantun and creates new ones spontaneously and contextually in his live performance. therefore, this art performance of minangkabau is also a literary performance because of the main strength lies on the pantun that are delivered. framed in the theoretical proposition of pierre felix bourdieu, this study tries to recite the role and the pendendang’s strength to improvise in his efforts to create an interesting performance for the audience, through his selection of pantunthat is delivered spontaneously and his mastery, habitus and position in the performance. keywords: habitus, mastery, practice, performance, pendendang. introduction minangkabau is an ethnic society that supports a distinctive cultural tradition that is called minangkabau culture. therefore, the word minangkabau means a cultural tradition, a view of life, and also a name of an ethnic group in western part of sumatera. some researchers who have dichotomous views state that minangkabau society is the largest matrilineal society in the world. this is not entirely true because minangkabau people also follow patrilineal line based on islam as the only religion as the guidance of minangkabau society. minangkabau runs a system to maintain harta pusaka tinggi (high heritage) of the clan that is the heritage and legacy from the ancestors that is inherited to the next generation matrilineally. heritage for them is material things like fields, lands, and livestock. while legacy is like charisma, title, and noble relics as the dignity of the clan. the clan dignity is an important aspect for minangkabau people. thus, all the male members of the clan are the also the protectors of the female members in the clan. 66 editorialbook of reviewijcas: vol. 3, number 1 june 2016 minangkabau society is also well-known with its strong merantau (wandering) tradition. although there is no valid data of the specific number, naim (1984: 30) states that the amount of minangkabau people who leave the homeland is almost equivalent with the number of people in west sumatera. the population of minangkabau people in west sumatera is approximately 10 million. according to naim’s analysis, half of them live in west sumatera and the other half wander all over indonesia. the traditional habitation of minangkabau people is called kampung halaman or ranah (homeland). it is a highland area in west sumatera with narrow valleys and fertile soil. this habitation is named luhak nan tigo (three areas) that consists of three regents and three cities. these areas are stretched out with slopes and valleys of mount merapi, mount singgalang, and mount sago. the main livelihood of minangkabau people in their homeland is farming and some of them are merchants. dobbin (1992: 1-9) describes beautifully geographic characteristics of the traditional habitation of minangkabau which influences the cultural pattern that is based on agriculture. many traditional arts grow and develop in minangkabau society. according to navis (1981/1982: 95), minangkabau art is mainly grouped into three; (1) darek (highland) art that is related to farming characteristics; (2) pesisir (coastal) art which has seaport characteristics; (3) islamic art. one of the darek art is saluang dendang performance. this performance exists in minangkabau society and culture. it is a performance with a traditional flute named saluang. it is performed by minimal three artists; one saluang player and two pendendang or singers. there is an intense interaction between the singers and the audience in a saluang dendang performance. that interaction is built through pantun or verses that are delivered. it contains messages as murgianto (2016: 53) states: “performance is a series of communication from one or more people as the messengers who are responsible to one or more receivers and to tradition that they understand as a set of specified behaviors.” therefore, a performance is a number of human acts that brings about communication to deliver and receive certain messages from their traditions. if we use this definition to explain saluang dendang performance, in this case the saluang player and the singers are the messengers and the audience is the receivers of the messages. the messages that are delivered through the pantun and songs are in the local minangkabau language whereas the culture that is delivered is minangkabau culture. generally we can say that people who are involved in the performance are minangkabau people who understand minangkabau language. the messages delivered in saluang dendang performance are unique musicality from the saluang, but the most important message is the pantun, which are included in oral tradition. pantun is delivered by the singers spontaneously. it is notnecessarily 67 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ...nor idayu binti ibrahim. the development of formal ceremonialnoni sukmawati. literary performance in the act of pendendang related to the title or the rhythm of the songs. a pantun can be created especially for the songs in the saluang dendang performance. the spontaneity of the singers who are sensible to the situation and ambience of the performance is an interesting phenomenon for a study. theoretical background the theoretical background used in this study of literary performance in the act of pendendang is the theory of the field of cultural production that is developed by pierre bourdieu. this theory basically is a theoretical frame based on the sociology of art which discusses on how to comprehend artworks as a whole manifestation field (bourdieu, 2012: 16). according to bourdieu (2012: 215), field is the real social universe, a setting in which--as the specific rules of the field applied--certain capitals are accumulated and a setting which ishierarchical. based on that definition, society, according to bourdieu (in mahar, 2009: 45), is a field system that has a system and relations. each field has a structure and power. most are subordinate to the larger field of power and class relations. based on pierre bourdieu’s context on the field of cultural production, there are at least three characteristics of field. first characteristic, a field can be seen as an arena in which people struggle to pursuit power or legitimacy. pierre bourdieu (2012: 193) states that as an arena, field can be seen as latent potential power that influences every related particle in it, it can also be consider as a battle arena. the second characteristic, a field has structured spaces in which there are some types of capitals. the space that forms a field is a result of interactions from competing individuals. however in the practice they are united by their dialectical relation. capital, according to bourdieu (2012: 194) in theory of field of cultural production context, is an inherited asset that creates inherent possibilities in the field. the third characteristic, a field provides spaces for each agent to act in a specific rules and battle. according to pierre bourdieu (2012: 28-29) the agents involved in a cultural field might not have similarities but they participate in the battle to impose the definition of legitimacy on the cultural production. the fourth characteristic, a field is structured based on internal mechanism which is autonomous relatively. as a structured, autonomous, and relative space, the field is temporary. this causes each transformation of the field structure referring to the changes of structured taste that is a distinctive system between groups. in a field of game, there is always a variable at stake. bourdieu (2012: 193-194) states it as habitusandcapital. habitus—the properties obtained, conceived and assimilated, such as flexibility, self-contained calmness, beauty and so on --and capital is inheritance assets that determine the inherent possibilities in the field. habitus is an important concept in pierrebourdieu’s theory of field of cultural production. habitus according to bourdieu (in harker, 2009: 13), is a durable, transposable disposition that functions as a generative basis of practices that are structured and guided objectively. 68 editorialbook of reviewijcas: vol. 3, number 1 june 2016 according to bourdieu, disposition covers three meanings; (1) the result of a regulating action, a series of results which he describes as something that projects the structure; (2) how to be or habitual conditions, (3) tendencies, intentions or tendencies. dispositions that alter habitus are generative and praxis base, have a causal link between habitus and non-mechanical or deterministic praxis; habitus guides the agent to do one thing and provides a basis for the formation of praxis (jenkins, 2013: 110-2). while ritzer (1996: 72) argues that habitus is a dialectical process of internalization-externalization and externalization-internalization. habitus refers to a number of dispositions that are created and formulated through a combination of objective structure and personal history. dispositions are obtained in various social positions within a single field, and imply a subjective adjustment to that position. habitus also includes one’s knowledge and understanding of the world, contributing to the reality of the world, and creating a genuinely real world form of reality and not merely a reflection of the real world. habitus is also closely linked to capital, since habitus also serves as a multiplier of different types of capitals. and, in fact, habitus creates a form of capital (symbolic) in and of itself (harker, 2009: 15). according to bourdieu, capital is a concentrated power, it is a specific power practiced in the field. it is the field of power which is at the same time is the field for people to change the structure. while the relationship between the arena, habitus, and capital is direct. the value of capital is attributed to various social and cultural characteristics of the habitus. for bourdieu (1977: 178), capital acts as a social relation contained in a system of exchange, and the term is extended to all forms of goods, both material and symbolic. in addition to the arena, habitus and capital, in the theory of the field of cultural production, there are also so-called practices. practice or action is the result of relationships between habitus, capital and field. practice as a field, habitus, and capital product as a force, has two types of action, ie strategy and trajectory. strategy is the way agents work in the arena of constructing their social world and acting to produce their positions to gain a position within the social world. the trajectory in bourdieu’s sense (2010: 58) is a series of successful movements of an agent in a structured space (hierarchy), which may undergo change and distortion, or more precisely, within the distribution structure of the different types of capital at stake in the field, economic capital and specific consumptive capital. but mahar (2009: 25) reminds, in social space not only the individual positions that can be determined, but more importantly, how they arrive at certain positions through the use of the concept of trajectory. field, habitus, and pendendang’s reconversy capital the stage for saluang dendang performance, as an inherent part in culture and society life, processes through habitual condition in minangkabau cultural field. the saluang performance field is born from the history of struggle or power 69 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ...nor idayu binti ibrahim. the development of formal ceremonialnoni sukmawati. literary performance in the act of pendendang struggles and cultural legitimacy between agents within the cultural field. saluang dendang show is one of many other fields, which are within the field of cultural power called minangkabau. minangkabau is a social space consisting of various arenas of power that attract each other and struggle for legitimacy. there is a power field of customary leaders called penguhulu and other informal leaders. there is an arena of power from the clerics and religious leaders of islam. there is a country arena with the power of hegemony. there is a social system of matrilineal kinship, which has certain restrictions for women. there is a field of pop culture (mass culture) that becomes a competitor of the performance of saluang dendang performing arts, offering a new orientation for the minangkabau community. in the midst of the various fields in minangkabau this, the growth and development of saluang dendang literary performance, with the main actor is female pendendang. female pendendang in the life of saluang art performances, that are public, is actually a relatively new phenomenon. according sukmawati (2006: 1), there is a tendency in minangkabau women taboo to appear as a pendendang, furthermore in the form of performances that are intended for the public. this phenomenon only emerged and developed after the second half of the 20th century, precisely after the regional upheaval called the revolutionary named pemerintahan revolusioner republik indonesia (prri) at the end of 1950s, based in the minangkabau realm. the field of performances saluang dendang is of course not apart from social reality in the field that surrounds it. the changes and developments that took place in the field of saluang dendang performance are certainly the implications of what happened in the big arena called minangkabau. sukmawati (2006: 209) mentions, what happens in the field of saluang dendang performance and the emergence of female pendendang as a new actor is a result of social changes that occur in minangkabau cultural field. in other words, female pendendang manage to seize the space in saluang dendang performance, which in the past occupied by men. they manage to become new agents (actors) in saluang dendang performance. female pendendang is a newcomer in the field of performing arts. yet their existence is well welcomed by the audience. it proves that there is a potential capital gained by female pendendang. to be able to understand the source of that potential capital we need to study the habitual conditions that create it. sukmawati (2006: 117) states in general when it is viewed from the level of education, from five female pendendang studied, only one person who graduated from high school, while the rest did not even finishtheir elementary education. so it can be said that the pendendang in saluang dendang literary performance, their habitus is formed or inherited from their social environment. we can say that the formal education system has little effect on the formation of their habitus. however they are quite successful in using their experience, knowledge, abilities as a female pendendang in the field of saluang dendang performance. in addition, most of them come from humble family background. 70 editorialbook of reviewijcas: vol. 3, number 1 june 2016 nevertheless, the cultural traditions they live in have become a potential habitus as an important cultural capital for female pendendang. the capital used or at stake by pendendang in the saluang dendang field, their main capital, is the cultural heritage of the minangkabau society which is their way of life. it is the minangkabau cultural heritage in the form of an agrarian culture based on oral tradition. the cultural heritage which is based on oral tradition, in which words are formed and structured in poetic form, is a living literature that can be read every time by pendendang. so the daily experience of pendendang living in an oral cultural society provides a rich knowledge and experience to pendendang. this background becomes their main capital to gain their legitimacy as pendendang in the field of saluang dendang, whose main strength lies in the pantun they sing, thus they can deliver a form of enthralling literary performance. therefore there are two potential cultural capitals that can be converted into self potential for female pendendang. on one hand, the life of minangkabau people is full of implicit language expressed in pantun and adagium culture. on the other hand, as muslims, minangkabau children are accustomed to knowing tajwid in the recitation of the qur’an which is their guidance in life. for the majority of minangkabau people, their unique identity is characterized by the two potential awesomeness, namely the linguistic potential by understanding the implicit language spontaneously as a response to their speaking partners and by being able to recite the verses in qur’an well. both traditions sharpen their vocal abilities and language sensitivity, including memorizing hundreds of songs/rhythms. there have been no studies that specifically collect how many songs to the existing saluang dendang performance today. but certainly pendendang must have the ability to master almost all the repertoire of saluang performances songs in addition to the ability to create new rhymes. the ability to master a song without musical score and without written rhyme texts requires a high musical taste and sensibility. performers in saluang dendang must be able to sing songs in accordance with the request of a diverse audience. therefore, a saluang player is a musical artist who must master all the repertoire of songs saluang widely known by the public. the player is the first to start with the music of the song, and then pendendang play their roles. while pendendang must master a large number of pantun, and try to combine it or deliver it with poems related to the context of the performance. for example, he can create a spontaneous pantun about the audience, or capture the inner mood of those present to be expressed, resulting in a dynamic interaction during the performance nevertheless, the world of entertainment is the world of men. women who enter this world of men still can not freely express themselves. therefore, the body language of the female pendendang is a lot different with those singers who rely on their voice in the performance generally. female pendendang always bows down, and uses the deep voice from their throats, not the voice from diaphragm as in the common vocal technique. 71 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ...nor idayu binti ibrahim. the development of formal ceremonialnoni sukmawati. literary performance in the act of pendendang sukmawati (2006: 151-153) sees quite a lot of people cannot accept the existence of women as pendendang, and underestimate their social status, because singing in the field of saluang dendang performance, is not a decent job for minangkabau women. some also cannot accept it because islam forbids women to act like that. yet there are still number of people who support, even worship them as pendendang. they make saluang dendang performances survive in various places in minangkabau, although there are certain groups of society who still do not like this performance. this means female pendendang can be considered to have succeeded in developing a new social reality, and seized the legitimacy in the field of saluang dendang, as mentioned in the theory of the field of cultural production by pierre bourdieu. the competence of the saluang player and pendendang is developed through autodidact; no special trainers to teach them. they start by asking, observing, and practicing it themselves. then they do the internship by attending some performances and becoming pendendang without any payment. in turns they sing the songs with the senior pendendang. from this internship process, he can be a professional pendendang then people start to invite and pay him as the system applied. the performing art field the field of saluang dendang performance presents a dialogical meeting between the messenger and the receiver of the message. in this case, the messenger is saluang dendang performers, and the receiver is the audience or the listener. the performers are called the messengers because most of the time, the messages delivered are also messages from the audience. the field is basically an interactive performance space. it means that the structure of the saluang dendang performance is formed and carried out based on the active participation of the audience and the expertise of the performers to respond creatively. the field of saluang dendang performance is formed based on the interests of certain group as the host who organizes the performance. the organizer will choose his preferable pendendang to perform in their event. the choice can be varied as long as there are minimum three performers; one saluang player and two singers. one saluang player (male) plays the instrument and accompanied with, usually, two female singers. according to sukmawati (2006; 115-116) women dominate the field of saluang dendang performance and it is rare now to find male singers. the development of the saluang dendang performance is getting more interesting now with the shift in the existence of more female performers than male performers on stage though there is no change in the shape of the performance. the stage of saluang dendang performance is not a battle of aesthetic visuals like dances and theatrical performances. saluang dendang performance does not use body as the strength of the artistic expression. there is no physical performance on stage. the stage is also much different from the conventional stage like people 72 editorialbook of reviewijcas: vol. 3, number 1 june 2016 use for dances and theatrical performance. saluang dendang performance does not require artistic stage management and special lightings. it does not need a special place. this performance can be carried out anywhere as long as there is a space as a meeting point. the dynamics of saluang dendang performance is very static. the performers sit cross-legged on a mat on a corner of the room during their performance. they use a simple loudspeaker so that the audience can hear them from a distance. the performers do not show attractive movements; they usually sit and stare at the mat while singing. with the minimum artistic and aesthetic and far from visual body exploration, how can the performers enliven the stage? in the battle arena, what power should the performers gain? the performance starts at 9 pm and finishes the next day at 4 am. during the show, the saluang dendang performers play songs as requested by the audience and each pendendang tries to compose the pantun related to the audience who request the songs. he mentions the name of the audience and chooses a pantun that is based on the condition or psychological situation that is happening there. if the content fits to the context, there is a spontaneous response from the audience that makes the performance interesting and lively. for example the following pantun: lagu iko nan kanduang mintak bialah kami dendangkan juo lah putuih hati dek taragak badan batamu sariak juo1 sometimes the audience asks the performers to repeat the same pantun. then the performers repeat and mention the name of the audience who requests the same pantun: lagu iko nan bamintak baulang pantun disuruahnyo lah putuih hati dek taragak mak ajis di subarang juo2 by doing it in a dialogical and interactive way, the pendendang tries to cope with the situation and condition of the audience so that they can choose suitable pantun. in this case, the structure of the saluang dendang performance is built and developed through literary performance that is oral performance; wellcomposed and improvised pantun during the performance. there are four kinds of pantun. the first one is pantun mudo3, a romantic pantun like the example above. the second one is pantun hiburan or jenaka (humorous). the third is pantun 1 this pantun simply means the pendendang states that// she sings the songs as requested// and she is singing it now//she has been missing someone// but she can’t meet the person. 2 this pantun means;//she will sing the song as requested//and repeat the same pantun// she has been missing someone// but mak ajis is so far away.// mak ajis is the name of the audience who asked the pendendang to repeat the pantun. 3 pantun mudo is a romantic expression of the teenagers. 73 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ...nor idayu binti ibrahim. the development of formal ceremonialnoni sukmawati. literary performance in the act of pendendang nasihat (advice). the last one is pantun ratapan (mourning). humorous pantun, for example: kok kandak alah kami bari alah ko hati ka sanang kabanyakan nan bujang kini salero tungggang ka nan usang4 pantun nasehat (advice) contains advices about the local wisdoms in minangkabau culture: nak dialiah buah nyanyi agak batanang lai mandanga kalau pandai bamain budi di dalam aia indak kabasah5 pantun ratapan (mourning) is as follows: kama dialiah mak pandangaran kama lah lagu dialiah sudah iko jo tangih denai mampaulehkan dek kanduang buhua baurak juo6 there are thousands of pantun exist; some are partially modified; the pendendang maintain the first and second line of the pantun and create new ideas in the third and fourth lines or simply repeat the previous lines. they can also create new pantun as advised by the society. this adds and develops the list of the pantun in saluang dendang performance. in other words, saluang dendang performance as a literary performance is simultaneously developed. besides, the audience of saluang dendang performance is basically are people who have empiric knowledge about the oral tradition, including the list of songs. they have their own selection of their favorite songs. they frequently request the songs in the performance they attend. they also have the background knowledge of the songs and pantun they request. as they audience even know the charateristics of the saluang melody, a saluang player has to play it well. this kind of audience comes not only to enjoythe performance but also to contribute some money to the performance organizer to pay the saluang dendang performers. in this case, we can say that a saluang dendang performance is a participative performance, in terms of the payment. the connection between the performers and the audience, who are mostly villagers, is emotionally very close. there is a group of enthusiastic audience 4 this pantun means// thesong has been sung//she hopes it is entertaining// young men nowadays// prefer to choose older ones orusang. implicitlyusang assumed as widows. 5 literary it means;//allow us to change the song// please pay more attentions//if we can maintain our good values// we can’t be wet in the water. 6 this means; // what song are we going to listen to// what song are we going to sing next?// i am trying to keep this (relationship) with tears// why do you want to loose this tie, sir? 74 editorialbook of reviewijcas: vol. 3, number 1 june 2016 in each nagari or village where saluang dendang is usually performed. this group knows the performers well and this group can give reference to select recommended performers. this group also highly appreciates the local people where the performance exists. the saluang dendang performers sometimes ask this group for references about the local situation of the place they are going to perform. therefore, saluang dendang performance has a widespread network in the villages in west sumatera, more specifically, the networks between saluang dendang performers and their enthusiastic audience. saluang dendang as a collective awareness pendendang are usually aware that what they deliver is a part of collective awareness of the audience. to understand the collective awareness, the pendendang have to mingle and get along with the society. they have to know the daily problems, and the social values in minangkabau society. generally the musical atmosphere in saluang dendang is ratapan or mourning that expresses sadness. based on that, the pendendang should be able to express it in a mourning pantun that is called ratok. this ability can be seen through their way to interact with the audience from all social class. the performers should be able to give equal attentions to the audience, so nobody feels ignored. in their interaction in the performance and outside the performance, the performers always want to show hospitality, politeness, dialogical and communicative attitudes. they want to show people that they are respectable women, although not all people can accept them wholeheartedly. the main capital used by pendendang in saluang dendang performance is the minangkabau cultural heritage as their way of life. the minangkabau cultural heritage is the agricultural tradition based on the oral tradition in which words are composed and structured poetically. it is like a living reference for pendendang that they can ‘read’ anytime. thus, the daily experience of pendendang who live in a society with the oral tradition enriches their knowledge and experience. it becomes the main capital of pendendang to gain their legitimacy in the field of saluang dendang performance which the main strength lies on the lyrics in the pantun to create an attractive performance. the next capital of pendendang is the experience on stage during the performance. every field of saluang dendang performance for pendendang is the practice of an agent (actor) who not only gives cultural messages to the audience, but also receives messages from the audience. the structure of the performance is interactive and dialogical, causing the messengers are not only the actors on the stage, but also the audience in the field of the show. the audience at the saluang dendang performance is an active audience. generally, the audience at the saluang performance arena is male, although in some fields there are still women involved, but their number remains minority. the dominance of men as spectators at the saluang dendang performance has created a form of emotional-dialogical relationship, which encourages the male audience 75 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ...nor idayu binti ibrahim. the development of formal ceremonialnoni sukmawati. literary performance in the act of pendendang to play a more active role in the field. their main roles are, among other things, reviving the structure of saluang dendang performance, ordering the songs and pantun, and then it is the duty of the pendendang to put it into practice. not only that, quite a lot of the audience make their own pantun, either as a response to the pantun being sung, as well as a new discourse to enrich saluang performance as a literary performance. the ability of saluang player and pendendang grows and develops autodidact, in the sense there is no special teacher who teaches them. they must begin by themselves by questioning, listening and trying it out for themselves. then they do apprenticeship, being present at the saluang dendang performance and participate as pendendang without any payment. songs that they master will be sung in turns with more senior pendendang. from this apprentice process they will eventually become professional pendendang, so that they are invited and paid according to the system. conclusion saluang dendang performance grows and develops well even though by shape it seems static because the performers only sit during the performance and there is no attractive physical performance like in dances or theatrical performance. furthermore, there is no special attributes on stage like setting as the artistic media or special lighting to make the stage more attractive. the stage of saluang dendang performance simple and does not need a special space. nevertheless this performance is an interesting cultural arena in minangkabau society and culture. the field grows and develops because of the cultural capital that makes it possible for pendendang to build his habitus, to gain legitimacy in a cultural arena of the performance. the cultural capital in a poetic oral traditionthat exists in minangkabau society and the habitus of pendendang with their capability in delivering their practice as artists becomes the main strength of the development of saluang dendang field as the cultural field in minangkabau. therefore, the field of saluang dendang performance can also be called the field of literary performance. the terminology of literary performance is not commonly used in the performance tradition in minangkabau though there are some oral traditions that have grown and developed so far. literary performance is more appropriate to define saluang dendang performance because what should be gained in the field of the performance, as pierre bourdieu’s theory states, are the texts or pantun that are sung. through the text of pantun literature, each agent (actor) shows their habitus and cultural capital. references bourdieu, pierre. (1977). in other words: essays towards a theory of practice. united kingdom: cambridge. university press. ___________. (1984). distinction: a social critic of the judgement of taste. cambridge-. harvard university press. 76 editorialbook of reviewijcas: vol. 3, number 1 june 2016 ___________. (2011). pierre bourdieu: uraian & pemikiran (choses dites). kreasi wacana. yogyakarta. ___________. (1996). the rules of art, genesis and structure of the literary field. trans. susan emanuel. cambridge. polity pres. ___________. (2012). arena produksi kultural: sebuah kajian sosiologi budaya. kreasi wacana. yogyakarta. dobbin. christine. (1992). kebangkitan islam dalam ekonomi petani yang sedang berubah, sumatera tengah 1784-1847. inis. field, john. (2010). modal sosial. kreasi wacana. yogyakarta. hadeler. jeff. (2010). sengketa tiada putus: matriakat, reformisme islam, dan kolonialisme di minangkabau. freedom institute. jakarta. harker, richard, cheelen mahar, dan chris wilkes. (ed) (2009). (habitus x modal) + ranah = praktik. jalasutra. yogyakarta. jenkins, richard. (2013). membaca pikiran pierre bourdieu. kreasi wacana. yogyakarta. murgiyanto. sal. (2016). pertunjukan budaya dan akal sehat. komunitas pertunjukan ikj, jakarta. komunitas senrepita. yogyakarta. naim. muchtar. (1984), merantau: pola migrasi suku minangkabau. gajah mada university press. yogyakarta. ritzer, george. (2014). teori sosiologi modern. edisi ketujuh. kencana. jakarta. ritzer, george & barry smart. (2014). teori sosial. handbook. nusa media. bandung. sukmawati, noni. (2006). ratapan perempuan minangkabau dalam pertunjukan bagurau: gambaran perubahan di minangkabau. andalas university press. padang. 63 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobong existence, identity and survive strategy kethoprak tobong kelana bhakti budaya inggit sitowati ethnomusicology department, indonesia institute of the arts surakarta email: inggitsitowati@gmail.com abstract kethoprak tobong kelana bhakti budaya is one of ketoprak tobong that still exist and survive from the onslaught of modern entertainment. ketoprak tobong is a traditional javanese theatrical art which performs and lives by moving from one place to another within a period of time. they maintain their existence because of their deep love for the ketoprak world. in addition they have a sense of responsibility to preserve the nation’s cultural heritage by maintaining their tobong group. for them the ketoprak world and tobong is their identity. the members of this group were born and grew up from the ketoprak’s family and environment. the existence and identity of this group is formed from habitus, capital and field. for survive strategy, they apply the principles of kinship, flexibly apply the rules, looking for donors, and promotes the group through a variety of cultural events. to make ends meet they have other jobs, including craft, making costumes, makeup, and a singer in a wedding. keywords: ketoprak tobong, existence, identity, and survival strategies. introduction one of the problems faced by traditional arts in indonesia is losing fans and viewers. from day to day, the amount of fans and spectators of traditional arts wanes. this condition is caused by the onslaught of modern entertainment in the community. industrial pop makes people prefer modern entertainment.that problem is also faced by traditional ketoprak artists in indonesia. many ketoprak performance is not saleable and only viewed by handful of people. one by one the ketoprak group’s dies. many ketoprak performers lost their jobs therefore they switch professions. traditional ketoprak performances become less and less today. one of ketoprak group that survive is ketoprak tobong kelana bhakti budaya. ketoprak tobong is a ketoprak group who lives and does their performances discursively. they built a stage and a place to stay behind the stage in a designated area within a certain time, then move to another area. the group currently lives in the village of bayen, purwomartani, kalasan, yogyakarta. this group holds regular performances twice a week every wednesday and saturday night. ketoprak tobong kelana bhakti budaya also experiences similar problems. despite having major problems in the decreased fans and spectators, the groups maintain their existence and run their performances routinely. it can be said that the income they earn from routine performances in tobong cannot meet the needs of everyday life. but they persisted and perform a variety of ways to make ends meet. they make efforts so 64 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 that they can exist and survive. this paper examines how kethoprak tobong kelana bhakti budaya retains their existence to this day. why do they maintain the group and assume ketoprak tobong as their identity. this paper also discussed about their effort and survival strategies. materials and methods the research method used is a qualitative method with a case study approach. this method seeks to explain a decision or set of decisions about why the decision was taken, how the implementation is, and how are the results (yin, 1989: 23). the study was conducted by means of observation by watching a variety of performances done by kethoprak tobong kelana bhakti budaya and deeply understanding it. more detailed data are obtained from in-depth interviews with the owners, administrators and members of this group. all the data obtained from the field are then analyzed, reduced by summarizing, and focused on the important things according to the theme, categorized, and lastly be drawn conclusions that are related to the interpretation of the researcher. discussion a. description of ketoprak and ketoprak tobong ketoprak is a theatrical folk art originated from java. ketoprak performance is a drama with the accompaniment of gamelan music played with a duration of approximately two to four hours. dialogue in ketoprak uses java language. in ketoprak there are also dance performances and tembang or java songs. the players use appropriate costumes and makeup according to their story characters. (lisbijanto, 2013). ketoprak was created by rm. wreksoniningrat, a dance and puppet artists from solo. ketoprak players were initially all male. as the times and the demands of the story which are increasingly varied, ketoprak then also played by women. at the beginning of its emergence, ketoprak used more dances and used little dialogue. along the times, there are more dialogue between players, but still retained its elements of dance. stories in ketoprak called lakon, is the story of the fourth to the eighteenth century kings, folk tales, legends, myths, and new story created by the director. ketoprak always displays a serious scene, war and humor. the story in each ketoprak performances is divided into several major scenes. the opening scene is in the form of depiction of palace atmosphere. the next scene is in the form of atmosphere outside the palace. then is the meeting scene between the villain and the hero character followed by war. the final scene is in the form of good character win against villain character. the plot of ketoprak story is called pakem which done but not written in any ketoprak performances. the story or lakon in ketoprak although diverse and different but broadly describes the good always conquers evil. accompaniment of gamelan music in each ketoprak performance has an important role. gamelan illustrates music which delivers an atmosphere appropriate to the storyline and scenes. tembang or javanese traditional song characterize ketoprak, 65 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobong even its dialogue is sung. waranggana or sinden (javanese/gamelan singer) sing the songs which are adapted to the story that has been directed by the director. in every show there are two to four ketoprak sinden. sometimes sinden sing songs requested by the audience. ketoprak performers should be able to dance and nembang (javanese traditional singing). they are required to converse well and fully comprehend their character. ketoprak performers generally is a member of a ketoprak group that has long played ketoprak and has the ability to play a variety of characters. the performers practice regularly in order to have the expertise. beginners are usually given small roles or just appear on one of the scenes. stage used in ketoprak performance is given decoration and lighting supporters. the stage decoration is in accordance with the settings of each scene. the screen is also an important part of ketoprak performance. the screen is an image of the location of the scene in the form of palace, forest, park, or square. ketoprak as traditional arts not only serve as an entertainment for the community. ketoprak has other functions in the form of a ritual function, namely as a means to perform a ritual ceremony as the ritual requirement. the second function is education, ie the transformation of cultural values, morals and philosophy of life for the audience. the last function is as a social critic, satirical social conditions of society through characters and dialogues played. ketoprak has developed according to the demands of times. the story (lakon) is not always applying pakem rigidly, but there is innovation according to the audience interest. in the 1980-1990 develops ketoprak plesetan which have story, dialogue and characters more freely with non-rigid pakem. it story has kingdom background but more actual with free style full of humor language with varying figures. in the 1995’s emerge ketoprak humor which is highlighting humor functions and use language more freely even using indonesian. ketoprak tobong or ketoprak tonil is a ketoprak which is performed from one place to another within a certain period of time. not only the players moved, but they bring also all the stage equipment, like stage, costumes, stage decorations, chairs, gamelan, sound system, diesel, and the residence of the performers called tobong. ketoprak tobong is a ketoprak nomadic group such as the group of gypsies. (yowono, 2012). tobong is the abode of the ketoprak performers with all the stage equipment in the form of gamelan, costumes, screen, decoration, sound system, lights, and so forth. tobong is placed somewhere within a certain time and then disassembled to be moved to next ketoprak show place. tobong is not permanent and ready to be disassembled at any time. ketoprak tobong members follow wherever tobong stopped and settled in an area. the performers live by following the tobong movement and the ketoprak performances. they bring their families and children to where the ketoprak performs. b. history and description of kethoprak tobong kelana bhakti budaya kethoprak tobong kelana bhakti budaya was originally named kethoprak sri budaya under the leadership of sri and lived in kediri. the group then changed its name to candra kirana with bagong and lilik as its leaders. in 1997, candra kirana group had 66 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 difficulty. the owner asked for the help of reverend dwi tartiyasa to manage together and find donors so that this group could still perform.1 reverend dwi at that time served in baptist church setia bakti kediri. he is a ketoprak fan and always watch ketoprak candra kirana show. because he oftenly watch their performance he has closeness to the owner and members of this tobong group. therefore, when the tobong group had trouble, their leader ask reverend dwi to manage it together. he eventually become the leader. but with three leaders its management became unfocused. then bagong asked reverend dwi to buy ketoprak tobong. reverend dwi bought the ketoprak for six and a half million dollars in 2000. the group’s name was later changed to kethoprak tobong kelana bhakti budaya. bhakti is taken from the name of reverend dwi church. name kelana was added by him because this group is always wandering around from place to place. in addition it has a philosophical meaning that all life on earth is ultimately returned to the creator. while the name budaya is added as ketoprak is a part of indonesian culture especially java. name kethoprak tobong kelana bhakti budaya was inaugurated on july 23rd, 2000. under the leadership of reverend dwi, the group has moved to many areas. in 2003 he moved to work in jakarta. from kediri this group moved to purwodadi for three months and are managed remotely by him with the help of his brother. the group then moved to kediri again. in 2005 he moved to yogyakarta. this group still survived in kediri. in 2006 after an earthquake, the group moved to yogyakarta.in yogyakarta, this group has moved to various places. village or hamlet that once housed in the special province of yogyakarta, among others are; in cokrowijayan sleman, cebongan sleman, sidomulyo sleman, kembaran bantul, bangunjiwo bantul, njodog bantul. they inhabit the villages or hamlets within approximately three months to one year at each place. the reasons they moved to various places, among other things because of the condition of the audience which is few, problem in residence permit, or problems with the residents and village officials. during his stay in village njodog, bantul, this group experienced a financial crisis. they need financial help to manage tobong. risang, reverend dwi’s son, then made a performance with the title “pamit mati” which was held in alun-alun selatan on may 31, 2010 the purpose of this performance was to convey to the indigenous stakeholders of yogyakarta that the only surviving tobong group in yogyakarta is nearly dead, and they requested the attention of governments and society. unfortunately, despite of the performance and went to several government agencies, the government did not provide any response and assistance. the group then moved again to the village bayen, kalasan, sleman. they occupy an area of rice fields in the hamlet. they can stay in village bayen by the help of risang former boss (reverend dwi’s son) called ratna. ratna incidentally watched “pamit mati”. reverend dwi asked ratna so that his tobong group can occupy an area that is still in a pretty good condition. ratna provide three alternative places; magelang, 1 this chapter was gained from interviewing tobong owner reverend dwi tartiyasa, september 3rd, 2014. 67 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobong pakem, and kalasan. reverend dwi choose kalasan. ratna permitted this group to occupy the land. this group has lived and performed in the area, since 2010 until now. the conditions of spectators at the venue though few but they always come to watch their performance. the audience mostly came from other areas, not only the residents around the village. during their moving in these areas the members in this group is waning. one by one they left tobong and returned to their hometown. the reason is due to the fewer number of spectators and fewer salaries. the members of this tobong which is originally about thirty people, is now reduced to eight people. this group performs in that place every wednesday and saturday night starting at nine o’clock. when do their performance they are assisted by ketoprak performers from other groups, especially the ketoprak performers from villages. additional performers come to play when the group performs in their tobong or elsewhere. the ticket price of a routine show is rp. 5,000. performers and other crews salary is around rp. 5,000 to rp. 10,000 for each performance, according to their roles and duties. c. the existency and identity of kethoprak tobong kelana bhakti budaya kethoprak tobong kelana bhakti budaya despite having difficulties in financial terms, are able to maintain their existence. although the condition is not as good as during ketoprak golden era in the past, this group is able to survive. they did not disperse but tries hard so tobong can still exist. when the income is calculated, it does not meet the needs of everyday life for its members.the main factor that makes this group stay afloat amid incessant pop entertainment is great love of ketoprak. the owner and all the members of this group have great love in ketoprak world. they remain faithful to follow this tobong. despite their financial problems, they remain faithful to be part of this family. the main motivation reverend dwi bought this tobong group; first is of spirituality. he purchased and became the leader of the group is to implement love in real form. love and affection are distributed in the form of helping and nurturing the members so that they can continue to exist and maintain their life in ketoprak tobong.2 another underlying motivation reverend dwi bought this group is as a contribution to the culture in a way to preserve it. ketoprak tobong is a form of indonesian culture. so he wants to maintain this tobong group so as not to be lost. he has confidence that the current ketoprak tobong which is is rivaled by electronic media such as dvd and internet(youtube), at some point will become public interest once again. he believes that one day will return to the deep-rooted cultural tradition. ketoprak tobong members whose numbers were down to eight people are also able to survive because of their love toward ketoprak world. because of their love for ketoprak world, the members of this tobong survive and become a form of efforts to preserve the nation’s cultural traditions. they do not want ketoprak to lost against 2 interview with reverend dwi tartiyasa, september 3rd, 2014 68 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 modern entertainments. they remained so ketoprak can be performed and viewed by society.3 ketoprak world has become their lives. therefore they cannot leave the world of ketoprak. for members of this tobong, ketoprak will not be left until the end of their lives. the owner and members of this group already considered ketoprak as their identity and cannot be eliminated.according to giddens (barker, 2000: 175-176), self-identity is formed on the ability to maintain self-concept that forms a continuous feeling. identity forms some questions about what to do, how to act, and wants to become. from giddens’s concept it can be concluded that the identity of the owner and tobong group members eventually form an action about what they should do, how they act, and want to be in tobong group.based on giddens concept, the identity of the owner and members of this group eventually formed a collectivity. so it forms social identity where there are an associations of normative rights, obligations and sanctions on certain collectivity, which forms the role. the owner and the group members become a social identity in which they work together, run the rights and obligations collectively, respect and help each other, to performs well and maintain the integrity of the group. they also perform its role according to ability and position, namely: leader manages the group; players perform well, the director set up the performance, and the equipper set the decorations and setting. d. habitus, capital and field that forms existence and identity of kethoprak tobong kelana bhakti budaya kethoprak tobong kelana bhakti budaya members even spent half of their life in tobong. they were from ketoprak owners or performers family background. every day they are in ketoprak environment. this is what fosters a love for the ketoprak world and tobong. the group members have been like a big family. even among those who are married and have a family with fellow members. their children also live in tobong. their family background has shaped the interests and tastes of the members since they were little.4 this social phenomenon is consistent with the concept of bourdieu (1994) on habitus. habitus is a process of internalization through a long history, which is resulted in mindset, perception, judgment, taste, expression, appreciation, ideals, ways of thinking, personality, ethos, and act in accordance with the environmental or social class. skill results which become practical action that is not necessarily realized then become the move source in a social environment. (haryatmoko, 2003, 11). so interest, taste, appreciation, aspiration to the mindset of the performers and its members are formed from habitus which is obtained through internalization since childhood in a family environment full of ketoprak actors. the tobong members since childhood have seen their parents and families work in ketoprak environment. they are trained from childhood to master wide range of 3 interview with rini and wiwin, members of ketoprak tobong, september 9th 2014 4 interview with mak kamek, member of ketoprak tobong, july 17th 2014 69 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobong skills that support ketoprak; nembang (javanese traditional singing), dancing, playing the gamelan, makeup and making costumes or props. each player is required to have a variety of skills in ketoprak because in addition to performs they also dancing, acting, and nembang. after mastering the skills of dancing and nembang, they began to appear in ketroprak performances. they get a small role first. they must learn from small roles and gain knowledge from senior players on the stage. for male, they are not deployed initially as a performer, but they begin by helping the stage decoration. after that the male players get a small role in the performance. from a small role then increased in portion according to their role playing skills. once mastered and have many skills and experience, they finally gained an important role or a major role. reverend dwi’s love of ketoprak is also transmitted to his family. since before he owns ketoprak tobong, he always watch the show in his area. because of the tasks and activities of reverend dwi as the owner of ketoprak tobong, his children eventually fond and love ketoprak. his son, risang, actively participates in managing this tobong group and became the initiator of creative ideas for tobong performance. habitus then leads to bourdieu’s concept of capital. according to bourdie resource ownership determines the positions of a person in the society. capital accumulated through investment, can be inherited, and provide benefits in accordance with the occasion. bourdieu capital divide into four. first is the economic capital or the economic ownership. second, cultural capital, is the knowledge gained, including educational, cultural codes, ways of speaking, writing skills, carriage way, how to get along, manners, and so forth. third is social capital, the network of connections and relationships. fourth is symbolic capital, the honor and social prestige (bourdieu, 1994). the position of people in social classes, depends on the magnitude of the amount of ownership and capital structure. based on bourdieu’s concept of capital, the cultural capital that the members have are the ketoprak skills and expertise that they have been acquired since they are small in the family and from environment. social capital of the group members is a relationship and connection with ketoprak figures available around the environment. symbolic capital of the members of this group is a privilege identity as ketoprak performers. these three capital provide economic capital in the form of fees and income from ketoprak although only slightly. the concept of habitus and capital refers to the concept of the field. field according to bourdieu is a network of relations between objective positions in them (jenkins, 2004: 124). field is a social environment that is more or less homogeneous, and in it there is a struggle over resources or access. the agents in an arena must master the codes and rules. people will not understand the strategy of the agents they does not related to the field, where there are positions or their position in it. occupants of a position in the field can be either an individual or institution. habitus and capital owned by the members maked them aware about their field in tobong. because of grows up in tobong neighborhood, they already understand and execute the codes, rules, and strategies in the ketoprak tobong field. they know the way, strategies and rules in order to get important roles. so they know the tricks and strategies in order to survive 70 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 and to get promotion. habitus, capital and field owned by the owner and members of this group form their own identity. so they have the confidence and resolve to maintain the existence of the group. e. strategies to survive kethoprak tobong kelana bhakti budaya kethoprak tobong kelana bhakti budaya has done various efforts to survive and exist against the onslaught of pop entertainment. both of the owner and members tries to stay afloat as ketoprak tobong. income from regular performances in two times a week can not meet the operating costs. income derived from the audience during every show is also do not provide sufficient salary for members and other additional players. so both the owner and tobong members should do a lot of efforts to survive. the owner and his son have made various efforts to obtain help from government and private parties. they have come and tried to ask for help so that government agencies and private groups willing to provide assistance. they have creating and send a proposal for assistance to various agencies. they also tried to embrace the patrons of culture, community, and cultural institutions.5 unfortunatelly the government agencies pay no attention at all to this group. the owner’s son who now becomes the successor once held a show as a quest for attention and assistance from the government. the show was named “pamit mati” which was held in south square on may 31, 2010. “pamit mati” was held with the intention to convey to the indigenous stakeholders sri sultan hb x if they are the only tobong kethoprak that still exist in yogyakarta. as the only remaining ketoprak tobong in yogyakarta is dying. they expect the local authorities will help. as a group of ketoprak tobong they do not want to die. unfortunately, although has been invited, sri sultan, governor of yogyakarta, do not come to the show. local authorities do not give any attention to this group. assistance to this group come from non-government parties. one of them is the indonesian british council’s cultural institutions. british council assists in marketing and publicity. these institutions provide assistance in the form of marketing campaigns and photography. they hold a photography exhibition to promote this tobong group. it aims to bring a new audience to ketoprak tobong. in addition, art council england a foreign cultural institution also provide financial support for the physical construction of tobong. assistance from both the foreign cultural institutions came from risang collaboration with a british artist, helen marshall. they made an art project that was funded by the british council. the project was named “project tobong”, which was first held in ican (indonesian contemporary art network), in yogyakarta, in 2012. the british council supported that project because they are keen for the work to reach wider audiences, both, so that people might experience the photographs but also to increase awareness and interest in the ketoprak tobong among wider public. with that programme they hope that people will have the opportunity to see a window onto the unique of ketoprak tobong community and the 5 interview with risang, july 17th 2014 71 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobong way of their life. through that programme they aim to share british and indonesian artistic practice, society and culture with people around the world. 6 this group also received cooperation from via-via cafe. in the form of finding foreign guests to watch ketoprak tobong show. via-via cafe makes booklets and tour packages promotion. the tour package is in the form of a tour to see ketoprak tobong living area and life in tobong. the goal of this package are foreign tourists. tobong owner also seeks the help of sponsors and donors. currently there are several donors who provide financial assistance. donors come from relatives, church relations, friends and others. the donors also provide support so that this group still exist and persist. they also received an invitation to perform in cultural event. one of them is in yogyakarta arts festival 2014 on september 5, 2014 at plaza ngasem. the title of the play is “pepet ing 1965”, the core of the story is the story of a crime. performance at arts and cultural events is a form of business promotion and introduction to the community. so the people would be interested and come to their regular performances at tobong. survival strategies that they employ in everyday life in tobong one of them is to apply the principle made by the leader “nyambung urip bareng”. the meaning of these principles is to share and kinship. so the members of this tobong family live in harmony and help each other. the rules is not as tight as on ketoprak heyday. they do not apply the strict rules in selecting players. in the past, to be an important role player, they need to go through a rigorous selection and have a high level of ability. but now the group is more flexible. they accept other ketoprak players to help and join their performances. they also accept other people who come to learn. one of them is by receiving a theater group to perform at their tobong as a form of learning. to earn additional income in order to cover the operating costs and additional income for the members, then the owner additionally promoting and accepting any performances outside tobong. as a reverend, he hold ketoprak performances in church celebration. ketoprak performance held in church on the occasion of christmas, easter, or other church celebrations. the story is taken from the holy bibles. they then make adjustments and create a new script. although the members of this group is not a christian, but they work in total. the group also received a request performance at events agencies. they are also performing in another village or town on demand. the story is customized to the theme of the event. in general, they are looking for a story or create a new story that aims for social criticism or as learning media. income from spectator and ticket at regular performances are not able to provide sufficient salary for the players. the director, cast, and crew involved only received an honorarium of about rp. 5,000 to rp. 10,000 on each show. to meet the needs of everyday life, tobong members have other jobs. other work owned by the members are crafts, makeup artist, singer or sinden at weddings or other events, costume stylist in ramayana ballet prambanan, selling food and beverages, coaching gamelan, and more. the members also accepted 6 email from evonne mackenzie, director arts british council indonesia, october 4th 2014 72 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 the offer to performs at another groups. those other works eventually became the vigil to meet the needs of their lives. results kethoprak tobong kelana bhakti budaya until now survived and still exists in the midst of modernization. they have undergone name changes and owners several times. this group also experienced a lot of displacement to various areas of several provinces in java. although it has experienced a financial crisis but the owner and the members tries to maintain the group’s existency. deep love for ketoprak world and tobong become the main factor to survive. they still fights for the group’s existence to preserve the national culture in the form of ketoprak. a love for ketoprak and tobong ultimately shapes the identity of the owner and of group members. for them ketoprak tobong is their identity and they will not leave it. their love for ketoprak world and tobong is formed from habitus, capital and field. habitus, capital, and field of ketoprak tobong arise because the members were born and grew up on the family and the environment of ketoprak tobong. conclusion survival strategy of this group is done in various ways. they attempted to ask the government for help but they do not get their attention. they also tried to embrace the patrons of culture, community, and cultural institutions. help came from foreign cultural institutions and private sector which help in marketing, promotion and funding. donors also come from family or other relatives. the principle of kinship and mutual aid is applied in the group. selection and rules for performers are also not strictly applied. meanwhile, to meet the needs of everyday life, the members have other side jobs that support their finances. unfortunately, the government is not paying attention and assistance to this group. traditional arts groups like this should be supported and assisted by both government and society at large in order to not become extinct. references barker, chris. (2000), cultural studies, theory and practice, london: sage publications. bourdieu, pierre. (1994), distinction: a social critique of the judgement of taste, london: routledge. haryatmoko. (2003), “menyingkap kepalsuan budaya penguasa; landasan teoritis gerakan sosial menurut pierre bourdieu”, dalam basis, no 11-12, tahun ke-52, 2003, yogyakarta: yayasan bp basis. jenkins, richard. (2004), membaca pikiran pierre bourdieu¸ terj. nurhadi, yogyakarta: kreasi wacana. lisbijanto, herry.( 2013), ketoprak, yogyakarta: graha ilmu. susanto, budi, dr., sj. (1997), ketoprak: the politics of the past in the present – day java, yogyakarta: kanisius. yin, robert k. (1989), case study research, design and methods, california, usa: sage publication inc., newbury park. 73 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobong online resources yuwono, risang. (2012), http://kethopraktobong.blogspot.com/2012/08/apa-itukethoprak-tobong.html, accessed on july 26th 2014. interviews: 1. reverend dwi tirtayasa, the owner of ketoprak tobong, september 3rd, 2014 2. risang yuwono, the son of the owner of ketoprak tobong who becomes the member and the successor, july 17th 2014 3. rini, member of ketoprak tobong, september 9th 2014 4. wiwin, members of ketoprak tobong, september 9th 2014 5. mak kamek, member of ketoprak tobong, july 17th 2014 6. evonne mackenzie, director arts british council indonesia, by email, october 4th 2014 enclouser (pictures of kethoprak tobong kelana bhakti budaya) the performance the performance 74 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 preparation preparation back stage 75 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobong back stage the audiences the audiences 76 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 tobong tobong 41 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economyi wayan adnyana. pita maha social institutional capitaltepika rodsakan. comparison of the effects of using traditional thai musical instrumentsrachel mediana untung. organizing system of tayub performance organizing system of tayub performance (case study in kabupaten grobogan in central java) rachel mediana untung faculty of peforming arts, satya wacana christian university email: mediana.untung@staff.uksw.edu abstract the aim of this study is to figure out a management model of tayub performance which is performed in grobogan, central java. the research background is tayub performance is still preserved as a folk art competing with modern art in this modern era. this study is based on sociology and anthropology’s management prespective. this study was conducted in a qualitative research by interviewing several informants. the issue is about early management of functional aspect which includes production management, marketing, human resources and finance. sociology and anthropology’s perspective sees from the methodology and human’s aspect in management. the results showed that four functions of management have not been implemented well. yet, tayub performance can still be performed successfully. the role of dancers, karawitan group, guest leaders, sound and light’s operator also the hosts perform its role professionally. in conclusion, the study found that a successful tayuban is not about a good management in it but the people themselves who dedicate their abilities, a good understanding in orientation process and highly entrepreneurial spirit. academically, this research aims to reveal how tayub’s management model is. practically, this result can be used by the government to empower socio-economics’ community life as well as to preserve tayub’s performance. keywords: tayub performance, management of production, marketing, human resources and finance, contractual job, professional, and entrepreneurial spirit introduction tayub performance or is well-known as tayuban is often showed as an entertainment of family’s feast in central java. besides forentertainment, tayuban is also showed as thanksgiving ritual for harvest crops. from its form, tayuban is an intimate dancing between men and women. usually, the women dancer will be a central dancers on the stage and they will invite male audienceto dance together. this dancing is accompanied by gamelan, which plays javanese song’s composition sung by sinden (javanese singer). this performance dominates in rural communities rather than in a big city. in java, tayuban is well-known in pati, blora, jepara, sragen, grobogan, and wonogiri (soedarsono, 2002; dandang achmad dahlan, 2005; sri rochana widyastutieningrum, 2007). in the mid of 2013, a huge tayub festival was held in purwodadi grobogan and the participants came over from various cities in central and east java. 42 editorialbook of reviewijcas: vol. 2, number 2 december 2015 tayub is well-known as a dance performance, where joged dancer (female dancers) is the main element on the show. some literature review stated many words for the word ‘dancer’ such as ledek, ronggeng, gambyongan, and gandrung (soedarsono, 2002; srinthil, 2003; dandang ahmad dahlan, 2005). in grobogan, commonly people say ledek but actually the word ‘ledek’ itself refers them as joged. the joged dance and sing at the same time on the stage. the group of gamelan instruments or karawitan accompanies the song (gending) which sung by the dancer itself. the number of dancers can be three or more and it depends on the host. the stage is set adjusting the location where the celebration will be held. it is usually held in a front of yard’s host. the host should build temporary stage since the performance is held in the yard. lighting and sound system are well-organized with the stage. the audience mostly are from host’s families, neighbors, and invited guests. the audience are welcomed and suggested to sit around the stage. there is a table near the audience where we can freely eat and drink with food and beverage that have been provided by the host. commonly food which is served depends on the locals such as sticky rice, fresh banana, boiled peanuts, and other snacks. besides that, it is possible the host can provide a simple lunch or dinner. the drinks that commonly served is tea or coffee, and both bottle and plastic cup mineral water. some hosts prepare beers for the audiences who still want to stay until midnight or even dawn. the main event in tayuban performance is when the guests are invited to dance with the dancer on the stage. especially the male guests are welcomed to dance. women usually only involve in preparing meals and watching the perfomance. tayubanstarts from noon to evening or evening to midnight. in general, tayuban startsfrom 9 pm until midnight. there are many research on tayub has done by many experts (dandang ahmad dahlan, 2005; endang ruth et al, 2005; agus cahyono, 2006; and sri rochana widyastutieningrum, 2007). the research mostly analyze tayub based on textual and contextual approach. previous research was conducted by ben suharto in 1999. even though during british colonization, tayub is also stated in the literature by cultural researcher as in history of java (thomas stamford raffles, 1965) and the religion of java (clifford geertz, 1960). a ronggeng becomes main role in a novel titled ronggeng dukuh paruk (ahmad tohari, 1982). sudarsono, as a culture expert, has conducted many research related to tayuban as a public art. those previous studies stated that tayub relates to the history, function symbol, gender and also production. this research is conducted to figure out production management specifically model’s management in tayuban which is performed in grobogan. the research question in this research is what kind of management model that is applied in grobogan’s tayub performance? 43 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economyi wayan adnyana. pita maha social institutional capitaltepika rodsakan. comparison of the effects of using traditional thai musical instrumentsrachel mediana untung. organizing system of tayub performance methods this study is categorized as a qualitative research and this is regarded as a contextual aspects. this study is a qualitative research and this also use some approaches (multi-disciplinary) as management perspective, anthropology, sociology, and performance studies.the collection of data is a way to collect the necessary data in this study. it was done several techniques for data collection as follows: library study, observation, interviews, and documentation the qualitative data is collected from interviews, recordings, written documents, photographs and field notes. after the data collection, then the data is identified and patterned according to their characteristics and are related or connected to the phenomena. in an analysis of a socio-cultural phenomenon needs a way of thinking rationally and systematical (masri singarimbun and sofian effendi, 1999). the qualitative data were analyzed using descriptive analysis techniques, by describing the facts which are then followed by analysis (nyoman kutha ratna, 2004). literature shows that performance should be managed by an organization or group that arrange when and where the show is done (achsan permas at all, 2003). to organize performance activities, it should requires knowledge management organization. management will assist performing arts organizations to achieve goals effectively and efficiently (achsan permas, 2003). based on this view, art organization requires knowledge of functional aspects of management, which includes management of production, marketing, human resources and financial. production management is one of functions management in producing a product. organizations’ products inperformance organizations is the performance itself. the performance have dimension of shape, space and time (haryono, 2009). dimensional form is a form of performance. dimensional space is a context of art when it shows. dimension of time is the time or duration of the performance. in tayub performances, the dimension form is a paired dancing where it involves female dancer and the male’s audience that can dance together. dimensional space is when performance is done in the context of the time. time dimension occurs when the dancing takes place. time is an important aspect in a performance. aspect of production is how an organization prepares and implements performance’s plan. evaluation should be held to evaluate the implementation. preparation involves people who are in charge of the event. they should be trained or joined in rehearsal and discussed in a good meeting coordination. marketing management involves the distribution aspect of tayuban performance. tayub performance is usually held by a family which celebrates their thanksgiving (birthday, wedding day, and good harvest). this aspect is to know how the organization decides marketing strategies, markets’ target and do the promotion. creating a good promotion plan is a good start to compete with competitors. 43 44 editorialbook of reviewijcas: vol. 2, number 2 december 2015 human resources management shows the structure of the organization or the division of people in a performance. human resources is needed to ensure the capability of people in organization to work based on their capability. financial aspects of the organization or financial management is to make sure the financial operation is planned. through the financial aspects of the research, it will be described how to manage resources and to use those funds. through the study, it will be presented how to obtain funding sources. what is the funding source or the organization of capital to borrow capital? use of funds in principle be used for operational activities and for treasury organization. results and discussion production management a production of the performance began with the initiative of the organizers. the organizers itself usually a household. usually the household have a plan for celebrate of something, such as like birthdays, weddings, and other life cycle events (aqiqah-circumcision for a girl, khitanan-circumcision for a boy, etc.). the household as a host contact the parties which they needs. generally, the parties which involves are the dancer (joged), hosting guest (pangarih tamu), musician (pengrawitgamelan), and master of ceremony, sound system, lighting, stage equipment and video shooting. through their social relation and taste, the host can choose freely any of partners that they need. some of the names of the joged have already in their mind before contact the joged. the joged manager, dwi in an interview in may 2014 shows that in august 2014 the joged he manage has been full booked. mrs. giantini, the famous joged from grobogan will perform tayub since the first day of august in the end. booking the joged could be done six months before or after. it could possible book the joged at any time when the joged is available at that day. after booking, all parties will accept a down payment (panjer) as the deal for their services. the amount of the down payment could be discussed between them. “even there is no down payment, if the time is right we will not refuse the offer,” said dwi, the joged manager. marketing management marketing oriented to all parties involved, namely the organizers, organizing partners, actors and spectators in art (achsan permas, 2002). since that, the organization should define marketing plan, target marketing, and promotion. in the marketing plan, the parties concerned with how to do marketing. in art, the orientation can be directed to the work of art (art for art) or directed to the market (for art mart). in the production of tayub performance, the actors and the parties such as dancer don’t really need a promotion. promotion that they did is not making and distributing fliers, or any other kind of media which declares themself as a good dancer. the promotion that they done is to perform as well as possible in the stage that they was invited. the joged will come on time as well as the appointment before, dressing in a good manner, 45 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economyi wayan adnyana. pita maha social institutional capitaltepika rodsakan. comparison of the effects of using traditional thai musical instrumentsrachel mediana untung. organizing system of tayub performance singing and dancing well, and also to behave well too. this is that the joged done to promote themselves. they want to make a good impression to anyone the service for. when they perform properly, it will directly lead to a good impression. this assessment is one important aspect in their marketing. dwi purwanto as a joged manager, said that when they receive the down payment, they must be consistent. they will refuse another down payment in a greater value for the same day offer. the down payment is like a commitment, so it could not be withdrawn. if they receive the greater value, the host will be disappointed and certainly the story of rejection will be a bad marketing. “obstacles such as rains, floods, and lightning does not stop to present tayub,” said dwi purwanto. not only the joged who done this kind of marketing, the musicians too. when they received the down payment, they will consequently obey it. they will not tempted by the higher down payment which offer by another messenger. either the sound system company do also. they already have a schedule to prepare sound and stage equipment. they do not do a real promotion like planing a good campaign but they want to fulfill a good service as the gamelan musician (pengrawit). this example shows that the parties are less concerned with the promotion campaign but they want to perform perfectly. the parties got the order by phone or a messenger who came to their office or house. because of her tight schedule, giantini was help by her husband, dwi purwanto to organize the schedule. dwi purwanto become a manager for his wife and note every offer of tayub. he note all the tayub schedule since 15 years before and freely to look at his big book of the track record of tayub performance. the messenger could be a friend of the parties or could be part of the tayub hobbies. from this messenger or it could be call as a broker, the other parties will get orders. generally, those who get the order will see the existing schedule. if there are no performance on that date, then the next discussion is talking about the value for money of the services they would do. the down payment will be paid to make a deal of the offer. with the receipt of the advance payment, the party has promised to provide services at a predetermined time. human resources management human resources management is properly to ensure the ability of the people in the organization can be used optimal (achsan permas, 2003). to assist the work of all parties in carrying out their duties, the thing that should be done is specify these jobs, grouping the jobs in many unit, and divide the tasks to members by their interests, talents and abilities. these three things are going to be ineffective if there are no mechanisms to coordinate the work unit. in tayub performances, can be specified parties as like the dancer (joged), hosting guest (pangarih tamu), musician (pengrawitgamelan), and master of ceremony, sound system, lighting, stage equipment and video shooting and also the male dancer (pengibing). the duty for the joged is dancing and singing in stage. the pattern of movement of dancing is similar to gambyong dance (widyastutieningrum, 2007). the sing javanese song, gending. joged in grobongan usually dressed in a short-sleeved 46 editorialbook of reviewijcas: vol. 2, number 2 december 2015 kebaya (javanese female shirt), batik as a long dress, wearing a scarf around her waist, and hair in a bun. they were classified from their skill, the seniors (joged mbok-mbokan) and juniors (joged wurukan). both remain joged to sing and dance while standing. the senior one could sing many kinds of gending with their caracter. the yunior one haven’t have a good skill as the senior. “giantini, sri, laksmi and other senior have known to sing with a good twist of several song,” said pardi as an active male dancer (pengibing). “wurukan dancer must learn to sing that fits with the stlye of mbok-mbokan dancer,” he said further. in the stage, there is generally a mbok-mbokan and wurukan dancers. when the tayub performance only involve three joged, then the senior dancer is only one person and the others are juniors. thus joged senior regeneration by involving joged juniors. the junior dancers increase their skill all by the own, like practicing at home using a karaoke media. on the stage, the junior joged will sing popular songs, especially the song that is a trend and it’s not a difficult song to sing. the seniors will sing the more difficult song. the stage manager is shown by the hosting guest (pengarih tamu). the hosting guest manage the mobility of person in stage. he will manage the audience, especially the male dancer (pengibing). the hosting guest will prepare a card (tanda beksa) to a person to dance in a good order. one of the criteria of the hosting guest is that they should know the guest. so commonly the hosting guest is came from the same district with the host. generally there are two hosting guest. the first person will be in the middle of the audience and manage which guests will be dance in the order. the first order is always given to the host. after the host and his family, then the hosting guest allowed to others audience. the joged will give a scarf (selengdang) and the male dancer (pengibing) will hang it on their shoulder. the hosting guest will protect the savety of the joged. hosting guests also is in charge of collecting money from the pengibing which call saweran. the pengibing placed the money in the middle of the scarf folds dan the hosting guest take the money and put it inside a container of bonang (one of gamelan instruments). both hosting guests were men and dressed like a typical javanes mas as like using beskap (javanese jacket) with long pants, and batik cloth. they used blangkon, a javanese hat for male and their face was makeup as like the caracter. sometimes too, hosting guests dress up like a character in a javanese puppet, petruk. sometimes too, they dress up like buto or dashing figure in javanese legend. the master of the ceremony arrange the event which brought in javanese language and manners. the event could be divided as two, the ceremonial and the entertainment. ceremonial is when the joged come to the stage and they show a gambyong dance. followed by another dance, sliring dance by the hosting guest. both dance have a same purpose, to respect the host and guest. after completing the ceremonial, then followed by entertainment. the entertaining is when the guest was invited to the stage in order manner. the male dancer as the audience does not need to dress up like a hosting guest, which is quite well-dressed. 47 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economyi wayan adnyana. pita maha social institutional capitaltepika rodsakan. comparison of the effects of using traditional thai musical instrumentsrachel mediana untung. organizing system of tayub performance the host or the house hold have a duty to organize the event and pay for all of the operation cost. the first thing that should be done is to contact the parties which will be in part of the event. the hosts will pay the fee for services that they will accept. each house hold held an event in accordance with their abilities. knowing sophisticated event or not is to observe the amount of the joged. the smallest event is when there are only three joged. the amount of 12 joged an more is a extreme event. parties which served as accompanist for the joged and provide for musical atmosphere are the group of gamelan players (pengrawit). this parties usually have permanent members and consists of a minimum of 12 person to 30. to play gamelan takes 14 to 16 people. although all of member of the group of karawitan could play the differ instrument, but the percussion instrument (kendang) should be played by the skillfull person. a part of the member should become a male singer (wiyogo) which will sing with the joged. the group of gamelan musician could be dress in an uniform (beskap or other) or just a daily fashion. the sound system, lighting system, and the stage equipment is usually organized in a one company, or known in the package system. knowing the cost and the demand is to observe the size of the stage. after knowing the size of the stage, it will be determined the number and specification of sound and light. the company also provide tables and chairs for guests. the operator will prepare their equipment one day before. they will unload their equipment in the day after the performance. thus the company’s team at least spend two nights at the site. when there are many orders, the operator does not even return home because every day they should provide the services. pengibing is the audience who wanted to dance with the joged. they dance and move their body accompany to the rhythm of the song and standing by side with the joged. generally dancers of guests were male. although there is no prohibition for women to dance together joged, but in fact rarely encountered female audience who danced with joged. the pengibing prepare money at least rp 10.000,00 placed in the middle of the scarf folds. scarves will be accepted once went on stage and give it back to the hosting guests while leaving the stage. the sixth parties mention above have an appropriate duties without any previous commandor coordination. all parties stand on their own without join in a single organization. the joged does not trains their skill with the gamelan musician (pengrawit). likewise, the pengrawit do not coordinate with other parties. the mechanism for the coordination is going on stage, on the spot when the performance began. financial management financial management means managing finances in accordance with the management process as the planning, organizing, actuating and controlling (achsan permas, 2003). in practice, the initial step is to develop a financial plan. 48 editorialbook of reviewijcas: vol. 2, number 2 december 2015 in financial planning, is about the money: when the money is received, when the money is spent, how is the balance, when to invest, and when in debt. it will show a balance sheet that describes the organization’s financial position. in the show tayub, the parties are not joined in an organization. in aprevious opinion it states that these parties stand on their own without being in the same management. only the gamelan musician is a single organization with members. joged was appointed as requested by the host not was appointed by the head of the organization. it was also for the hosting guest, master of ceremony, and the stage equipment company. thus, it will not be seen abalance sheet which express of the financial position. toget a balance, what we can do is observing the cost of the income and expenditure budget of tayub performances. it will be taken into account for the expenditure of small-scale performances (3 joged) and large scale (12 joged). components in expenditure include making invitations, renting of soundlighting-stage equipment, decorations, food and beverage, and fee (joged, master of ceremony, hostingguess, gamelan musician, and brokers). in small scale, the expenditure will reach approximately 20 million rupiah. in large scale, expenditure will reach approximately 40 million. a host should pay for the entire cost of production. in the statement above, then that will be the question is where does the budget revenue? income can be observed from cash and non-cash income. cash income is the money that is owned or savings derived from the host. the host can sell his property such as cattle (cows, goats and others). there is also the inclusion of tayub hobby is twho voluntarily contributed in cash. in addition they have a money gathering system, as called arisan.some families join an organization that can raise money on a regular basis each month. before helding a celebration, the host will ask the chance of getting a loan in this arisan system. not only cash income but an noncashincome could possibly receive by the host, is a sinoman system.sinoman is giving donations to those who have a celebration. donations in general are things such as rice, tobacco, sugar, cooking oil, drynoodles, bananas, andother snacks. these donations will be given to the host and the host will record the donation. when the time for the other hosts will hold a celebration, the host before will return the donation of equal value. if someone had donated100 kilograms of rice, then the next host will pass the donation of 100 kilograms of rice. all non-cash donations can be used for operational events, such as the meals for the event. however,the host can also cash these non-cash donations. conclusion the results showed that the four functions of management are not fully done yet well organized. this is understandable because all elements of production it’s not joining in the one organization, but separate and there is no coordination between the parties. an important point to observe is that all elements of the production of a work that is contractual (gary desslerand chwee huat tan, 2009). the work of a contractual means starting and ending a predetermined job. in the work, the 49 djohan. editorialfortuna tyasrinestu. conference reportkaren kartomi t. cultural survival, continuance and the oral traditionarhamuddin ali. ojo kuwi song as communist discourse formationfirmansah. relation between creativity and economyi wayan adnyana. pita maha social institutional capitaltepika rodsakan. comparison of the effects of using traditional thai musical instrumentsrachel mediana untung. organizing system of tayub performance workers are required to perform their duties professionally. this has been done by all parties involved in the show tayub. in the statement can be observed more that all elements of the production has seen an opportunity to create works of art and business. the tayub performers are able to identify opportunities and take risks as well as resilient to these opportunities. exposure analysis shows that all elements of the production of the show was doing entrepreneurship spirit (irham fahmy, 2003; agus w. soehadi, 2011). this studies show that the model management which carried out by elements production in grobogan was dependent each other and indicating that they were able to create chances. opportunities it creates attachment to one another. they were 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(2002), seni pertunjukan indonesia di era globalisasi. yogyakarta: gadjah mada university press. soehadi, agus w. (2011), eko suhartanto, v. winarto, and m. setiawan kusmuyono. entrepreneurship education. jakarta: prasetya mulya. permas, achsan, chrysanti hasibuan-sedyono, l. h. pranoto, and triono saputro. (2003), manajemen organisasi seni pertunjukan. jakarta: penerbit ppm. widyastutieningrum, sri rochana. (2007), tayub di blora jawa tengah pertunjukan ritual kerakyatan. surakarta: pascasarjana isi surakarta dan isi press surakarta. wirawan. (2009), evaluasi kinerja sumber daya manusia: teori, aplikasi, dan penelitian. jakarta: salemba empat. 84 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014book of reviewijcas: vol. 1, number 2 december 2014 electric sasando of east nusa tenggara, indonesia yohanes don bosko bakok catholic university of widya mandira, jenderal achmad yanni street no. 50-52, kupang, indonesia ,email: jokobakok@yahoo.com abstract sasando is a stringed musical instrument from rote island, east nusa tenggara, indonesia. based on the resulting tones, this instrument consists of two types namely gong sasando that produces pentatonic tones and violin sasando that produces diatonic tones. based on these two kinds of sasando the electric sasando has been created with the consequence that some of original characteristic of accoustic sasando had been eliminated. up to this point, a question is raised, why the electric sasando was created and how is its history? to analyze this problem i use the popular culture studies to indicate that the creation of electric sasando is closely linked with consumer demand, that influenced by popular culture. the datas are obtained through direct observation and by interviewing the informans. result sows that the creation of electric sasando is influenced by consumer demand who live in popular and mass culture. keywords: electric sasando, accoustic sasando, uniqeness, change, popular culture. introduction indonesia is a country that has many different types of art. some among them still survive in its authenticity, but some are already changed. factors contributing to the change include the entry of foreign cultures into the local cultures and assimilate with them. the art is finally growing in a new form, as a result of the combination of the original and new elements. another factor is the development of popular culture that changes the orientation of modern people from the substantial aspects of art to the artificial aspects and prefer to develop the image and style. in this paper i will describe about the art from east nusa tenggara (ntt), indonesia which is the art of music, especially musical instrument named sasando. this stringed instrument initially have a fairly simple form, the number of strings also very limited, but from time to time continue to grow and change. one manifestation of these changes is the emergence and development of electric sasando which on the one hand has enriched the musical treasures of sasando, but on the other hand eliminates certain elements which characterizes the sasando instrument. based on this phenomenon then appeared a few problems here. why the electric sasando was created and developed untill now? how is the history of electric sasando? the aim of this research is to find out the reason of creating electric sasando and to investigate its history. the development of electric sasando can not be separated from the influence of popular culture today that demands sasando to compete in it. 85 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life sriti mayang sari, et.al.. qualitative circulation space application yohanes don bosko bakok. electric sasando of east nusa tenggara pop culture is closely related to the mass culture that is influenced by the spirit of consumerism and the appeal of commodities. this is the trend in today’s social reality that can not be stemmed unless faced with a dialogical approach (strinati, 2009). the study of popular culture would lead us to an understanding of the reasons why traditional arts currently changing as it occurs in sasando musical instrument in ntt. materials and methods the method used in this research is qualitative method. datas are obtained through direct observation and by interviewing the informans. the informans consist of the electric sasando maker, sasando teacher and player, ntt leading figure who knows well about the history of electric sasando. the questions asked to the informans were focused on the reason of creating the electric sasando and its history. some additional question asked is about the original sasando to be compared with the electric one. the collected datas are completed with the informations quoted rightly and with permition from resources books and internet website. discussion a general overview of sasando. figure 1. gong sasando. (photo: edon sasando) figure 2. violin sasando (photo: edon sasando) 86 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014book of reviewijcas: vol. 1, number 2 december 2014 sasando comes from the island of rote, east nusa tenggara, indonesia. most residents of this island are farmers while those who live on the coast working as fisherman. in ancient times, when the island’s population still account for a bit, most of the land overgrown with palm trees named lontar. leave of lontar is then used as a resonator for acoustic sasando . the emergence of sasando for the first time and the one who found it until now could not be known clearly. among the people of rote themselves developing multiple versions of the story about the inventor of sasando. the first version relates that sasando first made by sangguana, a rote young man who then gave it to the princess in the nusaklain palace. another version tells that sasando for the first time made by the two friends, lunggi lain and balok ama sina who worked daily as shepherd and wine tapper (theedens, 1996). the third version relates that sasando for the first time discovered by pupuk soroba inspired by a spider’s web (haning, 2009). among rote people, sasando is a special instrument. not everyone can play this instrumen because there is a certain poetic verses that should be sung by the players when playing it. the poetic verses containing important teachings to rote people. when sasando started playing, people around the player should listen in the silence so that the messages of the teaching could be listened and kept in their mind and heart and the sound sasando could be listened clearly. bamboo that is used to make sasando is the special bamboo, as well as lontar leave that is used as the resonator. bamboo and the leave must be the best and are taken in a particular moment anyway. first made sasando is gong sasando because the tones it produces imitate the sound of rote gong. number of strings is still limited, only between 9-11 strings and producing pentatonic tones. strings are tied on small nails that is attached to a bamboo tube on the top and bottom sides. between the strings and the bamboo tubes there is bridge made of wood pieces that are arranged in such a way according to the high and low of the tones. beside gong sasando, further developed types of sasando is violin sasando. it is called violin sasando because the tones it produces are diatonic tones imitates the tones found on the violin, although its number is limited. the number of strings had increased to 32 and 36 strings. the last type of sasando developed from gong sasando and violin sasando is electric sasando. actually, electric sasando is not a new species of sasando. it is just an electric kind of gong and violin sasando that is made to get a greater volume and clear-varied sound. in addition, there is an acoustic sasando which also uses electrical devices with the same purpose. in the bamboo tube of acoustic sasando a transducer is placed so that the volume is enlarged and the original sound of the instrument is still maintained. in other words, the original sound of sasando in acoustic sasando is unchanged while in the electric sasando the sound is converted to electrical sound. the variety of sounds can be produced by using the sound effect tool. so, it can produce the sounds of the organ, violin, flute and other instruments as we can find in electric guitar using the sound effect tool. 87 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life sriti mayang sari, et.al.. qualitative circulation space application yohanes don bosko bakok. electric sasando of east nusa tenggara electric sasando figure 3. electric sasando in 1980 figure 4. electric sasando in 2012 (photo: edon sasando) (photo: edon sasando) 1. the inventor of the electric sasando 1. the inventor of the electric sasando figure 5. arnoldus edon (1923-1994), inventor of electric sasando. (photo: edon sasando) the initial idea of making electric sasando driven by the need for a sasando with larger volume and clearer sound. previously, the effort to increase the volume of sasando is performed by using a microphone that is placed near the sasando but the sound of the strings is not banalnced between melody, rhithm and bass sections and the friction sound of the instrument and other sounds around it also sounded. under these conditions it was late arnoldus edon in 1958 began conducting experiments to make electric sasando. he was a physics teacher, was born in oesao, kupang dated august 28th, 1923. as the result of the experiment in 1960 he successfully created the first electric sasando. in the following years he continued to conduct experiments to create a better electric sasando from the aspect of sound quality and design of the instrument. during his life he has created 350 electric sasando based on consumer demand as well as on his own initiative. on december 20th, 2008, at the 50th birthday of the ntt province, late arnoldus edon received an award plaque from the governor of ntt as the inventor of electric sasando. when arnoldus edon died in 1994 his work was continued by his son, caro david habel edon. david himself had learned to make electric sasando from his father since 1972 when he was 10 years old. this time he also continued to make experiments using the tools of new technology in the field of electronics. of his own hand, he already produced 100 electric sasando. in addition to electric sasando, he also make gong and violin acoustic sasando, using pick up and resonator. he even can make electric and acoustic sasando at once in the same instruments. he make the electric sasando by putting pick up inside the bamboo tube and conect it by a jack cable to the speaker. he himself rafts the pick up using electric wire coil according to the size of bamboo tube. besides david, there are also some other electric sasando makers in ntt such as djony theedens, yeremias pah and oak zakarias ndaong. each sasando they produce has different design and tuning system. 2. the organology of electric sasando. in terms of organology, electric sasando is a stringed musical instrument that consists of several parts. the folowing are the parts of edon electric sasando. figure 5. arnoldus edon (1923-1994), inventor of electric sasando. (photo: edon sasando) the initial idea of making electric sasando driven by the need for a sasando with larger volume and clearer sound. previously, the effort to increase the volume of sasando is performed by using a microphone that is placed near the sasando but the sound of the strings is not banalnced between melody, rhithm and bass sections and the friction sound of the instrument and other sounds around it also sounded. under these conditions it was late arnoldus edon in 1958 began conducting experiments to make electric sasando. he was a physics teacher, was born in oesao, kupang dated august 28th, 1923. as the result of the experiment in 1960 he successfully created the first electric sasando. in the following years he continued to conduct experiments to create a better electric sasando from the aspect of sound quality and design of the instrument. electric sasando figure 3. electric sasando in 1980 figure 4. electric sasando in 2012 (photo: edon sasando) (photo: edon sasando) 88 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014book of reviewijcas: vol. 1, number 2 december 2014 during his life he has created 350 electric sasando based on consumer demand as well as on his own initiative. on december 20th, 2008, at the 50th birthday of the ntt province, late arnoldus edon received an award plaque from the governor of ntt as the inventor of electric sasando. when arnoldus edon died in 1994 his work was continued by his son, caro david habel edon. david himself had learned to make electric sasando from his father since 1972 when he was 10 years old. this time he also continued to make experiments using the tools of new technology in the field of electronics. of his own hand, he already produced 100 electric sasando. in addition to electric sasando, he also make gong and violin acoustic sasando, using pick up and resonator. he even can make electric and acoustic sasando at once in the same instruments. he make the electric sasando by putting pick up inside the bamboo tube and conect it by a jack cable to the speaker. he himself rafts the pick up using electric wire coil according to the size of bamboo tube. besides david, there are also some other electric sasando makers in ntt such as djony theedens, yeremias pah and oak zakarias ndaong. each sasando they produce has different design and tuning system. 2. the organology of electric sasando. in terms of organology, electric sasando is a stringed musical instrument that consists of several parts. the folowing are the parts of edon electric sasando. a. upper part. string pegs upper ring figure 6. upper part of electric sasando (photo: edon sasando) the upper part, called the head of sasando, is the part where string pegs are placed. at the bottom of sasando head there is a ring with small holes to put the string. 89 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life sriti mayang sari, et.al.. qualitative circulation space application yohanes don bosko bakok. electric sasando of east nusa tenggara b. middle part. bamboo tube bridge strings figure 7. middle part of electric sasando. (photo: edon sasando) the middle part of electric sasando consists of a bamboo tube, length 30-50 cm, diameter 5-8 cm. in between the string and bamboo tube there are bridges that hold the strings. the amount is equal to the number of strings. c. lower part. lower ring input cable jack small nails pick up figure 8. lower part of electric sasando. (photo: edon sasando) at the lower part of electric sasando there is also a ring to place the strings and the small nails where sasando strings are tied. d. the last part. length adjuster leg figure 9. the last part of electric sasando. (photo: edon sasando) 90 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014book of reviewijcas: vol. 1, number 2 december 2014 electric sasando is equipped with pole made of metal. initially, the pole is made of two bended big wire in order to sustain sasando on the table, but later is developed to a pole with three legs. the latter kind of pole is still used to this day, although there is a little change in shape and size. 3. playing technique of electric sasando. figure 10. the string arranggement of electric sasando (sketch: edon sasando) figure 11. caro david habel edon is playing his electric sasando (photo: edon sasando) this paper only shows the playing technique of edon electric sasando. up to now, on edon electric sasando we could only play two scales namely c major and g major. david is currently finishing his electric sasando with 40 strings that can be played in 4 scales.electric sasando, as gong and violin sasando, are generally played in seating position but can also be in standing position by setting the length of pole in the proper position. electric sasando can be played in solo or a group form. left hand fingers that are used to play sasando are thumb, index finger, middle finger and ring finger. thumb functions to play the melody, the index as a stabilizer finger, the middle and ring fingers is used to play the bass strings. right hand fingers that are used to play are the thumb, index and middle fingers. all this three fingers are used to play rhythm 91 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life sriti mayang sari, et.al.. qualitative circulation space application yohanes don bosko bakok. electric sasando of east nusa tenggara according to particular rhythm pattern. in the scale of c major, middle and index fingers of the right hand also play bass in d, e and f strings for ii, iii and iv chords. the strings that are played to the melody ranging from g to g2 (see sketch above). bass ranging from g to f strings, rhythms ranging from g to d1 strings. a. the playing technique of electric sasando in the scale of c major. when playing chord i (c major), the ring finger of left hand plucks c string, while the middle finger of the right hand plucks g string, index finger c1 string and thumb e1 string. when playing chord ii (d minor), ring finger of the left hand plucks d string for bass, middle finger of the right hand plucks f string, index finger a string, thumb d1 string. when playing chords iii (e minor), ring finger of the left hand plucks g string for bass (second inversion), while middle finger of the right hand plucks the e string, index finger g, thumb b. when playing chord iv (f major), ring finger of the left hand plucks c string for the bass (second inversion), while the middle finger of the right hand plucks f string, index finger a, thumb c1. when playing the chord v (g major), the ring or middle finger of left hand plucks g string, middle finger of the right hand plucks g string, index finger b, thumb d1. when playing chord vi (a minor), ring finger of the left hand plucks c string for the bass (first inversion), while the middle finger of the right hand plucks the a string, index finger c1, thumb e1. when playing chord vii (b diminished), the ring finger of left hand plucks d string for bass (first inversion), the middle finger of the right hand plucks the string f, index fingger b, thumb d1. at all of these chords, melody is played by the thumb of left hand. b. the playing technique of electric sasando in the scale of g major. when i playing chord i (g major), middle finger of the left hand plucks g string for the bass, while middle finger of the right hand pluck g string, index finger b, thumb d1. when playing chord ii (a minor), ring finger of the left hand plucks c string for the bass (first inversion), middle finger of the right hand plucks a string, index finger c1, thumb e1. when playing chords iii (b minor), ring finger of the left hand plucks d string for bass (first inversion), middle finger of the right hand plucks b string, index finger d1, thumb f#1. when playing chord iv (c major), ring finger of left hand plucks c string for bass, middle finger of the right hand plucks g string, index finger c1, thumb e1. when playing chord v (d major), ring finger of the left hand plucks d string for bass, middle finger of the right hand plucks a string, index finger d1, thumb f#1. when playing chord vi (e minor), ring finger of the left hand plucks g string, middle finger of the right hand plucks e string, index finger g, thumb b. when playing chord vii (f# diminished), ring finger of the left hand plucks c string for bass (second inversion), middle finger of the right hand plucks string a, index finger c1, thumb f#1. c . the steps in learning electric sasando. c.1. melody learning. left thumb playing scale of c major on the melody section separately ranging from g to g2. focus firstly on the notes of the c major scale (c, d, e, f, g, a, b, c) then began to memorize the position of each string. note that between the f1 and g1 string there is f#1 string and between a1 and b1 string there 92 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014book of reviewijcas: vol. 1, number 2 december 2014 is a# string, as well as at the lower octave, between the g and b string there are f# and a# strings. these strings are used only for certain melody, especially for the melody in g scale. next, try playing a simple melody without rhythm and bass accompaniment so that the left thumb used to pluck the melody, begin with a slow tempo and then accelerated. c.2. rhythm learning. middle finger, index finger and the thumb of the right hand separately play some rhythm patterns and arpeggios (the fingers pluck the strings in sequence, not simultaneously) according to the chords above. c.3. melody and rhythm learning simultaneously. left thumb playing simple songs accompanied by the rhythm of the left hand. first play the songs accompanied by the rhythm of three major chords (i, iv and v) then use the other chords. c.4. bass learning. ring finger and middle finger of the left hand alternately plucking strings c and g without melody and rhythm, begin in a slow tempo further getting faster. c.5. exercise bass and rhythm simultaneously. c.6. exercise bass, rhythm and melody simultaneously. at this step, the player must be able to focuse on these three sections to produce a harmonious blend. 4 . advantages and disadvantages of electric sasando those who concern in sasando give an assessment that, when compared with the acoustic sasando, electric sasando has some advantages and disadvantages. one of its advantages is it is able to produce high volume and clear sound. if using sound effects then it can produce many more varied sound. thus, electric sasando is played in the way and position of sasando but has advantages in terms of volume and clarity of sound. another advantage of electric sasando is that electric sasando is no longer use palm leaves as a resonator that hinders the audience to see the beauty of fingers movement of the players. moreover resonator made of palm leaves are very susceptible to weather and collisions that could cause damage. its disadvantages are, although the resulting volume is much higher and clearer, but the sound is no longer resembles the original sound of sasando. from the aspect of physical appearance and the way how to play, the instrument is realy a sasando but the sound character exactly the same with an electric guitar, whereas the main character of sasando music lies in the sound, as the main material of music is sound. another disadvantage of electric sasando is not using the resonator made of palm leaves. by using the resonator of palm leaves sasando actually look more natural and artistic . so, there are at least two aspects left of original instrument, the sound character of sasando and the palm leaves as the resonator. conclusion the electric sasando currently had passed through a long historical process. its being in the history is inseparable from the existence of acoustic sasando which have emerged and developed in the previous periods. the idea of making this instrument is based on the need for a sasando instrument that has a high volume and clear sound and can be combined with the other pop music instruments. base on physics knowledge, arnoldus edon tried to conduct experiment by experiment to fulfill those needs. finally in 1960 he successfully created the first electric sasando. over 93 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life sriti mayang sari, et.al.. qualitative circulation space application veera phansue. traditonal thai music competition time the development of these instruments continue to evolve in terms of design and sound quality, based on experiments that is accord to the technological advances in the field of electronics. thus, electric sasando is an innovation, as a result of the development of the sasando instrument preexisting. the new discovery has gained public acknowledgment with the capitulation of the award to late arnoldus edon as the inventor of the electric sasando by the governor of ntt. he was deserve to get the award because he had been preserve the sasando musical instruments and the public has been enjoying his work. there are two different reactions of performers and audiences concerning the development of the electric sasando, some agree but the others not. those who agree suggested that the electric version is more comfortable with powerful sound and suitable to be played with the other popular musical instruments. those who disagree suggested that electric sasando is no more deserve to be called sasando because the sound character is already changed and physically lost its uniqueness.thus, the efforts to compare electric sasando with acoustic sasando is an irrelevant deeds. electric sasando need not to be compared with the acoustic sasando to identify which one is better because they are different and unique. differences that exist between the two is a factor that enriches the sasando musical treasures. now electric sasando being developed and widespread in both national and international scope to meet consumer demand driven by pop culture. the order of the consumer for this instrument is increasing day by day and currently more young people learning it. it can not be denied that both producers and consumers have been involved in the world of commodities in which the aesthetic aspect of the sasando music itself no longer be considered. it was apparent from the fact that the original characteristic of sasando sound and other accessories such as resonator of palm leaves has been eliminated and more developed the electric sound color to fulfill the consumer demand in market relations. this is the reality in the popular culture that cannot be rejected unless accepted by the dialogical and critical notion. references haning, p. (2009). sasandu, alat musik tradisional masyarakat rote ndao, kupang, kairos. strinati, dominic. (2009). popular culture, yogyakarta: ar-ruzz media. theedens, d. (1996). pedoman bermain sasando, kupang, cv pengharapan karya abadi. online source: http://edonsasando.wordpress.com/2011/12/02/perkembangan-sasando-elektrik_02/ interviews: ady dethan, 39, oebufu, kupang, ntt. ben mboi, 78, cilandak, jakarta south. caro david habel edon, 51, btn kolhua, kupang, ntt. djony theedens, 56, naikoten 1, kupang, ntt. marline f. meyners, 47, btn kolhua, kupang, ntt. melkior kian, 46, oesapa, kupang, ntt. editorvol1no22014.pdf (p.2) npscn001(2).pdf (p.1) jurnal ijcas vol . 1 number 2 desember 2014.pdf (p.3-112) sahita’s performance, satire of the life of javanese women yustina devi ardhiani the religious and cultural studies program, sanata dharma university yogyakarta, indonesia. email: devilitto@yahoo.com a b s t r a c t sahita is a performance art group established in surakarta-central java with four members of javanese women who are in their forties to fifties. on stage performance, sahita acts upon old women who are not pretty, but plump, attractive, energic, and humorous. their performance is considered “uncommon” considering the fact that sahita’s cultural background is javanese which is dominated by youth, beauty, proportional body as the beauty of female bodily form, and gentle manner as women described on stage performance. the research questions highlights why sahita prefers to have satire style and chooses traditional art as the basis in producing new works? the data are gained through field observation, deep interview and library study. the finding reveals that sahita prefers the satire style to express what is hard to talk in the daily life and to express critics in humorous ways so that the critized party can also enjoy the performance. in their works, sahita makes traditional art as its base because of its strong background in traditional art and because of its unlimited exploration. what makes sahita unique besides its members who are all women voicing women’s anxiety, sahita also presents traditional art with contemporary taste in their works. keywords: women artists, javanese culture, traditional art, contemporary art, satire introduction “performance art stage is my life. i am fully aware that when i grow older, all of this will end, i will no longer be able to celebrate my dancing,” said a ronggeng jaipong dancer from kerawang-west java, indonesia. similar anxiety plagues women artists especially dancers (surur dan anoegrajekti, 2004: 6-7). the statement portrays the perception of a ronggeng dancer that aging means the end of career as dancer. is it true? discussing javanese women in performance art stage is discussing the issue of marginalization of javanese women. religion, culture, and structure of javanese society reinforce each other to limit the space for women and as consequence makes it difficult (although not impossible) to unravel and overcome. the issue of women in performance art is inseparable from the context in art which position women as passive object of art instead of subject of art capable of creation on her own will. the preconceived notion is that performance art requires young, beautiful, and sensual women as prima donna. there is also a notion that what people are looking for from female dancers is their sensual appeal sensually appealing. in addition, most female dancers accept the view that youth is an important factor for the success and sustainability of their career (surur and anoegrajekti, 2004: 25). 64 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016book of reviewijcas: vol. 3, number 2 december 2016 this situation is also seen by lindsay who explained that women in performance art in indonesia face specific challenges mostly due to negative perception of family and society towards them. taboos in performance art are including featuring women’s body in front of live audience, committing activities in public sphere (whereas women are perceived as belong to domestic sphere), and in the evening (women working late night are often stigmatized). due to such challenges, lindsay sees that there are only very few women in leadership position in performance art including manager, choreographer, and director (lindsay, 2009: 15). sahita, as the primary subject of this article is a performance art group established in surakarta-central java. sahita that was established in 2001, three years after the fall of the authoritarian regime of soeharto, is one of the very few distinctive performance art groups in indonesia. sahita is one of few women artists in indonesia that are able to express themselves as creator, choreographer, actor, artistic director, costume and make up director, as well as manager in their performances. sahita is comfortable calling themselves dance theater group. conceptually, there is no final definition what it means by dance theatre. sahita is comfortable with the label dance theater because in every performance, they feature elements of dance and elements of theater simultaneously. however, the label does not fully reflect the existence of the work of sahita which place comedy as the center of their performance. whatever name best represents sahita’s works, it is important to acknowledge that the group is exploring tradition to discover identity through performance art. sahita offer art which revive traditional values while criticizing them. sahita is taking the royal art form yet using the spirit of of the people/commoners (wong cilik) to voice the aspiration of women. therefore, it is probably to label their performance as dance theater ala sahita. members of sahita are four javanese women turning 45-56 years old this year. they are thingthong/sri setyoasih (56 years old), atik/atik sulistyaning kenconosari (54 years old), inong/wahyu widayati (53 years old), and the youngest one, cempluk/sri lestari (45 years old). thingthong, atik, inong, and cempluk are their stage nicknames. sahita is interesting as subject of study, because as middle-age women, they choose to present themselves as fat elderly women, a character far older than themselves. this choice is “deviant” considering that all members of sahita are javanese women and living in a society cherishing or even requiring youth, beauty, and proportional weight from women working in performance art. furthermore, in performance art, stereotype of javanese women is embodied in traditional dancer, especially royal dancers who are identical with youthful, beautiful, gentle, and submissive. in general, this article discusses the existence of sahita as performance art group consisting of four middle-age women, by proposing two research questions. first, why sahita who are younger (middle-age) choose to appear in satirical manner as sassy, lively, outspoken, humorous women on stage? second, why sahita choose traditional art as the basis in producing new works? 65 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ...asep hidayat wirayudha, the secret of brahms cellos sonata no. 1 op. 38...r. m. surtihadi, music acculturation in rhythm of ...yustina devi ardhiani, sahita’s performance, satire of the life... satire of srimpi srimpêt the first work of sahita namely srimpi srimpêt is discussed in this article to describe idea and orientation of sahita that they express with satire in their performances. other works of the group will be described as far as they help explain sahita’s creative process from time to time. srimpi srimpêt is an interpretation of kalatidha letter by ranggawarsita iii that organized based on the structure of classic traditional dance, the serimpi dance. however, srimpi srimpêt is different from serimpi dance. the following is a brief description of the opening scene in one of sahita’s appearances when performing srimpi srimpêt on stage of performing arts. dusk in the well-lit terrace of the radya pustaka museum in surakarta (october 27, 2015). the light came from the shining full moon and the lamp shot right into the area in front of the ranggawarsita statue that functioned as the stage. the atmosphere was serene when from behind ranggawarsita statue faint sounds of women playing dhandhang gula song replicates in acapella. the sound of the singing came from four sahita personnel performing one of their works, srimpi srimpêt. accompanied with the songs, from backstage came four women with wrinkled faces, gray hair, dressed in shabby kebaya, and every time their mouths were exposed, the front teeth were dark. they walked hand in hand slowly with their body bent slightly down while carrying a roll of pandan mats and kerosene lamp. entering the main stage, they walked to four different corners. each turn on charcoal and kerosene in kwali (a container similar to pot without handles, made of pottery) in the four corners to shape border line of the main stage. listening to the sounds of song and seeing the body language, procession performed while smelling the strong sense of incense, we can see that sahita is performing ritual to open their performance. the procession that lasted less than five minutes was able to build a serene atmosphere among the audience. however, the silence only lasted for a moment, because several seconds later bits and gags were deliberately thrown to the stage sahita that we will never find in serimpi performance. the silly skits they do, turning the silence into laughter. for example, inong poked atik’s buttocks while walking in front of her and made atik jumped in surprise scream in surprise, or, thingthong fell down while doing certain movement requiring balance. when she fell down, shamelessly thingthong said, “kegeden bamper iki, mulakno tiba” [my buttocks is huge indeed, it is too big that i fell], and the audience laughed at it. from the glimpse of the opening scene above, there are a number of striking differences between serimpi dan srimpi srimpêt dance that we will explore further. as already discussed, srimpi srimpêt was born out of the interpretation of sêrat kalatidha that uses serimpi dance as a foundation, and then creates a parody to transform the dance into a satirical work different from its basis. the definition of satire in this paper is an art of communication containing criticism and irony, created by laughing at one self that is able to entertain wider community including the subjects of criticism. satire involves the manifestation of the three subject positions, i.e. the satirist, the audience/ readers/listeners (the satire), and the target of joke (the satirized). hence, satire occurs when there are parties throwing jokes (satirical humor), a party that is ridiculed, and 66 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016book of reviewijcas: vol. 3, number 2 december 2016 the object of satire/ridicule, including the satirist himself/herself (simpson, 2003: 8, 9096; leboeuf, 2007: 3; sunardi, et all, 2011: 6183). this paper specifically discusses the subject creating satire, namely sahita who are the main subject of research. the following are the differences identified between serimpi dance and srimpi srimpêt. first, serimpi dance is generally performed as a tribute to the king, whilee sahita creates srimpi srimpêt as a form of offering to the king, the almighty, creator of the universe. satire in the idea shaping the srimpi srimpet shows that the offerings for the almighty can be done by anyone, including sahita whose personnel are neither princess nor selected dancers of the palace. sahita implicitly view that tribute to the king should also be able to be performed by ordinary people. the second difference is that serimpi is usually performed by four beautiful young women with proportionate posture, beautiful costume, and makeup that highlight the beauty of dancers. meanwhile, srimpi srimpet is performed by four elderly unattractive women who are a little overweight who walk slowly while bending their back like true elderly women. the makeup, hairdo, and the shabby kebaya were worn by sahita to make them look much older than they really are. satire in this section shows that anyone can dance. dancers do not have to be young, beautiful and have proportional posture. sahita who is middle-aged and performed as elderly women is the evident. the shabby costumes that make sahita’s posture look increasingly fat and makeup that keeps sahita far from being beautiful in public view do not prevent them from performing with confidence on stage. the third difference is if serimpi dance is accompanied by javanese gending with a set of gamelan instruments played by a number of pengrawit (javanese gamelan music players), srimpi srimpêt performance is accompanied by neither one of them. the accompaniment of the performance is an acapella performed by sahita members who eloquently mimicked a number of gamelan musical instruments. the acapella colored the whole staging of srimpi srimpêt. the idea of satire shown in this section is that dancing does not have to depend on the availability of musical instruments and music players. the body is the main condition as well as tools for sahita to produce their works which include exploration of sounds from their own mouth. the fourth difference is if serimpi displays the majesty of a traditional dance that comes from the palace, in srimpi srimpêt, sahita actually presents the simplicity of a performance, because sahita positioned their work as a work of ordinary people, people with almost no wealth and power, and therein the satire. through srimpi srimpêt, sahita points out that not all art work are as costly to be staged at performing arts stage. the fifth difference is the serimpi dance is identical with tenderness, subtlety, elegance, beauty and courtesy of the dancers, while in srimpi srimpêt, seen on stage are four elderly women with wrinkled faces, big posture, and uncontrollable emotions. srimpi srimpêt also features unregulated and fun movements that at one point seems well organized and at another point looks chaotic. if the serimpi dancers seem reserved, srimpi srimpêt characters looks quite the opposite. satirically, all of sahita’s personnel let their emotions stand out on the stage; their feeling of being constrained and limited 67 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ...asep hidayat wirayudha, the secret of brahms cellos sonata no. 1 op. 38...r. m. surtihadi, music acculturation in rhythm of ...yustina devi ardhiani, sahita’s performance, satire of the life... by tradition, resistance against self-centered leaders, and expression of taboo topics rarely discussed such as sexuality. sahita also explores unusual gestures prohibited to be performed by the serimpi dancers. all of these are among the features created and performed by sahita in srimpi srimpêt. the five points above clearly demonstrates the satirical distinction between serimpi dance and srimpi srimpêt. in addition, sahita’s view of the canonization issue of the performing arts, namely locating certain artworks as noble, of high quality, majestic, and must be preserved according to the party considered as the authority in the life of javanese society (the king and royalties). one of the scenes in srimpi srimpêt (sahita’s performance in solo, october 27, 2015) which shows sahita’s view on the issue of canonization of performing arts is when cempluk forgets the lyric of a poem and makes it a joke. responding to her mistake, inong expressed her anger and said, “don’t you know that kagunan (culture) is noble? you shall not make joke of it and giggle about it! kagunan is art! get it?” inong raised her voice while pointing towards the pandan mat instead of cempluk. in the scene, cempluk plays a role as one who tries to play with traditional art and her act is opposed by inong who positions herself as guardian of tradition. inong anger is not only aimed at cempluk, but also towards people (symbolized with pandan mat) that are considered ignorance and unappreciative towards noble art. on the one hand, inong represents the anger of the parties upholding tradition and preventing tradition to be treated as laughing stock. on the other hand, the satire emerges through the fact that inong is also a part of the work that “play with” traditional art namely serimpi dance. the dialogue implies that srimpi srimpêt is a manifestation of sahita’s criticism towards the canonization of work of art, in which the value of a work is determined by the ruling parties, and the works considered noble are those produced inside the place wall and works born in the community, including the works of sahita are less appreciated. performing as elderly women, the strategy of sahita in their work sahita choose to look much older than their real age for several reasons. firstly, since the beginning of their works (in 2001) the age of all sahita personnel is not young anymore, i.e. between 29-40 years. sahita realize that, in average, the artists (dancers or theater players) who have many opportunities to perform on art performance stage are young people. however, sahita believe that old age is not a barrier to work. therefore, sahita answer the question through their works. secondly, inong said (interview with inong, 02/27/2016), “kula nek dandan biasa ra ana wong nggagas, dandan tuwo niku jane yo trik, ben digagas.” (when i wear regular dress there is no attention, wearing an old dress is actually also a tactic, to steal an attention from the audience). it means that sahita consciously choose the role of an elderly woman to steal the audience’s attention. the awareness that all sahita personnel is no longer young, the posture that is not slim and the skin that is not as bright as the stereotypes of beautiful women formed by the media, has encouraged sahita to find ways to attract the audience’s attention. furthermore, presenting themselves as elderly women with solid, lively, flirty, and cheerful characteristic, has becomes their choice. 68 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016book of reviewijcas: vol. 3, number 2 december 2016 thirdly, sahita choose the character and role as elderly women because it is close to the daily life of the audience. almost certainly everyone has experienced the dynamics of life with the elderly women, and one day everyone will grow old too. the significant differences, which are at the same time become the main attraction in here, the figure of elderly women who are presented is not the figure with the stereotype found in the society. the elderly women presented by sahita on stage was not a wise grandmother, who is calm in carrying herself, speaking softly, firmly, and wisely in giving advice. the four elderly women integrated into sahita’s appearance on stage, always look lively, cheerful, playful, expressive, have a loud tone of voice, speak out frankly and sometimes mischievous. those behaviors of elderly women that are different from the stereotypes in the society, in general look are considered improper and the madness is presented by sahita in a satire in their work in the stage of art performance. fourthly, by presenting himself as elderly women, sahita freely talk anything to the audience who look much younger. in addition, the appearance is acceptable to the audience from all walks of life. children, teenagers, adults, to the elderly, are attracted to the agile and stylish appearance of sahita’s grandmothers. by appearing as elderly women, sahita demonstrate a satire that is very close to the daily life of the community. one day all of the sahita personnel will be as old as or even much older than their performances on stage, so is everyone watching and laughing enjoying their show. however, does the audience realize that they are laughing at people close to their lives? does the audience also realize that they are laughing at their own “future” life when one day they will get old too? at the time sahita perform imitation to create tragic and comedic aspects, at the same time, with the aim of attracting the audience, a satire occurs. regardless of whether the audience is aware or not on a satire that invites their laughter, sahita offer a spectacle that is not merely decorated with the faces of young women. standing on traditional art, looking at contemporary arts since the first works were created, namely srimpi srimpêt, sahita have used javanese traditional arts as the foundation of their works. the experience in reviewing serat kalatidha, choosing the serimpi dance as the basis for the motion and giving birth to a new work, have made sahita rethink about the option of reinterpreting traditions. inong said that the considerations that arise why they take the tradition as the foundation of sahita’s works, “…kita bekal kuatnya memang tradisi, saya, mbak thing, bu atik itu semua dari aski dan punya pengalaman menari. cempluk, meskipun bukan dari aski tetapi dia menyukai seni tradisi, suka karawitan. nah, karena semua punya bekal tradisi dan seni tradisi tidak akan habis kalau kita gali, kami jadi mantap mengambil seni tradisi sebagai pijakan karya-karya sahita.” “... our strong foundation is the tradition, i, mbak thing, bu atik are all from aski and have experience in dancing. cempluk, even though not from aski, she loves traditional arts, like karawitan. well, because all of us have the basis of tradition and traditional arts never ending to explore, we are confident to take the traditional arts as the foundation of sahita’s works” (interview with inong, 18/09/2015). 69 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ...asep hidayat wirayudha, the secret of brahms cellos sonata no. 1 op. 38...r. m. surtihadi, music acculturation in rhythm of ...yustina devi ardhiani, sahita’s performance, satire of the life... prior to the establishment of sahita, the personnel were member of gapit theater beginning in late 80’s. gapit theater is a theater group in surakarta led by bambang widoyo sp who also acted as writer and director of the production of the group. the experience with gapit and bambang widoyo sp whose all the manuscripts depart from the javanese tradition with full of rude jokes, typical of suburbia, have great influence on the character of sahita’s works. in the end, the sahita as a group agreed that they will always use the traditional arts as the basis of their works. however, sahita’s works cannot simply be classified as traditional art because what sahita does is using the traditional arts as the foundation of the works, and producing new works that are different from their original traditional arts. instead, sahita criticize the rigidity of the rules in the traditional arts where it seems that there is no opportunity for the community to be creative by using the traditional arts. inong asserted, what sahita are doing is trying to “bring the traditional arts to the community”, in the sense of trying to make the traditional arts become increasingly known to the society, to bring them closer to the community, and to attract people to learn and develop the traditional arts (interview with inong, 13/10/2016). sahita develop the traditional arts in a way that is different from traditional art performances in general. it is the uniqueness of sahita which deserves appreciation, because sahita present traditional arts with contemporary taste. how are traditional and contemporary arts understood? traditions and contemporary are understood as attitude and orientation towards time. traditional refers to attitudes and orientations that are directed to the past (simatupang, 2013: 161). the tradition is deeply rooted in society, constantly embedded and at the same time develops with the society which supports the tradition (kussudiardja, 2000: 160) and by referring to things believed to have been passed down from generation to generation, in general, at least three generations (edward shils via simatupang, 2013: 160). tradition, as stated by giddens (1994: 63), is associated with memory (especially the collective memory), involving ritual, associated with the formulation of the idea of truth, having the keepers of tradition, and having a connection with moral and emotional content as well. the thing that also needs to be realized is that the tradition is a human activity; therefore there is no tradition that has not changed (simatupang, 2013: 12-13, and 160). contemporary art is marked by a mentality in which there is no particular dominant style (danto via tanke, 2011: 76, 79). the understanding on contemporary arts refers to attitudes and orientations that prioritize conformity with present-day conditions (simatupang, 2013: 161). in the arts of dance, contemporary dance is defined as a form of experimental dance that tries to find new values and expressions that are different from the forms of dance (tradition) ever existed. the form of contemporary indonesian dance is very diverse. by looking at the process, one of the factors underlying the birth of various forms of contemporary indonesian dance is the interaction that occurs between cultures, both local culture and between individuals representing local culture with a very close foreign culture. various kinds of dialogue that occurs based on the spirit of freedom to create may lead to the creation of works in various forms (murgiyanto, 2015: 84, 97, 98, and 99). 70 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016book of reviewijcas: vol. 3, number 2 december 2016 contemporary sense that arises in the flexibility of creating, improvising, and space which is not strictly structured may be contrary to the traditional rules presented by sahita at the same time. the problem that often occurs when presenting traditional and contemporary art is that there is a tension between those who want to maintain the traditional arts and those who seek to develop a tradition to respond to changes (kussudiardja, 2000: 160). in such tensional situation, how do sahita present traditional art with a contemporary sense in their works? sahita present traditional art in various forms. for example, we can refer to sahita’s first work entitled srimpi srimpêt. this work clearly presents the traditional arts because its point of departure is from sêrat kalatidha containing têmbang macapat poem and the poem is sung directly by the sahita personnel in srimpi srimpêt. meanwhile, the basic motion and dramatic plot of srimpi srimpêt are taken from serimpi dance to the accompanied with akapela voice of sahita personnel mimicking the sound of javanese gamelan. in other forms, sahita often present rituals of sesaji which is still often conducted in javanese traditional events. in the opening scene of srimpi srimpêt, sahita perform a ritual of sesaji in which they bring klasa bangka and téplok kerosene lamp, while in srimpi kêtawang lima ganêp and pangkur brujul, sahita present sesaji in the form of bancakan and jajan pasar. sahita’s costume, makeup and hairstyles on the stage also reflect the javanese culture. all sahita personnel use kebaya costume, jarik fabric, and hair in a bun. in certain works sahita use a shabby kebaya supported by makeup and hairdressing asserting them as poor, dirty, and very old village women. sometimes, although sahita still present themselves as old female figures, they do not look very poor because they use bright and clean-looking kebaya. the selection of costumes, makeup, and hairstyles is adjusted to the work they perform. shabby jarik and kebaya cloth were formerly worn by women in javanese rural areas and used as everyday clothing, while kebaya which look new and nice were usually used on certain feasts. in the past, only noble families or those who live close to the palace were able to wear a nice kebaya in their daily life. nowadays only few women, both in cities and in villages, use kebaya and jarik as everyday clothing. kebaya and jarik clothes tend to be too complicated (not practical), uncomfortable to use because it feels hot, and the users cannot move freely. kebaya, jarik, and buns are only used in special occasions such as weddings or in certain celebrations. in contrast to sahita, in their hands, wearing kebaya, jarik, and buns is common, not too complicated and it does not take time. although they dress themselves with a little help from fellow sahita personnel, in less than an hour they can wear jarik, kebaya clothes, wearing a bun at the same time doing makeup, and ready to perform as a lively and witty aged woman. the costumes, facial and hair makeup of all the sahita personnel that make them appear as elderly women, as if to affirm that now only old people who are still faithful to keep the tradition. the option of wearing kebaya costume and jarik, nêmbang while dancing the javanese traditional dances, completed with sesaji in a container called tampah (although it contains jajan pasar instead of sajèn as found in sesaji in general), is sufficient to give the impression that sahita are presenting a javanese tradition. 71 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ...asep hidayat wirayudha, the secret of brahms cellos sonata no. 1 op. 38...r. m. surtihadi, music acculturation in rhythm of ...yustina devi ardhiani, sahita’s performance, satire of the life... how is the contemporary aspect presented in sahita? on the stage, the seriousness built through the mantras, songs, and dances, is often filled with movements that invite laughter. therefore, seriousness never lasts long in sahita’s stage performances. the short seriousness and prolonged laughter become one of sahita’s peculiarities in almost every appearance. body language, straightforwardness in dialogue, the totality of expression, and the flexibility motion of all parts of the body, are the main attraction of their appearance. songs presented by sahita especially in the performance entitled réwangan, are not pure old songs identical to the tastes of the elderly people in general, not also pure songs of young people today; sahita combine a wide variety of songs. sahita make a medley of songs that incorporate folk songs, songs in bahasa indonesia, and songs in english. what sahita present on the stage shows that they emphasize the flexibility, free creativity and improvisation, not strictly structured, and it can be combined with various forms of accompaniment. the implementation of contemporary performing arts is also carried out by sahita with stage settings that facilitate communication with the audience. the stage is set so as the players can enter from different directions, from the stage, from below the stage, or from the audience, and they can communicate with the audience. sahita’s ability to build communication with the audience becomes one of its strengths. in almost all the performances, sahita try to bring the audience to the stage, take the audience up on the stage, or the personnel step down to the audience. often, the distance between the stage and the audience is barely visible when sahita begins to mingle with the audience, sometimes they even remove the boundary between the audience and the players. when the boundary between audience and players almost does not exist, sometimes a chaos occurs that blurs the whole staging. in such situations, sahita immediately withdraw from the middle of the audience, and re-place themselves on stage. by observing the appearance of sahita, on the one hand, sahita present a tradition with certain rules of the game. on the other hand, they deliberately present the flexibility of expression which, in turn, contradict the rules of the tradition they perform at the same time. therefore, sahita’s works cannot simply be categorized as a work of contemporary art and also cannot simply be regarded as a traditional art, but it is a work of art that blends the traditional and contemporary arts. sahita as an art group is among the dynamics of social life of society. they are not only colored by the traditional and contemporary arts, but both traditional and contemporary arts also color sahita’s creative process in their works. sahita’s uniqueness that deserves appreciation is their ability to compose classical, traditional, and contemporary arts in a dance theater work in performance arts stage. closing sahita offer a performance that does not only combine the traditional and contemporary arts, but also criticizes social issues. sahita voice the hearts of women who made the audience laugh and think about what is being laughed at. sahita’s jokes do not demean women but instead increase the self-esteem of women. 72 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016book of reviewijcas: vol. 3, number 2 december 2016 the most basic thing that sahita does is to provide a performance that invites people to recognize themselves so as they dare to be themselves, where sahita strive to make their works on the arts performance stage be a mirror of life that presents a performance as well as guidance. thus, sahita’s existence deserve to be maintained and fought for not solely because all the personnel are women, but they has become a working space for women who are able to create on the basis of the desires of the women themselves. the closing question is: how is sahita’s sustainability in the future? until now, sahita have not yet prepared an embryo that someday, when sahita have no longer be possible to be on the stage, is expected to replace them. if there is no regeneration, undoubtedly what happens to gapit will also happen to sahita. therefore, the hard homework for sahita is to think and prepare young women performers who are interested, capable, and willing to be sahita’s successors. *** bibliography giddens, anthony. 1994. living in a post-traditional society. in ulrich beck, anthony. giddens and scott lash, reflexive modernization: politics, tradition and aesthetics in the modern social order, 56-109. cambridge: polity press. hatley, barbara. 2009. tubuh perempuan, teks, dan gerakan sosial. jurnal perempuan 62: 48-57. kussudiardja, bagong. 2000. bagong kussudiardja: dari klasik hingga kontemporer. yogyakarta: padepokan press. leboeuf, megan. 2007. “the power of ridicule: an analysis of satire”. senior honors projects, paper 63. http://digitalcommons.uri.edu/srhonorsprog/63 (accessed june 01, 2012) lindsay, jennifer. 2009. perempuan dalam seni di indonesia: sebuah pengantar. jurnal perempuan 62: 15-22. murgiyanto, sal. 2015. pertunjukan budaya dan akal sehat. yogyakarta: fsp-ikj, komunitas senrepita. simatupang, lono. 2013. pergelaran: sebuah mozaik penelitian seni-budaya. yogyakarta: jalasutra. simpson, paul. 2003. on the discourse of satire: towards a stylistic model of satirical humour. amsterdam/philadelphia: john benjamins publishing company. sunardi, st., g. budi subanar, a. supratiknya, timbul haryono, siswadi, djohan salim, ki udreka, and hanggar budi prasetya. 2011. ki hadi sugito: guru yang tidak menggurui. yogyakarta: bp isi yogyakarta. surur, miftahus dan novi anoegrajekti. 2004. politik tubuh: seksualitas perempuan seni. jurnal srinthil 6: 5-27. tanke, joseph j. 2011. “what is the aesthetic regime?” parrhesia: a journal of critical philosophy no. 12: 76-79, http://www.parrhesiajournal.org/about.html (accessed april 10, 2014) 49 1 hung, ning-hui post graduate program, indonesian institute of the arts yogyakarta abstract indonesian islamic music has its own performance occasion, musical function, music characteristic, and the style of musical performance. it has lyrics that represent direct relationship between moslems and god in religion ceremonies. however, the musical structures are changed due to external stimulation coming along with the changes of indonesian social structure during its development especially in 1975. kasidah, a sort of indonesian islamic music, is the best exemplification to manifest the interaction between social development and music cultural changes, peculiarly performed by the music group of qasidah modern nasida ria in semarang, indonesia. the reason is that kasidah is more liberal than other islamic music genres in indonesia, especially on musical performance, usage on instruments, etc. this research sees “music” as a communication system of sound which passes through social usage and cultural contexts in ethnomusicological perspective. the focus of discussion in on this group to explore some topics in order to comprehend the interaction between social structural development and the innovation of kasidah musical structure in indonesia, such as the transmission and development of the group qasidah modern nasida ria, innovation of the group qasidah modern nasida ria and its music, and the musical function of modern kasidah. by which to understand the current development of kasidah in indonesia, explore the concept and the role of the word „modern‟ plays in the development of modern kasidah, and point out the cultural syncretism and impact occured in the development of modern kasidah. keywords: indonesian islamic mucic, kasidah (qasidah), innovation, transmission 50 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 2 introduction religious music includes two parts of „music‟ and lyrics. lyrics reflect religious beliefs. music reflects the interaction between social development and music structure because musical structures are changed by their outside stimulation during their development. undoubtedly, such a change on music structure is a suitable way for music culture to adapt itself to the new conditions. also, this is the way by which they can avoid being eliminated in such a new environment. kasidah (arab: "يدة ص qasidah, qasida), a sort of ,"ق indonesian islamic music, is the best exemplification to manifest the interaction between social development and music cultural changes, especially for the group of nasida ria kasidah modern in semarang indonesia. this group was the first performing the kasidah with popular music structure in indonesia. its establishment not only affected a great deal of islamic music tending to be popular but also encourages plenty of islamic music groups playing popular music to be built. actually, kasidah that originated from the arabian and had existed before the coming of islam is a kind of arabic literature poetry in the arabia peninsula. however, during the historical development, its performance formation has had some changes with different conditions no matter in the period of pre-islam and islam, or in the country of indonesia. the following will introduce the type and function of kasidah in islamic transmission from arabia to indonesia, indonesian kasidah musical formation, and then take nasida ria kasidah modern group for instance to explore the interaction between musical structure and social development. 1. development and musical formation of kasidah culture is the accumulation of people‟s lives and experiences. music, or one of the parts of culture, not only shows the way of people‟s lives, but even more be served as a concept and behavior which has the same function as a culture reality. for many people, music is not only a concept which people presents, but also a symbolic system of national identification. it is the differences between people that culture, concepts and customs are different in each place. however, immigrating is one of the very basic ways to spread culture, by which cultures start to be learned and imitated from one to another. also, it makes qasidah, originated in arabia, change into a form of music from a kind of arabian poetry after qasidah coming in indonesia and combine with the musical concepts of indonesian moslems. 51 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts lifekiki rahmatika, consistency ning-hui hung, transmission and innovation of kasidah in indonesia 3 1.1. historical development of qaisdah the historical development of islam can be divided into two periods, i.e. pre-islamic and islamic period, by the time of 622 a.d. when islam came. undoubtedly, the development of music culture must be influenced by its outside conditions. qasidah originated in the arabian peninsula and had existed before the coming of islamic period, but it presented different features with its different historical background. hence, the following statement will separately describe the development of qasidah in pre-islamic and islamic period. 1.1.1. pre-islamic period historically, this period also be called jahiliyyah (the literal meaning of jahiliyyah is „uncivilized‟, „un-developed‟) period, namely an uncivilized period, which contrasts sharply with the civilization of islamic period. qasidah had been one part of arabian cultures in this period. it was a literary style of arabian poetry. the word of qasidah originated from the arabic root-word „kasada‟ (arabic قصد, its literal meaning is „to intend to‟, „to aim at‟), so it was its original purpose that qasidah was used to engage in some actions or behaviors in order to reach some goals. accordingly, qasidah was a kind of poetry. it was always used to praise one group and simultaneously defame the other (tsai tsung-te 2006: 181). furthermore, the content of qasidah was non-islamic sources (it was arabian mythology rather than islam be found everywhere in arab at that time), namely it could be involved in any matters except for islamic, including problems on any aspects, praises to pretty girls, discussions on important matters, or commendations for great persons, nations, motherland, etc. 1.1.2 islamic period historically, the period of the coming of islam (622 a.d.) also is called islamic period. islamic knowledge became the chief direction of all aspects of people‟s lives, like on architectures, literatures, educations and economies. also, people started to completely practice islam in their lives. thus, islamic period was the beginning of islamic civilization. a lot of islamic cultures which came from the areas adjacent to arab were not eliminated but got a very well development in this so-called islamic civilized period. however, all matters were guided to „the right way‟ with the coming of islam. in other words, islamic principles started to become the main direction on all matters in moslems‟ lives, including the development of qasidah. firstly, the content of qasidah was guided to any aspect 4 related to islam, i.e. islamic sources. in other words, any topic which was criticized, stated or expressed on islamic viewpoint could be involved in the content of qasidah, like political issues, praises of god, qasidah was emphasized to be a medium to praise the prophet in mamalik dynasty (685-705 a.d.) of umayyads period (661-750 a.d.) crimes or personal problems, etc. secondly, qasidah became a facility which was used to reach a purpose or goal, especially to propagate islamic doctrines, and to praise allah and the prophet. accordingly, qasidah, one style of arabian poetry, became a medium used to propagate islam and praise god in islamic period. 1.2 kasidah in indonesia the time about the spreading of qasidah to indonesia can be concluded that qasidah originated in arab might directly or indirectly be introduced to indonesia through malaysia in the 1960s. however, it will cause cultural changes when a tradition, or a language pattern, religious belief or literature which has a long historical development, comes in a new cultural context and constantly contacts with the other one over there. thus, a series of cultural contacts and influences would take place on the development of qasidah after qasidah came to indonesia. also, some cultural changes would take place on qasidah after qasidah was integrated into indonesian cultural context. today, qasidah has been one part of indonesian culture. there are four points gathered in the following statement, for readers to comprehend the development situation of qasidah being integrated in indonesian music cultural context. firstly, the arabic word of qasidah is absorbed by indonesian language system, namely it is replaced by the indonesian vocabulary of kasidah. that is the first cultural change happening to qasidah after qasidah came to this country. even though many documents related to such a music culture are written in the word of kasidah, there are a few papers still be written in qasidah in indonesia. secondly, kasidah is transformed into a music genre expressed by singing from a literature of arabian poetry in order to accommodate itself to indonesians‟ common practice on music. it is performed mainly by an ensemble which consists of several female moslems dressing formally with scarf (jilbab) and simultaneously accompanied by the percussion instruments of rebana. the main purpose performing kasidah is to amuse the audience and simultaneously to propagate islamic doctrines. thirdly, kasidah provides a very wide range for people to create its content, namely either topic related to islamic or praise of god can be involved in. its content can either be created by moslems themselves or be selected from religious books written by islamic 52 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 5 scholars (ulama). fourthly, kasidah can be created in any language, either in arabic, indonesian or each local language. for most part indonesian, kasidah lyrics written in arabic are a little bit difficult for them to comprehend except they have got experiences in learning arabic (a lot of islamic education institutes (pesantren) set up kasidah groups chanting in arabic inside of institute to promote students‟ arabic language ability in indonesia). thus, kasidah always be created in indonesian or local language in indonesia in order to let people really comprehend the meaning of chanting lyrics and easily propagate islamic doctrines. accordingly, it is because of its creation style that kasidah (or qasidah) should not to follow arabic poetry meters when creating. 1.3 musical structure kasidah performance mainly consists of different sizes of rebana-s (sometimes called terbang in javanese) and singers. its instrumental ensemble mainly consists of several rebana-s with small, middle and big size (a). that is the basic organization of kasidah instrumental ensemble, and also an instrumental organization of a small kasidah group. certainly, the number of instrument will be increased with the degree of ensemble organization be expanded. the beat of rebana is the basic musical element of kasidah. not only does the music structure become varied but the plays and singers also are informed how to perform the song by varying the beats. rebana-s controls the performance of song, especially for rebana sedang (b), and accompanies it with steady tempo when performing. undoubtedly, each instrument has a notation which conforms to the range and structure of instrument to record the musical sounds in order to make players easily to read and (a) rebana-s percussion instruments. (b) rebana sedang. 53 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts lifekiki rahmatika, consistency ning-hui hung, transmission and innovation of kasidah in indonesia 6 perform. accordingly, the notation of rebana percussion instrument mainly consists of several symbols originated in the sounds when rebana be beat, such as p (or b), t, br, etc. also, the symbol ● means a rest in notation. those above-mentioned symbols not only comprise the rhythm pattern of a basic kasidah ensemble (c), but also become the basic musical elements of kasidah notation. also, this rhythm pattern playing with different speeds and different formations becomes kasidah accompaniment music. rebana kecil: rebana sedang: or: rebana besar: 2. nasida ria kasidah modern group and the development of indonesian society 2.1 modernized development and stimulations on indonesian society western has become not only a powerful country but also a powerful culture in the world because of the rise of western industrial revolution, capitalism and colonialism in the late 19th and early 20th centuries. also, it has been a chain of changes in which no matter africa, asia or europe joins because it not only influences the development of social structure, political and cultural system in each place, but also provides opportunities for each traditional music culture to imitate and contact with western music culture. actually, this chain is an evolution changing from traditional to modernized, that is, all the traditions in people‟s lives are more or less, sooner or later, willingly or forcedly leave from the inside of tradition. no countries or nations can completely resist this temptation of modernization although people still strongly feel attachment to tradition. the power of modernization is unknowingly changing and influencing people‟s value systems and cultural orientation (yeochi king 1992:125). nevertheless, a non-western society can be led to either a western model or a non-western model. also, each society has different traditional characteristics and different starting points of being modernized. hence, it is impossible that a society will totally be (c) rhythm pattern of rebana 54 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 7 westernized under the leading of modernized development. accordingly, it can be said that what exists between each society is parts of similar characteristics, or modernity, i.e. the distinctive color of western-style society and nation, under the leading of modernized development. thus, the word modernization is more appropriate and significant than westernization although the definition is very similar between the two. actually, the first time indonesia suffering the influences of western powers can be dated back to the sixteenth-century when the dutch and portuguese came to indonesia for managing local amazing diversity of spice resources. from this moment, western powers have been spreading throughout indonesia and influencing the development of indonesian social and economic structures; in other words, it can be said that this moment is the beginning time indonesia moving towards the metamorphosis process of modernized development. although the western successively entered into indonesia for nothing but the management for spices, they focused on trade developments and the circulation of commodities in early days. with the coming of the western starting that moment, so far, the development of indonesian political affairs, economics, science and technology, and culture has greatly influenced by western; especially after declaring their independence in 1945, modernization and westernization has moved like wildfire. on music cultural development, however, so far, diversified western popular music elements coming with modernization and westernization have been not only influencing the development of indonesian traditional music culture but also bringing them some degree of threats. such being the case, culture change is the best way for traditional music culture to seek the value of survival in the times of modernization and westernization. 2.2 the development of nasida ria kasidah modern group the impact of western modernization and westernization on indonesian traditional music culture also reflects on the development of islamic music culture. as far as the group nasida ria kasidah modern is concerned (d), it was established by h.m. zain in 1975 in kauman semarang in indonesia. it is the first kasidah group in indonesia practicing modernity and popularization in the development of ensemble and music structure by culture change. in such a modernized society flooding with western popular music elements, this cultural metamorphosis process, i.e. culture change, not only closes the distance between traditional music culture and western popular music but also gives such a renewed musical culture a new life and significance in this modern society. 55 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts lifekiki rahmatika, consistency ning-hui hung, transmission and innovation of kasidah in indonesia 8 under the development of music industry, indonesian society in the year of 1975 had already flooded with various popular music elements where h.m. zain hit upon an idea of setting up a religious group corresponding with contemporary popular music characteristics. in a literal sense, the title nasida ria combining arabic nasida, „songs‟, with indonesian ria, „cheerful or pleasant‟ means „songs be used to try to please someone‟, which just corresponds with the main musical feature of kasidah. for creating so-called modern kasidah corresponding with contemporary popular music characteristics, the composers of nasida ria kasidah modern combine popular music cultural elements with basic elements of kasidah in order to make this group present modernity no matter on formation or on music structure, which is also the main development guiding principle of this group. 3. kasidah musical cultural change 3.1 changes in instrumental organization modern instruments cultural change is caused by either its social structural change or the connection between different nations. anthropologist asserts that cultural change is a condition where culture can avoid being discarded forever; namely, only by where, culture will not become obsolete. kasidah consisting of religious and musical elements has been one of indonesian traditional musical culture. in order to adapt to the present condition, the group nasida ria kasidah modern makes some innovations to kasidah, by which not only changes its original musical formation but also gives it new vitality in such a modern environment. what be called electronic instrument is a musical instrument which produces its sounds using electronics, like the electronic guitar, electronic piano, music synthesizer, etc. however, in indonesia, those instruments are chiefly used in modern popular music and (d) nasida ria kasidah modern group. 56 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 9 played by the young. they are deeply attracting the young, and bring people a feeling of modern. this group adds several electronic instruments for showing strong modern characteristics on instrumental organization and presenting the melodies and sound effects being similar to popular music on music. those electronic instruments were widely used in popular music and known by people very much at that time, by which not only can successfully achieve the purpose of instrumental change but also can make people easily accept such an instrumental change. those electronic instruments, indeed, change the original instrumental organization of kasidah group and greatly improve melody of songs. however, on the other hand, they also influence not only kasidah musical notation but also the dominance of rebana sedang in kasidah ensemble. 3.1.1. cords musical notation undoubtedly, music notation is a general form to describe the writing down of music for players to read in performances. it records music, and also reflects musical structure. accordingly, when composing music, composer uses cords musical notation to write down the melodies played by those electronic instruments instead of the original kasidah notation consisting of varied rebana beats (e). 3.1.2. electronic piano dominates ensembles electronic piano replaces the leading role of rebana sedang in kasidah ensemble and controls the whole ensemble because it not only can completely play musical melodies and chords but also is the main backbone of musical chords of all melodic instruments. thus, the role of rebana sedang is changed from original function of controlling rebana beats to a specific sign in group, which represents both a relationship relating with islam and an existence of (e) cords musical notation. 57 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts lifekiki rahmatika, consistency ning-hui hung, transmission and innovation of kasidah in indonesia 10 the essence of kasidah musical culture. nevertheless, such a change on rebana is a necessary phenomenon during the process of cultural acculturation. 3.2 the source and characteristics of lyrics kasidah‟s lyric creativity and language usage are liberal. on the creativity and development of lyrics, firstly, nasida ria kasidah modern group emphasizes the source of their lyrics is diversified. in other words, their lyrics can not only originate from any islamic religious books, but also be newly-created from islamic religious viewpoint. secondly, on the use of language, they make indonesian become the main language in performing. accordingly, for audiences, the lyric of modern kasidah is easy to understand, easy to memorize, and easy to sing. also, it has some characteristics being similar to common popular music: lyric is easy to understand, and song is easy to sing and memorize. conclusion cultural change is a necessary process for a traditional culture to adapt itself to a new condition. thus, there are some changes taking place on qasidah in islamic transmission from arabia to indonesia. the arabic word of qasidah is absorbed by indonesian language system, i.e. kasidah. also, it becomes a music genre expressed by singing from arabic literature and simultaneously accompanies with rebana-s percussion instruments. under the impact of modernization and westernization, many kasidah music followers gradually turn to the arms of common popular music due to they are not strong enough to hold back its glamour, and then make many kasidah groups become decline and decay gradually. such being the situation, nasidah ria kasidah modern group makes their music structure become popularized in order to give kasidah a new life-force and meaning in present society, that is so-called modern kasidah. modern kasidah is the result of indonesian kasidah musical culture change. in other words, kasidah takes some changes on its development on the basis of its traditional music elements and by the way of innovation in order to accommodate itself to this modern society. by which, modern kasidah not only has the characteristic being similar to common popular music, but also remains the cultural essence of kasidah, i.e. the beats and instrument of rebana. undoubtedly, innovation is a way, by which modern kasidah looks like common popular music no matter on its language or music practice. in spite of that, for indonesian moslems, 58 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 11 kasidah music is a medium being used to propagate islamic beliefs. accordingly, the popularized music structure of modern kasidah can be said that it is a medium fitting in with contemporary cultural value and being used to propagate islamic beliefs. references tsung-te tsai. 2002. the world of islamic music and culture. taipei: wu nan. tsung-te tsai. 2006. tradition and modernity of islamic music culture in indonesia. taipei, taiwan: gui-guan. yeo-chi king. 1992. from traditional to modernized. taipei, taiwan: shi-bao. blaukopf, kurt. 1992. “the mediamorphosis of music as global phenomenon, musical life in a changing society”. portland: amadeus press. bart barendregt and wim van zanten. 2002. “popular music in indonesia since 1998, in particular fusion, indie and islamic music on video compact and the internet,” yearbook for traditional music, vol. 34: 67-113. publisher: international council for traditional music. geertz, clifford. 1973. the inter pretation of cultures. new york: basic book. john blacking. 1977. “some problems of theory and method in the study of musical change,” yearbook of the international folk music council, vol. 9: 1-26. 45 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ... soliloquies: a movement-based approach towards beckett’s waiting for godot riana diah sitharesmi gadjah mada university email: javanesedancer@gmail.com abstract the research entitled “soliloquies: a movement-based approach towards beckett’s waiting for godot” examines my understanding of the play, which is manifested in the form of a dance piece along with a writing component. the conceptual foreground is drawn from the circumstantial analysis of a duality of human’s strategies confronting the difficult situation in their waits. “waiting for godot” (wfg), the biggest iconic of modern theatre, is the baseline to address the pragmatic understanding towards human condition and human self-reflection. the research aims to discover an alternative way bringing the abstract concept of human condition into a tacit understanding of the dance performance as well as the writing component. both literary investigation and artistic-based research are processed simultaneously to discover the coherence, through which the creative process would find the equilibrium in both practical and academic. the observation of wfg’s dramatic tension leads the choreographic process in focusing kinesthetic exploration to represent ‘body and mind’. the idea is manifested through the dance performance entitled “soliloquies”, which uses the presence of balinese and javanese elements as a starting point as well as the development of individual aesthetic experiences of the dancers. the results of the research generate distinctive movement vocabularies to convey its choreographic structure, while they also challenge an intercultural dialogue in the process of studio research. it draws the conclusion that such investigation could articulate the manifestation of movement-based approach towards beckett’s wfg, that is the absurd of human condition. it also brings out a hermeneutic sphere in the art process, which works for me, as a female indonesian dancer, to reconstruct identity within indonesia contemporary state. keywords: dance piece, waiting for godot, studio research, hermeneutic sphere. introduction human’s suffering is perpetuated for another indefinite period of life. some of those are compliant, some others keep questioning and searching, and the rest of them are ignorant. life just meets its meaningless inquiries as human being continue to suffer. today’s wars are even worse than premillennial ones, as we live in a world that offers us a false peace. we have many questions upon chaos without knowing whom should we trust. at the end of the day, we reflect on our contribution to this universe. we question about the existence. but whose existence actually is examined, as the human desperations continue? samuel beckett (1906-1989) experienced the shock during and after world war ii to witness physical human’s wreckage of war. the unspeakable horror of massive 46 editorialbook of reviewijcas: vol. 3, number 1 june 2016 execution by a nation towards other nations brought his concern of human life that was without meaning and absurd (sternlicht 2005, p. 58). beckett wrote his script for the play “waiting for godot” (1953) within the deep concern towards his own experience as a witness of world’s irony. my research examines another understanding of beckett’s “waiting for godot” (wfg), which is manifested in the form of an essay as a writing component, and a dance piece as a choreographic assessment. the conceptual foreground is drawn from the circumstantial analysis of a duality of human’s strategies confronting the difficult situation in their waits; in this case is vladimir and estragon as archetypes of human character and condition. a dance piece entitled “soliloquies”, embraces choreographic manifestation to represent the essential theme of human struggle through its studio process. an artistic-based research is the base line throughout the process to put practical works as equal level as academic references. within a concern of human condition today, this project reflects parallel lines of work between my personal enquiry and beckett’s queries about the meaning of life. the quest is structured in such way that questions and answers can be studied and analyzed, considering a dance piece somehow meets insufficient device to present the abstract. something more tactile should be developed or reconstructed without necessarily losing its sense of abstract, in this case is the meaning of life and the inquiries beyond. the soliloquies’ dramatic development refers to samuel becket’s wfg both in its artistic staging and in its content. it is for allowing the dance piece to represent an important understanding towards human’s daily waits that is embedded in the play. the play clearly presents the absurdity through the irony of two archetypes (vladimir and estragon) who keep their endless waits without assurance the expected one’s arrival (godot). there are counterparts pulling to each other as if a conflict between faith and doubt, strength and weak, selfreflection and impatience, and serenity and anxiety. the counterparts do not necessarily a rivalry, but to be taken simultaneously as parts of human’s manner to assimilate the difficult situation. soliloquies’ dramatic tension emerges from two protagonists’ dialogues and monologues, through which i attempt to discover an alternative way bringing the abstract concept of human condition into a tacit understanding. the dramatic tension, which soliloquies much aware to draw for, as in the play, is more inclined to share the individual experiences and character developments during the process rather than expressed through a formal vocabulary and complex dance technique. the prime target is to reveal the unknown, through deconstructing dance routines. i use balinese dance elements to be explored along with javanese shadow-puppet (wayang kulit), and figural design of “the thinker” statue, to avoid finite forms of traditional spaces. balinese dance’s distinctive expressions are manifested in the trembling fingers (jeriring), the astounding change of face expression (nelik and manis rengu), and the glancing eyes (seledhét). i however, respectfully deconstruct the element of its “three bodily 47 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ... fractures”, the specific figure while the unity of legs, torso and arms embody the significant value, a resemblance of indian’s tri bangga. antonin artaud found that balinese dance appearance was like a ‘three dimensional hieroglyph’, woven with a number of certain gestures, which give a mysterious sign correspond to the unknown, fabulous and obscure reality (in watson et al, 2002, p. 65). this indirectly links to the idea of anything ‘undefined’ in wfg, which allows me to build a sense of uncertainty to emerge in a motion. javanese shadow-puppet (wayang kulit) embodies the two-dimensional figure which by all means expressing the limitation of space. the body of the puppet faces forward while its face and gaze are in profile either right or left side; it is performed by a man called dalang. analogically the human life could be represented by the act of the puppet; we live in this world because we are allowed, as well as the puppet (wayang) is presented to the geber (a white huge screen represents the universe). this respectfully associates with the ontological value of how human being find his being within all the limits of space and time, as well as what javanese culture captures the value that wayang kulit wants to share through its heroes. a recognizable static gesture of augusto rodin’s the thinker has been universally used to depict a man in a solemn figure. a powerful and provocative pose is ordinary, but the details of hand position to the chin with the elbow to the opposite knee, and the crouching position of the torso illustrate the statue observing contemplative sphere in a very poetic way. this unique gesture is beneficial to represent philosophical aspect of wfg’s two protagonists. vladimir and estragon’s persistence in their plight and without assurance of godot’s arrival transcend all the knowledge and intellectual consciousness, as brater cited: their lines are nourished, too, by faint recollections of dante, shakespeare, calderón, shelley, dickens, schopenhauer, verlaine, berkeley, hölderlin, joyce, and yeats (the list is not complete). it was just such an allusive texture that made the critic vivian mercier tells beckett, “you make didi and gogo sound as though they have ph.ds.” “how do you know they hadn’t?” was the playwright’s prompt response (1989: 75). the way beckett creates intellectual prattles is to provoke his audiences to think. the thinker somehow becomes a tribute to beckett’s intellect and his humanistic concern, while it also emerges the embodiment of intellectual behavior for his two tramps being represented in a dance piece. wfg conveys the ironic through its prattles and actions, which actually embody the deep meaning of both verbal and non-verbal communications. accordingly, humor that beckett uses in his play challenges his audience to reveal the tragedy through transcendental ways. humor could convey the sense of tragedy in a play as well as the play shows the tragedy itself. it is a method that beckett chooses to present intelligence without tendency to fail the play become a lecture exhibition. slapstick mayhem and two protagonists’ prattles make the plights less dramatic, which even easy to penetrate audience’s concern. the lonely set, a country road and a tree, intricately juxtapose the suicide provocation with the 48 editorialbook of reviewijcas: vol. 3, number 1 june 2016 protagonists’ faith; it is an amusement from hopelessness and a reflection at the same time. i observe charlie chaplin’s silent movies; a lonely little tramp who endlessly experiences suffer, hunger, and jobless, but he presents his sensibility of helping others and coping his unfortunates within funny, sometimes silly actions. chaplin brings his audiences into laugh and tear through his cinematic slapstick motions. wfg achieves its irony through its characters that somehow represent chaplin’s tramp; a bowler hat, a pair of boot, and an icon, as sternlicht (2005) agreed that ‘vladimir and estragon did not evolve far from chaplin’s “little tramp” ‘(p. 52). the soliloquies conquers to convey “a little enjoyment amongst uncomforted situations” through slapstick phrases but without tendency to make a comical sequence. the challenge is commenced also by presenting two female dancers in aprons with a pair of boot and a bowler hat to link them to the icons. artistic process and choreographic orientation 1. emerging new vocabularies and developing individual character the movement is the prime device for soliloquies to bring the dramatic structure in a dance performance. to achieve the logical and significant movement development, choreographic process is commenced through individual explorations, which most rely on dancer’s characteristic. i refer to pina baucsh’s method of repetition and individual development which is significantly helpful during the process. bausch instructed her dancers to create any movement as a respond towards their own memories of childhood or daily activities. extensive repetition, for bausch, was one of the tools to reconstruct dancer’s past experiences that were gradually shaped into aesthetic forms (fernandes, 2005, p. 26). in soliloquies’ rehearsals, this method is employed to address each dancer’s character to emerge their on-stage personifications. their memory of being persons who are waiting is crucial. it is not very surprised to see the differences of dancers’ gestures as both have some contradictive manners to each other. above all, the manifest of their respective manner passaging the time create the monologues within the duality, from which the title “soliloquies” is taken. i deconstruct a “three bodily fractures” of balinese dance by mean to create something else out of its routine, respectfully to not leave behind their ontological value. my solo studio explorations make nothing more than five new forms of motion by developing the motif ulap-ulap. its stylish form represents a gesture of “seeing or searching something/someone from some significant distance” by putting a palm or both palms near the forehead, to cover the sight from sunrays. ulap-ulap is one of the motifs holds an important role in most balinese dances, and is often elaborated in dances’ structure both intentionally and spontaneous. for soliloquies the “three bodily fractures” becomes a pattern of the voyage in exploring the motif, 49 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ... by which the studio process produces expanded forms of vocabularies. my embodiment to these vocabularies bridges the gap between the balinese esoteric with the two dancers’ previous experiences while we commence a second phase of studio process, which i call a collective exploration. the two dancers’ respective cultural background very much influence their manners in the way they emerge the “other” interpretations of the expanded forms. the short significant character of ulap-ulap’s motion directly illustrates an ordinary act in human daily life, makes it is easily shared to my dancers who also smartly associate its intent with their owns. by the end of the phase we have some phrases that somehow are not similar in whatsoever from their departure forms. the only resemblance that bound them is the intent of the motion itself. the sculptural gesture of the thinker is developed through repetition from the very simple one to its growth in complex phrases. my dancers do the repetition through their respective interpretation towards the gesture, which is also led by their kinesthetic potential. we commence the motion of the complex forms by playing the time, space, and force; but we keep them to always present the sense of the thinker by closing the phrase with original figure. we repeat several words in some phrases, as to follow bausch’s method to reach meaning for the whole dance structure by repeating sequences or phrases. we somehow get the atmosphere of anxiousness, annoyance, and chaos whereby i reconstruct the dramatic structure of a phrase, but we tend to reach the calmness of contemplative mood whenever we turn back to the original figure. this is an alternative way for soliloquies to represent the absurd. nefeli tsiouti’s appeal which embodies the hip hop technique and western contemporary culture allows her to explore the gesture and movement phrases within the powerful energy. she creates sharp direct movements that design mostly short straight lines, which could be associated to the strength, provocation, youth, and impatience. fumi tomioka initiating the phrase by seeking both literal and metaphysical space of the figure. tomioka’s experiences of modern dance and pilates studies has been giving her a kind of self-managing for her limb flexibility and such technique of breathing. she conveys the metaphysical space through engagement of her surrender body with the sense of movement itself, and through elaborating the logic of movement’s travel within pilates’ breathing technique. literal space is achieved through exploring the stage’s space that allows her to travel around and draws a floor design. tomioka’s energy is fluid and soft in communicating the sense of tiredness and age from which she creates contemplative atmosphere. her somatic gestures become such counterpart for her partner’s in providing a reflective moving body to explore her persona as a ‘brainy movement’. two-dimensional design of wayang kulit is elaborated into physical figures that bring the dancers’ bodies face forward while their faces and gazes 50 editorialbook of reviewijcas: vol. 3, number 1 june 2016 are in profile either right or left side. the dancers try to find motions and shapes within this limitation, i.e. the restriction to move forward and backward, and to avoid three-dimensional routine. the perception of such limitation, although individual, somehow puts us into similar mental responds, such as the uncomfortable feeling of being in a small chest, or being in a narrow aisle between two walls. we explore this sense of desperation along with the unique appearance of wayang kulit as a frame of shapes. when our dance body struggle to find a way out from limited space through physical enforcement, we produce exaggerated looked angst body and anxious motion. the more movements we attempt to do the less space achieved. it is a comprehensive manifestation of a dance body that literally keep trying to have more space, but would have less space instead because of its finite range of movement. 2. the philosophical enquiry, interpreting the “god” in waiting for godot does god still exist in this modern society where the “insurance” system is treated as “god” himself? why does not man just commit suicide to be set free from suffering and ridiculous poverty? what does man wait for? is it something better to come that may fix the world’s catastrophe? or all just fall into a mere utopia, while most of the damages of this world are the results of human behaviors? in all parts, humans tend to play the roles as “lords of the universe”. perhaps, this time is god’s turn to observe how human disentangle the universe from suffering; he watches over whether people would help each other, or prefer to stand over others’ plights instead. it is not our concern to ask whether god will help us or not. it might be better if we previously examine our respective presence for others, and for the universe. wfg does not explicitly define who or what godot is and so do its reviews. beckett himself, whether his statement is true or political, says that if he means godot is god, he would have said so in the play. the existence of godot even becomes paradox as the two protagonists find that godot hits the messenger boy; yet, they remain waiting for the arrival. as for how vladimir and estragon deal with few information about godot’s identity, their manner of waiting deserves to be questioned: is it emerging from their faith towards godot’s existence? or is it departing from their own’s commitment? both require strong will for them to keep waiting. is it perhaps because they instinctively know that godot is the only one who have the answers for their questions? yet, godot never comes, nothing changes to meet their expectations, and they keep waiting. is it absurd? such religious ideas constitute often the base of human thinking, and they provide the guidelines to follow a spiritual path. as bryden (1998) said, perhaps we should not too worry about seeking “him” when there is no assurance of an answer upon every question. we might commence all our odysseys to move toward any forms of kindness, and within our patience 51 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ... and fortunes, we might achieve our expectations. but if “searching him” is still very crucial, a strong and consistent faith is required to keep all appointment are worthwhile (p. 130). wfg treats the manner of waiting as the essence of the play. martin (2001) assumed it is not godot the subject of the play but waiting, representing the essential manner of waiting and human condition within the characteristic aspects. waiting is the nature of all human being do entire life, and godot is the simple representation towards man’s waiting. it could be a person, a thing, an event or death (p. 50). having undefined characters, an unending resolution, exploring a static situation, and thus, inviting many interpretations and adaptations throughout the world, wfg becomes a credible example of what martin claims the “theatre of the absurd”. the play does not tell a story. the sequences suggest the audience to feel the dramatic tension upon the words and the gestures of its characters. the meaning does not necessarily emerge from every single sentence or gesture, but it is drawn holistically through the whole structure, the atmosphere of artistic development and its conceptual content. it is obvious that beckett wanted his audience to consider the value of life through the play. sternlicht ( 2005) pointed out that ‘waiting for godot is a philosophical play.…intangible values, such as belief in the existence of the deity, patriotism, truth, love, friendship, honor, power, and even intellectual accomplishment.…beckett wants us to contemplate the smallness of our lives’ (p. 56). the manner of waiting that vladimir and estragon show in the play represent a philosophical query in their individual existences. in their waits for godot’s arrival, they are actually waiting for their owns existence to appear. vladimir is symbolized being more thoughtful and having more awareness of his place in the world, while estragon is more responsive towards his own needs and necessarily having more complain upon his misfortunes. estragon has more bodily interaction with physical things. he complains his boots, experiences pain so much, eats carrot and turnip his friend gives to him, picks up leftover chicken bones, sleeps well and dreams. estragon is likely a skeptical type and pragmatic. vladimir appears in contrast to estragon, with all his curiosity. he doubts and disagrees. he sings and lullabies estragon to sleep. he has speeches and he draws conclusion of events. vladimir represents a confident and affirmative attitude. although they have same prime cause of anxiety, vladimir and estragon develop different strategies to confront reality. things happened, passed by and flowed within the time they have, vladimir and estragon keep doing the routine; meeting others, helping others and serving social contacts. mayhems of pozzo and lucky have to be served as well as their waits, so time allows them to go forward to the changes. ‘they, like all humans, continue to wait, to hope, and to expect while trying to maintain some semblance of dignity, some communication with others, and some 52 editorialbook of reviewijcas: vol. 3, number 1 june 2016 concern for those with whom their lives are linked … and when all is said and done, we hope we shall be able to say, like vladimir, that at least we have kept our appointments’ (sternlicht, 2005, p. 49). godot is a metaphysical concept of an expected savior to whom vladimir and estragon could ask for helps. but the absence of godot is profoundly repeated and the protagonists remain waiting. it is inevitably absurd, so that martin (2001) analyzed waiting is just a constant change that flows through action of time. the change is merely an illusion if nothing real happens, but the routines bring an unending activity of time; a purposeless, null, and void self-defeating. the world meets its terrible stability by changing things that are actually same (p. 67). i argue there is nothing purposeless for every single action of waiting. vladimir and estragon experience the constant change of time through every single self-defeating that is not empty, nor meaningless. if waiting for something indefinitely takes them into the territory of the absurd, vladimir and estragon’s unsolved problems might be looked at as a reflection upon different kinds of faith. wfg’s last scene allows indefinite protagonists’ decision to choose whether they prefer to be drown in desperation (considering estragon’s suggestions of committing suicide) or to keep waiting and hoping. afterwards, that is not other existences wfg wants to talk about except its protagonists’ journeys. it is an ontological query about how we, within the absurd world’s utopian state, reconstruct our self-existence to finally meet our being, and that by doing so, we will meet some achievements at a later stages. 3. soliloquies’ dramatic sphere there are many aspects, in addition to the humanistic terms embodied in wfg, that open plenty of possibilities to bring the play to become an icon for other related subjects beyond the theatre itself. my version of the play might have a quality as a more subjective interpretation. i believe in metaphysical values addressed through absurd communications and actions, while there is also real situation suggested by the whole structure of the play. sternlicht (2005, p. 57) noted that wfg is both abstract and sensual because of the blends between natural and conventional, the real and the absurd, the poetic and dramatic that beckett elaborates with the verbal economy of a modern poem. i do not use a pure logical approach, as it is not enough to understand the richness of beckett’s mind. rather, i trust my intuitive choreographic knowledge to commence the work. i consent that soliloquies achieves its artistic manifestation through dialogues between primal aesthetic experiences and theoretical investigation, which counterbalance to each other. the humane circumstances, the faith, the doubt, the twilight scene of set, the tree, the country road, and the timeless wait, develop dramatic spaces to meet the absurd. soliloquies’ movement development intends to focus 53 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ... on protagonists’ coping strategy in constructing dramatic structure into four sequences. the introduction scene initiates distinctive manners of the characters through juxtaposing the two dancers in visual figures, movements, properties, shape of the boxes, and the spotlights. costuming in black housemaid uniforms, the two dancers represent the female workers generally. a green kitchen apron highlights an aging thoughtful figure, while a red kitchen apron translates impatience, youth, and desire. the stage is warmed up by a nuance of contemporary bali from mc. phee’s nocturno. the first sequence talks about “counting”; it could be counting the days that have been passed during the waits, or contemplating the present and the future time. elaborate the distinction, tomioka brings her motion out of the spot and explores the whole stage in circular. tsiouti on the contrary is barely outs of her spot, moves frontally and explores the box instead. an irregular rhythm of paradise regained by i wayan gde yudane helps the second sequences to intensify contradictive movement qualities. the elements of slapstick are small details for providing light and spontaneous compositions in third sequence to represent the consciousness of friendship and the effort of being playful. this mayhem is covered by strauss’ blue danube to emerge the irony. the dynamic differences of movement development make body and mind’s monologues significant, which analogically resemblance of vladimir and estragon’s different strategies confronting helplessness and hopelessness. to refer to how the protagonists build their faith in godot’s arrival, the soliloquies brings the optimistic attitude to consider their waits for the sake of their respective existence. body and mind are crucial parts of human being’s existence that are not supposed to be separated, nor exist on their own. this concept frames the idea of creating a duality based on each character’s individuality, and it helps to develop the simultaneous monologues into a dialogue. a dialogue itself does not necessarily imply questions and answers, although these might often appear. for example, if ones speak about the hat and the other one speaks about the boot, the dialogue seems broken. they do not seem to connect, and they never meet. but at the same time they are connected; they simultaneously share time and space. one’s sceptical presumption juxtaposes with other’s strong faith. such juxtaposition brings a mirroring experience, which is reversing the roles. this moment of reversal is conveyed in the fourth sequence and towards the end. it is manifested through merging the two contradictive energies of tsiouti’s anxious gestures and tomioka’s contemplative journey. there is a moment for the specific gestural icon is transformed into that of its counterpart. at one point, as tsiouti is compliant to deal with the limit, she has “space”, which is inner space that produces the fluidity of movement. 54 editorialbook of reviewijcas: vol. 3, number 1 june 2016 tomioka’s fluidity, however still exist, is less obvious as she tends to occupy more spaces. then, their monologues blend: naive within contemplation, impatience within nurturance, faith within hopelessness, and unawareness within self-reflection. at the end of the phrase, fumi has less space, stuck on the up right in a puppet-like, but maintaining her tenderness, as if the occupation of her mind can limit the motions. nefeli becomes fluid, has a soft and tender spinning motion as if she compliantly surrenders to the limit, to show the freedom of the body and therefore it can “feel” and invigorates the mind. the reversal is the moment in which everything seems meaningless; it is null and absurd. having the limit is not necessarily negative. fumi learns to feel the anxious body without the absence of mind, while nefeli acknowledges how to think within the limited space. this moment is a transcendence of knowledge to find the equillibrial existence of the body and mind. conclusion as a non-verbal language of wfg, soliloquies elaborates an intercultural sphere covering the process of dialogue among difference “individualities”, i.e. dance vocabularies, beckett’s wfg, the two dancers, and my ideas. soliloquies might present the dance forms that are less recognisable as significance of balinese and javanese. two dancers with different cultural perspectives deliver the essential of wfg by articulating the choreographic idea through dramatic sequences; hence, their embodiment in dance techniques and backgrounds are crucial. yet, my presence as an indonesian contemporary choreographer is exposed through our dialogues to convey each other understanding during the studio processes. such engagement furthermore can necessarily be an individual establishment to develop the choreographic structure. this artistic work of choreography undergoes delicate challenges during its whole process. to bring wayang kulit be more familiar to my dancers, i ask them to observe several figure of wayang kulit physically. i also apply similar reference that indigenously lives in greek culture, the karagiozis for tsiouti to gain the concept of shadow puppet performances. karagiozis is a greek shadow theatre that plays satire themes representing social injustice and ‘common folk’. karagiozis, a main character depicted as a man who wears ragged clothes, walks barefoot, has no proper job, but always want to struggle to get one for supporting his family, yet he often ends up being beaten or whipped. this form of shadow theatre is apparently helpful for tsiouti to explore the anxious body, while tomioka does not have essential difficulties to understand the concept. the presence of javanese wayang kulit needs to dominate the scene of reversal in the last sequence. unfortunately, towards the ends of our last rehearsals, the puppet-looked gestures and movement seem to less appear. the tri bangga fails to appear as expected, although i could not say that it is unsuccessfully explored. this “three dimension hieroglyph” of balinese figure tends to require the detail of gestures in which my two western dance trained-dancers hard to master. 55 djohan. editorialkurniawan adi saputro. conference reportdella rata. sound and celebration of deathagustinus dwi nugroho. the artist: silent technique in film formthanom chapakdee. art of engagementriana diah sitharesmi. soliloquies: a movement-based approach ... however, within the efforts and comprehensive discussion, my dancers finally well attached to balinese energy and its unique more by non-physical way of searching. timing problems in some rehearsals somehow challenge the artistic process to be compressed and for not too ambitious to convey the uniqueness. but new vocabularies are embedded inside the phrases to reach the dramatic tension from one sequence to another. my decision to work with two dancers is not intentionally because they both are so much different to each other. admittedly, it is encouraged by the context that soliloquies is created for academic purpose that of course does not provide such freedom as it is for pure artistic praxis in terms of time, theoretical approach, and individual relationship itself. realizing that i am culturally adapting to new conditions during my two years stay in london, i need to engage with the colleagues in arts field to whom i feel comfortable expressing my ideas. this as a matter of fact provides me a challenge to look more widely into any possibilities happened at the artistic process. the strain between what we are agree or disagree often highlights our dialogues. but many solutions bring us more to find forms of understanding each other rather than mastering others. this hermeneutic sphere brings my choreographic experiences to the next phase of artistic-based research as a part of philosophical reflection. the ontological inquiry of soliloquies might be universal, as well as hermeneutics that always nurtures our understanding and our interpretation in every investigation of artistic praxis. i believe that every purpose of creating dance brings its own context, thus it necessarily applies a mode of artistic investigation, a theoretical approach, and a method of negotiation that are specific. accordingly, the emerging difference more registers to epistemological and axiological questions. the research works include the holistic personal involvement. i establish a modest form of summary in the last scene of the piece to represent the cycle of life. the past is repeated either in the similar appearance or being manifested into another shape in present. the similar re-appearance of so-called “the past” is not absolute; it comes to the present along with the experiences of how we encounter it. it brings the knowledge in which human may learn to make the right decisions either for herself or other peoples around. soliloquies’ last scene imbues each character’s decision to place her self-existence at the more suitable condition. it leads to some spectacles to articulate the concept. the cycle of time brings human into daily repetitions; many things happen are for passing the time, and at least some of them are precious enough to be recognised as parts of the voyage. since my soliloquies represents inexplicit final decision, it allows the essence of waiting for godot to be captured with varied interpretations. there never be a definite truth, as the final is only the departure of another query. 56 editorialbook of reviewijcas: vol. 3, number 1 june 2016 references banes, sally. (1987). terpsichore in sneakers: post – modern dance. middletown: wesleyan university press. barrett, estelle & bolt, barbara (eds). (2010). practice as research: approaches to creative arts enquiry. london & new york: i.b tauris & co ltd. beja, morris, with s.e gontarski and pierre astier (eds). (1983). samuel beckett: humanistic perspectives. columbus, ohio: ohio state university press. blom, lynne ann & l. tarin chaplin. (1989). the intimate act of choreography. london: university of pittsburgh press. brater, enoch. (1989). why beckett. london: thames and hudson. brooker, peter. (2003). a glossary of cultural theory. london & new york: oxford university press. bryden, mary. (1998). samuel beckett and the idea of god. hampshire & london: macmillan press ltd. burkman, katherine h. (1984). the arrival of godot: ritual patterns in modern drama. london & toronto: associated university presses. chaplin, charles. (1964). my autobiography. london: penguin book. essif, les. (2001). empty figure on an empty stage: the theatre of samuel beckett and his generation. bloomington & indianapolis: indiana university press. fernandes, cianes. (2005). pina bausch and the wuppertal dance theatre: the aesthetics of repetition and transformation. new york, washington, d.c./baltimore, bern, frankfurt am main, berlin, brussels, vienna, oxford: peter lang. fletcher, john. (2000). a faber critical guide: samuel beckett. london: faber and faber limited. george, david e.r. (1991). theatre in focus: balinese ritual theatre. cambridge & alexandria: chadwyck-healey inc. gordon, lois. (2002). reading godot. new haven and london: yale university press. karic, pol popovic. (2007). ironic samuel beckett, samuel beckett’s life and drama: waiting for godot, endgame, and happy days. lanham, boulder, new york, toronto, and oxford: university press of america inc. martin, esslin. (1980). the theatre of the absurd. harmondsworth: penguin. plunka, gene a. (ed). (1994). antonin artaud and the modern theatre. london and toronto: associated university press. prasad, v.r.n et.al. (1995). understanding absurd drama. aurangabad: kirti prakashan. sternlicht, sanford. (2005). masterpieces of modern british and irish drama. connecticut & london: greenwood press. 46 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 art as the energy of life creative process representation of sasak womanhood in visual media lucky wijayanti,a setiawan sabanab ajakarta institute of the art, address, jakarta, indonesia. email: luckyblueandwhite@yahoo.co.id b bandung institute of technology, bandung, indonesia. abstract the idea of creation/formulation of the problem in the dissertation of art creation is the reality of women workers to the nature of femininity in performing arts as interpreted life energy into the problems of women workers. the idea is then formulated into the concept of creation, the role of women as the guardian of the family, gave birth to progeny, and the resilient nature of women as breadwinners for survival, even more importantly women as keepers of tradition. through the creative process to create works of art by presenting a ‘rasa’ that can be captured and responded to by the brain into something that essence and recorded in the memory, (vs ramachandran, 2012). the study was conducted using visual aesthetic and creative through the photographic process with the exploration of materials such as: objects generated tradition of lombok, for example woven fabrics, woven and the other as an aesthetic element as well as elements of art such as: shape, line, color, shape, composition, and texture. as for all stages of the process based on the embodiment of the work of the working stages of the creative process by csikszentmihalyi (1996), namely: preparation, incubation, insight / arcing ideas, evaluation, development, and presentation in the form of art exhibitions. in general it can be concluded, that in this aspect of the subject matter of the concept of women in the end that guarantees life for themselves women are women themselves. in the form of work, technical realization through the creative process with visualization methods. keywords: womanhood, rasa, the energy of life, creative process. introduction interaction author with the craftsman women often creates new ideas or bring new ideas in the works. travel to various places that allow to interact with women workers, such as; vegetable traders in traditional markets, lifting stones, common bus conductor and so on in other areas, but it is also the batik artisans in inderamayu, cirebon, pekalongan, solo, jogjayakarta; artisans weaving in pekalongan, lombok, kupang, and; artisan pottery and woven in lombok. research in the village of gunung malang, nyurbaya, banyumulek, lombok, west nusa tenggara, drawn to the women in the village are in daily activities weaving, plaiting, making pottery, dance, cooking, gardening, and planting rice, while the men reading the lontar, making residential buildings, making equipment, farming, gardening and so on. all of the women in the village of gunung malang activities gedhogan loom weaving is done in the front yard of their home. 47 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life women in sasak community, has an important role in the organization of life. one example that reflects the major role is how the women weave cloth for children associated with local beliefs rituals performed until now. starting when he was a baby by making umbak weaving, cloth to hold the baby when it is born later. by the time his son was a teenager, if men would undergo circumcision procession is required in islam, then the mother will make woven fabric kerempen (circumcision ceremony) and kuris (hair cutting ceremony), a special fabric for the ceremony. the fabric color: red, yellow and black with stripes, size: width 10 to 20 cm, a length of 1 to 1.5 meters. furthermore, the fabric will be used by the child as a belt, to adult. when this child dies, the woven fabric will be cut and it is closed to the face. in addition to his mother, women who have entered menopause can be assigned weave fabric to complete the ritual. this woman is considered sacred. before weaving must be provided andangandang, a kind of dish (offerings) penginang form, that is: betel, tobacco, gambir, yellow rice, yarns and fabrics. this dish is placed next to a loom, and must remain there for about two days weaving process. thus the position of the mother or daughter plays an important role in the survival of the local traditional rituals. remarks at the top has two problems, the first position of women there who just became laborers or slaves to their master (employer), for example, women workers in the area of pekalongan and secondly there are host to itself, for example, the weavers in village gunung malang, lombok. reality is author see that they work out the energy for survival with her family in art, apart from the issue of responsibility of men as the main breadwinner for the family. on the other hand that the woman should take the time portion as a breadwinner for the family. at first this activity is an activity to meet their daily needs, they do ‘artistic activities’ with the spirit or the spirit of art stored in the body. activities done in simple houses with good awareness and earthy, even passed down through the generations. dynamic movement of dancers gandrung lombok dynamic movement of dancers gandrung banyumas 48 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 women potters in the village banyumulek. pottery products with traditional burnt. women weavers in village gunung malang. weaving products with traditional loom. women weavers in the village nyurbaye. bag products with ingredients ketak. table 1. women workers: dancer gandrung, making pottery, weaving and plaiting. source: private documents. 2013. materials and methods based on the above background, there is an idea that can be formulated as follows: a) how does the reality of working women with feminine characteristics in her life energy? b) how to interpret the problems of women workers to build the concept of the creation of the art work? c) how can a form of work that reflects the concept of female workers into works of contemporary art through the creative process on the exploration of form with visualization research methods? based on the authors’ field observations, can be constructed a concept of creating works that are stated position of women which include: 49 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life a) the role of women as guardians of childbearing families and their descendants, and the resilience of women as breadwinners for survival. b) making space for women’s liberation as an artistic activity. c) realize the female figure through the aesthetic form as a representation of womanhood. thus the concept of the creation of the artwork shown in the following chart: chart 1. the concept of the creation of women’s representation. to realize the copyrighted works, an artist will do stage work by making flow or work procedures so that all activities undertaken will be recorded and well documented, it is very necessary if the work will be reproduced or further studied to develop, in the process of creating the work art, the author conducted several phases of work that refers to the stages of the creative process, as described by mihaly (csikszentmihalyi, 1996: 79), a psychologist, stated that the stages in the creative process, are: preparation, incubation, insight, evaluation and elaboration. to complete the stages of the process of creativity can be added 3 system components, that is: cultural order disciplines, experts in their field and the collaborators who helped in the process of work as an workers practitioner. at the time of his creative activity, artists often follow feelings or condition to be comfortable in the work. when in the process of observation, suddenly automatically perform hand strokes that make up the figure, it is being implemented and allow it to get the best sense and produce some imaging. after that back again contemplate and make the first conclusions with reference to the concept of manipulating the material and estimation techniques to be used. this process continues to flow like a spiral starting from the exploration stage, the design stage to go to the embodiment. using the methods of visual/creative, visually that is thought to make the ideas that will be visible through a variety of techniques to explore issues of the projects studied so finding something or new findings in this study. this research-based practice and experiment by using visual skills to externalize and communicate concepts, interpretation, evaluation, and so on; so that this will happen in collaborative research as a means of sharing information, get feedback and generate new ideas, (gray, carole and malins, julian: 2004). visual methods using the pictures are very necessary because in one picture can tell a thousand words and express some meaning, can 50 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 imagine the use of materials / ingredients, creating an open discussion among viewers, get creative response, and allows the use of technology in realizing the image. here’s how to put the majority of research into the chart mind map: chart 2. part concept visual mind map method. discussion a. visual documentation: figure1. documentation photography. source: private documents. 2013. 51 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life no activitylocation matter / object analysis 1 weavers, village gunung malang woven fabric, 200 cm x 50 cm used as a shawl for women at the party. synthetic colored cotton yarn, the basic material for cloth weaving as warp and feed. a woman weaving with a loom gedhogan on the front porch of the house. at the time weaving in sitting posture, with your back straight, arms and legs should be strong and hold on as you pull the loom, weaving is done with a regular movement and discipline. a woman was weaving while keeping her child. they weave to meet the needs for clothes. the resulting cloth should not be sold, they gathered for ceremonial or religious event. work independently, should not as a laborer. 2 potters, village banyumulek banyumulek, located in the district of kediri (west lombok), at first they learn to make the barrel as a water container, pot for rice and wuwungan container, roof decoration in the shape of animals horse. until now still be made. very interesting of these is the art of pottery in the combustion process does not use the stove, but put earthenwares ready burnt on firewood stack and covered with straw and then burned on the terrain, this is done by fellow members of the family worked together. 52 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 3 plaiting ketak. village nyurbaye in this nyurbaye village almost all women plaiting material proficient ketak (a kind of plant that grows on the edge of a cliff). they worked as laborers and gathered in a a kind of a souvenir shop that sells products made from ketak. they work after finish cleaning the house until late afternoon. this job requires a high skill, because many of the processes that must be done to make a product: preparing materials with plant stem skinning ketak (lygodium circinatun). plaiting such that the size of such arrangement, forming short lines that form a motif. 3-dimensional shape in the form of containers, boxes, round, tube and others. clearly visible bright-dark, because the texture of the blend material which is owned clack natural colored like brown and black. 4 dancers gandrung lombok gandrung dance that evolved in sasak community on lombok is a dance show performed in the field, accompanied by a set of gamelan musicians, poetry, tembang (sabarungan, lelakaq, sandaran; sasak) and the audience, creating a circle. the development time of this dance is often shown as a symbol of expression sasak community on lombok as a social dance. dancer costumes either: a) gelung: headdress made of frangipani flower, b) gempolan: ear ornaments made of frangipani flower, c) bapang: decorative neck, d) stagen: cloth wrapped around the chest to the waist, e) eleq-elaq: pectoral, f) gonjer: colorful scarves, g) long cloth, h) fan. sasak people make songket woven fabric used as a menswear and women at 4 dancers gandrung lombok gandrung dance that evolved in sasak community on lombok is a dance show performed in the field, accompanied by a set of gamelan musicians, poetry, tembang (sabarungan, lelakaq, sandaran; sasak) and the audience, creating a circle. the development time of this dance is often shown as a symbol of expression sasak community on lombok as a social dance. dancer costumes either: a) gelung: headdress made of frangipani flower, b) gempolan: ear ornaments made of frangipani flower, c) bapang: decorative neck, d) stagen: cloth wrapped around the chest to the waist, e) eleqelaq: pectoral, f) gonjer: colorful scarves, g) long cloth, h) fan. sasak people make songket woven fabric used as a menswear and women at solemnize wedding customs and traditional dances pembagian ragam hias motif tenun, diantaranya: human motifs, such as: the form of puppets, humans seem 2 dimensional plant,motifs such as: the shape of flowers, leaves, vines animal motifs, such as: shape lizard, dragon, bird building motifs s, such as: shape granary, an umbrella geometric motifs, such as shapes: rectangles, hexagons, lines, rectangles, triangles. color woven fabric derived from natural dyes such as: red from the roots of noni (morinda citrifolia), blue from the indigo plant (indigofera sp), while the white color of the cotton and yellow (from plants) and black but now many production using cotton colored woven synthetic that feature brightly colored woven fabric. to complement the costumes added decorations such as necklaces, bracelets, studs and ankle bracelet, made of silver with inlay decoration. 53 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life 4 dancers gandrung lombok gandrung dance that evolved in sasak community on lombok is a dance show performed in the field, accompanied by a set of gamelan musicians, poetry, tembang (sabarungan, lelakaq, sandaran; sasak) and the audience, creating a circle. the development time of this dance is often shown as a symbol of expression sasak community on lombok as a social dance. dancer costumes either: a) gelung: headdress made of frangipani flower, b) gempolan: ear ornaments made of frangipani flower, c) bapang: decorative neck, d) stagen: cloth wrapped around the chest to the waist, e) eleqelaq: pectoral, f) gonjer: colorful scarves, g) long cloth, h) fan. sasak people make songket woven fabric used as a menswear and women at solemnize wedding customs and traditional dances pembagian ragam hias motif tenun, diantaranya: human motifs, such as: the form of puppets, humans seem 2 dimensional plant,motifs such as: the shape of flowers, leaves, vines animal motifs, such as: shape lizard, dragon, bird building motifs s, such as: shape granary, an umbrella geometric motifs, such as shapes: rectangles, hexagons, lines, rectangles, triangles. color woven fabric derived from natural dyes such as: red from the roots of noni (morinda citrifolia), blue from the indigo plant (indigofera sp), while the white color of the cotton and yellow (from plants) and black but now many production using cotton colored woven synthetic that feature brightly colored woven fabric. to complement the costumes added decorations such as necklaces, bracelets, studs and ankle bracelet, made of silver with inlay decoration. table 2. visual documentation (source: private documents, 2013) subject matter : research in lombok the sasak tribe society, the position of women plays a very important that as a ruler, for example, by known the term that is bumi nine, or motherland. inen bale core that is part of the house as a place to proceed in the family are the property of women, who in sasak inheritance system, all of the home and its contents will be passed on to the women. whereas in the calculation of custom homes sasak architecture, women’s feet are used as a benchmark in the calculation of the size of the parts of the house. gunung malang (lombok barat), bayan village (north lombok), pujut districts (central lombok), district sembalun (east lombok), sub jonggat (central lombok) has the trust activities which are still performed and maintained in the form of cultural rituals associated with the groove human life from birth to death. three parts of human life: birth, life and death. the third cycle is associated with weaving tradition, symbolized by the birth of woven fabric umba ‘, the life of the fabric used for clothing or clothes, with a death shroud woven fabric 54 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 and fabric usap, cloth to cover the face when he died. this understanding is related to cosmology. the cosmologists often reveals the meaning and qualitative relationships through the idea of the four pillars that are the substance of life origins of the universe, the four pillars represent the properties that it contains not only the physical state alone. pillars are: a) land: dry and cold nature, b) water: wet and cold nature, c) air: wet and hot properties, d) fire: dry and hot properties. these four elements represent four qualitative stage which is the existence of the earth, from the lowest stage towards high levels, from the dense toward soft, from dark to light. analogy with the existence of the woven fabric are: the land watered produce cotton plants with photosynthesis and air support these plants produce flowers of cotton, then cotton is spun, made yarn and woven into fabrics. this is the fabric used in the human life cycle. chart 3. the relationship of man with nature cosmology. in this ritual human beings trying to connect between the energy of nature and human life, the ritual is a symbol of love represented with woven fabric umba ‘which is used to hold the fabric and wrap (hug) newborns, this woven fabric as the link between life, natural and human, in order to remain united energy, thus the material of the fabric must be derived from nature, namely cotton. umbak fabric ‘has a name such as fabric bajak sari motif, kombong motif and others there are 8 names. the motive of lines because it comes from weaving techniques. weaving technique originating from north bali (gringsing) is what can weave the threads into a piece of cloth that will be used as cover material of the human body. color motif consists of white symbol of bones meaning of life, the red symbol of the blood means life, yellow symbol of the body means power and black symbol of bones means death. this fabric is woven by a woman saint, that old woman who has been through a period of manapause. fabric for this ritual is usually woven with the intention aimed at sender later in the ceremony beforehand, weaving activities carried out on monday or thursday, loom usually placed near the sort of offerings, weaving is done for one week. for one child usually takes one or two woven fabrics, even if it is able to achieve eight woven fabric according to the ability of their parents. 55 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life women who weave these fabrics usually are descendants of the elder and taught women how to weave in the interests of ritual. this woman has a companion called for help ontang antin. later ontang anting women is what will replace them if dead. if you look at the illustration of the role of women who started from the the girls become teenage girl learning to weave, continued to marry and become a mother and have children, then become an old woman who later headed the sacred feminine. can be stated that the dignity of women as carers and tradition successor. women as guardians of tradition, all the ceremonies led by women (inen gawe), the logistics worked out by female guards (inen menik), the holder of the cosmos or supervisory ritual performed by men. indigenous culture can be kept alive because it is done with the activity of the ritual, the ritual still running because it is still useful and needed by community supporters, in carrying out the rituals required media is woven fabric made of cotton raw materials. chart 4. role of woven fabric in rituals. sasak women should be able to weave before getting married and bringing food to the fields by means of upholding the goods on the head, this can be seen as a concept of balance. if there is no regeneration of the women who weave, then there is no fabric produced as its medium of ritual, then one day traditions will be lost. women who make woven, because men do not deserve to work weaving. to keep the tradition maintained the required documentation and conservation as well as trying to be open to change while still maintaining traditional values in order to stay awake cosmological ideas. ritual umba fabric ‘this is the original sasak before islam entered. cosmological thinking associated with mountains, sea, land, water, fire, wind, which gave birth to the custom value so that there is a ritual activity. traditional society in general does not know the culture, there is a value, people familiar with the tradition of the required value by way of ritual, this ritual gave birth to the technical aspects (weave), incantations (literature), cymbals (offerings), needed something that would give birth to the social system namely: the elite, the middle and the public. 56 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 chart 5. the social system how high the role of women as guardians and keepers of tradition, that tradition remains on earth sasak lombok. the origin of this ritual about 200 years ago, is now a ritual with a umba fabric ‘this is rarely done, but it is still done by the sasak people inland. currently ritual tradition kuris (haircut), using umba fabric ‘was done and done at the time of the prophet muhammad’s birthday event, because of the times, the ritual is dependent on the beliefs of each family.now, in the village of gunung malang and bayan village, the women still do the work of weaving is done at night or after returning from the fields, the woven fabric used for clothing or be traded to travelers, ‘kemali’ fabric only to be used only. weavers in this village there are about 100 women weavers of 400 heads of household. government (village head) to provide thread stalls, direct buyers to buy fabric to the weavers. regeneration in this village is being done, for teenage girls after school they will soon weave. the next how the link between the material obtained from the research is conducted in the field in the creative process by incorporating elements of ‘rasa’ and ‘essence’ is in the form of work. through the relationship between how the brain works of art, like an artist hindu in india see anatomical statue of the goddess with a large chest size, waist very slim with the hips that contains and solid, it depicts the artist makes it to ‘sense’ romantic love, sexual ecstasy, feminine, grace, and perfection of a fertility goddess. as the rasa and essence of it can evoke a certain mood to the observer, that is by ‘capturing the very essence’, and interpreted as something to ‘evoke an emotional response directly’ so that it can capture the real essence of art. in addition, how an artist captures the essence on an object? so as to produce a work of art that has the effect of radical change (the peak shifteffect). how the principles of this radical change effects associated with the creative process, so that the object can be stand out and very quickly captured by the nervous system of the brain, namely through objects caricatured, exaggerated, amplified, in the highly right, so that the interaction between the nervous system of the brain with artwork. (vilayanur s. ramachandran: 2012). 57 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life b. the creative process: b.1. exploration of materials and techniques no material and technical specification 1 embroidery to be able to feel the texture of songket cloth worn by dancers, then the fabric surface coupled with the embroidery technique using cotton thread. 2 application clamshell to get an impression of luxury in furniture equipment is generally coupled with a technique called cukli ornament, it is applied using clamshells and coins were sewn on the fabric surface. 3 revocation fiber fabric to get an impression of weaving, the yarn into fabric that looks woven fabric revoked. 4 revocation fiber fabric and fiber binding fabric to get an impression of weaving, the yarn into fabric is revoked then tied so that it looks woven fabric. 4 revocation fiber fabric and fiber binding fabric to get an impression of weaving, the yarn into fabric is revoked then tied so that it looks woven fabric. 5 revocation fiber fabric and weave with ketak to create a three-dimensional texture and the weft yarns in fabric fibers woven replaced with a ketak. 6 burning the edge of fabric the edge of the fabric was burned to get the black color gives the effect of heat because the burning visualization pottery. 7 the sewing ceramic on the surface of fabric placement of ceramic parts on the surface of fabric by stitching to get the texture of pottery. 8 painted on fabric continue the partially severed visual object with painting technique so that a three-dimensional impression. 58 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 4 revocation fiber fabric and fiber binding fabric to get an impression of weaving, the yarn into fabric is revoked then tied so that it looks woven fabric. 5 revocation fiber fabric and weave with ketak to create a three-dimensional texture and the weft yarns in fabric fibers woven replaced with a ketak. 6 burning the edge of fabric the edge of the fabric was burned to get the black color gives the effect of heat because the burning visualization pottery. 7 the sewing ceramic on the surface of fabric placement of ceramic parts on the surface of fabric by stitching to get the texture of pottery. 8 painted on fabric continue the partially severed visual object with painting technique so that a three-dimensional impression. 8 painted on fabric continue the partially severed visual object with painting technique so that a three-dimensional impression. table 3. exploration of materials and techniques. 59 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulaelucky wijayanti. et.al.. art as the energy of life b.2. visualization techniques works in the presentation is a photo documentation in different formats, because the techniques used are the above photo print fabric material, so it can be freely explored, such as sewn, embroidered, woven, burned, this is in accordance with the activities of sasak women workers. the aim is to give experience to the visitors to feel the sensation as it allowed to touch the works in order to feel the various textures such as texture threads, clack and pottery. chart 6. the process of visualization techniques. c. presentation of fine arts exhibition exhibition of the work is a form of presentation that are new findings from the research in the creative process of sasak women who told about the work and toughness of women workers. this opens up a dialogue between artists and art critics, artists, and the public to promote the appreciation of art and inputs in order to give a positive assessment of the creative process in the work. figure 2. visual arts exhibition at the “beyond # 2 border in art indonesia and korea, lobby theater jakarta, taman ismail marzukijakarta, 25 june 27, 2015. 60 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 conclusion based on the results of research in the field, the concept of thought ramachandran, about extreme figure, then compiled estimation phase of work, that is: 1) works of photographic documentation can be presented visually by showing a ‘rasa’ of womanhood sasak through: a). texture woven fabric, woven grass, and pottery, b). lombok natural color, the color material, c) woven technique is applied to the surface of the fabric, d). material support as aesthetic elements that characterized lombok such as cotton yarn, kepeng coins, pottery, grass, clamshells, silver accessories. 2) impression on women workers face photo becomes the emphasis because the visually can talk and tells about the world of work. 3) remind to the public, that there are female workers in lombok who do the work of art as the energy of life. figure 3. the two-dimensional work (source: lucky wijayanti, 2015) references anthonie, cornelis van peursen. (1970). strategie van de cultuur, amsterdam: elsevier. (disadur ke bahasa indonesia oleh dick hartoko (1988) dengan judul strategi kebudayaan, yogyakarta: kanisius. csikszentmihalyi, mihaly. (1996).creativity, flow and the psydhology of discovery and invention, new york: harper perennial. gray, carole and malins julian. (2004).visualizing research, a guide to the research process in art and design, england: ashgate. jaszi, peter et.al. (2009). laporan penelitian kebudayaan tradisional, suatu langkah maju untuk perlindungan di indonesia, jakarta: lembaga studi pers dan pembangunan (lspp). jessup, hellen ibbitson. (1990).court arts of indonesia, new york: the asia society galleries. ramachandran v.s. ( 2012).the tell – tale brain, london: windmill boks. 61 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief murata, sachiko. (1992).the tao of islam, a sourcebook on gender relationship inislam thought, new york: state university of new york press, (disadur ke bahasa indonesia oleh rahmani astuti (1996) dengan judul the taoof islam, kitab rujukan tentang relasi gender dalam kosmologi danteologi islam, bandung: mizan. raap, olivier johannes. (2013). pekerdja di djawa tempo doeloe, yogyakarta: galang pustaka. ratna, nyoman kutha su. (2010). metodologi penelitian, kajian budaya dan ilmu sosial humaniora pada umumnya, yogyakarta: pustaka pelajar. walbi, sylvia. (1990).theorizing patriarchy, united kingdom: oxford, (disadur ke bahasa indonesia oleh mustika k. prasela (2014) dengan judul teorisasi patriaki, yogyakarta: jalasutra. editorvol1no22014.pdf (p.2) npscn001(2).pdf (p.1) jurnal ijcas vol . 1 number 2 desember 2014.pdf (p.3-112) 27 1 the dialectic of visual arts life in west sumatra 1986-2003 nessya fitryona visual arts departement in the state university of padang email: nessyafitryona@ymail.com abstract west sumatera is one of areas in the visual arts development in indonesia. in 1980-1990s, there were found the presence data about installation of art and some alternative art works in art institutions and in public. the emergence that art works caused the struggle of the view of art practices in art society. that struggle seemed to thaw since emergence of komunitas seni belanak (2003). this research explained the process of view of art practices that were occurred in west sumatra which had changed from 1986 until 2003. this research used the concept of historical movement by hegel dialectics theory and sociohistorical approach. the changing process of the art practices started from antithesis phase which was divided into two periods. the first antithesis period was the arrival of agus purwantoro (1986-1999). the second was the movement of ikip padang college students (1995-2003) and continued to the emergence of komunitas seni belanak. the results of this study was the struggles in view of art practices in 1986 until 2003 was important as the transition period between the practices of modern art and the development of contemporary art in west sumatra. keywords: dialectics, practice of art, modern art, contemporary art introduction in the last two decades, the life of visual arts in west sumatra has shown an increase their artistic activity. there has been development of form and appear various visual styles with exploration medium in art. it can be seen from art event that intense held such as an exhibition big reunion alumni smsr perodically, exhibition artist from west sumatra in indonesian national gallery, bienalle sumatra exhibition that organized since in 2012, until the exhibition in alternative art space appeared more and more. the art activities that have emerged, it can be observed many various tendency forms work and art practices that have changed significantly from previous developments. it has become an indication of a shift views in the practise of art. in the 20th century, the development of visual art in this area appeared in modern arts. first time, the development of artwork identical with a characteristic visual mooi indiё with naturalistic style. the existence of pattern of modern art began be variuos since establishment of art education institutions (rosa, 2004: 11). the establishment of institution started with kweekcshool in 1856 and indonesiche nederlands school (ins) kayu tanam in 1926. after that, in the sixties appeared two education institutions of art 28 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 2 namely institut keguruan dan ilmu pendidikan (ikip) padang and sekolah seni rupa indonesia (ssri) padang. the style of visual arts especially naturalist painting in west sumatra then development towards realists, expressive, decorative, kubistic and some style of the visual arts in other modern art more diverse including calligraphy to abstract. so far, artist still use conventional mediums for the artist expressions. a different thing is seen in the dekade 2000s. most artist who actively involved, especially the younger generation began to create artworks that has freedom of expression include the idea and medium in they art. they have worked art by mixing media of art, like installation, performance art, happening art, enviromental art, until using the latest technologies. the stretching that can be seen clearly in the emergence of komunitas seni belanak (2003). shift a view in art practices of course that has not present by self. but there are things trigger, influence, and initiated happen a change of views in art practice. such as saidi said, a concatenation of the changes that occurred is a process history that runs dynamiclly and dialectically. according to that, journey of the art history which dialectical tinged with the emergence of a new art work with the spirit of entry even a radical which cannot be separated from motivation a tendency the dominant artwork present before. so, the changes that occurred in the life of art on a territory in the spectrum of history having potential tinged with various spirit entry to a tendency the development of that occurred earlier to an condition new development. it has a dialectical pattern (saidi, 2008: 2). based on that statement, development of visual art in west sumatra around the end in year in 1980s showed a interesting fact. in mid-year 1980s, appear symptoms a visual art that considered “extreme” through installation art, performance art, happening art and variety of art that the dissolution of idiom-idiom form matra, no longer talk dwi matra, trimatra, and caturmatra (rosa, 2006: 14). that phenomenon starts from the emergence of installation art called “di sini diam” in 1986 at surroundings campus ikip padang (ganto, no.48/th.vi/november 1995). the presence of work was followed up with the emergence of works performance art, happening art, and paintings use various media non conventional. at the time, the artwork was known as new form and different in emergence artwork in padang even west sumatra. in the next, the artworks appear have the potential as struck spirit condition in visual art practices that develops before in west sumatra (purnawati, 1994: 7). various responses that has emerged since the middle year 1980s indicated the a dialogue spaces. that the firts condition appeared not be taken for granted, but reap a range of conditions contradictory. in addition, the phenomenon that occured in the middle year 1980s has shown the process of conflict two the view of art practices. two views consist of sight art practices of modern visual art who has long been developing in west sumatra and views new possibilities in arts practice. it almost disappeared from view and became an interesting phenomenon to examined. 29 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts life 3 if the art practise has been pulled into a straight line, the struggle condition of both views has been going on around 1980s has relation shifted to a condition that was more open, especially the reappearance komunitas seni belanak in 2003. this research want to answer the question : how the process struggle occurred in the life of visual art within 1986 and 2003 till occured changes the practices of art. methods the research is qualitative study with descriptive analysis and sociohistorical approach. data obtained from interviewing the people who were involved in art practices in research time, the field observed behavior art practise include perception, motivation, the act of interviewer that involved with art development in 1986 until 2003 (primary data), examining documents in newspaper clippings, documents activity and artworks (secondary data). the problems in this research dissected with dialectical theory g.w.f. hegel. according to hegel‟s theory, history move forward with in a dialectically in landscape idea, the difference of time the development of that runs continuously in phase thesis, antithesis, and yielding synthesis that show the new existence. then, the new existence will return to the through movement dialectically (mudhofir, 2001: 43). where: t = thesis a = antithesis s = synthesis the level of idea in dialectical hegel perspective has a ties like the collision of views formed in the life of visual arts in west sumatra in around the end of year 1980s until the beginning of the year 2000s. the thesis phase can be seen from developmentally a historical which show focused a view, or concepts a framework for the creation of artist, and shows a ideology thought art or culture widely (burhan, 2013 : 121). then the thesis has the potential to cause an idea that is opposition to that which is called antithesis. this happened because that reality is represented on an idea first demanded that reality (ashshadr, 1993 : 151). thesis and antithesis are reconciled in form of a new affirmation. that is aufgehoben. aufgehoben have three meaning: firts, exclude or deny, thesis or antithesis t t t a a s s 30 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 4 eliminated. second, caring for storing or preserving contradictions thesis and antithesis. third, put the thesis and antithesis in a higher level. results the view of modern art in west sumatra before 1986 movement of dialectics started from the big ideas or large narrative as thesis. the large thesis can be seen from developmentally a historical which show focused a view, or concepts a framework for the creation of artist, and shows a ideology thought art or culture widely (burhan, 2013 : 121). before the entry of the influence of the modern art in west sumatra as with the presence of the dutch colonial that carries modern culture in the era of colonialism, visual art practise still known traditionally to the production of objects of art collectively and anonymous. such carvings in rumah gadang, songket, pottery, and other handicrafts products. contiguity the modern art in west sumatra stems from an education art founded the netherlands government that imparts concepts and universal values, including in the field of western art. that is kweekschool. this school then bring out an artist named wakidi who succeeded impact on the lives of the visual arts in west sumatra with pointedness pattern naturalistic in paint (rosa, 2006 : 9). most profession artist who begin to appear having a tendency representation objects of natural scenery at west sumatra in landscape, calculating, and scenic. art works that appear in accordance catch visual with to cultivate techniques be standardized. there are replicate work paint, make perspective color, meticulous technique, subtlety in processing form and color same as mooi indiё painting who developed in indonesia (rosa, 2004 : 8). later, diversity pattern the visual arts modern richer with growing some educational institutions that has an interest in visual art, namely indonesich nederlandsche school kayu tanam (1926), majors of visual arts ikip padang (1963), sekolah seni rupa indonesia /ssri (1965). the diversity the dynamic with introduction various forms art work as sculpture, graphic art, kriya, in addition to the art of painting that develops dominant. the existence of many institutions the art plus the role of artist who has shown tendency toward the modern art, then influence in the perspective of in art work and art practices that is embedded in the middle of the 20th century. themes that often presented still tending to rest upon of natural scenery west sumatra in subjective presented in exotic and lyrical covering activity social life, the figure of portrait, still life to religious themes as calligraphy and a small number is leading to criticism social. that ideas represented into various pattern universal modern art adapted of teachings of west such as realists, impresif, expressive, decorative to abstract in beside still like for pattern realists and naturalist in artists artwork. that can be seen from its tendency art works artist in year around 1970 to 31 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts life 4 eliminated. second, caring for storing or preserving contradictions thesis and antithesis. third, put the thesis and antithesis in a higher level. results the view of modern art in west sumatra before 1986 movement of dialectics started from the big ideas or large narrative as thesis. the large thesis can be seen from developmentally a historical which show focused a view, or concepts a framework for the creation of artist, and shows a ideology thought art or culture widely (burhan, 2013 : 121). before the entry of the influence of the modern art in west sumatra as with the presence of the dutch colonial that carries modern culture in the era of colonialism, visual art practise still known traditionally to the production of objects of art collectively and anonymous. such carvings in rumah gadang, songket, pottery, and other handicrafts products. contiguity the modern art in west sumatra stems from an education art founded the netherlands government that imparts concepts and universal values, including in the field of western art. that is kweekschool. this school then bring out an artist named wakidi who succeeded impact on the lives of the visual arts in west sumatra with pointedness pattern naturalistic in paint (rosa, 2006 : 9). most profession artist who begin to appear having a tendency representation objects of natural scenery at west sumatra in landscape, calculating, and scenic. art works that appear in accordance catch visual with to cultivate techniques be standardized. there are replicate work paint, make perspective color, meticulous technique, subtlety in processing form and color same as mooi indiё painting who developed in indonesia (rosa, 2004 : 8). later, diversity pattern the visual arts modern richer with growing some educational institutions that has an interest in visual art, namely indonesich nederlandsche school kayu tanam (1926), majors of visual arts ikip padang (1963), sekolah seni rupa indonesia /ssri (1965). the diversity the dynamic with introduction various forms art work as sculpture, graphic art, kriya, in addition to the art of painting that develops dominant. the existence of many institutions the art plus the role of artist who has shown tendency toward the modern art, then influence in the perspective of in art work and art practices that is embedded in the middle of the 20th century. themes that often presented still tending to rest upon of natural scenery west sumatra in subjective presented in exotic and lyrical covering activity social life, the figure of portrait, still life to religious themes as calligraphy and a small number is leading to criticism social. that ideas represented into various pattern universal modern art adapted of teachings of west such as realists, impresif, expressive, decorative to abstract in beside still like for pattern realists and naturalist in artists artwork. that can be seen from its tendency art works artist in year around 1970 to 32 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 6 different from the previously had form and themes that negation a tendency developing in west sumatra. it has resulted in agus purwantoro and his gait as walk alone and separate from its symptoms art. the period of arrival of agus purwantoro started in 1985. he has came to padang, west sumatra to meet the opportunity given the rector of ikip as teachers in visual arts department. he is an artist graduates from akademi seni rupa indonesia (asri) yogyakarta 1977. a form of negation in antithesis phase in the development of visual art in west sumatra starts with desire agus to break down reliability view academic still riveted on the concept of art practices that still conventional and stiffening in west sumatra at that time. contention resulted in negation of new bids to the shape of and the pattern think to seen the art practise as something free and in spite of elements reliability. struck the new started of the appearance of his first artwork, namely art installations “di sini diam”. its artwork created in 1986 on south of campus ikip padang. that art instalation consist of pile of chairs that have been worn. the emergence of experimental artworks, art installation, performance art and happening art in art practice offered agus purwantoro then have a pro and contra response. response was triggered from the shape of art work and difference in the use of material unusual and distinct. that artwork such as art instalation “di sini diam” (1986), art instalation “eling” (1994), art instalation “persembahan” (1995), art instalation “kambing hitam” (1996), art instalation “nasib nyamuk” (1994), art instalation and happening art “bumi gonjangganjing” (1998). most of his work had the characteristics of work use of language estetik is kitsch. he has built simulate and copying elements the style of high artistic or object daily for the benefit of his artwork. for example he use objects like the seat of daily, used goods as cans, damaged table, cardboard, an envelope, newspaper, a broom stick, clothesline, until materials the kitchen as vegetables. art instalation by agus purwantoro, eling, at taman budaya padang (1994) exhibition art instalation nasib nyamuk by agus purwantoro at yard office’s fpsb ikip padang (1995) action happening art in bumi gonjang-ganjing activity in 1998 at soccer field’s ikip padang hauser said, phase antithesis characterized by appearance of the power of a force new productive, an effort glory new, a technique achievement, individual talent, or readiness 33 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts life 7 with the effort to the condition production that is, a form of government, a legal procedures, the concept of moral, and norma is the old way, a penerobosan what happened between an ancient new and repetition adaptation the need, and by a necessary condition (hauser, 1982 : 340). the phenomena the works of art installation, performance art, and art forms experimental other, as a result negation done agus purwantoro. it has links while the effect on the social condition political that was going on the time as a condition of social required in that phase antitesis namely orde baru (1966-1998). social conditions as a result in orde baru that has been in turmoil in indonesian goverment responded by agus purwantoro by covering the various criticism in secret behind his artwork. themes in the art work of another artist in west sumatra at the moment most is still in the theme condition minangkabau custom, sociocultural of life, spiritualities, and exotic nature. in the side they have attempt to find novelty and originality in artwork with the emergence of various pattern and personal style in painting sporadiclly. in addition, social condition artists in west sumatra about 1980s until 1990s most still tied to the impact of from a condition of being those experienced who have had an impact on art activity. impact on the difficulty of to give exhibitions in taman budaya sumatra barat, expensive tools of painting, there is no artist who dare the total of art work and plunge professionally in the life of arts, and looking at other alternatives in artist expression. various negations agus purwantoro done in his art works and his activity in art practices, including also terms of teaching system which he apply to his college students in ikip padang. that teaching system having the style different from formal academic which structured, and discipline. agus have a different perspective to art practice of likeness in the application of the college students experiences in the art academic. subjectivity from born of what he saw and might feel toward art practices in west sumatra and within academic make it moved to change views and paradigm artist who did not have greget for him. while for in the academic, he realized that college students when that took enlightenment and something new to satisfy a feeling of them in art (agus purwantoro, interview on august 4th, 2016). that twist around in educating college students in art to use format that is more open and not only chase on view be standardized academic formally, structured, and established. agus having views the artwork is not quite turned on within the art society and in the art academic. so, he have required extracurricular activities which performed by a college student and society which are pertaining to expand the scope of art practices and consumption art in general public. that has been positive for students concerns. according to agus‟s college students will be trained to organize, and always an innovator, motivator in the creative by various events he do inside campus or in public place which is in direct contact with the society (agus purwantoro, interview on january 26th, 2015). 34 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 8 various alternatives material attempted directed agus in lecture also is a solution of which to help college students to make artwork without having to buy oil paint which is considered to be expensive bags less for them. while in the expression it is not as an obstacle. so that in agus purwantoro period of teaching at the visual arts departement at ikip padang, more students tend produce the experiments artworks with alternative media. those activities received positive responses. some from them feel motivated and be passion to make something new as they expression in art. before the arrival of agus purwantoro, art works college students was focused on control engineering and formal conventional forms. that is basic competence the visual arts in academic. so it was still formed strong convention of modern art in campus. ripeness technique is strongly accounted especially on the form of realists and suitable to the character objects based catch eyes. transfer the science and understanding shape view towards the students before the existence of agus purwantoro also cannot be separated from the existence of figures had played a role in the visual arts teaching in ikip, as idran wakidi, muzni ramanto, achyar sikumbang, and some other senior lecturer and having strong pattern in art works which naturalistic and realistic styles. a method of think dialectical used hegel as the fundamental principle explain the various existence and development of reality in the domain of idea. gait agus purwantoro in west sumatra in idea and the idea to view freedom to experiment with and expression and anti reliability in art practices of apparently not is fully supported. that can be seen from agus purwantoro is single artist in west sumatra when it was actively involved with experimental art. in 1999, he chosen return to java and teaching in universitas sebelas maret, solo. moving agus purwantoro cameback to java, causing activity experimental art almost lost. antithesis done agus purwantoro, in the end of the coming produce synthesis the return of view long to modern art. after agus purwantoro and his mind exist in west sumatra, next ignitd some college students doing different art practise with benchmark convention into standard assessment campus. a groove motion the process dialectics ongoing relentless throughout history. synthesis resulted can be the new which bring out to new antithesis and both make peace form a new synthesis. so that the dialectical hegel is described with the motion of spiral (mudhofir, 2001 : 43). the movement of spiral created of the dialectics pattern between the thesis, antithesis, and its synthesis then back into the thesis who moves forward and progressive. occurred when the dialectics process coming of agus purwantoro, and yielding synthesis back the view of modern art which conventional especially in campus. that next, trigger reaction antithesis of among collage students. 35 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts life 9 phase antithesis ii : a period of movement of college students ikip padang 19952003 in the period of the movement of college students appear the seeds of progressive movement desired a change the views on art practices. that is in which movement antithesis done agus purwantoro in the end. the art practices that occured in west sumatra became an object observation among college students at that time. direct observation are result of discontent against symptoms and art practices that happen around them. based on they subjective observations, development the life of visual art in west sumatra haven stagnantly especially that become trigger the beginning were art practices around campus in visual arts departement in ikip (iswandi, interview on may 28th, 2015). phase antithesis on the movements of college students start thinking critical and sceptical towards matter and visual art practices that given in art instutions. this in turn consciousness raising self-conscious of their role as young artists generation and determine the direction development of visual art in west sumatra in the next. self-awareness then according to hegel forming ideas or structure thought to refuse or negation great idea art practices on art institusions considered disrupting the development of discourse and art practices by a new tendency. openness against discourses and information is also concerned with the beginning of the year 2000s marked the entrance of the reign of indonesia in reformation era, has allowed opportunities society in free speech and openness to the current global discourse in line with progress in the field of technology. this also resulted in was so easy to be traced and discourse known information about the development of the art of both national until global stimulates thinking critical of a fact and increasing needs of information widely among younger generation. a period of the movement of students start was initiated in the 1995. then students beset manic to new discourse they can from outside environment west sumatra by the fact that they observe based on symptoms and art practices in west sumatra. it is also accompanied by desire a group at that time to have the opportunity follow activities exhibition (iswandi, interview on may 27th, 2015). discourse development of circulating in this area are still localized. they start looking for reference and discuss relating to discourses in the arts of coming from outside west sumatra and comparing. discourse and references on the development of the visual arts outside west sumatra come one of which is through relation between alumnus ssri/smsr that continued education to java especially in yogyakarta. some of students who enough critical was experiencing shifting patterns think or view based on discourse and art practices that they get from outside campus. there is a feeling of dissatisfaction students to campus triggered by several things in the campus, such as not the availability of facilities to university students the visual arts especially of the art of 36 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 10 painting studios of painting conducive to students practicing paint on campus. this might impact on less facilitate space college students to work on campus. in another hand, west sumatra cultural park has not been too open to receive exhibition activities from art students. at that time, they as one of art instution that provide space of art exhibiton in more likely to open opportunities to senior artist. about 1996, some students of visual arts departement in ikip force 1995 and some force on it beginning to form an association of which was started from a boarding houses. the association on srigunting street in air tawar area, in padang, near from campus. about 1996 art students often gathered in location, then the assembly finally named “kreatif group” (iswandi, interview on may 28th, 2015). the name of the group comes from a place boarding houses, namely “wisma kreatif”. some student who joined in the group still always conduct the activity of making work of art in order duty college together. sometimes explore techniques in art work outside duties college. after that, they signed a house in gajah street, gang belanak still in the area of about air tawar padang. the students who formerly gathered at wisma kreatif, moved to rented in gajah street and joining a sodality named “kantau”. the name of “kantau” as a association of being appellative familiar after they made a mural with writing “kantau” in one part the outer wall boarding houses. group kantau intend to made activities of art like play, negation a condition they felt on campus to shades formal art, bound and stiff and having views still closed at art practice with new various trends. students who joined in kantau groups of them irwandi, rajudin, iswandi, erlangga, syahrial, harpan, ardianto, ibrahim, ferdi, johor and students other often converging on that place which of them become an younger artist famous in west sumatra. kreatif group and kantau originally begins with intention gathered and discuss together develop into an effort tried to fight back of limitations that are had happened in the life of visual arts in west sumatra. this limitation covering facilities for exhibition, exchange of information, and media publication art activities. discourse of this was obtained through various a medium and theory art books have consumed some college students, reference catalog exhibition. it is finally trigger critical attitude and awareness against gaps of development of art that was going on with that occurs outside the district. after forming informal group as a forum to discuss and exploration artwork and the last they have agreed to make a container that more large and complex namely form an artcommunity. about 1996-1999, the movement of students has still in the collection discourse and information to the development of the visual arts outside west sumatra, and discuss. group of students formed has not bring up struck meaningful and looked in reality as do activities exhibition or were art work in public space. it was because students do not have the power to do that. then with started a shared interest simple, which is to bridge their artwork to reach the apresiator, through the agreement of ±25 younger artists and college 37 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts life 11 students who held about the year 2002, so formed a community was answering they uneasiness (ibrahim, interview on january 24th, 2016). that community is komunitas seni belanak. that community next inaugurated and declared in 2003 and opening firts exhibition titled “firts step” in sarasah gallery. sarasah gallery is one of private galery which has been built in west sumatra. the art works of komunitas seni belanak that presented and the way to art practices offered to the public art and society in general by this community is both shown the development that more progressive in the life of the visual arts in west sumatra. the new possibility presented in the form of work alternative and experimental, and mixed media. challenging climate the visual arts in west sumatra which in condition that is complex, komunitas seni belanak successfully position itself bring the development of life the arts in west sumatra more open and majesty. they hava done a lot of format activities varied with forms the arts which more innovative. they have done the next capable of forming and build elements art world required in build climate the visual arts such as an author and younger curator, media of knowledge distribution about art and forth of their members. in his zeal there are also discussion activities, workshop, the screening, collaboration an art project and some exhibition art and training writing critizing art in campus and outside campus. komunitas seni belanak also manage to build social network which began open to publish all their activities. in accordance with the goal at first which to open discourse and information from outside west sumatra, they have opened up the opportunity to the cooperation with the art community in indonesia such as komunitas taring padi, cemeti art foundation, and ruang rupa jakarta. indeeed, they can building even cooperation with an artist from australia, namely alexandra croby, in the their arts even is “art day is today” in 2006. through activities those which are open and flexible, they were also able to promote the art into environment public to extend and build appreciation of the society toward arts. activities are “get the book” held in tunggul hitam society in padang, the existence of community in 2004. in addition, they also form mutual relation and bring discourse by inviting any figure having a role in sphere the visual arts in indonesia as curator and artists from several areas the base the visual arts of them komunitas seni belanak ever invited curator, namely kuss indarto in the exhibition prime they “firts step” (2003) and asmudjo irianto as curator in exhibition “apresiasi urban” (2008). the ends of the movement of college students 1995 2003 as younger artists next shown a movement heading to the development of that is more open in view art practices in west sumatra. it was accompanied by entering and began strengthening discourse the contemporary art in this region. this condition is phase synthesis characterized the seconstructions which done by komunitas seni belanak on climate the life of visual arts in 38 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017 12 west sumatra before. the community up with its values of art more bring the face contemporary art. the condition aufgehoben as a result of the stage synthesis (become). aufgehoben in the concept of thought dialectics hegel that made thesis and an antithesis in which contention into a unified later appointed to the situation of higher. and, the modern art in art practices is conventional which remains the large in the life of the visual arts in west sumatra developing in tandem with a new tendency possibility which attended the art practices of contemporary art favorite of by mostly on young artist generation. this seems visually of activities of an exhibition present in west ssumatra in 2000 to the current. hegel said, every new generation in scope history that run in dialectical can assume himself as the destroyer, conservationists, and falsifies a culture which inherited from a predecessor (aiken, 2002: 85). so, in the movement has done college student who joined in komunitas seni belanak as artists new generation is a condition falsifies in arts practices in west sumatra to the development of that is more open and follow the developments discourse the art. it was said to be falsifies, because of they supported not cut off tradition naturalistic and landscape they predecessor to activity arts practices done they members, on the other hand they also adopt arts practices of contemporary openly in they art work. in west sumatra, that shift can be seen from the activities exhibition where senior artist and younger generation join shown pattern and raise the issue of contemporery both social, political, and economic critics. in addition, shift the notion of arts practices also changes art practices senior artists in west sumatra about 1990 down generation to forms that are better innovative and having exploration by a new tendency. the phenomenon of art also increased in the area of cooperation the exhibition, not only located in west sumatra or sumatra, but also held nationally into the event exhibition more established. iswandi “menjemput hijau” (2006)150 x 150 cm, acrilic on canvas nasrul palapa “pancang emas di batas cakrawala ii”, 145 x 145 cm, mix media jon wahid “takatuang”, 290 x 50 x 40 cm, mix media 39 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts life 13 conclusion in 1986 happened phase antithesis in arts practice in west sumatra marked with the emergence of experimental art works like art installation, performance art, happening art which negation reliability thesis towards the notion of convention in modern art practices that develops before. period of 1986-2003 is a transition between views of convention to art work and practices in modern art to art works and practices contemporary art in west sumatra. that time having two important point, firts point the arrival of agus purwantoro as grow struggle the view of art practices in west sumatra and shows the starting the entry of the phenomenon apractices in contemporary art in the life of visual arts in west sumatra. second important point is emergence komunitas seni belanak with their role in open discourse of contemporary art as milestone early leads life the visual arts which move more progressive in an activity and arts practices among artists in west sumatra. references aiken, henry d. 2002. abad ideologi. yayasan bentang budaya: yogyakarta. ash-shadr, muhammad baqir. 1993. falsafatuna. mizan: bandung. burhan, m. agus. 2013. seni lukis indonesia masa jepang sampai lekra. uns press: semarang. mudhofir, ali. 2001. kamus istilah filsafat dan ilmu. ugm press: yogyakarta. saidi, acep iwan. 2008. narasi simbolik seni rupa kontemporer indonesia. isacbook: yogyakarta. newspaper kliping ade, (26 juni 1988), “seni rupa ikip padang berperan di pariaman”, semangat minggu. anonim, (24 november 1994), “dua lukisan besar muncul di dinding pasar borong padang”, haluan. anonim, (-november 1995), “lebih dekat dengan r.agus purwantoro, sosok seniman yang gelisah”, ganto. de, a.a lin, (20 april 1998), “dari kadispara ke depparsenibud”, singgalang. efix, (20 november 1996), “peta lukis biennale menetap”, kompas. gazali, ahmad, (13 januari 2003), “taman budaya ditikung jalan”, singgalang. hadinata, kurnia, (7 september 2003), “melongok geliat perupa belanak : menapak jejak untuk awal sebuah perjalanan”, singgalang. ikhirma, abrar khairul, (9 januari 1996), “ketika pelukis sumatera mencari pengakuan”, haluan. ______________, (12 november 1996), “kemasan, kolektor seni, dan seni lukis di sumbar”, haluan. koto, viandri, (edisi no.26/ tahun iv/januari 1994), “pagelaran „fun art‟”, ganto. ramanto, musni, (12 november 1974), “komunikasi sebuah karya seni (1)”, haluan. ______________, (19 november 1974), “komunikasi sebuah karya seni (2)”, haluan. ______________, (11 oktober 2006), “menapak jejak-jejak seni patung, patung karya seni 3 dimensi yang berbicara lewat massa dan ruang”(2), haluan. muharyadi, (15 februari 1994), “sosok pelukis : agus purwantoro, berakar dari seni tradisi”, haluan 58 interaction of music as a soft power in the dimension of cultural diplomacy between indonesia and thailand surasak jamnongsarn department of music education, faculty of fine arts, srinakharinwirot university, bangkok, thailand. email: temanbkk@hotmail.com abstract the phenomenon of cultural diplomacy between indonesia and thailand had appeared since the visit of the kings of thailand to java more than a hundred years ago. in addition, the indonesian immigrants who has come to thailand are also an important factor of musical history of both countries. as a result of these interactions, the exchange of ideas, information, value, system, tradition, belief, and other aspects of culture are in the interest of foster mutual understanding through musical dimension. more precisely, the interaction contributes to the exchange of musical ideas. in the thai music history, angklung and gamelan is an essential tool for building international relations between the two countries at the community level. the relation between the two countries is similar to the relationship between two people so that emotion is the key methodologies in cultural diplomacy. the purpose of diplomacy is to give those people around you to know you better. there used to be a lot of cultural imperialism in cultural diplomacy, but this should be avoided. currently, cultural diplomacy can give an idea on how a country engaging with others, a capacity to share and accept other viewpoints. the music has a very positive impact for the development of musical culture in thailand today.angklung has been taught in every elementary school in the whole of thailand, even at the level of junior high school and high school. the ideas of new works by thailand composers today inspired many of the gamelan orchestra. despite the fact may be felt by the people of thailand that the influence of indonesian music is so powerful, so far no thai person who writes about the history of this music as cultural diplomacy. cultural diplomacy conceived and built in three models of representation: soft power, nation branding, and cosmopolitan constructivism. keywords: interaction of music, cultural diplomacy, angklung, javanese gamelan and traditional thai music introduction the association of southeast asian nations (asean) is a large organization large area and has a colorful cultural diversity. asean member countries improve cooperation in culture to establish an asean identity. they are trying to promote asean awareness and a sense of togetherness, preserving, and promoting asean cultural heritage, 59 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music promoting cultural creativity and industry, and being engage with the community. asean leaders imagine asean as a community of people who care about each other, bound with regional identities together, consciously historical ties, and realize cultural heritage. in some asean countries, cultural heritage has a co-root that strengthens friendship and diplomacy. culture has become a valuable tool for diplomacy, especially for public diplomacy and as a soft power contributor, due to spreading cultural diplomacy distinctive national identity; growing importance of the cultural dimension of economic interests and the intrinsic cultural attractiveness to the population of globalization (mark, 2008: ii). the principles of cultural diplomacy are: (1) respect and recognition of cultural diversity and heritage, (2) global intercultural dialogue, (3) justice, equality and interdependence, (4) the protection of international human rights, (5) global peace and stability (source: http://www.culturaldiplomacy.org), also as written of sofia kitsou in the power of culture in diplomacy: the case of u.s. cultural diplomacy in france and germany: …cultural diplomacy is defined as the “exchange of ideas, information, art and other aspects of culture among nations and their people in order to foster mutual understanding” (cummings, 2003). culture, which is said to be the whole complex of distinctive spiritual, material, intellectual and emotional features that characterize a society or social group, includes not only arts and letters, but also modes of life, the fundamental human rights, value systems, traditions, and beliefs (source: http://portal. unesco.org/culture). it consists of language, ideas, beliefs, customs, taboos, codes, institutions, tools, techniques, work of art, rituals, ceremonies, and symbols (source: webster’s collegiate encyclopedia, 2000). therefore, every culture represents a unique and irreplaceable body of values since each people’s traditions and forms of expression are its most effective means of demonstrating its presence in the world (source: http://portal. unesco.org/culture). it is similar to ashcroft that culture is both a function and source of identity (ashcroft and ahluwalia, said: 2009: 85). language is the most salient feature of the culture of a people. asean socio-cultural community (ascc), indonesia and thailand are members, aims to contribute to realize the asean community, people-oriented and socially responsible. ascc intent is to achieve enduring solidarity and unity between the people and the asean member countries. this is an attempt to establish a common identity and build a caring and share community to improve the livelihoods and welfare of the public. ascc focus on the maintenance of human resources, culture and nature for sustainable development in asean harmonious and people-oriented (source: http://www.asean.org). relations between the two countries is similar to the relationship between two people so that emotions are the key method in cultural diplomacy. the purpose of diplomacy is to give those people around you to know you better. there used to be a lot of cultural imperialism in cultural diplomacy, but this should be avoided. currently, cultural diplomacy can give an idea of how a country to engage with others, the capacity to share and accept other viewpoints (claudel, 2011: 53). the phenomenon of cultural diplomacy between indonesia and thailand began to appear since the visit of the kings of thailand to java more than a hundred years ago. in addition, the indonesian immigrants who come to thailand are also an important factor that influence musical history of both countries. as a result of these interactions, 60 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 the exchange of ideas, information, values , systems, traditions, beliefs, and other aspects of culture is in order to foster mutual understanding through musical dimensions. more precisely, the interactions contribute to the exchange of musical ideas. in the thai music history, angklung and gamelan are essential tools for building international relations between the two countries at the level people to people. research methodology figuring out the research questions and objectives as mentioned above need appropriate research techniques in accordance with the approaches used. as a qualitative research, this research is going to reveal the textual and contextual meanings by the way of comparative study. the kind and resource of data needed in this research are primary and secondary data. the primary data is angklung and gamelan live performances in indonesia and thailand; and also interview with the experts of gamelan and angklung in java and thailand. secondary data is books and articles which related to the research, include vcd and dvd recording. the technique of collecting data is field study and literature. field study is related to data that collected by observation, interview, documentation, and focus group discussion. literature research is taken to collect documents related to gamelan and angklung, and also theories used. information and literature research can be got by the save artefact such as letter, diary, photos, archive, report, journals. those documents are used in order to dig the past information. researcher need to have theoretical sensitivity to interpret all of the documents. objective of the study this study aims to describe, reveal, and identify the concepts of: 1) the interaction of music between the angklung and gamelan with background of beliefs, ways of thinking, and different music systems with traditional thai music. 2) processes and forms of transculturation that have occurred between gamelan, angklung and thai music in the development of traditional thai music, and 3) involvement gamelan, angklung, and traditional thai music in the process of a new national identity through music. significance of the study writing about the history of thai and indonesia, most historians may consider thailand to be an important contribution on a large scale at the national or international level, and not focus on a small part of the history (micro history). although a small part, it still has significance. the exchange or appropriation of music culture between thailand and indonesia in the past is one factor that contributed to the realization about common heritage in music which will support other fields of cooperation. common heritage in music has evolved for long time with the concept of hybridization of music. the concept of hybridisation accounted for the change, appropriation, and the idea of mixing the music. in the history of thai music, angklung and gamelan is an important tool to create relationships with the international community, particularly 61 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music the relationship between the two countries at the level of the people. thai society has peculiarities, namely buddhism for a liberal people, the absence of war (ayodhya), the kingdom of the free, and the diverse and pluralistic people. it supports the idea of musical hybridization in thailand and indonesia, including the form of musical instruments, tuning system, musical concept, and a new interpretation of the music outside (java) into traditional thai music as the javanese accent. traditional thai music at a glance traditional thai music which appears in its current form is identical to the repertoire and ensemble royal palace style, centers in central thailand,1 approximately 800 years ago. in the past, the ensembles are similar to khmer music. appears in its most basic formulation, the traditional thai music assemble is similar to cambodian (khmer) mahori and also pinpeat assemble. it is also structurally similar to those found in other instrumentation gong-chime music culture which is widespread in southeast asia, such as balinese and javanese gamelan, which are probably likely to have the same root in the diffusion of vietnamese bronze drum culture (dong-son) at the beginning of the first century. the music was very cosmopolitan, bringing the idea of the various cultures that surround it, especially cambodia, java, china, burma, and so on. at that time, thailand’s musical expression is an expression of a unique, absorbing and developing musical ideas from different areas. traditional thai repertoire is anonymous, names unknown composer. he inherited through oral tradition show. however, since the beginning of the modern bangkok period, around the turn of the eighteenth to the nineteenth century, many major composers have recorded their works in notation. musicians imagine that the compositions and notations as generic forms are realized in full idiosyncratic variations and improvisations in the context of the performance. luang pradit pairoh (1881-1954) for example, used localized forms of cipher (number) notation. other composers, such as montri tramote (1908-1995), used standard baroque notation. thai music artists have influenced the dynamics of the development of traditional music in thailand. they have a unique way of passing their musical traditions to the next generation. the method that run and maintained up to now is to learn music to a teacher, be a loyal followers, and play his/her composition. if a student has chosen to study to a teacher, a student should not be moved to another teacher learning. music teacher in thailand is also a composer who has the particularity to be his style. distinctiveness and style song of a teacher would be a “secret”2 along to their students as a strength to compensate for and offset by teachers and other groups. it then became a tradition of competition until now. 1 what we called “traditional thai music” is a music that is influenced by royal palace and spread across this country. in thailand, the term of folk music is known for nontraditional thai music, or music that lives in out of centre thailand or in the periphery of thailand, such as in north thailand (in chiang mai and chiangrai), northeast thailand (in kon kaen and roi ed), and south thailand (in pattalung and songkla). 2 in the thai traditional music culture, this style is like a game. the new generations have to play the game and should be able to solve or get out of the game or “secret” with a key by themselves. that is, if someone is able to get through or find the key, he gets the authority to make the song a new style or another style. if you have not been able to find the key, the song’s creation in a teachers will last a long time. there are many traditions of music teachers in thailand who have such capabilities. 62 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 interaction of music between indonesia and thailand in the dimension of history phenomenon of indonesian musical influences in music history thailand has eluded observations of thai historian. the historians are more interested in the field of national, political, religious, and so forth. meanwhile, the music has a positive impact for the development of culture in thailand today. angklung has been taught in every elementary school in the whole of thailand, even at the level of junior high school and high school. the ideas of new works by thai composers today are inspiring many of the gamelan ensemble. the people of thailand said that the influence of indonesian music is so powerful, but so far no thai person who wrote about the history of this music as cultural diplomacy. cultural diplomacy conceived and built in three models of representation: soft power, nation randing, and cosmopolitan constructivism3. traditional thai music experiencing growth through interaction with the inclusion of variety of concepts and materials of music from other nations, such as china, myanmar, khmer, eropa (barat), and jawa.4 interaction between thai and indonesian musical tradition has been proven by the inclusion of musical instrument angklung from west java by using the concept of javanese gamelan. the existence of angklung by using the concept of gamelan in thailand that have played more than a hundred years did not forget the origin of java, so the music played by the angklung called the “lagu jawa (song of java)”. angklung and gamelan are important music in the relation between indonesia and thailand, especially cooperation between the two countries. gamelan is learned in college campuses that have a tradition of music program. in this case, luang pradit has greatly contributed to the popularity of javanese music at college campuses in thailand. angklung in thailand is currently very popular among young people, schools in thailand, especially elementary school students, as well as government and private institutions. in addition to learning, angklung also contested, recorded, performed in various events. development of angklung form has also performed in a variety of 3 the main issues these representational models address have to do with how culture is represent ed abroad by diplomacies in terms of contents and discursivity, paying particular attetion to the identity-alterity relations between the cultural-real and the represented-referent. there are three fields of cultural diplomacy: cosmopolitan constructivism, nation branding and soft power. these are, more specifically: soft power is a concept to describe the ability to attract and co-opt rather than coerce, use force or give money as a means of persuasion. in recent days the term has also been used in changing and influencing social and public opinion through relatively less transparent channels and lobbying through powerful political and non-political organizations. nation branding aims to measure, build and manage the reputation of countries. some approaches applied, such as an increasing importance on the symbolic value of products, have led countries to emphasise their distinctive characteristics. the branding and image of a nation-state “and the successful transference of this image to its exports is just as important as what they actually produce and sell. nation branding can be approached in academics as a field in social sciences, political sciences, humanities, communication, marketing and international relations. cosmopolitan constructivism and cosmopolitanism is traditionally associated with a straightforward idea: the willingness to be part of a society of nations and participate in its welfare, on material, institutional or moral grounds. this simple account is not self-evident for most nations, or for some types of diplomacies and diplomats. cosmopolitanism’s simple premise is to live and let live, understand and be understood, show respect and enjoy respect in return. cosmopolitanism has three parts: multilateralism, pluralism and reflexivity. 4 the word “jawa” in thailand refers to everything that comes from indonesia, especially those associated with music and language. 63 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music shapes and how to play. all of it is an effort made by the people of thailand to adjust the angklung music culture and tastes of the local community. figure 1. pakubuwana x (military uniform) and king chulalongkorn of thailand, in the journey to java, 1896 (photo: kitlv, in journey to java by a siamese king, 2012). the spreading of angklung and gamelan music to thailand can be known from the historical record of the thailand kings visit to java. one of the information that can be traced is through recording of the visit of his majesty the king (h.m.) chulalongkorn or prabat somdet chulachomklao (rama v) as written in serat saking gotek, volume vi5: in 1896 . . . …panembrama nalika rawuhipun sri naranata ing nagari siyam, kitha bangkok, ingkang ajejuluk sang maha silalon prabu koren praculasom klowa. rawuhipun ing surakarta amarengi ing dinten senen pon, tanggal kaping 25 wulan sura ing warsa jimakir angka 1826 (1896). in 1901 . . . sri minulya (ladrangan) raras slendro pathet sanga. mengeti rawuhipun sri naranata ing nagari siyem (raja siyem rawuh ingkang kaping kalih) dhumateng ing karaton surakarta. jelukipun sri maharaja siyem wau somdhet prabat paramendro; mahasilalon prabu koren praculasomklowa. asung pratandhaning sih bintang groot kries kroon order ing siyem. amarengi ing dinten malem akad pahing, tanggal kaping 11 mulud ing tahun dal 1831 wuku sinta, utawi kaping 30 juli 1901. it said that during the visit of his royal highness (h.r.h.) bhanurangsi savangwongse, prince baripatra and the troupe in 1908, angklung music was brought to thailand and developed by luang pradit pairoh (his real name is sorn 5 the javanese gamelan musical archives, especially surakarta palace gamelan compositions, in title: serat sujjarah utawi riwating gamelan wedhapradangga (serat saking gotek) by r. ng. pradjapangrawit (1990). 64 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 silapabanleng). angklung was first performed at the rajathiwat temple in bangkok in the royal ceremony with the form of a concert by luang pradit pairoh along with his students . he created a song ‘yawa kao’ (old java) from the concept of ladrang bima kurda (hughes, 1992). surakarta or ladrang liwung yogyakarta for royal angklung ensemble. it is also mentioned, through the song, he wanted to show the thai people that the piece is derived from java. on the visit of his majesty the king (h.m.) prajadhipok (king rama the 7th) in surakarta, central java, was shown for the first time using a gamelan composition ‘ladrang siyem’. this composition is the work of kangjeng wiryadiningrat, raden ngabehi atmamardawa, raden ngabehi wirapradangga, and mas lurah reksapangrawit influenced by thailand royal anthem song: sanrasoen phra barami. this piece was created to celebrate and honor the arrival of the h.m. prajadhipok to surakarta palace during the reign of paku buwana x. paku buwana x also provided a set of gamelan to the king of thailand. this gamelan was then the first in thailand, as it is written in serat saking gotek jilid vi by r.ng. pradjapangrawit (pradjapangrawit, 1990: 154). ... ladrang siyem (2), slendro pathet nem. pengetan nalika katamuan sang maharaja prabu yadipa sukadhaya ingkang kaping vii, narendra nagari siyem, sakaliyan prameswari. amarengi ing dinten melem rebo kliwon, tanggal 29 mulud ehe 1860. utawi 3-4 september 1929. ladrang siyem wau anggitan: 1. kangjeng wiryadiningrat; 2. raden ngabehi atmamardawa; 3. raden ngabehi wirapradangga; tuwin 4. mas lurah reksapangrawit (mlayaresaka). in 1932, his royal highness (h.r.h.) baripatra sukhumbhand (prince of nakhon sawan) went to bandung after the political change in thailand. he lived in the house that is named praseban,6 in cipaganti, bandung until his death in 1944. despite the political turmoil in thailand has been completed, prince baripatra, who is also the famous composer of traditional thai music and western music, did not return to thailand. while living in bandung, he conducted a variety of music activities, including arranged many songs and sent them to thailand. in addition, he also wrote a book about traditional thai music notation, printed and published in bandung which had a printing technology that more advanced than in thailand. h.r.h. baripatra had also sent some gamelan instruments to thailand (sittitanyakit, 2004). the visit of h.m. chulalongkorn (rama v) (suharto, pattajoti, 2012) , h.m. prajadhipok (rama vii) ( pradjapangrawit, 1990: 154), h.r.h. bhanurangsi7, and h.r.h. baripatra (prince of nakhon sawan)8 to java is an assumption about the interaction of indonesia and thailand music, as well as the discovery of the first gamelan musical instruments in thailand are saved in the department of fine arts and national museum, thailand. another proof can be seen in the form of the gamelan music in suan phakkaad9 and the indonesian embassy in bangkok.10 6 praseban is one of the 3 other houses in the complex. name the other three are dahapati, pancarekan, and setaman. praseban is now kinder garden school. 7 the musicians in thailand know that bhanurangsi was to java with luang pradit pairoh. 8 paladisai, 2004. 9 this gamelan is the legacy h.r.h. baripatra sukhumbhand, now in suan phakkaad palace which became a museum in the center of bangkok. 10 this javanese gamelan surakarta model is approximately 50 years old in the embassy in bangkok. 65 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music thai people are still playing the old songs from indonesia, using angklung and gamelan, as well as with traditional thai music ensemble. for example, the song ‘burung kakaktua’ played in the musical traditions of phiphat, while the song ‘hom rong shawa’ or ‘yawa’ (java) which included the song ‘busensok’ (buitenzorg), ‘yawa’, ‘kerath raya’, ‘semarang’, ‘bukan tumo’, and ‘kediri’ which is played with the angklung. figure 2. a set of first gamelan in thailand from p.b. x surakarta at the pra nakhon national museum, bangkok (photo: surasak, 2012). for thailand musicians, gamelan and angklung is representative of indonesia, with the term “java” inherent. angklung is an instrument that can be touched (tangible source), while the concept of gamelan music used is not able to be touched (intangible source). artist and composer who composed song for angklung with the concept of gamelan is luang pradit pairoh. luang pradit more emphasized on the javanese accent heptatonic scales.11 concept of javanese song is not only used for angklung, but also used for music ensembles phipat and krueng sai (string ensemble) by other musical figures. thai musicians developed the concept of the javanese music with their own interpretation. efforts to recognize indonesian in lyric of thailand song since 1900, the thai music has often adopted the tone (accent) of music from outside thailand. in the show, the music often uses foreign language s, such as myanmar and dialect songs sung in myanmar. same with javanese accent, the song will be sung in the javanese language12. however, because of the limitations of language in lower 11 thai full tone heptatonic scale is a seven equidistance system but thai traditional song is based on pentatonic scale, there are five primary tones 1 2 3 5 6, two secondary tones the scaled degree 4 and 7. 12 it is indonesian language, but for thai people it is mean javanese language: the word “jawa” in thailand refers to everything that comes from indonesia, especially those associated with music and language. 66 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 tracks from generation to generation by oral tradition actors, forms and meanings are always shifting and may be not the same as the original. owner language no longer understand what is delivered even ask, “is it my language?” here is an example of a song called ‘kediri’ presented by the thai composer: lyric mintabe ri tuan-a da selamat da selamat samparana saho pagi pagi barang ini angkat setapa melodies: d r d r f r f s l -d r fs d r f s f r d r f r f s l -d r fs d l s f r f s l r f s fr d l – d d l s f r f s l r f s fr d l – d thai musicians are trying to find an answer why indonesian people do not understand the songs they sing. they guessed that the answer might be the song that they sing is no longer the same as the original song, or because the ancients did not present it in writing but orally, is also not known who created the songs they sing. i am, as a thai musician who likes indonesian, indonesian angklung, javanese gamelan, and indonesian language, assuming that there are several possibilities: 1. people who created the songs did not understand indonesian, but wanted to write a song using indonesian language. 2. the person who created the song, first of all write the songs with thai language, then translate it into indonesian with the help of a dictionary but with the word-by-word. the important evidence is the dictionary thai-malay written by pan sae ko in 1936 (angklung and the angklung songs began to spread in thailand after 1925). it was a sentence written in the preface of dictionary, which is: to be used in communicating with the malays as in singapore, penang, kuala lumpur, alor setar, ipoh, and java. using of indonesian in the structure of the thai language in ‘kediri’ is an example of the song. the words “selamat jalan atau selamat tinggal” spoken by the people of thailand with “kho hai khun mi kwam suk”. those words were said congratulation generally passed to others when it would split that equated with english “have a nice days or good luck”. most likely, some used vocabulary in indonesian and malay dictionary with word by word, but did not quite understand the indonesian language format and grammar, which resulted in different meanings. 67 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music “mintabe rituan-a dasalamat dasalamat samparana” the words referred: “minta beri tuan ada selamat ada selamat sampurna” (“asking to give master/ here is safe/ here is safe /perfect”) what happened? the answer is because the person who coined the phrase wanted songs in thai as: “kho hai khun mi kwam suk” whereas: “kho = minta (ask), hai = beri (to give), khun = tuan (master), mi = ada (is), and kwam suk = selamat (safe) when singing a song that was created in accordance with, giving pause or stop point, into: “mintabe rituan-a daselamat daselamat sampurna”. differences in terms of language (syllables) are not so different, the occurrence of the long-time, or a notice from oral tradition, but also occur because of sentence structure (preparation of syllables) which from the first has not been true yet. key to understand this is a “dictionary and how to acquire vocabulary”. now anyone who reads this simple writing will understand why indonesian people do not understand the “indonesian language”. when asked by the thai people, they can not give a definite answer because the people of thailand and indonesia are both “lied” primary source of a “fact”, not “truth”. fact in this case is a syllable, for example in the song kediri, which is composed in such a way as not to form meaningful sentences. truth happens when the “secret” was revealed that the arrangement of syllables that form a meaningful sentence. figure 3 and 4. photos 3-4, the centenary anniversary of indonesian angklung to thailand, 2008 at srinakharinwirot university and ministry of foreign affairs of thailand (photo: resource of department of music education, srinakharinwirot university, 2008). in 2008, there was a grand celebration at bangkok, thailand, to mark the 100th anniversary of the introduction of angklung to thailand that organized by both the thai and indonesian governments included ministry of foreign affairs republic of indonesia and kingdom of thailand, the embassy of republic of indonesia, bangkok, 68 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 the foundation of master luang pradit pairoh, and srinakharinwirot university. the 100th anniversary of the angklung to thailand was confirmed that the soft power has played a role positively in any diplomatic negotiation remains dependent on the nature of the power relationship, shared values and culture amongst other things. when music culture is viewed as a resource, capital, and power, national cultural identity becomes a significant policy concern. culture is thus both a commodity as well as means of social transformation. the multi-dimensional process of cultural diplomacy is assessed through two paradigms of national agendas: socio-political and economic. the first socio-political paradigm of national interest is benchmarked by soft power. in case of indonesia and thailand, traditional music especially angklung and gamelan serves as an important aspect of successful bi-lateral and multi-lateral diplomacy and consequently requires a holistic conceptual framework for sound pragmatic implications. conclusion in conclusion therefore, soft power in isolation does not seem to dominate in its importance in diplomacy. also the music interaction between indonesia and thailand does not seem an importance in diplomacy but without cultural claim or disclaim problem because we make more cultural understanding between us through music in dimension of a cultural diplomacy which is soft power as a tool. most of thai historians prefer to consider an important contribution to a larger scale in the national and international level than a small part of the history (micro history). for example writing about history of thai music; a small part, but still has significance in thailand. however, the relationship at the level people to people that is built up of music, has so far avoided conflict between indonesia and thailand. asean community 2015 would also be good if supported by the music, because the relationship through music as cultural diplomacy has been happening long time ago. under these conditions, the authors were challenged to write history of this music as an important contribution to the history of thai music as cultural diplomacy between indonesia and thailand that have long shared heritage as a tree whose root joint (coroot) such as javanese gamelan, angklung, and traditional thai music. 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(2009). edward said. 2nd ed. london: routledge. claudel, sophie. (2011), brunswick review, issue 4. summer, london: uk. cummings, milton c. (2003). cultural diplomacy and the united states government: a survey. washington, dc: center for arts and culture. david w, hughes. (1992), thai music in java, javanese music in thailand: two case studies, british journal of ethnomusicology. volume 1, issue 1: london. kongchana, plubplung. (2011), learning and historical evidence process, bangkok: sukhothai thamathirat university press. kunst, jaap. (1959), ethnomusicology [3rd edition], the hague: martinus nijhoff. mark, simon. (2008), a comparative study of the cultural diplomacy of canada, new zealand and india, ph. d. in political studies thesis, the university of auckland: new zealand. 69 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music merriam webster’s collegiate encyclopedia. (2000), s.v. “culture”. mloyowidodo, s. (2013), gending-gending jawa gaya surakarta, -, -. mrazek, j. (2008), xylophones in thailand and java: a comparative phenomenology of musical instruments, asian music, 39(2), 59–107. phuaksom, thaweesak. (2004), indonesia raya: traditional state to imaginations country, bangkok: muang boran. pradjapangrawit, r. ng. (1990), serat sujjarah utawi riwating gamelan wedhapradangga (serat saking gotek), surakarta: stsi surakarta and ford foundation. suharto, imtip pattajoti. (2012), the journey to java by a siamese king (english edition), bandung: itb press. online resources mexico city declaration on cultural policies. world conference on cultural policies. mexico city: july 26–august 6, 1982. accessed january 5, 2011,http://portal. unesco. org/culture/en/#les/12762/11295421661mexico_en.pdf/mexico_en.pdf. http://www.asean.org/communities/asean-socio-cultural-community/category/aseanministers-responsible-for-culture-arts-amca). http://www.culturaldiplomacy.org/index.php?en_cultural diplomacy. ijcas cover_revisi.pdf page 1 ijcas cover_inner.pdf page 2 ijcas cover_back.pdf page 1 35 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronage the role of petronage in the existence of the temple of ganjuran danang bramasti composition and research program graduate school of indonesia institute of the arts yogyakarta, 2015, email: bramasti@jesuits.net abstract ganjuran temple is a place of catholic worship located in yogyakarta. the temple had been built by schmutzer family, a dutch sugar mill owner, from 1927 until 1930 in the shape of a hindu temple. however, after the temple was erected, it did not get the attention of catholics that it was dirty. finally it was neglected and became a playground for children. it was only in 1990, father tomo made the temple a pilgrimage site by creating a series of activities centered on the temple. this paper is dedicated to study the role of patron, the schmutzers and father tomo in the existence of the temple of ganjuran in three steps. firstly, it strives to explain why this catholic place of worship was built in the shape of a hindu temple. secondly, it explains the social process by which the temple then had been forgotten for sixty years. thirdly, it explains the social process by which the temple became a major catholic pilgrimage site in indonesia. this study utilizes the concept of patronage in the development of an artwork as the main framework (becker, 2008). the methods of applied study are by examining documents, interviews with people involved with the temple and field observations. by treating ganjuran temple as an artwork embedded in an ‘art world’, web of actors who contributed to the making of ganjuran temple as a locus of religius and artistic action is made visible. keywords: ganjuran temple, art world, social process, patronage introduction think of all the activities that must be carried out for any work of art to appear as it finally does (becker, 2008:3). ganjuran temple was the last building of a series of buildings built by the brothers julius and josef schmutzer in ganjuran, a location south of yogyakarta in the island of java. the construction had been lasting from 1927 to 1930. the schmutzers built it as a personal place of worship behind the ganjuran catholic church as an offering of gratitude that their enterprise had succesfully avoided bankruptcy and of celebration of the 10th wedding anniversary of julius and caroline schmutzer. in addition, it was also a day of farewell with josef schmutzer who was returning to the netherlands to teach in delft university (helling sj, 1930: 129). the schmutzers owned a sugar mill and plantation called gondang lipuro which survived the wave of sugar factory worker strikes in java in 1920 (sulistyo, 1995: 125). the schmutzers’ treatment to their workers was striking. they respected their dignity by providing decent wages to meet their real needs (elihami, 1995: 42). the dutch catholic family was influenced by encyclical rerum novarum of pope leo xiii 36 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 emphasizing the dignity of workers (rerum novarum, 1890: point 22). the schmutzers had been trying to improve the welfare of workers by setting up schools, clinics, and orphanages (dewan paroki, 2004: 28). in 1934, julius schmutzer who used to pray by the temple everyday had to return to the netherlands with his wife caroline due to an illness. in effect the temple was neglected and lost its religious significance1. after being abandoned for more than 60 years, the temple’s faith was to change when in 1988, father gregorius utomo pr (father tomo), a local diocesan priest took the lead of the parish. he then revived the idea behind the establishment of the temple ganjuran, i.e partiality to the poor and sorrowful by inviting people to make concrete actions towards change and gave special attention to the poor and oppressed: farmers, workers, fishermen, and so on (dewan paroki, 2004: 38-39 ). in 1990, father tomo formed farmers and fishermen association world food day to combat the environmentally damaging green revolution as well as empowerment of small farmers and landless farmworkers. the event also launched the declaration of ganjuran (dewan paroki, 2004: 40) which ...invites members of the society to build a sustainable agriculture and rural areas, by practicing sustainable rural and agriculture development which are ecologically sound, economically feasible, culturally adapted, and socially just. (http://greenorganic rice.blogspot.com/ 2008/08/ sekretariat pelayanan tani dan nelayan, 25 june 2015, 16:39) father tomo’s movement started with activities centered on the temple. this temple later was becoming rose to fame and by 1997 pilgrims flocked from different parts of indonesia. it is estimated that the javanese mass on first friday of every month most be attended by 3000 5000 pilgrims (ganjuran parish record, 2015). from a disenchanted and neglected site, now the temple has regained its sacred aura. people do not dare to tinker around the temple, even a lot of them bow when passing in front of the temple. materials and methods this paper is dedicated to study, in aristotelian language, the role of patronage of the schmutzers and father tomo in the existence of the temple of ganjuran. firstly, it strives to explain why this catholic place of worship was built in the shape of a hindu temple. secondly, it explains the social process by which the temple had been then forgotten for sixty years. thirdly, it explains the social process by which the temple became a major catholic pilgrimage site in indonesia. in order to carry out the aforementioned tasks, this paper seeks to answer the following questions: 1 a resource person (graduate level educated) interviewed in may 2015 about his perception of the temple before father tomo’s intervention: saya tidak menyadari bahwa candi dapat menjadi tempat berdoa. kalau mau beribadat ya harus di gereja. candi hanya sekedar monumen yang tidak sakral. candi itu hanya tempat bermain (i didn’t realize that the temple could be a place for prayer. if you wanted to pray, you had to go to the church. the temple was only a non-sacred monument. the temple was just a play ground (for children-researcher interpretation) (janu, 26 years old). 37 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronage what is the role of josef and julius schmutzer as patrons in the existence of the temple of ganjuran? why did they build the hindu temple for catholics to pray? what is the role of father tomo as patron in the existence of the temple of ganjuran? why can he make the hindu temple as a place of prayer for catholics? this study utilizes the concept of patronage in the development of an artwork as the main framework (becker, 2008). it also utilizes the concept of convention and distribution that is used by patrons to analysis the development of the ganjuran temple. the methods of applied study are by examining documents, interviewing people involved with the temple and field observations. by treating ganjuran temple as an artwork embedded in an ‘art world’, web of actors who contributed to the making of ganjuran temple as a locus of religius and artistic action is made visible. these actors produced ideas, put the ideas into a form of a physical artwork, used and experienced the artwork, and even trained people how to use and how to experience it. ideas from josef schmutzer were executed by ito (carver), and sixty years later, father tomo recasted the temple as a pilgrimage site, trained the people of ganjuran how to use the temple of ganjuran and experience it using javanese cultural expressions without any conflict with the bible.2 this study argues that as social actors in the world of ganjuran temple, joseph schmutzer and father tomo acted specifically as patrons (becker, 2008). following becker’s further study, this paper argues that the role of patrons in an artworld can be understood from two distinct frameworks, namely upstream and downstream (becker, 2013). the upstream framework looks at the initial process that contributes to the final artwork, whereas the downstream framework follows what happens next after a work of art is finished. it is possible that a work of art initiated in an early patronage system is forgotten or neglected after it is finished, because there is no continuing patronage that supports its existence. and then, some years later, a new patron may rediscover the work of art and gets it “born again”. the patronage this section describes the position of the schmutzers and father tomo as patrons and the existence of the temple ganjuran. therefore, it will be explained first about the meaning of existence and then about patronage. 2 in catholic literatures, conflict between the bible and local norms and values is one fo the characters that define the dynamics between universal and local church. further reference on this can be found in hadrianus tedjoworo, osc work where he stated that the content of the teachings of the catholic faith on the javanese church can be developed so that they can also build a better relationship with the local cultural backgrounds and it doesn’t conflict with the bible. however, his basic study was about the parable that fit to the local culture and dosen’t have any conflict with the bible. keluarga gerejani, an ecclesial family: a catechetical exploration of church-images among catholics in java, 2013, radboud university, nijmegen, holland. a different take on the subject from the perspective of studies of art was from sumandiyo hadi who did research on art in religious rituals. his study revealed that rituals are simultaneously an experience of faith and art without any inherent conflict. the presence of expressive symbols or art in religious rituals enrich the beauty of the liturgy as a pilgrimage. (hadi, sumandiyo. seni dalam ritual agama, 2006, universitas airlangga, surabaya). 38 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 according to becker, ...the patronage system, some people or organizations supporting the artist as a whole during the period of the contract to make a particular work, or maybe even just for a few specific works. people who can support artists in this way, comes from the wealthy and privileged class in society (becker, 2008, 99). josef and julius schmutzer as patrons this explanation shows how their respective roles to the existence of the temple ganjuran. explanation of existence, according to aristotle, is the existence of something needs causes. according to aristotle there are four causes of existence: causa material, causa formal, causa efficient and causa final. we must take account of what he says about causes. there are, according to him, four kinds of causes, which were called, respectively, material, formal, efficient, and final. let us take an example the man who is making a statue. the material cause of the statue is the marble, the formal cause is the essence of the statue to be produced, the efficient cause is the contact of the chisel with the marble, and the final cause is the end that the sculptor has in view (russel, 2004:203). in cases of the temple ganjuran can be explained as follows: causa material is granite and the white karst materials from temples and statues contained therein. formal causa is the stone which later became the form of temples and statues. causa efficient is who makes the rock into a temple and statues. causa final is the final idea of the temple and the statue was made. the schmutzers’s role in the existence of the temple is as causa efficient and causa final because they are the ones who made the temple. josef schmutzer is not however a sculptor but he made the design of the temple and statues and then sent them to a sculptor named ito to make it happen. after the schmutzers had left ganjuran, the temple of ganjuran was neglected and rarely used as a place of prayer. the temple is only used once a year at a celebration called the procession. the temple is still there but its presence is not as initiated by the schmutzers as a place of prayer. father tomo’s role in the existence of the temple is as causa final because he carried out the final idea of the schmutzers to the temple as a place of prayer. josef and julius schmutzer were wealthy and privilage class in society. the schmutzers built a sugar factory in ganjuran, named gondang lipuro in 1912. (elihami, 1995: 30). in 1919, josef schmutzer married lucie amelie and had got three children of this family living in ganjuran until 1920. in the period of 1918-1919 josef had been pointed a vice chairman of the people’s council therefore they moved to bogor. in 1929, josef schmutzer confirmed as a professor at the university of delft and in that year they left ganjuran to return to the netherlands (elihami, 1995: 34). meanwhile josef’s brother namely julius schmutzer, in 1920 married caroline van rijckervorsel and since then they had been living in ganjuran to manage a sugar 39 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronage factory gondang lipuro. the family was very keen to practise the social teachings of the church. julius was instrumental in the spread of catholic missions in central java, especially ganjuran. of his services for the church then in 1930 pope pius xi conferred the honor of julius “pro ecclesia et pontifice” and he was named a “knight of the order of saint gregory the great”. meanwhile, the kingdom of the netherlands gave caroline the title of “knight of the order of oranje nassau” over all her social work (elihami, 1995: 36-37). josef and julius were touched by the encyclical rerum novarum, a teaching of the catholic church, published by leo xiii in 1891, of the social doctrine of the church concerning capital and labor. it teaches that workers must be respected in accordance with the dignity of being. (elihami, 1995: 42). schmutzer brothers were also affected by the ethical policy, announced in 1901, by queen wilhelmina. ethical policy was a thought that the colonial government holds the moral responsibility for the welfare of the natives. this moral movement had affected julius and josef schmutzer (elihami, 1995: 41). the schmutzers saw that the javanese, particularly in ganjuran, had been brutally occupied for many years by the colonial rulers.the condition of the people were not only very poor but also underdeveloped. they were malnourished, sickly,even they were uneducated. the first thing done by the schmutzers in response to that situation is to meet the primary needs of the people. the schmutzer provided the poor with financial aid. in 1917, in addition to handing out money, the schmutzers bought rice from saigon and then sold cheaply to the people of ganjuran. (elihami, 1995: 43-44). in 1924, they even built an irrigation channel to help farmers. other social work carried out by family schmutzer in ganjuran was the establishment of schools, clinics, and orphanages. the schools were founded by the schmutzers in 1910-1930 in the area around the sugar factory gondang lipuro, ganjuran. an education system that is used in schools, in addition to the western method, also used the local culture. this system retained the joints of javanese culture, for example in terms of dress, language, logic, reading material, writing and arithmetic, which the teaching conducted by indigenous teachers from ganjuran and muntilan (soekiman, 2000: 77). discussion why in the shape of a temple in the 1920s, a lot of movement led to the appreciation of the local culture and high spirit of independence, especially in colonies such as in java. the movement that was related to the catholic church is an international exhibition of the catholic mission held in the vatican in 1925. catholic mission in java, had been sending many of the artifacts in the form of artistic handicrafts. these events affected the schmutzers to initiate movement with a mission based on the local culture (aritonang and steenbrink, 2008: 926). 40 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 the schmutzers realized that in schools, the javanese children received the lessons of both science and religion from the west, though they grew up and lived in the midst of its own culture of their ancestors. the schmutzers had hoped that the art of ancient java, with the christian spirit, could lead them to a new life that was developing the teaching of christianity in javanese culture (soekiman, 2000: 114). based on these ideas, on april 16th , 1924 the schmutzers began to build a church and then it was blessed by mgr. a van vellsen, vicar apostolic of batavia on august 20th , 1924. the location was close to the buildings of hospitals, schools and orphanages that had been constructed previously (elihami, 1995: 55). inside the church there is altar with javanese style. the schmutzers seemed not satisfied that the javanese style was only on the interior. they wanted the whole building featuring shades of java. in 1927 they started to build a place of worship of the catholic entirely in the shape of a javanese hindu temple. the temple is slim, in general by 9 meters high, built above the cornerstone with a size of 5x14 meters and made of black andesite stone taken from mount merapi on the northern city of yogyakarta so that the temple is black with a rough surface. this building can be regarded as a hindu temple for having such criteria, it has three parts (sumintardja, 1981: 88-89): firstly, the base of the temple is called bhurloka. in this section there is a ladder into the middle part of the temple. on either side of the entrance stairs, usually decorated with carvings of makara but on this temple there is no carving. similarly, in the foot wall of the temple which is usually decorated with flora and fauna, or in certain temples decorated with the figure of a guard as dwarapala but this temple is plain. at the center of the base of the temple, just below the main room there is usually a well containing pripih (stone coffin). in this pripih usually is contained the ashes of the king and the relics of holy objects such as gold sheets inscribed with spells, ancient coins, gems, glass, pieces of gold, silver sheet, and shells. in this temple, it was planted a statue of jesus with a height of 75 centimeters, and the brass plate on which the founding history of the temple is written. secondly, called the body of the temple. it is a central part of the temple, a room, which is regarded as a transitional world or bhuwarloka, which depicts a world where the holy man seeks to attain enlightenment and inner perfection. at this temple, the room contains a 1.5 m height statue of jesus called the sacred heart of jesus which indicates that the statue is the main statue worshiped. on top of it there is an inscription in javanese language which reads: his majesty the king jesus christ patron of the nation. the statue is made of white karstic rock that is hard but smooth in surface. the statue of jesus depicts a king-priest in the world of puppetry, which is wearing a javanese king’s crown and robe. on footwear there is a lotus that is the hallmark of a statue of buddha. the backrest throne of the statue was resembling a petal of lotus. it is like the throne of the statue of buddha in general. buddhist elements which also appear strong is the footstool of the statue that is shaped a lotus. robe at the statue, 41 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronage which is half open, made to resemble the robes of the buddha that is half open. at this statue there are many ornaments that show its image as a king who at once became a priest. thirdly, is the top of the temple that has become a symbol the world over or swarloka, which depict the heavenly realm of the gods and the souls who have achieved perfection residing. in general, the roof of the temple consists of three levels which are increasingly smaller and smaller from the bottom of the roof. at the top level of the temple, there is a false phallus with relief cross. what distinguishes it from other hindu temples is the presence of cross form of relief on the phallus at the top level of this temple. the biggest difference of this temple from other hindu temples is a statue contained in this temple. the statue’s right hand points at his chest. engraved on his chest is shining heart. in the tradition of the catholic church, the type of statues or images of men whose hands points at his chest, with shining heart, is called the sacred heart of jesus. it was seen on a statue of jesus from france made in 1920. based on the statue from french, it can be concluded that the statue contained in ganjuran temple is a statue of the sacred heart of jesus. the schmutzers chose to build the catholic’s place of worship in the shape of a hindu temple because they knew that javanese is very familiar with the hindu culture, such as the story of mahabharata or ramayana. they succeeded in bringing christianity in javanese culture. the temple actually was originally intended to be a family monument but when it was inaugurated by the church officials, it was said as a national monument (helling,1930:129). the expression ‘national’ was a brave statment at the time because the dutch colonization was still very strong in indonesia. this statement was stated in front of 2000 attendees from batavia, semarang, solo, magelang, yogyakarta, and salatiga (helling, 1930: 132). father tomo as a patron father tomo’s role in social work that stands out is in the field of agriculture. he was born in ganjuran on feburary 17th, 1929 with the full name raden gregorius utomo. karsopoernomo, his grandfather, was working as a clerk in a family-owned factory gondang lipuro belonging to the schmutzers (teiseran, 2013: 19). at the age of 6 he moved to rejoso klaten. in this new place he studied about javanese tradition that later greatly influenced the course of his life. his views on environmentfriendly, farmer and agriculture, and food self-sufficiency are strongly influenced by his experience in rejoso (teiseran, 2013: 27). father tomo said, “i learned the traditions of java in rejoso, namely the experience of hanging out with the village children, attended the ceremony before the harvest, called wiwit, familiar with terms such as “dewi sri” (godess of rice), sadranan in ruwah3 and so on. i learned so much before my school of javanese tradition in ganjuran. childhood experiences in rejoso, have reinforced my views about how we should 3 sadranan: making offering for ancestors spirits in the tomb during 8th month (ruwah) 42 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 maintain self-sufficiency and protect the farmers, so that the world food day october 16th, 1990, asean farmer seminar was held at ganjuran. as the result, it produced ganjuran declaration.”(teiseran, 2013: 28). in 1946, the capital city of the republic of indonesia moved to yogyakarta as jakarta, bogor, and bandung were controlled by the allies and the netherlands. some schools were also moved to yogyakarta including bogor agricultural school which was moved to wedi, klaten. father tomo then studied agricultural in that place (teiseran, 2013: 59). in 1951, tomo, who worked at the department of agriculture in jakarta, was sent to the usa to pursue education in agricultural extension work college of agriculture, cornell university, new york to study agriculture. after completion of studies in the usa, he returned to work at the ministry of agriculture and to implement the plan of kasimo which essentially is self-sufficiency and rural community education (teiseran, 2013: 60). when he returned to indonesia, he decided to enter the seminary of mertoyudan in 1954. in 1963 he was ordained priest. his first assignment was as a parish priest in klaten whose territory includes the villages around mount merapi. his educational background led him to acomplish tasks relating social work. in 1969 he was appointed delegatus social (social delegate) indonesian bishops’ conference whose task was to organize social movements. one concern at the moment was the uneven development. in 1970, carri sj made the idea to create a movement called fasting action development (app). according to carri sj, catholics need to run the action fasting for bridging the gap between rich and poor. this movement was carried out by father tomo, as social delegatus, at any period of fasting before easter. this movement is still taking place throughout indonesia until now (http://sejarahapp.blogspot.com/3 sept. 2015, h. 12.43). in 1982 to 1984 he had been appointed director of the institute for development and social research, indonesian bishops conference. then in 1985-1986 he returned to the usa to study in ecological agriculture college of agriculture, santa cruz university, california, usa. he was then still serving in new york until 1988 and after that he returned to indonesia to deidcated at ganjuran, yogyakarta. when he came back to ganjuran as a priest, he was known as a highly educated and fluent in social areas and agriculture. especially, he is fluent in javanese culture. furtehermore, being highborn he is also highly regarded. he serves as a patron for catholics in ganjuran. father tomo’s role in the existence of the temple of ganjuran can be explained in two ways. the first social movement and the second religious movement associated with javanese culture. father tomo’s movement is closely related to what has been done by the schmutzers. father tomo actually continued the spirit built by the schmutzers in different social context and era. 43 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronage besides the declaration of ganjuran in 1990, one of the prominent movements is the movement of the apostleship of prayer. people who wanted to be prayed, sent their prayer to father tomo. in 1997, a lot of people were not satisfied just to send a letter to him so that they came directly to ganjuran. they not only just came to chruch but also sat in front of the temple to pray there. ever since the temple has transformed into a place of pilgrimage (dewan paroki, 2004). they do it because father tomo, with javanese attribute, prays in front of the temple as their model. undoubtedly, the process showed agreement in the way of praying in front of the temple. all ceremonies are performed in the nuances of java. this deal makes catholics more confident to pray using the javanese style. so although the nuance of ganjuran temple is hindu-buddhist, they are no longer afraid to come there because the church authorities both support and even encourage people to pray in such a javanese style. as a result, people are no longer afraid to proclaim the miracle they received because of prayer in front of the temple. even the church took over this miracle as a result of a catholic prayer with the nuances of java. the story of this miracle is also an attraction for pilgrims to pray in front of the temple. in 2006, unfortunately a voilent earthquake destroyed the church. father tomo decided to create a new church with a javanese pattern that couldn’t be implemented by the schmutzers because of vatican’s ban. javanese pattern that is used by father tomo is “nothing to do with politics” but indeed purely local cultural influences. obviously, the idea of father tomo to rebuild the church of ganjuran that was destroyed by the earthquake is revealed from interviews with him, as follows: the church in jerusalem was built by the jewish style, the church evolved into asia turned to be a greek church, and then evolved into a church in rome with european style, but when it goes to java, why it keeps the european style. well, this is not suitable. in java it should be javanese style. convention and distribution of art the next discussion is about convention and distribution of art that is related to the existence of the temple of ganjuran. in the convention discussion, it studies about how the patrons build a habit to pray in front of the temple. and in the distribution discussion, it studies about how the convention was distributed to the public. sometimes people ask how to understand a work of art, for example, about western music. how people can understand the notation song. in the world of western music, for example, people know that after c-d, it will appear e which means the do-re-me. or after c-e, it will appear g meaning do-me-sol. this pattern has been taught in schools even since childhood. that is convention. we can answer the question, then, because we learned the materials needed to solve the problem years ago (becker, 2008:41). becker explained further that: conventions known to all well-socialized members of a society make possible some of the most basic and important forms of cooperation characteristic of an art world (becker, 2008:46). 44 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 however, the convention will not develop properly unless it is developed. according to becker: fully developed art worlds, however, provide distribution systems which integrate artists into their society’s economy, bringing art works to publics which appreciate them and will pay enough so that the work can proceed.(becker, 2008:93). the development of ganjuran temple depends on how the convention is built and then distributed to the general public by the patrons, the schmutzers and father tomo. it was built and forgotten after the temple was bulit, the schmutzers did not make any activities associated to the existence of the temple. in the upstream-downstream analysis by becker, it shows that the role of the schmutzers as patrons was only in the upstream process which is only in the process of making the temple. in the downstream process, they did not make any process after the temple was formed. it means that they didn’t distribute or promote the temple to public. why the schmutzers did not make any downstream process? the temple that was built behind the church became the private monument for the schmutzers. the schmutzers did not intend to put the temple as a place of public prayer. it is seen from the habit of julius schmutzer who always prayed in front of the temple before going to work. it is told by astokodatu (74), elder catholics of ganjuran, as follows: “the temple is not placed in front of the church even in the back. it is located directly in front of the schmtzers’ house. there were lights in the temple that the switch is in the julius schmutzer’s house. this is a sign that the temple is a monument to the family as gratitude for the success of the sugar factory “(astokodatu, 13-05-2015) when the schmutzer went back to the netherlands in 1934, the catholics in ganjuran did not have sense of belonging to the temple. as a result, they did not take care of the temple and it became neglected. nobody knew how to pray in front of the temple. in that condition, the temple, slowly but surely, became unknown. in the analysis of art world, the schmutzers did not make a convention about how to pray in front of the temple to the catholics in ganjuran. in the absence of convention, the temple was neglected by the catholics of ganjuran. as a result, the temple was not distributed to the public as well. the neglected art work will not be published and the unpublished art work will be more unknown (becker, 2008:95). the temple entered the phase of unknown for sixty years. for sixty years, the temple was not a place of prayer for catholics and just being a playground for children. during that phase, the temple became unsacred. it was revealed from an interview with a catholic from ganjuran, who said: one day we cycled around the temple (note: when they were kids). then we remembered a story of old people that in this temple there are treasures. then we remove the mudguard bike, and we made it as a tool for prying the stone temple. we hoped that we found a treasure under the stone temple. (indra, 08-5-2015). 45 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronage the temple was not only become unsacred but also became an embarrassing place to pray. about this situation, hendri (28), said: i was ashamed to pray in front of the temple because nobody prayed there. as catholics, if you want to pray, you have to go to church and not to the temple. people preferred to picnic or play in front of the temple rather than to pray. for me it was a playground for very strong winds from the south making it suitable for playing kites. i was not even afraid to climb up the temple, though there is a statue of jesus, i did not care. (hendri, 08-5-2015). besides, the temple at that time was also a place where people socialized. there were mothers who cared for their children in the courtyard of the temple or children gathered around the temple after the completion of the mass for a play or relax and having meal together. things that make this situation even worse are that the programs created by the sexton never put the temple as the center of activities. routine activities such as the maintenance of temples, gardens and lights around the temple were never done by the sexton of ganjuran. the temple became dirty and mossy, dark and spooky. in the afternoon, the situation around the temple was so quite that there were no many people dare to come to that place. at night, the atmosphere of the temple was very dark because there were no adequate lights. this situation raised many spooky stories. it causes people not moved to pray in front of the temple so that its presence is neglected. the temple, besides neglected, lost its sacredness because no one prayed in front of the temple. hendri (28) told as follows: before the temple was famous, i rarely see anyone prayed in front of the temple. the statue was unpainted and the temple was mossy. the impression of this temple was creepy. after four in the afternoon, i would never dare to play at the temple. (hendri, 08-5-2015). related to the analysis from becker about convention, for catholics in ganjuran at that moment, the most obvious was lack of convention on how catholics pray in front of a catholic worship place in the form of a hindu temple properly. the shape of the hindu temple for catholic worship is not normal because it does not comply with the agreement at the time that the catholic places of worship must be in the western nuanced. catholics are afraid to pray in front of a place of worship that was considered abnormal. the biggest fear is that they would be considered heresy. results building an art world all artistic work, like all human activity, involves the joint activity of a number, often a large number, of people. the work always shows signs of joint activity. about art world, becker said: the forms of activities may be ephemeral, but often become more or less routine, producing patterns of collective activity we can call an art world (becker, 2008:1). 46 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 as a patron, father tomo put the temple as a centre of an art world that directs all the activities there to support the existence of the temple. in order to establish the temple of ganjuran as a prayer center for the people, father tomo makes a series of events and physical improvements. the temple should be easily visible, it is necessary to find ways in which the temple is easily seen by the people who came (dewan paroki gereja hati kudus tuhan yesus ganjuran, 2004: 51). in 1995, the parish council of ganjuran started to improve the temple. the corner of the church and the place around the temple, that were dirty and neglected, were cleaned and repaired. the grass around the temple was cut and the soil was covered by stones or asphalt (dewan paroki gereja hati kudus tuhan yesus ganjuran, 2004:55). in addition, in 1997 to 1998, the parish council of ganjuran continued the plan of the schmutzers to build a series of the station of the cross around the temple. in 1927, the schmutzers had designed the station of the cross but they didn’t have permit from vatican to build it. the construction can be completed within a year by a sculptor named nyoman who lived in muntilan, near ganjuran. in 2000, the temple of ganjuran was established as one the places of pilgrimage for catholic in archdiocese of semarang and the place called mandala hati kudus yesus (the site of the sacred heart of jesus). in response to it, since 2000 to 2004 the parish council of ganjuran fixed organizational and physical infrastructure. the physical infrastructures fixed were constructing parking area, pendapa, and toilet. outside the fence of the site, the council built a place for small traders. (dewan paroki hati kudus tuhan yesus ganjuran, 2004, 56-70). in 2006 there was a violent earth quake that totally destroyed the church. the new church built in javanese nuance. since that time the site became a place with a thick javanese nuance. the ceremonies which are centered on the temple are always in the shades of java. the biggest ceremony is called procession that is held annually in june. procession is a eucharist that is held before the temple and usually attended by more than 4000 people. all the church officers, including priests, are dressed in javanese style, whereas songs are sung in the javanese language using not only the musical accompaniment of classical javanese orchestra, mentioned gamelan, but also javanese dances. in this ceremony, there are also many fruits and vegetables that are arranged to resemble a mountain entitled gunungan which is a native javanese tradition. in javanese tradition, gunungan is a model of mountain made of sticky rice, sweets, various foods, crackers, fruits and vegetables. the gunungan will be carried in procession to celebrate the birthday of prophet mohammad. after the prayer, the gunungan that symbolizes the wealth and prosperity of mataram sultanate will be picked, fought over and ripped apart by the people that have already been waiting in the square, as they believe these objects are sacred, potent and are able to bring good luck, prosperity and wealth upon their households. 47 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronage usually these parts of gunungan will be either kept in the house for luck or buried in the rice fields as the traditional javanese farmers believe that these objects will grant their fields’ fertility and protection from locust, plagues, and any misfortunes that might befall them. (kebudayaanindonesia.net, 06-02-2016) furthermore, there are some celebrations that use javanese attribute, namely the first friday night and nyadran. the friday night is started in the thursday night before the temple. it is started at 6 pm by reading a prayer of petitions at first than continued by eucharist and ended by making procession in which they pray while walking around the temple. nyadran is a series of culture in the form of cleaning ancestral graves, sowing flowers, and the main event is having meal together at the tombs of their ancestors (kebudayaanindonesia.net, 06-02-2016). what was done by father tomo has made a major impact upon the development of traditional arts in ganjuran. many experts or students have been making researches on ganjuran. there are some artists who are driven to create the artwork associated with ganjuran. it is no less important is the establishment of an organization of traditional arts, such as gamelan (classical javanese orchestra) and macapat (high javanese philosophical poetry that recited in javanese classical song form), gejog lesung (pealing paddy traditionally and rhythmically), traditional dance, and terbangan (singing with tambourine). besides the establishment of the traditional art organization, there was also an establishment of management committee of pilgrimage site (panitia pengelola tempat ziarah) in 2008. according to sarjimin, chief manager of the committee, with the establishment of this committee, the whole activities are reorganized. several large committees are formed, nurtured and facilitated to produce a variety of activities that really target and touched the lives of many people. the committee is in charge of rearranging all activities relating to the temple of ganjuran including managing traditional art organization (sarjimin, 29-06-2015). in connection to the activities, in 2015 the council published some basic guidelines for financial, called the guidelines of management social fund. in the guidelines, it is written that 60% of any funds which are received from the activities related to the temple, such as offering, proceeds from the sale of worship books, and acceptance of parking, will be donated to the poor (pedoman pengelolaan dana sosial paroki hati kudus tuhan yesus ganjuran, 2015: 11). in the analysis of the art world, it is seen that father tomo has established a routine collaboration that makes ganjuran temple as a center of the art world. he acts as patron who is master of javanese culture and agriculture because he graduated from agricultural school in the usa. he is also highborn. based on that, he manages to build an art world in the javanese nuance called the sacred heart of jesus site and put the temple as its center. 48 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 conclusion in 1930, the schmutzers succeeded in bringing christianity in the javanese culture by making the catholic’s place of worship in the shape of a hindu temple but they didn’t succeed to bring catholics to pray in front of the temple. the temple of ganjuran then had been forgotten for sixty years because catholics in java are already familiar with the western culture so that the shape of a hindu temple was considered unsuitable as a place of worship for catholics. in 1988, father tomo didn’t just bring christianity in the javanese culture but introduced to catholics how to be christian in the javanese nuance. he said that the more we become catholic the more we become java. the temple of ganjuran was ‘born again’ because of this concept. as patrons, each had distinct roles that can be explained in terms of upstream and downstream frameworks. in initiating the ganjuran temple, the schmutzers role was more in the upstream, while the later neglect of the temple can be understood as the absence of their patronage from the downstream framework point of view. on the other hand, father tomo’s role can be understood from both the upstream and downstream frameworks. from the upstream framework, the data shows how father tomo has transformed a once personal worship object into a publicly accepted site of pilgrimage in the form of a complex of buildings called “mandala hati kudus yesus” (site of the sacred heart of jesus), which consists of the ganjuran parish church, a pendapa4 for the pilgrims, a healing fountain, a healing bathing place, and a garden. from the downstream framework, the data has shown that he then created an insitution that acts as a patron which mantains and develops the site as an art world. references aritonang, j.h. and steenbrink, k., (ed.). ( 2008), “ a history of christianity in indonesia”, leiden – boston: brill. becker, new direction in the sociology of art.( 2003). __________________________ becker, h.s. ( 2008), “art world”, university of california press. dewan paroki ganjuran, rahmat yang menjadi berkat. ( 2004)__________________ elihami, l.e. (1995), “sejarah berdirinya paroki hati kudus yesus ganjuran: inkulturasi sebagai landasan tumbuh dan berkembangnya paroki hati kudus yesus ganjuran yogyakarta”, yogyakarta: skripsi universitas sanata dharma. helling, sj, j. (1930), “java aan het h. hart van jezus”, dalam majalah st.claverbond magazine, vol 42. (trans: galuh ambar sasi). pedoman pengelolaan dana sosial paroki hati kudus tuhan yesus ganjuran. ( 2015). russel, bertrand. ( 2004), history of western philosophy. first published in routledgeclassics, routledge 11 new fetter lane, london. soekiman, djoko. (2000), kebudayaan indis, bentang, yogyakarta. sulistyo, bambang. (1995), “pemogokan buruh, sebuah kajian sejarah”, yogya: tiara wacana. sumintardja, d. (1981), “kompendium sejarah arsitektur jilid i”,bandung:yayasan penyelidikian masalah bangunan. teiseran, martin.( 2013), hati yesus yang manis, jadikanlah kasih-mu kasihku, kanisius, yogyakarta 4 a pendapa is a javanese style architecture, large open pavillion. 49 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronage online resources http://sejarahapp.blogspot.com/3 sept. 2015, h. 12.43 http://green-organic rice.blogspot.com/ 2008/08/ sekretariat pelayanan tani dan nelayan, 25 june 2015, 16:39 kebudayaanindonesia.net, 06-02-2016 interviews indra, 08-5-2015 hendri, 08-5-2015 astokodatu, 13-05-2015 sarjimin, 29-06-2015 86 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 relative nature of thai traditional music through its tuning system nattapol wisuttipat bharat vidyalaya school srinakharinwirot university email: nattapolwis@gmail.com abstract thai traditional music exhibits number of relative characteristics, though many of them are not expressed explicitly but only demonstrated orally. its tuning system, despite having been put through many scientific studies for decades, cannot be given the absolute pitch frequencies. it is therefore possible that the tuning system does not have any absolute pitch frequencies but possesses relative nature. this papers aims to present the historic background, characteristics, past, current practices of thai traditional music’s tuning system and to put forward the theoretical idea of non-existence of absolute tuning frequency and that of relative nature of thai traditional music’s tuning system. the data was collected from previous researches on thai traditional music’s tuning system and from sample instruments. the latter was then compared to each other and analyzed with respect to the former. the preliminary results were that tuning system of thai traditional music was in the form of seven-tone equal temperament without any sharps or flats. but practically, it was not exactly equal as musicians still prefer the traditionalbiased tunings which is believed to be more tuneful. regarding the tuning practices, the tuning of fine arts department are most dominating among several others. even though, the tuning of fine arts department measure from various sources are slightly different in terms of frequencies and intervals. it can be concluded that the tuning system of thai traditional music does not rely on specific pitch frequency, but is relative to intervals and personal preferences and its absolute pitch frequency is yet to be established. keywords: thai traditional music, tuning system, relative nature. introduction the word relative is defined in the oxford learner’s dictionary in the first entry as considered and judged by being compared with something else”. the term is extensively used in various circumstances to suggest that something so described must be considered along with its surrounding contexts. whether science’s relative density, linguistics’ relative pronouns or most of the terms associated with the adjective relative, it is an implication of reality that sometimes something can only be expressed when it is in connection with its ambience. musically, there are number of terms which are described using the word relative. relative pitch, for an instance, is the ability of a person to identify or re-create a given musical note by comparing it to a reference note and identifying the interval between those two notes. a relative minor key of major c scale is another example. when considering the context under which the word relative is employed in various scopes, including music, we can transitively arrive at a preliminary conclusion that when something is designated with the word relative, it conveys the state of being connected to one other thing or more of not being absolute. 87 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobongkaori okado. art management in javanattapol wisuttipat, relative nature of thai traditional music the traditional music of thailand, as an embodiment of the country’s musical culture, too exhibits its relative characteristics in several aspects. although thai musicians do not expressively refer to these characteristics directly by the term itself, they are very well aware of its existence. this happens so because thai traditional music is an oral tradition wherein the knowledge is being transmitted without much written evidence. the transmission could be in the form of either demonstration or oral explanation. as a result, thai traditional musician perceive the existence of relative characteristics of thai traditional music as an inexplicable, abstract concept whose comprehension can only be achieved by direct experience, i.e. playing thai traditional music. moreover, almost every writing dealing with thai traditional music culture is in thai and, more disappointingly, those written in other universal languages provide insufficient details. combining these factors together, despite thai traditional musician’s fine perception of thai traditional music’s relative nature, the concept seems to be a very difficult concept to recognize and visualize even by native enthusiasts, let alone those foreign with thailand’s musical culture. materials and methods one of unique musical aspects in thai traditional music that hides the relative nature within is its tuning system. tuning system of thai traditional has developed its own system and process which have been being practiced since the ancient time to date. basically, thai musicians tune their instruments by listening and comparing the same note between reference instruments and the target instrument. there was no frequency measurement of the tuning system until it was calculated for the first time in england, 1885 by ethnomusicologist pioneer alexander j. ellis and alfredhipkinsduring an overseas exhibition of thai musicians sent by king rama v. musically considering thai traditional music as an exotic genre, since then, musical scholars have been very much interested in exploring more about thai traditional music and were awakened to determining the exact calculation of its tuning system with several following sophisticated measuring experiments. meanwhile in thailand, though, musicians were too much occupied in performing aspects to give any attention to studying or calculating the tuning system. but there was phrachenduriyang, a thai band master who put forward the influential concept of tuning system of thai traditional music in his somewhat brief writing that “as already stated, the thai diatonic scale, is composed of seven full tones within its octave. these are evenly distributed in equidistant steps and there are no semitones between any of these full tone – steps.” the statement was later proved to be inaccurate practically. however, the urge to seriously study the tuning system of thai traditional was realized only in 1967 after the initiative of his majesty the king bhumiboladulyadej triggered the first survey of pitch frequency of thai traditional music followed by the second survey in 1994. the aim of both researches was to survey the pitch frequency of thai traditional music and finalize a standard pitch frequency for thai traditional music. the results obtained were very vast but they were inconclusive. there have also been plenty of similar researches that tried to find the right pitch frequency for thai traditional music, only to add more tuning alternatives to already numerous 88 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 existing tuning preferences without any sign of closing in on achieving standard pitch frequency. today the effort of finding out the absolute value of pitch frequency, or even the issue of whether thai traditional music have one, is still much debated. due to above circumstances, the writer is inspired by these obscurity shrouding thai traditional music’s tuning system that instead of establishing absolute pitch frequency for thai traditional music, which, in high probability, could turn out to be futile, one should embrace the current phenomena of the pitch frequency diversity and support it by logically sound evidence. the writer also believes what is responsible for the diversity of tuning frequency and at the same time keeping them from deviating away from each other dramatically could be thai traditional music’s relative nature itself. this paper will, therefore, present the studied information about thai traditional tuning system involving history, characteristics, past, current tuning practices in an analytical attempt to forward a theoretical idea of non-existence of absolute pitch frequency while validating the relative nature of thai traditional music’s tuning system in the process. the objectives of the research 1. to present the historical background, characteristics, past and current practices of thai traditional music tuning system. 2. to put forward a theoretical idea of non-existence of absolute tuning frequency and that of relative nature of thai traditional music’s tuning system. methods used. this article follows the methodologies for quantitative research that proceeds with following steps 1. establishing issue of study 2. associated literature and related research reviews 3. collecting relevant data 4. analyzing obtained data with respect of available previous information. 5. conclusions discussion finding/results the research results, presented through descriptive analysis, will be discussed according to the following topics. 1. tuning systems of thai traditional music 1.1 theoretical statement 1.2 practical situation 2. past and present tuning practice 89 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobongkaori okado. art management in javanattapol wisuttipat, relative nature of thai traditional music results 1. tuning systems of thai traditional music the tuning system of thai traditional music is theoretically in the form of seventone equal temperament which incorporates only 7 tones in an octave. as a results, an octave of 1200 cents is evenly distributed in total 7 intervals instead of 12 and consequently altering the value of the twelve-tone equal temperament pitch intervals. mathematically, each interval in seven-tone equal temperament is supposed to take the value of 1200/7 = 171.4 cents. the comparison between thai’s seven-tone equal temperament and western’s twelve-tone equal temperament is shown below fig. 3 comparison between the seven-tone equal temperament and the seven-tone equal temperament. twelve-tone equal temperament do re mi fa sol la ti do 100 100 100 100 100 100 100 100 100 100 100 100 200 200 100 200 200 200 100 171.4 171.4 171.4 171.4 171.4 171.4 171.4 re mi fa sol la ti seven-tone equal temperament although the intention is clear, in reality, the concept is notso perfectly implemented as it has been scientifically proven that the measured intervals of a functional eartuned thai music instruments deviate more or less from the theorized value. however, the effect of the inaccuracy is not hugely felt as the principle of thai traditional music relies on the pentatonic system, thus allowing more area of acceptability in tuning. as to the pitch frequency, it was found that the pitch frequency of thai traditional music is not based on western’s musical system either and there has been no particular allusion of the pitch frequency of thai traditional music.nonetheless, some distant similarity between thai traditional music and western music in terms of pitch frequency can be observed. oneresearch, under the initiatives of hm king bhumibol, studied a pitch frequency of thai traditional musical instruments which is nearest to the frequency of western’s c, i.e. 523.25 hz.sampling instruments from several famous musical ensembles are tested, giving the following results. ensembles frequency (hz) fine arts department 510.0 royal ensemble 502.0 college of dramatic arts 508.0 pattyakosol 500.0 thong lorju wong 509.53 thammasat university 516.84 thai tv ch4 519.94 90 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 it can be seen that none of the pitch frequencies of the above sampling instruments match that of the western c. david morton also mentioned about the pitch frequency of thai traditional music that “there is no standard pitch level in thailand”. past and present tuning practice before proceeding further, the writer feels the necessities to familiarize readers with the classifications of thai melodic musical instruments as these classifications are going to be significantly related to the details of tuning practice later in this article. firstly, thai music instruments are classified, from the action by whichsound is produced , into 4 following types: 1. plucked instruments, e.g. chakay, 2. bowed instruments, e.g. saw u, saw duang and saw sam sai 3. struck instruments, e.g. ranadek, ranadthum, kong wong yai, kong wong lek, ranadek leg and ranadthum leg 4. blown instruments, e.g. pi, klui second classification is based on difficulty of tuning. the thai music instruments above can be reclassified into 3 types as follows 1. permanently tuned instruments, e.g. klui, pi, ranadek leg, ranadthum leg 2. fixed-tuning instruments, e.g. ranadek, ranadthum, kong wong yai and kong wong lek, chakhe 3. free-tuning instruments, e.g. saw duang, saw u, saw sam sai. chakhe in the second tuning difficulty-wise classification, the permanently tuned instruments are pre-tuned right from its makers and its pitch frequencies cannot be adjusted without the help of heavy machines. therefore, the pitch frequencies of such instruments are less prone to fluctuation and hence preferred as reference instruments for tuning process. however, pi and khlui are not popularly used due to certain factors which can directly affect its pitch frequencies, e.g. the pressure of the air passing through the instruments or depth of the inserted mouthpiece. on the other hand, ranadek leg and ranadthum leg are more preferable as they are almost independent of any internal and external factors. this means that these instruments produces the same pitch frequencies no matter how or whenever it is struck. in the fixed tuning instruments, changing its pitch frequencies are relatively more convenient than the previous category. the pitch frequencies of these instruments can be altered by using a plasticine clay-like substance called “ta kua”. it is made of mixture of pure beeswax and lead powder. having adhesive property, it is softened by heating before applying underneath the instruments. as it cools down, it hardens and sticks to the instruments. its added weight will decrease the pitch of the applied instrument. for ranadek and ranadthum, ta kua is applied under each key and on both ends. for kong wong, ta kua is pasted under each gong. the amount of ta kua applied depends on the original weight of the instruments and the desired pitch, meaning that 2 identical pitches of 2 different instruments may not require the same amount of ta kua applied. 91 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobongkaori okado. art management in javanattapol wisuttipat, relative nature of thai traditional music the last category, free tuning instruments, can be tuned and retuned right on the spot. the tuning of this kind of instruments is done using the mechanism within the instrument itself – turning knobs are an example and without any external tools and help. most of these instruments are stringed instruments. thai musicians usually tune open strings of the instruments to the pitch of klui of ranadek. it is also to be noted that chakhe, a thai zither, seems to fall on both fixed-tuned and free-tuning instrument. although its strings are tuned by merely adjusting its 3 protruding knobs, its frets, however, has to be pre-tuned to a desired temperament. past tuning practice thai musicians originally relied on their ears to adjust the pitches of an instrument to the desired frequencies. a tuning expert, usually a thai music master or an experienced music maker, tuned every instrument in an ensemble to pitch frequencies that suit their ears the most. to do this, they must have reference instrument according to whose pitch frequencies other instruments are compared. the reference instruments are, therefore, those instruments that are part of the ensemble and whose pitch frequencies are durable and least susceptible to fluctuate. the reference instruments are either blown instruments such as pi or khlui, or metallic instruments such as rand leg, depending on types of ensemble played. back then thai musicians did not pay much attention to the measurement precision of their tuning and also its definition. as a result, the pitch frequencies and intervals intervals of an instrument was never given a specific calculation. later on, with advancement in theoretical and practical aspect of thai music, the current thai music tuning system is believed or understood to fall in a system that the modern scholars call it “seven equidistance” or “seven-tone equal temperament” or “seven-tone equal division of the octave”. there are 2 situations in which the reference pitch is determined. the first is when these instruments are being made, the maker tune them not by listening but merely using preset measurements of those instruments. these presets may be inherited from one’s family or master. the second, with the help of heavy machines, is that a maker will fine-tune the finished permanently tuned instruments until its sound becomes most soothing to the maker’s ears when the instruments are played. nonetheless, tuning preferences are different from one ensemble to another and even tuning preference of a single ensemble can differ from time to time, as they did not use any tools to record them. as a results, pitch frequencies of different ensembles of thai music instruments can be slightly higher or lower than one another, which is, for thai musicians, are acceptable as long as the whole ensemble is tuned uniformly. some tuning preferences even go on to become an identity of an ensemble. fine arts department, royal ensemble, college of dramatic arts, pattyakosol, thong lorju wong, thammasat university, thai tv ch4 are, as mentioned earlier, are examples of institutions whose ensemble is tuned with their own customization. 92 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 among these tuning instruments, it is the fine arts department tuning that is dominating over other tunings through the process of cultural hegemony. most of the active thai musical ensembles and music instrument makers tend to adopt the fine arts department tuning whilethe use of other tuning preferences nowadays is rather rare. present tuning practice today, how thai instruments are tuned is quite varied in styles and methods. the most traditional methods of ear-tuning is still widely used today among thai musicians and tuning experts. for kreuangsai ensemble, the instruments are usually tuned just before playing. by matching pitch of instruments to that of khlui – the reference instruments – tuning the instruments in khreungsai ensemble can be executed within a matter of minutes. the only exception is chakhe whose bridges, as already mentioned, has to be set beforehand then only its pitch can be adjusted accordingly. pipat ensemble, however, demands more complicated endeavor. with reference instruments ready – in this case ranadlek – the fixed tuning instruments are tuned by removing/adding ta kua. if a musician is not satisfied with the tuning of his instruments even after it has been tuned to the reference instruments, the musician will fine-tune the fixed tuning instruments to his/her satisfaction. this means that the ranadlek has to be retuned using heavy machine to match the musician tuning favors. even though the ear-tuning has been preceding and still active for several decades, this process is pretty much error prone – mostly from human, causing tuning inaccuracy. keeping this drawback in mind, many thai musicians and tuning experts now look for alternatives that offer more precise tuning measurement and at the same time reduce the risk of errors. so musicians and tuning experts alike endeavored to find a better alternatives than ear-tuning. thai musician as well as tuning experts now turn to a more precise, reliable western chromatic electronic tuner with cent/hertz reader scale. however, due to the fact the tuners and thai music instruments follow different systems of temperament, these tuners cannot be used to tune to instruments directly, like using a meter scale to measure something in inches. instead, these tuners are used to record the frequencies given out by thai music instruments. although there are hundreds of different types of such electronic tuners available in market in terms of design, ergonomics, functionality, accuracy, but what matters most when it comes to tuning thai music instruments is the least count of the tuner’s reading scale since tuning system of thai traditional music is interval-oriented. as tuning of thai music instruments hardlyrefers to the absolute value on cent scale, the tuner with smaller least count will be more favorable than that of larger least count. sometimes a highly sophisticated electronic tuner that comes with many useful functions is neglected for tuning thai music instruments than a relatively simple and cheaper electronic tuner, only because of least count difference. so it is the responsibility of a thai musician or tuning experts to choose a suitable electronic tuner for one’s tuning preference. 93 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobongkaori okado. art management in javanattapol wisuttipat, relative nature of thai traditional music the pitch frequencies of a finely ear-tuned fixed tuning instrument, most preferably ranatek, are recorded using an electronic tuner. its corresponding values are then noted down and will be applied to all other fixed tuning instruments. however, instead of registering entire pitch frequencies of an instrument, some prefer to record only one octave and use the obtained frequencies for subsequent tunings. this way the interval across an octave, if tuned correctly, is always maintained as 1200 cents. again, some believe that by increasing or decreasing each pitch frequency slightly when moving up or down the octave, respectively, will make the instrument sound even more tuneful. since the fine arts department tuning becomes the default tuning for thai traditional music and the conventional method of tuning instruments by ears is being replaced by electronic tuner, the writer has collected 2 examples of fine arts department tuning. the pitch are obtained froma finely-tuned instruments by recording it pitch by pitch using electronic tuner while keeping the reference pitch of the tuner at a=440 hz. table 1.table of pitch frequencies courtesy of mr. un a = 440 hz pitch intervals value (cents) intervals sol f – 25 155 la 170 f# + 30 ti g# 180 do 170 a# 20 re c – 50 180 mi 160 c# + 30 fa d# 10 185 as seen above, table 1 shows the pitch frequency of an octave recorded from a finely tuned instruments. as mentioned earlier, there is only one note in an octave that falls on the absolute value of the tuner, i.e. g#. there are variable pitch intervals in an octave ranging from 155 to 185. the sol-fa intervals is the widest while the solla intervals is the narrowest. there are reasons as to why the table starts with the note sol and ends with the note fa. sol is the starting of ranad ek while fa is the last note of ranaadthum and kong wong. in this way a tuner tunes ranaadek by looking down the table and tunes ranaadthum as well as kong wong by looking up the table. in this type of measurement, the pitch frequency is the same in every octave throughout an instrument. however, there is another type of tuning in which the pitch frequency is different across octaves. 94 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 table 2:table of pitch frequencies. courtesy of mr. sontornchangkleungkoon ranat thum ranatek & kong wong yai kong wong lek 185 1 c# (lowest) intervals intervals intervals intervals intervals 2 d# 15 180 165 3 f 35 255 1 e – 25 4 f# + 30 170 2 f# + 30 170 170 5 g# 170 3 g# 6 a# 30 170 4 a# -30 170 170 7 b + 40 170 5 b + 40 8 c# + 10 180 6 c# + 10 180 180 9 d# 10 180 7 d# 10 10 f 30 165 8 f – 30 165 170 11 f# + 35 170 9 f# + 35 12 g# + 5 170 10 g# + 5 170 170 13 a# 25 170 11 a# 25 14 b + 45 170 12 b + 45 170 170 1 b + 45 180 15 c# + 15 180 13 c# + 15 2 c# + 15 180 16 d# 5 180 14 d# 5 180 180 3 d# 5 17 f – 25 165 15 f – 25 4 f – 25 165 16 f# + 40 170 170 5 f# + 40 170 17 g# + 10 6 g# + 10 170 18 a# 20 170 170 7 a# 20 170 19 b + 50 8 b + 50 170 20 c# + 20 180 180 9 c# + 20 180 21 d# 10 d# 180 22 f – 20 165 11 f – 20 12 f# + 45 170 170 13 g# + 15 14 a# 15 165 175 15 c 45 16 c# + 25 180 180 17 d# + 5 18 f – 15 95 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobongkaori okado. art management in javanattapol wisuttipat, relative nature of thai traditional music here, table 2 consists of 3 main columns of corresponding pitch frequencies and intervals for 4 different fixed tuning instruments, i.e. ranatthum, ranatek, khong wong yai and kong wong lek. ranatek and kong wong yai share the same table, with kong wong yai starting from the 6thranatek bar. it can be observed that the frequencies of each note increase by 5 cents in every higher octave. however, the 1st bar of ranatek is tuned relatively lower than usual – e-25 instead of f-25. this enables ranatek to combine intervals lower than the 8th bar. it is also to be noted that although the there are changes in pitch frequency in different octaves, yet the pitch intervals of each octave remains constant. it is believed that by increasing each pitch frequency of a higher octave by 5 cents produces more soothing effect within an instrument. but, sometimes, when the same note of different distant octaves are simultaneously played, e.g. ranadek’s no. 5 and kong wong lek no. 15, the dissonance becomes noticeable. conclusion it is clear from the finding’s numerical facts that the theory and practice of the tuning system of thai traditional music is self-contradictory. the difference between the hypothetical and practical pitch interval is neither due to ignorance nor carelessness of thai traditional musicians which would have resulted in irregularity of thai traditional music, as suggested by some scholars. on the contrary, the phenomenon can be explained with historical and contextual evidence. since thai musicians originally tuned their instruments using their ears with the intention to divide the octave into 7 equal intervals, intervals of tuned instruments, as inspected by many scholars, appeared to be slightly deviated from the ideal value. this case was understandable, considering inconsistency of human ears. later on, technological advancements finally have allowed us to correctly tune thai musical instruments according to the 7 tone equal temperament, which is 171.4 cents apart. nevertheless, thai musicians are already so accustomed to listening to the conventional biased tuning that such tuning is thought to be the most pleasant and that tunings other than that is regarded as non-melodious. an attempt to convince thai musicians to use the real 7 tone equal temperament may pave the way to more consolidated version thai music. but, on the other hand, it may prove to be a difficult and time-consuming task. regarding the pitch frequencies of thai traditional music instruments, from the very first analysis of the instruments which have been sent for an exhibition in europe to the modern extensive examination of thai traditional music instruments across the country, whether or not does the absolute pitch frequency of thai traditional music exist is still a controversy. the more instruments surveyed, the more tuning preferences added to the list. today, it is agreed upon by every thai musician that the pitch frequencies of the fine arts department is the most reliable one. however, the 2 different tables of pitch frequencies in the previous section instruments show that almost every corresponding pitch frequencies are more or less different from one another despite the claim that all follow the fine arts department tuning. the use of electronic tuners has let thai musicians as well as music makers come up with their own fine arts department tunings. 96 ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015ijcas: vol. 2, number 1 june 2015 apparently, there is no officially-determined standard pitch frequency. so, regardless of tuning methods, a music ensemble, group or school tune their instruments using their own pitch frequencies. as a result, it is possible that the pitch frequencies of one ensemble, groups, and schools can be notably higher or lower than the others. however, thai musicians seem to neglect these facts and have no difficulty playing in musical ensembles with different tuning finish, as long as the tuning of each and every instruments of the whole ensemble is maintained uniformly. no matter how the tuning perspectives are viewed, the establishment of an absolute pitch frequency of thai traditional music is far from conclusion. on the other hand, if we look back at the purpose or the intention of tuning thai musical instruments, it has been always to divide the octave into 7 equal intervals – then and now, whatever the preferences may be, regardless of how it may be done. with that said, it is therefore reasonable enough to assume that it is the intervals that play more significant part than the frequencies when it comes to tuning thai traditional musical instruments.and that makes the tuning system of thai traditional music relative or it is interval-oriented. as the reference frequencies are subjective from one’s preference to another, but the intervals are always supposed to be constant. in practice, however, the intervals, and frequencies, are not so exactly identical throughout an octave and across ensembles due tofew reasons. first is the limit of electronic tuners as thai traditional music tuning does not only refer to the absolute value on the reading alone and electronic tuners nowadays come with various least count values. second is the familiarity of the conventional biased tunings. on the other hand, it is the conventional tuning that maintains the close range of pitch frequency of a single note and also prevents it from further expansion. the relative nature of thai traditional music can also explain the fact of the tuning diversities of thai traditional music from past to present and can also account for the dissimilarities of the tunings of different ensembles. in spite of that, thai musicians do not mind playing instruments whose tuning they are not accustomed of. it is also noteworthy that relative nature of thai traditional music is also surprisingly parallel to that of thai language. being tonal in nature, thai language is communicated through precise pronunciation of relative intonations. the same word, if pronounced with different intonation, would have different meaning and a mistake in intonating words would change their meaning or could indicate the native habitat of a speaker. also, a word of single intonation might have different meaning if it is heard along with different surrounding words. suggestions with today technology advancing by leaps and bounds, there is no denying that smartphones is becoming indispensable to human life. but these gadgets too have certain positive impacts on the musical domain. various mobile tuning applications available across different operating platforms through respective online app store, both for free and paid, has made tuning even more so affordable and accessible than ever. moreover, some of these useful applications offer an incredible precision with 97 adam wahida. empowerment of the students creativityandrian dektisa. parody idioms in the visual characteristics danang bramasti. the role of petronageinggit sitowati. existence, identity and survive strategy kethoprak tobongkaori okado. art management in javanattapol wisuttipat, relative nature of thai traditional music very small least count of 1 cent or even in decimals. in the future, these technological advancement is going to contribute to making thai music instruments tuning so accurate and easily feasible that everybody can effectively execute just by launching an application within couple taps. the day might not be so far away that a standardized pitch frequencies of thai music instruments with ideal interval of 171.4 cent can be achieved realisticallyor perhaps there could be a tuner particularly made for thai instruments tuning in the near future. although there was not much sound evidence regarding the historic background of thai traditional music tuning system, there is no denying that the development of tuning system has seen steady developing, both by the thai musicians and by external assistance. this may be a tiny progress within a large system, but it proves that thai music society is not a stagnant culture waiting to crumble on itself. on the contrary, it is rather a dynamic phenomenon that has been well taken care of by its people to ensure that it thrives with the ever changing world without losing its identity and at the same time open to the interested people from any cultures to learn and share. references chulalongkorn university. (1999). the study of pitch frequency of thai traditional music – an hm the king bhumibol’s initiative. bangkok. rueankaew press. morton, david. (1976). the traditional music of thailand. university of california press, berkeley and los angeles. wisuttipat, manop. (2015). “theory and practice on thai music tuning system”. dontripriprem, vol. 5. bangkok. santisiri press. online resources british council. “relative pronouns”. english grammar. july 1, 2015. https:// learnenglish.britishcouncil.org/en/english-grammar nave, rod. “relative humidity”. hyperphysics concepts. july 1, 2015. http:// hyperphysics.phy-astr.gsu.edu/hbase/kinetic/relhum.html oxford university. “relative adjective definition, pictures, pronunciation and usage notes | oxford advanced learner’s dictionary at oxfordlearnersdictionaries. com”. oxford learner’s dictionaries. july 1, 2015. http://www. oxfordlearnersdictionaries.com/definition/english/relative_1?q=relative thassuya. “pitch frequencies of 7 equal temperament in thai classical music”. thai classical experimental music. march 12, 2013. june 28, 2015. http://thassuya. blogspot.com/2013/03/7.html others changkleungkul, soontorn. (2011). interview by manopwisuttipat.. book review krisis dan paradoks film indonesia author: garin nugroho and dyna herlina publisher: pt kompas media nusantara year: 2015 damar tri afrianto institut seni dan budaya indonesia sulawesi selatan today’s film life demands two main points in its development: discourse and technical innovation (technology). both must be balanced to actualize the development of a dynamic and up-to-date film. however, in reality the film is still struggling with technical affairs, while film from a critical and historical point of view is still dry. on the other hand, for the world of film itself, the point of view of historical context is of course very important. it can show the development of a widespread public reaction of the position, role, and value of the film from time to time. through this point of view the world of film finds the flow and form of its tradition. the book krisis dan paradoks film indonesia by garin nugroho and dyna herlina s are efforts to balance the world of film especially in historical point of view. this book provides an understanding that the presence of the film cannot be separated from the context of the time the film was made. even movies are always relational to what is around them. in the introductory section of this book, bambang sugiharto (professor of aesthetics at parahyangan university) explained that this book shows how the film grew as a superstructure of the urban life formed from colonialism and as an unexpected consequence of the change in a society, marked by so many paradoxes. systematically, garin and dyna herlina present this book’s systematically in a linear way on the history of film and the political context as well as a regime that lives and influences the film’s development. this book consists of six chapters, in which each chapters has a continuation of history, so it cannot be separated. in understanding this book, readers are invited to explore the national history of indonesia from the calendar to the volatile movements in some areas, all of which affect the type and development of a film in the country. the first chapter opens with a discussion of the urban art (1900-1930). originally, the base of the birth of the film is mentioned that film and art performance cannot be separated from the economic and political condition (dutch east indies). the history of a film as a projected art form is often associated with the aspect formulas in javanese wayang kulit, especially during the silent film when the source of the music is live music in the theatre (page 12). this is reinforced by garin and dyna’s exposure on page 19, stating that long 80 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017book of reviewijcas: vol. 4, no. 1 june 2017editorialbook of reviewijcas: vol. 4, no. 1 june 2017 before the presence of hindi films, the films were familiar with various performing arts performances such as wayang, stambul comedy, and theatre. the popularity of these arts came with the modernization of the dutch east indies government on the basis of ethical politics (repayment). in this first chapter, the book through various data explores the existence of homeland film in the early colonialism of indies-dutch government. art in the dutch east indies helped prepare the film audience in the context of social, cultural, and spectacle so that the presence of the film received by the community at that time.the development of arts such as stambul comedy, ketoprak, ludruk and skits are series of arts that eventually became the background of the homeland films. the filmmakers of the early period began their arts career through the above theatrical groups. the film in this colonial period seems to be a bastion of defense for traditional arts, it is explained that the history that the growth of a film is always accompanied by concerns about the death of traditional art and its values (page 33). this early chapter epilogue gives an illustration that the performing arts and films do grow as part of the growth of urban society. the film embraces the aspirations of the indies-dutch modernity, both in pictures and technology. initial films are seen as modern media that have the ability to reach a large audience through mechanical reproduction. the presence of films in the dutch east indies is part of the internationalization process that continues to color the development of the next film. the growth of performing arts or known as the entertainment including film, never escape from the growth of the city, technology and industry of the 19th century in the dutch east indies. as the first story film, loetoeng kasaroeng movie (1926), shows the relationship of the film with other art, both wayang orang and play. the presence of the first story film is also a form of paradox between the concerns of caring for the art with the demands of entertainment and new value, as well as the role of power in supporting it. chapter two opens with a discussion of the two-faced economy and its relation to the entertainment industry. on one hand, crisis causes the difficulty of getting production costs and weak purchasing power. on the other hand the society demands entertainment to forget about their crisis. the above statement opens the issue of film development relating to the economic crisis that took place in the colonial period. the economic depression became a turning point for the revival of the entertainment industry, including in the indies at the time. in the midst of economic crush, cinemas began to be visited to relieve fatigue. in the second chapter of this book, it becomes clear that the paradox have taken place in the development of the film. the paradox is that the film must fight the economic crisis that is hitting while the demand for the presence of the film is increasing because the film is a way for the society to escape from their troubles. in the post-colonial period, awareness of nationalism and access to education had an impact on the form of expression and entertainment both literary and theatrical works that gave effect to indonesian films. the forms of entertainment from theatrical to film were used as propaganda tools by the colonial rulers, both in the dutch and japanese periods, which gave birth to different forms of censorship and different forms of technological transformation and knowledge. 81 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts lifekiki rahmatika, consistency ning-hui hung, transmission and innovation of kasidah in indonesiagianluca cellini, indonesian metal musicdamar tri afrianto, book review perspectives in the third chapter of the krisis dan paradoks film indonesia books were diverted to the post-world war ii, the cold war (1947-1949). this resulted in the birth of two giant countries of the time, which is the united states and the soviet union. cold war turned out to affect the life of politics and indonesian culture. in indonesia came the organization of the people’s culture institute (lekra, 1950) affiliated with the indonesian communist party (pki). on the other hand, institute muslim artist cultural (lesbumi, 1962) was born, which is an extension of nadhlatul ulama (nu). the lekra party is very active in boycotting american films. the turmoil in 1965 which was the movement of this ideology extended to films of the homeland affected. in this era of political awareness, indonesian film organization comes to take the society’s attention. film organizations began to be included in political parties, then formed the film organization as the forerunner of a new generation of indonesian films. after 1965, president soeharto runs the military politics in a military and censorship way imposed in various dimensions of life including film. since then, the propaganda through the film on the history of september 30, 1965 and the heroism of suharto was made to strengthen the propaganda of communist danger and political stability. the film that exist in middle of an ideological war emerged from a film that used to be an entertainment to become an ideological vehicle to maintain power. the fourth chapter of this book is entitled globalisme semu (1970-1985), focusing on the pop culture that established its existence in 1970. on page 1941, it is mentioned that the dynamics of films are always associated with the growth of urban cities and popular culture to fill the psychological needs of a city man. the 1970s where urbanization growth was remarkable, and opened up space for collaboration between infrastructure as well as new emerging communications and information technologies. the presence of television began to spread across the country in this period, television that was originally built as a spectacle of the world for houses is always reciprocal with the development of the film that was originally built as audio-visual dish of the world outside the home. therefore, the dynamics of film cannot be separated from the history of television development. the new order regime mobilized the legal system, propaganda strategy and control through the information department which oversees the entire film organization supported by the ministry of education and the department of defence and the coordinating ministry for political and security affairs. uniquely, this era became a golden period of popular culture and film. popular culture (television, comics, novels, commercials, magazines, and radio) grows and fosters with the world of film. this era is also marked by the birth of a popular cultural and artistic centre, taman ismail marzuki (tim) in jakarta as well as teenagers halls. short film movement was born in this era that was pioneered by those who proceeded early in the jakarta arts institute, in which then gave birth to short films avant-gard. the continuation of the fourth chapter discussion in this book continues in the fifth chapter which takes the title of crisis in the midst of globalization. in 1998, amid 82 ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017ijcas: vol. 4, no. 1 june 2017book of reviewijcas: vol. 4, no. 1 june 2017editorialbook of reviewijcas: vol. 4, no. 1 june 2017 the economic crisis that hit asia, about two weeks before the momentum of soeharto’s downfall, the anti-suharto political situation mounted even more. as a result of the economic crisis and globalism that are not fully censored by the soeharto regime, local popular culture products that are the source of the film’s creation are in crisis because they have to compete with global popular culture products. film life is always related to the history of the rapidly evolving entertainment technology. the acceleration of communications technology is in line with the demands of entertainment that does not only present in the public sphere but also into the homes of hundreds of millions of indonesians. on the other hand, this period is marked by the inclusion of video technology. the video gave birth to access movies outside the cinema and television. the rapid acceleration of the rapidly changing video format of die-andgo video technology and the decline of the film laboratory’s life-cycle shows that the government is making the audience to become a consumptive market. in this period, the ‘schoolgirl’ specifically from the ikj (jakarta arts institute) encouraged the growth of short films and independent cinema movements. indonesian films, like other popular local cultural products, does no longer live in the golden age of the entertainment industry. indonesian films have to compete with various types of entertainment and techno capitalist that grow extraordinary, such as television, video, game technology and a variety of cultural products as well as new global lifestyle. this is followed by the growth of various forms of entertainment in the public space as the birth of shopping centers, cafes, and so forth. at the end of this chapter, the author concludes with the statement that the 1998 period toppled soeharto’s fall and marked the birth of a new generation of films in a transitional political situation. coinciding with the fall of the soeharto regime, the film titled daun di atas bantal, produced by christine hakim was screened in un certain regard program at the cannes film festival in france and became a popular film in indonesia that was able to wake the audience in the transition period. christine hakim became an icon that has awaken indonesian film since 1970s until now when this book is written. in the last chapter of this book, the sixth chapter entitled euphoria of democracy (1998-2003) discusses how the post-new order era marked the era of democracy or freedom. reading the resurgence of films in the 2000s cannot be separated from political acceleration, especially those that produce political products that affect the sharing of life sectors including movies. the collapse of the new order brought fresh air to the communications media industry in indonesia. if previously print and broadcast media were strictly controlled by the authorities. reforms undermined that control. printed and television media that had previously dominated indonesia to get a new partner, the digital media. the presence of digital technology changed the face of pop culture in indonesia. after video technology (laser disc, vcd, dvd) became a new medium of popular culture, post 1998 internet presence continued to spread. 83 peeraya sramala, a study of knitted fabricsupamas jiamrungsan, the ancient technique of weaving ...nessya fitryona, the dialectic of visual arts lifekiki rahmatika, consistency ning-hui hung, transmission and innovation of kasidah in indonesiagianluca cellini, indonesian metal musicdamar tri afrianto, book review the late-2013 period is a paradoxical era, between the stagnation of film politics and the growth of a new vanguard of film actors, between political saturation and the emergence of a new generation that won numerous prestigious awards at several international festivals, between the audience crisis and the explosion of spectators for a number of phenomenal films, the fall of indonesian film and the consistency of working a number of film directors and producers. although the system and regulation did not change, accompanied by the crisis of the audience and no local film protection policy, indonesian film is able to continue giving birth to a new generation by sharing perspectives and diverse backgrounds. this is the real power of indonesian cinema. the book krisis dan paradoks film indonesia explores the many contradictory tensions in each age. this book comes more as a long essay trying to dig certain critical histories and perspectives and seek wisdom (insight) for the direction of further film development. from this angle, this book is an important milestone in the formation of indonesian film discourse. page 1 page 1 page 1 page 1 1 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batik introducing the meaning of batik through game and appearance in virtual reality bayu widiantoro and ag. dicky prastomo visual communication design, soegijapranata catholic university dicky.prastomo@unika.ac.id abstract batik is not just visually but also philosophically enticing. a brief history in 1755, in the era of “keraton surakarta” and “keraton yogyakarta”, each kingdom has developed their own style including motif and coloring. making a batik is not just simply decorating, it is also form a repository of beliefs and values. youth or young one, need to examine and understand batik with spesific meet their ways. a digital native generations. visual communication research design offers a case study and visual etnography or visual decoding to describe, to compare, and to evaluate the pattern, beliefs and values. overall, analysis of findings would clearly indicate that most of the target audiences are not interested to know what the meaning of batik meaning, but they relay on smartphone gaming as daily activity. the like to know things through 2 dimesional game. keywords: batik, motif/pattern, game, beliefs and values introduction according to the indonesian dictionary, batik is the pictorial fabric. it is processed in a certain way by writing on the cloth. in javanese, batik comes from the word “mba” and “tik”. the word “mba” in javanese means writing, while the word “tik” refers to the word dot, so the meaning of the word batik is to write a point. but, batik is not just visually but also philosophically enticing. a brief history in 1755, in the era of “keraton surakarta” and “keraton yogyakarta”, each kingdom has developed their own style including motif and coloring. making a batik is not just simply decorating, it is also form a repository of beliefs and values. teenagers, need to examine and understand batik with spesific meet their ways, a digital native generations. this paper ilustrates how a game and appearance in virtul reality can help teenagers, 15-18 years old understanding the meaning of batik. the paper examines the significance of style of batik including pattern/motif and coloring. visual communication research design offers a literature reviews, observations, direct interview and questionnaire to obtain information directly from research target. so, they could describe, compare, evaluate and understanding the batik’s pattern, beliefs and values. 2 editorialbook of reviewijcas: volume 5 number 2 december 2018 batik: part of indonesian culture batik is a part of indonesian history and culture. in indonesia batik known since the early 18th century and became very popular at the end of the 18 century. the palace and common people has been produced and used as clothing . there are various types of batik. one of them is batik jogja. batik jogja made at a traditional city, yogyakarta. batik yogyakarta is a batik that gets a big influence from the palace. it has a form that mostly in a geometric pattern, full of order, regularity, and rules. certain batik motifs should not be used by ordinary people and only be used by the royals. some batik motifs also can not be worn on any event. each motif has its own meaning and purpose so it can not be imposed carelessly.the motifs are not only as a picture or ornament, they made as a pray or showed the people feels when they used it. batik as indonesian culture has been recognized by the world. unesco has recognized batik as a heritage of humanity for oral and non-material culture. batik as a heritage of humanity for oral and non-musical culture means not just batik as a piece of fabric that is done with batik technique but has a deeper meaning. batik is recognized as a reflection of expectations that reflect socio-cultural identity. the reflection of social identity of batik culture is conveyed through the diversity of motives meaning. indonesian society is now more proud, loving, and interested in batik. this is evident from various things one of which is the people of indonesia both old and young have made batik as their clothing choice. there are many choices of batik clothing so that the people of indonesia have a lot of options ranging from batik motif to batik fashion model. in the past, the selection of batik can not be done carelessly, the meaning of batik motif become the main consideration. but in its development the process determines the current batik clothing is more directed to the likes of batik motifs and fashion models. the meaning of batik motif is not a consideration in choosing batik clothing. missed perception we made observations on batik clothes worn and owned by 50 teenagers. batik clothing from all teenagers has a variety of motives. but 80% of adolescents have batik clothes with machetes parang barong and parang rusak, a combination from the old motif palace. the forbidden motif for common people. 3 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batik picture 01. personal documentation on contemporary batik used by teenagers. in 1785 sri sultan hamengkubuwono i issued a ban on the use of parang batik motifs outside the palace. in 1927 sri sultan hamengkubuwono viii confirmed the ban. parang batik motif can not be worn by ordinary people, can not be worn outside the palace and can not be worn on any event. the motive of the barong machete (created by the king of mataram on the basis of his life during the reign of the kingdom) may only be imposed by the king during his reign in the palace in the hope that the king can lead wisely and justly. the broken machete motif may only be worn by the royal family in state events, not for other events. parang machete motive has a meaning that the wearer can control the lust and dispel the nature of evil from within to remain wise. the teenagers clearly do not understand the meaning of real machete batik motif. according to existing rules the teenagers can not wear clothes with machetes motif daily. in today’s rules of use of some batik motifs are not as strict as in antiquity but that does not mean the meaning of batik motifs can be forgotten just like that. unesco also encourages the entire community to continue to recognize, document, protect, promote and revitalize batik as indonesian culture. that means the whole of batik should be recognized and protected including the meaning of batik motifs. the problems there are many choices of batik clothing that exist in the market. mostly, people are free to choose with a certain consideration. unlike ancient times, today’s consideration is based on the likes of motifs and fashion models. the meaning of batik motif is no longer a consideration in choosing batik clothing. surely, the meaning of batik motif is a very important element that must be considered because the meaning of batik motif is an integral part of batik as indonesian culture. 4 editorialbook of reviewijcas: volume 5 number 2 december 2018 the meaning of batik motif has begun not to be a major consideration in choosing batik clothing. some parents know some meaning of batik motif. but most teenagers do not know the meaning of batik motifs. teenagers are the next generation, the generation that will preserve batik as indonesian culture. if they do not understand the meaning of batik motifs, in the future will appear as motif cloth without meaning. batik as a part of indonesian culture must be preserved continuously. the next generation: why teenagers? the next generation, teens will grow up and become leaders in the future. teenagers are the generation that will preserve the culture of batik. therefore, adolescents must have the right knowledge about batik so that batik will continue to be known right also by the people of the future. this paper focuses on 15-18 years old teenagers. as an insight ilustration: kevin (16 years old) is a private high school student. currently kevin has a smartphone that he has since he was sitting on the bench ix class. this year he plans to sell his smartphone and buy the latest smartphone. kevin is a teenager who has many friends. the smartphone did not stop vibrating because the social media that is active in smartphonenya always flooded with the chat from his friends. kevin routinely always play games from social media that he downloaded. since getting an invite from his friend and knowing that many of his friends are also playing he feels interested to come into play. in this study, there are several reasons why the target will be teenagers aged 1518 years : (1) psychological factors ; teens have started to play an active role in making decisions for himself. knowing the right information is expected to make decisions more precise. (2) positioning ‘; information about the meaning of batik that looks boring and unattractive to come up with a more fun and cool style. (3) reason to believe ; basically the meaning of batik is not difficult to understand because it is the practice of cultural values that we do not realize already exist in the community today. (4) tone and manners ; the meaning of batik appears as a friend to the target consumer namely geometric motifs and non geometric motifs so that the target consumers will be more comfortable in touch with it. problem statement this study aims to introduce and provide and understanding of the meaning of batik jogja motif. by knowing and understanding its meaning as we could expected: teens become aware and understand about the meaning of batik motifs and batik in the future will not lose meaning. based on the scope of the research, we formulate a question ; how to design a game to give an understanding about the meaning of batik motif for teenagers? 5 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batik methodology the literature review was conducted to obtain preliminary information as supporting other research methods such as direct interview, observation, and questionnaire. direct interviews conducted to obtain data on the meaning of batik motifs from parties who understand well the meaning of batik motifs. before conducting direct interviews, a literature review is needed to strengthen basic knowledge. by conducting direct interviews the information obtained will be more appropriate. batik: part of indonesian culture common people and the palace has their own pattern and motif teenagers are not aware about the meaning of batik motif missed perception do not know the motif meaning batik dislike and lose meaning do not know the motif meaning no information resources no demand and willingnes teenagers need to understand batik meaning more fun as active role in making decisions for themselves scheme 01. logic thinking of the problem and solution observations conducted to find out the behavior of batik motifs use research target. before doing the observation need to do literature review with the aim to equip themselves with basic knowledge so that the observation can run optimally. the questionnaire was conducted to obtain information directly from the research target. to prepare a questionnaire it is necessary to conduct a literature review in order to prepare a questionnaire. this scheme, describe and show the logic structure of common problem and solution for it. teenagers need to understand batik meaning more fun as active role in making decisions for themselves 6 editorialbook of reviewijcas: volume 5 number 2 december 2018 references and theory communication flow theory (fiske: 2012) is used in the design of message delivery flow. the message delivery flow will be applied to the game flow to be designed. by conveying the message with the proper flow will simplify the delivery and minimize complaints in the delivery process. it is one way commmunicatioan model and interactive model. meanwhile robert m gagne (gagne: 1973) describes the process of learning from techniques to how to convey information. teenagers could used to complement the flow of a game’s flow message. developmental psychology is offered by elizabeth b. hurlock (1956) as a basis to determine the state of target psychology. in this study, the target among teenager between 15-18 years old. its urgent to understand the meaning learned from batik motif. hamzuri (1989) sugested how to make batik tulis coherent from beginning to end, until at the end displayed the types of batik cloth motif classic with brief explanation of meaning. the explanation of meaning is enrich with emphasis on the technique of depiction of each basic motif, the characteristics of the type of motif, and the standard description of each basic motif. each of the decorations described by sri soedewi (2011) according to the shape base and described one by one from each group type. all of these explanations will be used as the basis for visual design. taking into account the right rules will result in a good design and will not lead to misperceptions or misconceptions. all references about batik will be used as game basis. the division of player (crawford: 1997) type will be used as the basis of data processing. the type of player and his behavior in play can be the basis for deciding what kind of game is appropriate. satisfactory game criteria, component user interface, player perspective type, and game menu type are used as the design basis. the whole theory is an important component that must be considered in designing a game. taking into account the whole theory will result in an easy and fun game design to be operated by each type of player. by matching the type of player and the type of play the appropriate way it will facilitate the interest of players and facilitate the delivery of the desired message and determine the genre of the game. game plants vs zombies and happy mall story are used as a comparison in terms of genres. plants vs zombie is played by strategizing. at the beginning of the game the players have a mission to keep zen home so zombies can not enter and eat their brains. players start the game by choosing what crops to plant in the park to fight the zombies who will try to enter the zen house. broadly speaking how to play plants vs zombie game is to devise a strategy to protect something from the enemy. 7 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batik picture 03. captured documentation from plant vs zombie the expression of each character in happy mall story always looks smiling and happy even when the character is upset (the buyer’s character is upset because of long queuing). a cheerful expression of all the characters gives a happy impression on this game. picture 03. captured documentation from plant vs zombie results and discussion the lack of understanding meaning of the motif when the teenagers was asked what is the the meaning of batik motif, 36% of respondents appeal to the absence of information and 64% of respondents said they were not interested in finding out. from these results can be concluded that the target of research is not interested to know what the meaning of parang batik motif. instead of the meaning is very important. after this questions, 88% of respondents did not know that there is batik motif that can not be used arbitrarily and 92% of respondents do not know the rules of using batik motifs especially batik parang. 8 editorialbook of reviewijcas: volume 5 number 2 december 2018 knowing batik info knowing batik info knowing of use motif knowing of use motif knowing restriction knowing restriction 36 % 15 respondents 64% 27 respondents 12% 6 respondents 88% 44 respondents 8% 4 respondents 92% 46 respondents today the results can be said that the target research does not know that there is batik motif that can not be used arbitrarily and also do not know the rules of the use of batik motifs machete. it can be concluded that the research target does not have a deep understanding. the target of research has not been able to achieve understanding. the level of understanding of new research targets is limited to just know, and just to wear the cloth. smartphone dailly activity the question aims to determine the direction of media design. as many as 24% of respondents prefer to seek information or knowledge on the internet through smartphonenya and 76% of respondents prefer to play games with smartphonenya. the answer to seek information or knowledge on the internet via smartphone will lead to the design of the website, while the answer to play games with smartphones lead to game design. question seeking information gaming what is your daily activity with your smartphone? 24% 12 respondents 76% 38 respondents the results determined that it would be more appropriate to design the game. for the design criteria is filled by 38 respondents who previously had a game play as an activity they liked to do with their smartphone. the genre is suitable for the target of research is a genre that is carried by the game plants vs zombie strategy as compared before. creating a new icon for teenagers through game picture 04. an icon to introduce the rule and the game 9 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batik picture 05. levelling game indicate the level of meaning picture 06. categorization motif for further information picture 07. storytelling about convertion batik into a game 10 editorialbook of reviewijcas: volume 5 number 2 december 2018 conclusion batik is indonesian culture. in today’s society indonesia already loves batik but with the wrong perception. today people love batik just because batik looks interesting. batik has a value more than that. batik as a culture has a meaning that should be loved by indonesian people especially target consumers average 15-18 years old. batik as indonesian culture should be understood and loved properly. the meaning of batik rarely appears in every discussion of batik. when it appears it usually is very heavy information. this time the meaning of batik comes in a different and more fun way. through game design in virtual reality, teenagers could learn and understand the meaning of batik with easy and fun way. so in the future, batik as a part of indonesian culture will not be lost. references and further reading crawford, chris. 1997. the art of computer game design. united state of america: washington state university press. hamzuri, drs. 1989. batik klasik. jakarta: djambatan. fiske, john. 2012. pengantar ilmu komunikasi. jakarta: rajagrafindo persada. gagne, robert m. 1973. information processing learning theory. englewood cliffs. hurlock, elizabeth b. 1956. developmental psychologi a. life-span. new york: mcgraw-hill book company. prasetyo, dr. anindito. 2010. batik karya agung warisan budaya dunia. yogyakarta: pura pustaka. ramadhan, iwet. 2014. cerita batik iwet ramadhan. jakarta: erlangga. roojen, pepin van. 1999. batik design. jakarta: pepin press. samsi, sri soedewi. 2011. teknik dan ragam hias batik jogja dan solo. jakarta: titian foundation. sarwono, sarlito wirawan. 2010. psikologi remaja. jakarta: rajawali press. wulandari, ari. 2011. batik nusantara – makna filosofis, cara pembuatan, dan industri batik. yogyakarta: penerbit andi. 19 elly kent. input : outputgiorgio scalici. the ritual music of wana people the ritual music of wana people giorgio scalici univeristy of rome “la sapienza”, piazzale aldo moro 5, rome 00185, italy. e-mail: giorgio_scalici@yahoo.it abstract very ancient practice, shamanism is usually found in the nomadic or semi nomadic cultures. given the dependence on the hunt for these populations, one of the fundamental roles of the shaman was to mediate between man and nature, especially between men and the lords of the animals that make possible the success of a hunting expedition. shamanism has, however, shown a great ability to adapt to historical events, managing to keep up to us maintaining its uniqueness. threatened by the arrival of progress and the world religions, has been able to respond actively and to influence the western culture, as evidenced by the new age movement and the presence of shamans in many movies, books and videogames. these fascinating, complex and archaic belief has always attracted the interest of the west, evidenced by historical, literary and academic publications, and it seems that still shamanism still has not exhausted what has to offer the world. in this article i am going to describe which the situation of the wana religion to the present day is and which the rituals of this culture are. the wana have two shamanic rituals the momagu and the molawo ‒that face the disease with music, showing us the central role of music in the ritual life of this community, affirming once again‒ the importance of music not just to wana but also to humankind, and its relationship with the hidden world. keywords: wana, shaman, ritual, music, trance. introduction the wana are a small cultural group who live inside the morowali forest, since the arrival of indian settlers (alvard, 2000: 59) or perhaps even earlier times. that has led them to get in deep touch with the hindu culture. this contact is witnessed by the presence in their culture of many hindu terms and notions: the same word wana means forest in sanskrit. there were also contacts with the muslim culture. wana believe that muslims are their brothers, and this conception of brotherhood reflects a cordial relationship between the two communities. unfortunately, the relationship with the christian community is more complicated. the christians desire to convert and their sense of superiority -often the converted wana do not have a good opinion of the not-yet-converted have led to some frictions that, luckily, have never erupted into violence. 20 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 materials and methods 1. the reserve the morowali forest is located in the mid-east of the sulawesi island, and stretches from the kolonodale gulf through the hinterland to the bongka tojo bay. on november 1986, the ministry of forestry of indonesia designated morowali nature reserve. the reserve hosts the 12% of the world’s bird species, and has many rivers (lhadji, 1999: 238). on one hand living inside a natural reserve is protecting wana from mass tourism and the exploitation of the reserve, on the other hand this has created problems between wana and the indonesian government. due to the slash and burn technique on which is based the wana agriculture the government considers them as “environmental vandals” (lhadji, 1999: 240), although, in 2000, alvard has demonstrated that the wana agricultural system is not a problem for the ecosystem of the forest (alvard, 2000: 438). after several clashes the wana have coined the motto “tare pamarentah, tare agama, tare kampung”1 (lahadji, 2008: 23). 2. the life in the jungle according to the world wildlife fund report, in 1980, the number of wana was around 5000 people (lhadji, 1999: 238). the wana live in villages of different sizes. the ones i got to visit were inhabited by about sixty people, such as marisa, or just over twenty like the kajupoli settlement. in their gardens wana cultivate papaya, bamboo, tapioca and rice. unfortunately the climatic change has decreased the rice crop, leading to the demise of the harvest ritual and increasing the trade with the villages outside the reserve. to gain the money to buy petrol, rice, clothes, food, etc. the wana collect dammar gum, rattan, coconut and cocoa that they sell to chinese companies. near the border of the reserve there are some oil palm plantations that are having a big impact on wana life and culture. 3. religion the base of wana religion is pue, the creator god. the religion currently can seem a monotheistic system but there are various elements that suggest a gradual shift from an early stage in which were worshiped the lords of the animals. between the present monotheism and the passed veneration of the lords of the animals there was an intermediate stage with two main deities; pue ri arantana ‒god of the underground‒ dispenser of rewards and punishments, and pue lamoa ‒god of the sky and lightning‒ which can cause illness and pain to mankind. these steps are not clearly marked and it is easy to run into difficult to interpret data. om suma once told me: “there is a pue who lives underground. he is very benevolent and if we want to succeed we have to give him something but if we misbehave he will punish us”. this statement testifies a strong resistance of the belief in pue ri arantana, which has partial characteristics of the disappeared pue lamoa. among wana i had the opportunity to see a shamanic tradition that, despite the 1 “no government, no religion, no village” 21 elly kent. input : outputgiorgio scalici. the ritual music of wana people interference of the contemporary world such as piece work in the plantations of oil palm, the strong presence of the monotheistic religions and the interest of young people towards modernity still seem to be strong and esteemed. 4. the shamanism the shamans are considered an asset of the community, as well as ritual instruments. whenever the shaman apa ingus came to the marisa village he had requested curative services. he never refused, and his reward was very poor, only 10000 rupees. i witnessed similar scenes also in tarongo, where indo pino cured the child of our host. these examples show the trust in these operators of the sacred, the strong kasintuwu (sense of community) which permeates the entire culture of wana. this faith in the shaman skills seems strengthened not only by the success of their rites, but the existence of a mythical archetype: dungola. he is the son ‒along with his fifteen siblings‒ of santoto and delemntu, the first couple of humankind. according to the myth, dungola was so powerful that his rituals lasted three nights in a row and, besides being the mythical archetype of the shaman; he encloses the musician and entertainer, a triple role that immediately puts emphasis on the link between shamanism, music and celebration. we must keep in mind that the momagu is also one of the few occasions to celebrate, as also attested by atkinson: “apart from a mabolong2, weddings, funerals, and four annual festivals farming, it is rare for coresidents of a swidden settlement to congregate as a group” (atkinson, 1989: 7). in the end, the momagu is an excellent opportunity to socialize and get drunk accompanied by the incessant music of gongs and drum. the ability to travel between human and spirits world, and his familiarity with the latter puts the shaman in the same status of his walia (spirits). this fellowship allows the shaman to possess various powers, he can: walk in the sky, hypnotize a person, talk to the dead, predict the future and become invisible (jampu). most of the powers of the shaman are available only during the momagu. the ritual implements a return to the mythical time when men and spirits lived together and even men possessed great powers. the shaman is the living link with mythical past, with his mystical journey he dramatizes the ancient ability to travel from earth to heaven and back. shamans are poised between the human world and the hidden world. their confidence and alliance with the spirits puts them on a line between qualitatively different times, the mythical time when everything was full of power and present time in which men live in poverty. 5. past research on wana there are very few researches that focus on wana and i can divide them into three main groups. the first group is composed of the research about the agriculture and ecosystem inside morowali, like the researches of alvard (2000) and operation drake (1981). the most important works are those of jabar lahadji, ex director of the association yayasan sahabat morowali (friends of morowali). 2 momagu and mabolong are the same ritual. 22 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 in the second group there are the anthropological and religious researches, as the book written by the dutch missionary kruyt de to wana op oost-celebes (1930), who in the twenties has lived for two months with the wana, and the book the art and politics of wana seamanship (1989) and the articles (1983, 1987, 1992, 2003) of jane monnig atkinson, who, between the 1974 and 1976, lived in the forest and made an admirable analysis of the momagu. finally, there are the documentaries of journet e nougarol (2005, 2007, 2011), which cover many aspects of wana life, as the relationship with the christians and the life of the reserve. 6. methodology was the work of atkinson to push me to do my research among the wana, reading her works i discovered the presence of a ritual music which, however, was not analyzed. so i decided to document and analyze that music in order to discover the role of it in wana culture and religion. i spent five months inside the reserve putting into practice the basics of participant observation. that allowed me a deeper immersion into the wana culture, and a deeper understanding of it. during my presence among the wana i tried to be involved in their life i was hosted by shamans or village chiefs and to observe their lives to understand the wana mindset, to get as close to an emic perspective as possible. in addition to the observation i enriched my research with interviews. these were more close to an open dialogue, in which information flowed back and forth between me and the wana. i also noticed that a list of questions can become tedious to the interviewee that may get bored and decide to terminate the interview. i also tried to write life histories. this would have required a lot more time than five months but i was able to write short biographies that have allowed me to understand how it has changed the life in the reserve, what is the role of the shaman in the community and to acquiring more information on shaman apprenticeship. i did a qualitative research to understand why people do what they do. often it crossed disciplinary boundaries and strayed from a single focused subject, for this i had to use my anthropology, religion and ethnomusicological knowledge. during the research i took handwritten notes because the shortage of electricity within the reserve prevented the massive use of the audio recorder, and also because the audio recorder would intimidate the wana. i preferred to use the audio recorder for the myths because i did not wanted to interrupt the speaker, and i wanted to have the opportunity to listen again the myths to translate them. to give a testimony as complete as possible of the rituals i have also used a camera and a camcorder. with these i have also documented the construction of all wana music instruments to preserve the memory of this work of craftsmanship, both for us and for the wana. once i came back to italy i began a long process of bibliographic research in order to better understand what i had found and to compare my findings with the old researches on wana and other similar research for a cross-cultural comparison to come to new insights and i came to new results which initially had not thought of. 23 elly kent. input : outputgiorgio scalici. the ritual music of wana people 7. problems during my research i faced many problems that there are common to many scholars. the most obvious was the language. no wana speak english and not everybody speaks indonesian. i had to study indonesian at the university sebelas maret of surakarta and once in morowali i had to start learning the wana language. another problem has been finding electricity. inside the reserve there are some villages that possess an electrical generator that is used to see movies. usually a member of the village buys the petrol and allows the whole village to watch the movie. i could have access to electricity for irregular periods and this forced me use my electrical equipment with parsimony. for this reason i did not have the opportunity to record an entire ritual, but only parts of it. another problem has been moving inside the jungle. apart from the obvious difficulties and dangers ‒steep and slippery paths, thorns and leeches, ford the rivers‒ the main problem was walk for several hours, even six or more, carrying all the equipment and materials that i needed. it was also difficult and stressful record the rituals without any help; i had to take pictures, record the music, shoot video, ask for explanations and –especially– observe all at the same time. i wish you all could do your research with a team as it should be, also because the biggest problem to do research so far from home is the loneliness. 8. what i found wana have three main rituals, two shamanic and one funeral. the funeral one is called kayori: after the death of a wana the community gathers and two groups of people describe –singing for two nights– the path to the suruga (paradise) to the dead soul, only at the end of the song the dead will definitely enter the suruga and will be separated from the world of living. it would require an essay in its own to talk about this ritual but here will talk of the two shamanic rituals, the momagu, which has also been studied by atkinson with the name of mabolong, and the molawo that had never been studied before. 9. the rituals in the time to do this, i will compare the results of the research of kruyt, in 1928 in the tarongo area, of atkinson, in 1978 in the northern part of the reserve and finally mine, in 2011 in the villages of marisa, kajupoli and tarongo. during his short stay among wana only two months kruyt came into contact with various utterances of shamanic power that he distinguished in order of power and importance. “the lowest level is walia mangepe” (atkinson 1989, p. 207), in this domestic ritual the shaman detects and extracts invisible objects from the patient’s body sucking or pulling it with a pompolonzu (ritual cloth), the ritual is accompanied by one or more doa (invocation). “next in kruyt’s shamanic order is walia mantende” (atkinson, 1989: 207), this ritual consists just in a long song with which the shaman requires pue lamoa to remove the hooks that afflict the sick. the ritual is known by the same name by atkinson, while in the area which i worked this ritual is called molawo. “then follows walia moganda” (atkinson, 1989: 207), called mabolong in the area studied by atkinson and momagu in mine. 24 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 finally: “at the top of kruyt’s hierarchy are to walia mamparada woto ntongku. […] this ritual takes place in the salia, a great ritual performed once a year to promote the health and well-being of a community” (atkinson, 1989: 207). none of the three of us had the opportunity to observe this ritual. 10. momagu the shamanic rituals are required in case someone feels afflicted by some inner ill and not in the event of normal diseases. when a member of a family becomes ill due to causes attributable to an inner ill, this family strives to make sure that the momagu will be run as early as possible. the preparation does not take much time it is possible to arrange it even within a single day. the family needs to get large quantities of rice, tobacco, alcohol, betel and everything that can be requested by the walia (spirits) or by the bystanders. the key issue is the presence of ‒at least‒ two tau walia (shamans. literally man spirit). in case that a shaman would be in danger, the presence of a second shaman who can rush to his aid is providential. there are many people who get together to attend the ceremony, on every occasion that i documented the house where the ceremony took place was filled. “people go to mabolong to enjoy themselves, to receive treatment, and to demonstrate kasintuwu, “mutual support”, an important social value [...] although the mabolong is the most popular events of healing, its popularity comes from the repute it involves much more than healing” (atkinson, 1989: 26). the momagu is also a festive occasion to share an important moment for the community, “illness is only one excuse for a mabolong. anticipation of misfortune, successful recoveries from previous illness, marriages, farming festivals, visits by prominent shamans, as well as a general desire to party, are all reason to hold a mabolong” (atkinson, 1989: 6). during the preparations the offerings to the spirits are placed on a lango (tray). these offers usually consist of amounts of alcohol, betel, money, toothpaste, eggs, clothes and anything else that may please the walia. copious quantities of alcohol, tobacco and rice are available to all present that will use them throughout the night. it is recommended to ensure the abundance of quantities because “if guests do not enjoy, the ritual will not be good.” 10.1. dance and music it’s the sound of ritual instruments ‒gongs and drums‒ to mark the beginning of the momagu. the music draws walia while is the light to keep them away. for this reason, the ritual must be strictly officiated at night ‒without artificial lights‒ and the ceremony will end before the sunrise. once audience arrives the musicians begin to play. atkinson reports a rhythm called topo with which heralds the beginning of the ritual (atkinson, 1989: 27), in the area which i studied topo there is a version ‒for a single musician‒ of the music played in the past with the tetebua (bamboo zither) during the momagu. other difference between our researches seems to be the presence of songs, performed by the players, “the drum provides the main rhythm, called a “song” (linga), the words to which the audience knows. the themes of these drum songs range from courtship to 25 elly kent. input : outputgiorgio scalici. the ritual music of wana people spirit encounters, from headhunting days of old to contemporary poverty” (atkinson, 1989: 27). in addition, atkinson does not seem to mention different paces while the wana distinguish three different rhythms or speeds which give the time to the shamanic dance: the motaro. it means “to jump up and down” while women dance is called salonde “literally, something beautiful” (atkinson, 1989: 94). the salonde it can have a courtship purpose and it is a much more complex and fluid dance, especially in the use of arms. the aim of the shamanic dance is to favorite the concentration. with the same aim is used the pompolonzu; a piece of cloth, often made from a t-shirt, that the shaman shakes or with which he covers his face to promote its concentration. unfortunately, while the motaro seems to maintain its strength and popularity, i have ascertained a shortage of female shamans. this is due to shyness, common in wana girls that refrain from dancing salonde. the dances are accompanied by the drum and gongs. at the head of the ritual instruments is one of the two players of the drum, who decides the rhythm according to his impressions of how it is going the ritual. the three rhythms as are: malenyilenyi (slow: 4/4, 140 bpm), tumba biasa (medium: 4/4, 150 bpm ) and pakoba manoto (fast: 4/4, 240 bpm). there is a fourth rhythm for the salonde called ngaya (185 bpm). while other rhythms were characterized by extreme synchrony and precision, this rhythm seems to make of the interlocking its main feature. the same speed ‒about 185 bpm‒ seems to give a sense of instability. the music evokes the fluid motion of salonde. this dance ‒with its soft movements of the arms and body and its loving purposes‒ needs a more flexible music, which gives more freedom of expression, creativity and movement to the dancer. there is a continuous alternation of these rhythms, thus generates moments of calm and tension. moreover, with the increase of speed, the sound of the gongs, which propagates well beyond the duration of the rhythmic cycle, starts to amalgamate with the sound produced by the succeeding beat, these exacerbate the tension and encourage trance. the ritual music is played for hours and hours, becoming a veritable mantra that creeps into the ears of the listeners and helps the shamans to dissociate themselves from the surrounding environment. 10.2. structure the momagu does not have a fixed course since it is “performed-centered, governed less by liturgy and more by the action and inclinations of individual practitioners” (atkinson, 1989: 14) and “no overall structure appears to groom the occasion” (atkinson, 1989: 19). although organized by a single family, the momagu is a community ritual: there are always present a variety of people who will ask to the shamans to cure themselves or their children. the organization of the ritual is responsibility of one family, but the entire community will benefit. there is a clear affirmation of the kasintuwu. so the ritual consists of more shamanic journeys, one for each patient. between a cure and the other can pass several minutes, during this time there may be silence, dance or just chatting. the presence of several shamans leads to an ever-changing ritual healing. “a mabolong is a circus with more than one ring” (atkinson, 1989: 246). 26 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 despite the interweaving of disparate actions, we can try to divide the momagu in fix parts: evocation of spirits, patient care, travel in the sky, negotiate to pue, return of the soul to its rightful owner. of utmost importance is the search for the soul of the sick and negotiation with pue; during the trance, the shaman travels between the worlds and his visions are recounted in his songs. once the shaman has found the soul, the catch is often dramatized; shamans nab the air, as if to recover the soul escaped, and then store it in the owner’s head, putting on stage their journey as “shamanic texts are best described as dramatic dances [...] in nonliterate cultures religion is always a performing art, and the sacredness of religious stories or prayers resides not in the words of the texts as they not have been transcribed or could be but in the power invested in them through performance” (porterfield, 1987: 726). these trips actualize the mythic time within the boundaries of space and time of the ritual, marked by the music. the ritual is the revival of the time when the ability to travel between worlds was common knowledge and not only exclusive of shamans. 10.3. the chant although covered by environmental noise shamanic chant is well understood by wana than often intervene with comments about what the tau walia sees on his travels. the chant joins other ritual elements in order to restore the mythical time. with the song “symbolically, the patient is rendered contemporary of creation; lives, therefore, the initial state of fullness. you do not repair a faulty body, the patient must be born again and thus recover the amount of energy and potential which has to be a time of birth. this is made possible by the memory of the patient himself”3 (eliade, 1957: 47). i want underline that the song the patient listens during the momagu is the same song that he heard as a child as a spectator. at an unconscious level is activated a memory that nurtures confidence in the shaman and his healing power, and it is this trust which will make possible the recovery. rousseau told us: “as long as you will want to consider only the sounds for the action they exert on our nerves, you do not know the true principles of music and its power over the hearts. the sound in the melody does not act solely as sounds, but as signs of our affections” (as cited in rouget, 1980: 231). 11. molawo when the momagu has no effect and even the doctors are able to cure the disease, wana resort to another ritual: the molawo. given its role as last bulwark against death, this ritual is considered very powerful and not all shamans can do it. the molawo is considered the mother of all other shamanic rituals (atkinson, 1989: 211), atkinson (1989) writes: “a separate set of procedures ritual was reserved for victims of lamoa. the most elaborate of these procedures was called molawo maneo, the ‘crooked’ molawo” (atkinson, 1989: 199). the structure, scope and organization of this ritual are different if not diametrically 3 these and other quotations from books not written in english were translated by me. 27 elly kent. input : outputgiorgio scalici. the ritual music of wana people opposed ‒to that of momagu. first, while in the momagu the shaman travels between the worlds and comes into contact with pue, during the molawo is pue lamoa who will decide the fate of the patient. as i wrote before, in the past wana were not monotheists but believed in the existence of two gods: pue re arantana and pue lamoa, god of the sky and lightning, god is much feared. in molawo, in fact, is absent any characterization festive. it is celebrated in the forest, in broad daylight and in the presence of a few people, is banned any loud noise, and there is only one shaman who will try to convince pue lamoa to loosen the grip on the invisible mata mpea (hooks) that tear the flesh of the sick and to transfer the ill to other objects or animals. the absence of instrumental music and the presence of light are possible because the shamans do not need to call his spirits, but he will be negotiating with pue lamoa. actually what wana consider a song seems to me a speech monotone and rhythmic. “the invigorating effect of the song [...] is based on its ability to eventually give the affected person a vocabulary in terms of which to grasp the nature of your illness and refer it to the world [...] a song mainly aims to present a picture of the specific and concrete genuinely human suffering and therefore bearable, powerful enough to fend off the challenge of meaninglessness emotional pain provoked by the existence of a brutal, intense and incurable” (geertz, 1973: 133-134). the ritual is divided into three distinct parts that follow one another cyclically until the end of the rite. after the patient lay on the floor, the tau walia takes it in her hand a betel nut (fua) and two sugar canes, the betel represents the patient himself. the shaman holding canes in their hands will speak his litany, he passes the canes three times from the patient’s head to his feet, and three times from feet to head demanding to pue lamoa to transfer the ill to the canes and betel. at the end of the whole ritual a cane will be wrapped in a cloth and placed on the roof in the direction of the sun that dies while the other will be buried in the direction of the rising sun. in the second part the shaman rubs on the body of the patient six pompolonzu, three pieces are passed from head to feet and the other three from feet to head. the pieces are rubbed over and over again but always in groups of six. at the end of the ritual he will put all the pieces on the roof of the patient’s home, halfway between pue lamoa and the sick. in the last part of the ritual, the shaman covers a chicken and the patient to avoid any contact between them because ‒during this phase‒ he will pass the volatile over the patient three times from head to feet and three times from feet to head. at the end of the molawo, the bird will no longer be touched or eaten. not all shamans know the molawo chant because it is prerogative of the highest rank tau walia. they are, in fact, very rare occasions in which it is officiated. during my research, i had the opportunity to attend just to one rite. the execution of the molawo is located on the border between the spoken is sung. it consists of an initial melisma on the first vowel. usually the melody begins with an a3 goes up to bb and then fell straight down, syllable by syllable, to the d. each melisma differs slightly from the others but they all tend to follow this path ascending and descending. the melisma is then followed by a spell matching of the phrase, difficult to place in the definition of spoken or sung. 28 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 perhaps giannattasio in his from spoken to sung (2002) can tell us the reason for this particular execution: “a monotonic trend usually has to do with the needs of its transcendence of the word magic formulas or devotional and, more generally of prayers. [...] it can be assumed that: the flattening of the profile intonation seems somehow liberate prayer and religious discourse from emotional traits and referential quotas, giving them a solemn stillness” (p. 1019). given the great structural similarity of these invocations, i decided to offer just a part of the chant in order to highlight the musical structure of this ritual. conclusion how we could see wana consider the rituals inseparable from music, so much so that it is impossible to perform a ritual without it. with the sound of gongs, or with a chant or with a rhythmic speech the music must be always present when they are facing a moment of crisis, like illness or death, because how otto said (1956) “what is essential and great requires to be sung” (p. 125). during 29 elly kent. input : outputgiorgio scalici. the ritual music of wana people the rituals the music transforms the everyday time to mythical time and gives power to everything, the music is the mark of myth, is the testimony of the presence of god, for the wana, e also for us. this proves once again that music is not just a recreation but a necessity of the soul. the wana testimony put a small piece in the big puzzle that is the research on the link between music and sacred, and the relationship between music and trance. this and many other experiences give to this world a diversity to admire and protect but at the same time – give us the opportunity to discover what we all as human beings have in common. as wade davies (2003) said: “this world deserves to exist in a different way, we can find a way to live in a truly multicultural, pluralistic world where all of the wisdom of all peoples can contribute to our collective well-being”. references alvard, m. s. (2000). the potential for sustainable harvests by traditional wana hunters in morowali nature reserve, central sulawesi, indonesia. human organization, 59 (4), 428-440. atkinson, j. m. (2003). who appears in the family album? writing the history of indonesia’s revolutionary struggle. in r. rosaldo (ed.), cultural citizenship in island southeast asia: nation and belonging in the hinterlands (134-161). berkeley, ca: university of california press. _____________ (1992). shamanisms today. annual review of anthropology, 21, 307-330. _____________ (1989). the art and politics of wana seamanship. berkeley; ca: university of california press. _____________ (1988). religion and the wana of sulawesi. in m. dove (ed.), the real and imagined role of culture in development. case studies from indonesia (pp.41-61). honolulu; hi: university of hawaii press. _____________ (1987). the effectiveness of shamans in an indonesian ritual. american anthropologist, new series, 89 (2), 342-355. _____________ (1983). religions in dialogue: the construction of an indonesian minority religion. american ethnologist, 10 (4), 684-696. davis, w. (2003). dreams from endangered cultures. retrieved from ted website: http:// www.ted.com/talks/wade_davis_on_endangered_ cultures.html eliade, m. (1957). mythe, rêves et mystères, paris, f: gallimard. geertz, c.(1973). the interpretation of cultures. new york, ny: basic books. giannattasio, f. (2002). dal parlato al cantato. in j.j. nattiez (ed.), enciclopedia della musica einaudi vol v (pp. 10031036), torin, it: einaudi. journet, m., nougarol, g. (2011). indo pino. marseille, f: ird audiovisuel. _____________ (2005). gods and satans. paris, f: le miroir. _____________ (2007). the shadow. göttingen, d: institut für visuelle ethnographie (ive). kruyt, a. c. (1930). de to wana op oost-celebes. jakarta, ri: koninklijk bataviaasch genootschap van kunsten en wetenschappen. lahadji, j. (2008). people, park and partnership. problems and possible solutions in the morowali nature reserve. iias newsletter, 46, 2-23. lahadji, j. (1999). morowali nature reserve and the wana people. in m. colchester, & c. erni (eds.), indigenous peoples and protected areas in south and southeast asia: from principles to practice (pp.228-249). amsterdam, nl: aksant academic publ. 30 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 mitchell, a. w. (1981). operation drake: voyage of discovery. london , u.k.: severn house publisher limited. otto, w. f. (1956). theophania. der geist der altgriechischen religion, hamburg, d: rowohlt. portefield, a. (1987). shamanism: a psychosocial definition. journal of the american academy of religion, 55 (4), 721739. rouget, g. (1980). la musique et la trance: esquisse d’une théorie générale des relations de la musique et de la possession. parigi, f: gallimard. ijcas cover_revisi.pdf page 1 ijcas cover_inner.pdf page 2 ijcas cover_back.pdf page 1 80 social semiotics and visual grammar: a contemporary approach to visual text research indro moerdisuroso faculty of languages and arts, universitas negeri jakarta, jalan rawamangun muka, jakarta 13220, indonesia. email: indro@unj.ac.id; indromp@gmail.com abstract this article outlines a visual text reading based on social semiotics approach, that is the visual grammar. it is an account of the explicit and implicit knowledge and practices around a resource, consisting of the elements and rules underlying a culture-specific form of visual communication. it required a general comprehension of social semiotics to obtain a deeply understanding to visual grammar. the differences between social semiotics and general semiotics expressed to accomplish its purpose. the concern of visual grammar is the relationship between ‘drawn participants’ and social life. visual grammar can be positioned as a contemporary approach to visual texts meaning-making. study of visual arts seems to entail visual grammar to play a more important role amid the phenomenon of visual culture that increasingly characterizes the lives of today’s society. keywords: semiotic resources, visual texts, ‘drawn participants’, narrative representational structure, transactional action, social meanings. introduction contribution of this paper to art studies is expected to widen horizon of ‘meaning production’, mainly in social semiotics perspective. specifically it is expected to be useful in analysing visual texts in today’s contemporary life. this paper aims to indicate the social semiotics as one point of view of art research, which has different meaning from general semiotics, and to present the structure of visual reading as one of the social semiotic analysis models. therefore, social semiotics of hodge and kress (1988) and reading images, the grammar of visual design of kress and van leeuwen (2006) are exposed as the main references. issues in this paper are the role of visual texts in social semiotics context and ways to analyse it using visual grammar model. exposure begins with historical background and further presents the definition of social semiotics and its differences to general semiotics. it also examines the key elements and principles of analysis. visual grammar is positioned as a model of social semiotic analysis. 81 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music rahmawan dwi prasetya. effect of color compositionindro moerdisuroso. social semiotics and visual grammar methods 1. social semiotics the term of semiotics is derived from a latin word semio, absorption of the greek semeion, which means a sign or signal. this term refers to an ancient use in medicines; a diagnosis act named semeiosis process. late in 17th century john locke proposed the term of semiotics into the branch of philosophy which means the doctrine of signs. at the end of the 19th century until early in 20th century was the beginning period of modern semiotics marked by the birth of two main ideas: semiotics by charles sanders peirce (1839-1914) in america, and semiology by ferdinand de saussure (1857-1913) in france. pierce’s idea of semiotics based on philosophical fields and forms a triadic structure, such as all nature phenomena (representamen) that known as a sign (object) which determines a cognitive effect upon a person (interpretant). saussure’s idea of semiology is based on linguistics fields and builds a diadic structure. these are the general systems or rules of the signs to express ideas (langue) and to show how people use the system of the signs in particular group (parole). in the following periods, this saussurean concept in linguistics domain is developed into non-linguistics communication domain. at least, three schools of semiotics have applied ideas from the domain of linguistics to non-linguistic modes of communication. the first was prague school in the 1930s and early 1940s, which developes the work of russian formalists by providing it with a linguistic basis. notions such as ‘foregrounding’ were applied to language as well as to the study of art (mukarovsky, honzl, jakobson, and bogatyrev). the second was paris school in the 1960s and 1970s, which applies ideas from de saussure and other linguists to painting, photography, fashion, cinema, and music (schefer, barthes, lindekens, metz, nattiez). the third was late in 1980s that marked by developing halliday’s systemic-functional linguistics, by a number of scholars in australia (threadgold, thibault, o’toole, kress, van leeuwen). in semiotics encyclopedia, social semiotics refers to two different entities but related to each other: firstly, ‘social semiotics’ without capital letters is broadly oriented semiotics. it is heterogeneous and encompasses many disciplines related to the social dimension of meanings, both in communication media, production, interpretation and circulation, as well as in their implications in the social process as cause and effect; secondly, ‘social semiotics’ with capital letters is the school of linguistics and semiotics which specifically addresses the social aspects (hodge). halliday (1978) has introduced the term of social semiotics (as cited in hjorland, birger and nicolaisen, 2007, p. 1) as follows: “by their everyday acts of meaning, people act out the social structure, affirming their own statuses and roles, and establishing and transmitting the shared systems of value and of knowledge. [...] we have to proceed from the outside inwards, interpreting language by reference to its place in the social process. this is not the same thing as taking an isolated sentence and planting it out in some hothouse that we call a social context. it involves the difficult task of focusing attention simultaneously on the actual and the potential meanings, interpreting both discourse and the linguistic system that lies behind it in terms of the infinitely complex network of meaning potential that is what we call the culture.” (hjorland, birger and nicolaisen, 2007) 82 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 ten years later hodge and kress systemized this halliday’s term into social semiotics. the ideas was based on marx that human real consciousness could never be anything other than ideology. they interpreted marx’s point as the involvement of each individual in the exchange of ideas with one another in the real world as the basis and the source of consciousness into a unified process of semiotics with agents, objects and power that come from the material and social world, and it can only be understood from its own world. hodge and kress have given the definition of social semiotics as follows: social semiotics is primarily concerned with human semiosis as an inherently social phenomenon in its sources, functions, contexts and effects. it is also concerned with the social forms, through semiotic texts and semiotic practices, in all kinds of human society at all periods of human history (p. 261) (hodge, robert, and kress, 1988: 261). the term of semiotic text in this sense contains a broader meaning, that all kinds of signs are the vehicle of social activities. manning shows comprehensively that social semiotics considers as a social life, a structure of the group, belief/religion, and cultural practices. the meaning of social relations is analogous to the structure of the language, hence all human communication actions could be seen as a sign or text, that should be read first in order to understand the meaning (manning and cullum-swan, 2009). the firm and straight statement expressed by gottdiener and lagopoulos (1986) that social semiotics is a materialistic analysis of the ideology in everyday life (randviir & cobley, 2010). 1.1. the distinguishing aspects to general semiotics some definitions above clearly express a complexity of the social semiotic study that covers all types of human communication actions in certain communities. this is how it differs from general semiotics. the cause of this differences, in thibauld’s words, there is a spirit of social semiotics to intervene in general semiotics, both in theoretical and practical aspects of meaning (thibault, 1991: 6). some of the distinguishing aspects include: mindset, focus of study, the perspective on signs, and the scope of analysis. mindset vannini (2007) observes the mindset of general semiotics emphasizes to the important role of the structure. general semiotics believe the interrelation of semiotic system depends on codes or rules which order a convention of meanings in a family system, etiquette, mathematics, or arts. he also reveals a loyalty of general semiotics to the structures, not in understanding the way people produce, consume, and negotiate the rule of semiotics (vaninni, 2007). therefore a mindset of general semiotics accentuates the structures, then it is called structural semiotics. social semiotics, on the contrary,, is refusing all preferences of the structures, and positioning the semiotic as a site of social statuses. focus of study according to van leeuwen (2005), general semiotics focus on the signs, whereas the focus of social semiotics changes to the way people use semiotic resources, either to 83 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music rahmawan dwi prasetya. effect of color compositionindro moerdisuroso. social semiotics and visual grammar produce objects and communicative events, or to interpret it, which is also as a form of semiotic production in particular situation and social practices (van leeuwen, 2005). this statement is in line with thibauld, that social semiotics focus on the material aspects of the dialectical linkages of the relationships pattern in textual meaning, as well as its use in certain domains of social practices (thibault, 1991: 7). as for the specifications or specific domains of social practice, hodge and kress have confirmed that semiotics in social practices not only connect the power to the meaning, but also refers to the meaning of the power (hodge and kress, 1988: 2). within a place as like a market where the transaction happens, there are power stratification and dynamics interplay between the producer, distributor or dealer, and consumer of ideology, including its practical uses. powerful producers are able to create meanings and the rules, and conditioning in order to be absorbed by the consumers. in this mechanism, social semiotics focuses on study signs to the formation process of producer regime, competition for power, use practices, and their effects on consumer’s regime and social life in general. this explanation is in line with manning (1977/2009) that is the power and authorities do stabilize the expression and enforce concreteness a meaning of sign in the culture (manning and cullum-swan, 2009: 618). so, in the social semiotics frame, material reality of the sign is always analysed its signified, concept or connotations based on ideological systems in daily practices of a particular group of people, while the general semiotics analyse on the signs itself. the perspective of the signs sign is seen by general semiotics as a structured entity that each part and its interrelations must be scrutinized in order to find its meaning. social semiotics views the signs in a different perspective, which according to van leeuwen (2005), as a kind of code or a vehicle, whose presence depends on the specific resources (van leeuwen, 2005: 3). he based his view on halliday (1978) that the grammar in the language system is not a code, not a set of rules to construct sentences correctly, but rather a “resource for making meaning”. van leeuwen defines the semiotics resources as all acts and artifacts used to communicate, both physiologically produced -with vocals and muscles instruments to make a facial expressionor technological way -with pen, ink and paper, computer software, clothes, scissors and others. traditionally all these are so-called ‘signs’. these are objects and actions that can be observed and that have been drawn into the domain of social communication. so the perspective in social semiotics is not on the sign as a semiotic object, but on various objects and events that become semiotic resources. the scope of analysis the development of social semiotics is not merely an extension of the scope of structural semiotics, but as stated thibauld, is a social intervention to semiotics that considered too static and narrow angles. furthermore, hodge and kress even place a saussure’s scope of analysis as antiguide, which constructs the scope of social semiotic analysis by against the scope of structural semiotics as saussure suggested (hodge and kress, 1988: 18). so, social semiotics negates structural semiotics scope by turning its scope to be a limit to social semiotics as shown in the following table. 84 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 in relation with these differences, contend vannini, social semiotics study have to recognize the dynamics of power, ranging from research design through publication and its reception, as well as utilize the research results. for this reason, social semiotics analyses have to ensure reflexivity that informs various aspects of the dynamics of power associated with the semiotic process. with this reflexivity it does not just mean the ideological dialectic can be read explicitly, but also the specific nature and polyvocal process (inclusion of many voices and points of view as well as excavation and retrieval of oppressed knowledge as a form of resistance against the dominant discourse and knowledge, bakhtin, 1981) can be revealed as the uniqueness and validity of social semiotics (vaninni, 2007). 1.2. key elements the subject of semiotics, both general and social is the message. it is realized as a sign or text, that is a structure or message trace is perceived, which is ascribed to a particular social group. text is a material realization of the message, as a product of the semiotic system and as a historical document of the constitution. while the general semiotic view text as a fixed entity, social semiotics highlight on dialectical struggle between text and its semiotic systems, which always presents a specific semiotic action, namely discourse. departing from the discourse, it can be traced other key elements of social semiotics in details: genre and style. discourse the term discourse derives from the french discours; it means speech. at first, this term is used in the linguistics field. but since it evolved into various branches of the social sciences and humanities, then there is a diversity of meanings within the scope of their respective disciplines. the use of this term in social semiotics is based on foucault (1976, p. 83): in the most general and vaguest way, discourse denoted a group of verbal performances; and by discourse, then, i meant that which was produced (perhaps all that was produced) by the groups of signs. but i also meant a group of acts of formulation, a series of sentences or propositions. lastly —and it is this meaning that was finally used (together with the first, which served in a provisional capacity)— discourse is constituted by a group of sequences of signs, in so far as they are statements, that is, in so far as they can be assigned particular modalities of existence (foucault, 1976: 83). 85 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music rahmawan dwi prasetya. effect of color compositionindro moerdisuroso. social semiotics and visual grammar van leeuwen defines discourse as a social construction of knowledge of some aspects of reality (van leeuwen, 2005: 93). by means that the discourse is developed in a particular social context, and in a consistent way with the interests of the executants; either in a large context such as multinational corporations, or small context such as certain family; also in the context of formal institutions such as the press and schools, as well as informal context like a conversation in a restaurant. genre the term genre is generally interpreted as a text in any code that has a particularity due to follow certain rules to produce a distinctive type. this term can be equated with the type, stream, or a school of thought. text could be typical when it has characteristics that can also be recognized in other similar texts. the reason is, people produce a certain text because of its willingness to follows the rules; it is a kind of recipes, traditions, customs, or a model that has been adhered to generations. since each rule has implications for distinction with other rules, then any text that is made under a rule would reflect the genre espoused. genre can help a person to build or strengthen the meaning of the text, to construct knowledge, identify the agents of the text and set the audience characteristics. van leeuwen explains there are three aspects of the construct of a genre, namely: characteristics of content, characteristics of the form and characteristics of the function. the content refers to the similarities characteristics of subject matter in the discourse, rather than a discussion of the matter itself, for a discussion of a matter is the domain of discourse. the form is seen from the similarities of the structure, and sequence or relation between elements contained in the content. and the function reveals from the sameness of usability in related discourse. genre in social semiotics among other things: sociolinguistics, pragmatism, ideology, feminism, and gender. based on these characteristics seem that there is a variety of genres in particular discourse. every genre is the material manifestation of the message, and can be identified by the characteristic equation, both the content, form, and function. the role of genre then is as semiotic resources that have been classified, or as a template of communicative activity. style merriam-webster dictionary defines style as a particular manner or technique by which something is done, created, or performed. van leeuwen categorizes the style to three kinds: individual style, social style, and lifestyle. he explains that the idea of individual style foregrounds individual differences. there are spaces for individual particularities although the way everybody acts usually regulated by social standard. and the idea of social style express is not only someone personality and attitudes, but also their social status, ‘who we are’, in a stable category such as economic class, age, gender, social relationships, and ‘what we do’ in terms of someone’s involvement in socially regulated activities and the role he/she played within them. lifestyle in merriam-webster dictionary is described as a particular way of living: the way a person lives or a group of people live; this description combines both 86 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 individual and personal style. according to van leeuwen, lifestyle is more socially than individually orientation. he argues that the existence of social or communal style spread across the cities of the world is characterized not by the established individual position, but by shared consumers behaviour. besides, lifestyle is also social as marked by many appearances, which is almost every ‘distinctive way of life’ that can be expressed in fashion and accessory styles, culinary tastes, type of communication tools, type of vehicles, sort of sport activities, and so on. lifestyle is another social because of the role it plays in the marketing sector, when traditionally social indicators such as class, gender, age, education have been replaced by the ‘lifestyle market segmentation’ technique which classify consumers through a combination of consumption patterns and attitudes. 1.3. analyzing principles the principles of analysis in social semiotic need to be placed in the research paradigm. paradigm in research is defined as the basic belief system or worldview that guides researchers in selecting and determining the fundamental ways, ontological and epistemological. worldview that has received by the researchers so far consists of four paradigms: positivism, post positivism, critical theory, and constructivism. with regard to critical theory, this refers to some alternative paradigm, in which among others include: neo-marxism, feminism, and materialism. this paradigm is divided into three trends: postmodernism, post structuralism, and a mixture of both. the study of social semiotics which has several characteristics, among others: based on marxian view, the denial of the structure, and his interested in the discourse of the oppressed, show a strong tendency to be in the post structural critical paradigm. referring to guba and yvonna (1997/2006), ontologically, critical theory’s view to the reality is liquid, and shaped time after time by series of social, political, cultural, economic, gender, ethnic, factors that then crystallize into a ‘real’ structure. meanwhile, epistemologically, researcher and subject of research are interactively related with researcher values and other people who latch to affect research. therefore, the results of the study are mediated by an attitude that does not get the differences between ontology and epistemology, because these both are interwoven with the interaction between the researcher with a particular object or group. methodologically, this paradigm characterized by dialogue of researcher and research subject, which should be a dialectical dialogue, in order to change the ignorance and misunderstanding into a discourse based on a deeper awareness (guba, egon and lincoln, 2009). in the critical paradigm, the role of researcher’s view seems clearly important. researcher does not isolate an object of study from any other influences such as positivism thought. there are very wide space for researcher to interact with various components that could be related to object of study to generate values, discourse, consciousness, and a new reality. match to such analysis principle, there is a visual text analysis model called visual grammar. 2. visual grammar kress and van leeuwen base visual grammar on halliday’s theoretical idea of metafunctions: 87 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music rahmawan dwi prasetya. effect of color compositionindro moerdisuroso. social semiotics and visual grammar every semiotic fulfills both ‘ideational’ function, a function of representing ‘the world around and inside us’ and ‘interpersonal’ function, a function of enacting social interactions as social relations. all message entities –texts– also attempt to present a coherent ‘world of the text’, what halliday calls the ‘textual’ function –a world in which all the elements of the text cohere internally, and which itself coheres with its relevant environment (p. 15) (kress & van leeuwen, 2006: 157). in visual grammar, structure of visual language is equated with linguistics almost similarly. grammar in linguistics describes the combining of words into clauses, sentences and texts. likewise, visual grammar explains the procedure to combine visual elements -people, places, and objectsin visual statement in a certain complexity and extension. just as the structure of linguistic, visual structure refers to the specific interpretation of the experience of form and social interaction. furthermore kress and leeuwen stated that: ‘what is our visual grammar a grammar of?’ first of all we would say that it describes a social resource of a particular group, its explicit and implicit knowledge about this resource, and its uses in the practices of that group. then, second, we would say that it is a quite general grammar, because we need a term that can encompass oil painting as well as magazine layout, the comic strip as well as the scientific diagram. [...], an account of the explicit and implicit knowledge and practices around a resource, consisting of the elements and rules underlying a culture-specific form of visual communication (p. 3) (kress & van leeuwen, 2006: 3). kress and leeuwen stated that approach of visual grammar starts from the social aspect. it structure is not a simple reproduction of the structure of reality, but instead, producing a reality picture bonded to the interests of the social community that produces an image, circulate, and read it, so it becomes ideological. meaning expressed by printmakers, photo-graphers, designers, painters and sculptors in first and foremost are the social meanings. to explore these meanings, there are aspects and rules of visual grammar that have to be analysed: elements and structure, position of the participants, modality, composition, and materiality. 2.1. elements and structure knowledge of visual grammar consists of the elements, structures and rules that underlie specific cultural forms of visual communication. visual elements are called the participants. every visual text includes two main participants: drawn-participants (all humans, events, objects, and other forms appear in the image), and interactive participants (image-makers and image-viewers). image-maker is a person or group who creates the image; and image-viewer is a person or community who uses the image. each participant, whether potential or actual become semiotic resource are related to each other, either realistic or virtual, and formulated on its social meaning. all participants are connected or not connected to form a variety of relationships, structures, and interaction processes in two possible forms of representation structures: narrative and conceptual. narrative representation structure (nrs) presents the ongoing actions and events. similar to the structure of a sentence that contains the elements of subject-verb-object, a subject in nrs called actor, and objects called goal. in visual text, actor can be a 88 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 living creature, object, or other objects that are characterized prominent than the other, either by position, size, color sharpness and contour sharpness. a verb is synonym to the sort of action, or the events experienced, or relations between actors to goal, and called transaction. the conceptual representation structure is a relationship between participants in a particular class, statically, and timeless. this structure can be understood as a process of classification or taxonomy, such as the sequence or chain related to participants to interact; at least one set of participants will act as a subordinate associated with at least one other participant as a superordinate. 2.2. position of participants the position of the participants in visual grammar is a combination of relationships among participants in the picture, also with interactive participants. interactive participants are real people who produce and understand the images in social community context that regulates what the picture may ‘say’, how it should be said, and how it should be interpreted, to some degrees and in different ways. some terms are demand-offer relation, social distance, horizontal line, vertical angle. 2.3. modality the term modality comes from linguistic field, referring to a value of the truth or credibility of statements attributed to the facts. modality in verbal language expressed in words such as: believe me, most likely, perhaps, actually. linguistic resources of modality have a very important role in society. this source allows people to make the necessary truth together, to be able to form groups that believe the same things, so it can act together in one world integrally and effectively. in the same way also allows one to deny the truth of other people, with all the potential consequences owned, from exile someone from the group to the wars of religion and ideology. however, something that considered being true in visual grammar is not associated with the absolute truth. truth in modality is a limited sense in answer to the question ‘how true something is revealed?’ visual modality can depict people, places, and other things that look real, like really exist, or as if the imagination, fantasy, caricature. rating of modality is a social, depending on what is considered to be real (or true, sacred) in social groups particularly targeted by the representation. high modality means closer to reality, and as opposed to leave away. this can be set from the depths of the parts, contrast, color saturation and intensity, as well as sharpening-blurring background. 2.4. composition the composition is the arrangement of all ‘drawn participants’ elements as a whole. the meaning of composition is interpreted through three interrelated systems: information value, salience, and framing. system of value information is a placement of elements in image zones that reflect the values of specific information. division of left and right side, based on the habit of writing, means that the left side is an area 89 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music rahmawan dwi prasetya. effect of color compositionindro moerdisuroso. social semiotics and visual grammar of written information, already happened, oriented to the past, certain things (called given), and the right area is a place to be inscribed, expected to occur, oriented to the future, uncertain things (called new). based on philosophical relations, the topside reflects ideal things, and the bottom side is close to reality. in division of center-edge, related to the social aspect, the center area reflects a source or mediator of the edges or marginal (called margin). system of salience is the arrangement of elements in the ‘drawn participants’, made to guide an attention of viewers in different degrees, such as: placement in the foreground or background, relative sizes, contrast tonal value (or color), the difference in sharpness. salience determines a hierarchy among participants on the overall picture. by considering location of the most prominent participants, it can be set such ‘given’ is more important than ‘new’, or vice versa. so as ‘ideal’ is more prominent than ‘real’ and vice versa, and also to the center-margin relations. system of framing associated with the presence or absence of a boundary line. it is realized by the elements that create a dividing line, real or imaginary, or by the actual frame line, that disconnects or connects the elements of the picture. framing in image indicates contextually co or private ownership. system of framing detect element or group of elements that are sometimes disconnected, decompose each other, or one element connected to some other elements, and all elements joined together. problem in system of framing is a matter of degree: elements in the composition may be strongly or weakly framed; the stronger the framing of an element, the more it is presented as a separate unit of information. the more the elements of the spatial composition are connected, the more they are presented as belonging together, as a single unit of information. 2.5. materiality various terms related to the material aspects in visual grammar is called production. aspects of materiality, though is given things, but it is an important part to produce a meaning. gold or bronze, original oil painting or reproduction, and any material brought meaning, include social significance. each type of medium states a selection of ideational, interpersonal and textual function in the significance system. materiality focuses on color meanings analysis related to halliday’s metafunction. in the ideational function, color clearly can be used to denote people, places and things as well as classes of people, places and things, and more general ideas, such as the colors of flag, corporate identity, safety codes, sign systems, maps. color is also used to convey ‘interpersonal’ meaning: to impress or intimidate, to warn against obstructions and other hazards. it used by people to present themselves and the values they stand for, to say in the context of specific social situations. color also functions at the textual level. color can be used to create coherence in texts. textbooks make wide use of this, whether in ‘reading schemes’ or in mathematics texts to indicate ‘levels’ of difficulty, or in science textbooks to provide topical unity. the whole procedure of visual grammar analysis in social semiotics meanings is illustrated in the graphic as follows after the conclusion. 90 ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014ijcas: vol. 1, number 1 june 2014 conclusion the social semiotics provide the visual text a vital role, as one of the material form of ideology, which is produced circulated, consumed, and contested, both in large and small scale, or formal and informal environments in certain communities. this role allows researcher to place the term of ideology not only as a product in the political practices, but also as the semiotic resources that is moving dynamically in the market of meaning-making in all aspects of culture. one model of social semiotic analysis of visual text is the visual grammar, an account of the explicit and implicit knowledge and practices around a resource, consisting of the elements and rules underlying a culture-specific form of visual communication. the aspects analysed consist of: elements and structure, position of the participants, modalities, composition, and materiality. researcher can develop this analyses in a wider framework surpassed the limitations of structural semiotics, by involving directly into the semiotic resources around knowledge and cultural practices in everyday life. as a study which is situated in critical paradigm, there are very wide spaces for researcher to interact with various visual semiotic resources that can be related each other to generate values, discourses, and a new way of seeing in a more inclusive consciousness. procedure of analysis 91 elly kent. input : outputgiorgio scalici. the ritual music of wana peoplelois denissa et al. jember fashion carnavalsazkia noor anggraini. aesthetic transformationsurasak jamnongsarn. interaction of music rahmawan dwi prasetya. effect of color compositionindro moerdisuroso. social semiotics and visual grammar references foucault, michel. (1976). archaeology of knowledge. new york: harper & row publisher, p. 83. hodge, robert and gunther kress. (1988). social semiotics. new york: cornell university press, p. 261. kress, gunther, and theo van leeuwen. (2006). reading images, the grammar of visual design. taylor & francis e-library, p. 15. first edition published in 1996. available at http://www.tandefbooks.com manning, peter k. and betsy cullum-swan. (2009) analisis naratif, analisis konten, dan analisis semiotik. in norman k. denzin and yvonna s. lincoln (eds.), handbook of qualitative research. dariyatno, badrus samsul fata, abi, john rinaldi (trans.). yogyakarta: pustaka pelajar, p. 617. original work published in 1997. randviir, anti, & paul cobley. (2010). sociosemiotics. in paul cobley (ed.). the routledge companion to semiotics. new york–canada: routledge. thibault, paul j. (1991). social semiotics as praxis: text, social meaning making, and nabokov’s ada. minneapolis: university of minnesota press, p. 6. van leeuwen, theo. (2005). introduction to social semiotics. new york: routledge, p. xi. guba, egon g. and yvonna s. lincoln. (2009). berbagai paradigma yang bersaing dalam penelitian kualitatif. in norman k. denzin and yvonna s. lincoln (eds.), handbook of qualitative research. dariyatno, badrus samsul fata, abi, john rinaldi (trans.). yogyakarta: pustaka pelajar. pp. 129-136. original work published in 1997. online resources hodge, bob. (n.d.). social semiotics. semiotic encyclopedia online, e.j. pratt library victoria university. retrieved from http://www. semioticon.com/seo/s/ social_ semiotics.html. hjorland, birger and jeppe nicolaisen. (2007). semiotics and social semiotics. in epistemology and philosophy of science for information scientists journal, p. 1. retrieved from http://www.iva.dk/jni/ lifeboat_old/positions/semiotics_&_social_ semiotics. htm vaninni, phillip. (january 2007). social semiotic framework, method and analysis. in qualitative inquiry journal vol. 13 no. 1. royal roads university, victoria, canada. sage publication 2007, pp. 114-120, retrieved from http://www.academia. edu/1534032/social_ semiotics_and_fieldwork_ method_ and_ analytics ijcas cover_revisi.pdf page 1 ijcas cover_inner.pdf page 2 ijcas cover_back.pdf page 1 73 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks patternsurasak jamnongsarn, lalita poolsup. music deculturationkarna mustaqim. drawing perform’stepika rodsakan. music: a tool in transforming the social statusfirmansah. book review book review noise: the political economy of music (author: jacques attali, 1977, 1985, 2009, 2011) firmansah mercu buana university, west jakarta, indonesia jacques attali french economist who suggests a number of theories about the political economy of music in some editions of this book. his main thesis is that the change of basic character of music along history have indicated a fundamental revolution in political and economic structures. he concludes inductively that the change which occurs in music in this time predicts the future shape of our society. the part of this book will cause a strong controversy among the readers, because the historical argument integrates with political collision in this time period. his arguments are arranged by four types of music which he considers as a fundamental aspect: “sacrifice”, “representation”, “repetition”, and “composing”. although these four types have emerged sequentially in history, they have not replaced each other; each of them overlaps and mixes with the previous one. creating the role of music in society is more complex. every readers who are interested in the fate of music in the 21st century, will find attali’s book as a good starting point for further investigation. fundamental terms have a special meaning in attali’s argument. on the aspect of “sacrifice,” it refers to rene girard’s concept that the ritual sacrifice which is made in the earliest human societies to distribute and replace the general violence that on the contrary will tear it. his assumption that the majority of the ancient people lives in the terror of identity. this fear creates a desire to imitate, it creates competition, and thus uncontrollable violence that spreads like a plague. for controlling this threat, communities are forced to appoint scapegoats, which are actually or symbolically sacrificed to distribute this potential violence. the effect, hierarchy and stable society can be established. how does music connect with this process? attali states that noise is violence. making noise is disturbing a transmission, disconnecting a relationship, killing. 74 editorialbook of reviewijcas: volume 5 number 1 june 2018 this is a murder simulacrum. then, music is channelization of noise, the way to control and defeat noise by creating a harmonious order in the field of noise. by doing this, it helps to sustain and legitimize the social order in general, although the presence of noise or difference opinion in the margins of society can never be completely eliminated. however, attali does not seem to believe that there is a fundamental change in music from this early period that takes action as a substitute for sacrifice until the emergence of capitalism in the end of medieval century and early renaissance europe. he sees the transformations of explorers and agitators who wander into royal singers and musicians. one of the earliest examples of change from feudalism to capitalist economy and called it as the stage of “representation.” in the next part we will investigate the analyzing of the intention of attali. the historical changes in music have presented a system of political economy. what happens in music can predict the power systems in society. in connection with that, attali gives a point of view about the political economy of music. according to him, music runs parallel to the society both the structure and all the changes occur, thus music like mirrors and prophecies to see the society. if you can see how the music is led, then you can see how the society is led. a musician in a feudal society, as a minstrel or functionary. they are valets/ servants with an employment contract part of a relationship of domestication and not an economic exchange. do not receive royalties or payments in any way when their work is played. producing music according to the orders of the nobility who have the right to use, the right of ownership over musicians and music. the characteristic of music formed in feudal society has the concept of natural harmony which is applied by the controller. this idea places the rhythm and voice register as something that has the effect of soul castration of society to create the social order of the belief system. the distribution of music is usually only in the kingdom, place of worship or concert hall of the nobility. as a political tool, music is an implicit pride as scripture is dedicated to explicit breeding. harmony in music becomes the organizer of the noise/violence, maintaining the social order, becoming a sign as well as the meaning of peaceful. music as a reminder that musicians are slaves of nobles, gifts to controllers. approaching the industrial revolution of the 18th century, music does not to be a support again for the power of feudal society. musicians want artistic autonomy in their work. however, to do that, their work must depend on the monetary value and the parties who want to pay for the production of his work. musicians come out from feudal environments to earn a living by playing in concert halls. this is the political form of the bourgeoisie, making themselves the members of the artists against the powers of feudalism. changing the system of production and distribution of music through economic ideology to artists as a weapon against the feudal society. 75 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks patternkarna mustaqim. drawing perform’stepika rodsakan. music: a tool in transforming the social statussurasak jamnongsarn, lalita poolsup. music deculturationfirmansah. book review the musicians before the industrial revolution are under the authority of the nobility, finallyfree but still do not have autonomy over his work. depending on concert tickets and number of score copies which are produced in exchange for money. guiding music into monetary value means money being the laborof composers and players. the middle class appears like composers, publishers and tickets entrepreneurs to watch the show. music is used as a tool to present ideology in the social order of society that is money as a representation of all values. music becomes a commodity, not only valued by natural harmony but shaped by a controller through an aesthetic and theoretical basis. unifying the relationship between the welfare of the musician and the rationalization of science. until forming a complexity level, complexity of harmony through a combinatorial system, orchestration system and instrumentation for the standardization of the spectacle which further earns the exchange rate. the impact of that thing is that music becomes the object of the rule monopoly and the contradictions of capitalist economic system. for controlling that matter, a copyright law policy is created that seems to protect the rights of the artist. however, in reality, this policy is applied only as a capitalist tool against feudal power. it is only since the industrial revolution that the power of the state gives copyright to artists as independent entrepreneurs to oppose the monopoly of the capitalists. it is also implemented the policy of nationalizing music by rearranging the mechanism of production and its distribution. the policy is intended to release music from the use of the value of spectacle by capitalists for gaining profit. this is a voluntary project for the elaboration of state ideology and standardization of cultural production. artists produce mars music, hymns, patriotic songs are used to build the spirit of nationalism. musicians work as forced labor, having to create a large number of musical works as a service to the state. music becomes a political and economic tool by the controller. the use of the musical spectacle value for politics and economic exchange that occurred is far from the desire of musicians in which have autonomy in his work. first, musicians in the feudal environment as servants/slaves create music to glorify and legitimize the power of god even the king. second, copyright forms a monopoly over production, not protection for composition or control over musical representation. the concert hall becomes a new site of violent disguise: the price of concert tickets for viewers does not match with the value of the composer’s labor and the player, cannot relate to the amount of time producing a work with an acceptable exchange rate. afterwards, thirdly, the policy of nationalization in music means transferring the ownership of music to the state. returning to political control toward music 76 editorialbook of reviewijcas: volume 5 number 1 june 2018 makes it more extreme than the practice of feudal power. from this, it indicates the policy of use and exchange of values in music has been deviating from the beginning. the normalization of policy through music means getting people to believe in a new social order through what they hear. attali gives his opinion that in this representation the arena of the political economy of the controller takes place. by involving parallel developments in music that develop into commodities and also the development of harmony in music. moreover, the flow of music production and distribution is all regulated by the controller for economic gain, perpetuating the political power and creating the social class. music becomes the locus of theatrical representation of the social order of society. it largely explains that representation is the use of spectacle values that imply power through exchange for the economy and the development of harmony in music. according to the explanation, attali supports his argument with many interesting references on music history. by the invention of recording and broadcasting, emerges the next important form of musical activity, which he calls “repetition.” in this time, the technique of industrial revolution becomes acceptable to music; mass-produced in millions of copies to be consumed by individuals in their privacy domain. this tendency becomes a commodity like any other merchandise. for keeping the music industry goes consistently, it is needed a huge effort to keep demand of commodity records which flows from factories. not only in popular music, but also on a great level in classical music. then, attali presents his vision of the future in a fundamental aspect which is called “composing.” the use of the word composing is the activity in which the musician plays primarily for himself, outside the spectacle operation or the accumulation of value. when the music breaks away from the aspect of sacrifice, representation, and repetition, it appears as an activity that ends in itself, that creates its own aspect at the same time with work. attali awaits a radically changed society in which all activities are free from the rule of capitalism. releasing from the image of future utopias that are available in music. when reading attali’s book, it must be remembered that this book is published in several editions (1977, 1985, 2009, and 2011). that possibility is based on the phenomenon of the political economy of music that still continues as discusses in this book. the question is then what does attali’s goal has happened to the presently context. especially about all the possibilities of rapid technological development. whether music is only able to arrive at the “repetition” aspect. or, “composing” aspect only able to be part of the image of future utopias. b o o k r e v i e w eric fernie, art history and its methods a critical anthology irfan palippui indonesia of many history and approach arguments, it is true that approach art history becomes complicated. there are few persfective to view and position how to read art history. to understand chronology of that and method, eric fernie, one of historicians from scotland gave good and interesting elucidation to tackle it. “art history and methods a critical anthology” summarized commentary was written in 1995. this book contained a variety of notion and oncoming from giorgio “the lives of the artists” (1568) to olu oguibe “in the heart of darkness” (1993). a very good introduction of this book is properly due to before entering into the subject matter discussed by each character, fernie first gives a preliminary consideration to make it easier for the reader to understand the core idea of each approach. for the purposes of this paper, as well as introductions and how to see different ways of looking at each other, only a few approaches, i count and select. for first of all, we can see how the idea of vasari’s description of the book is. giorgio vasari (1511-1574) is an artist and art historian who wrote both the history and development of art in his time. two of his best works were born through interaction with a family of art lovers, the medici, in florence and rome. such works can be found in the uffizi palace (till now a gallery) and the frescoes in the palazzo vecchio. in addition to continue working in the field, also become biographer vasari renowned artists, and write a history of the italian renaissance. the first work was published in 1550, is a dedication to cosimo de ‘medici. then, in 1568, revised and expanded again in the lives of other artists, including himself. the vasari’s composed book consists of three parts, first: the dawn of ancient art history and the early renaissance artists cimabue and giotto. secondly, in the 16th century, savari explained the art character, such as, masaccio, piero della francesca and mantegna. third, the life context of art maestros in the renaissance era, such as, leonardo, raphael and michelangelo. of the three phases that was mentioned by vasari and then distinguished from some main points of intended stage. for the first, he appointed tuscany as an introduction discussing the early artistic journey of ancient greek-romans. second, he consolidated artist’s position from artist to a society. then, the last, he put the work of artists in a context that he saw as a great art at that time. here, vasari pointed out the important purpose of his observations of the artist and 74 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016book of reviewijcas: vol. 3, number 2 december 2016editorialbook of reviewijcas: vol. 3, number 2 december 2016 patron. he wanted to show how to differenciate and place the artist’s expertise in history and contribution to civilization. artists and patrons became signified that explained vasari’s selection of biography as a basis for constructing historical notions. artists are the actor subject of artistic activity, while patrons deal with to statement emerge about cultural values, anecdotes being of all available biographically. biography provided an illustrated explanation of a brief history of art, from the early period to the next. vasari asserted that the work of an artist was related to one another. the development of art called “internal cycle” as a biological creature; born, growth, mature, and died. these are used to observe the antique art from nothing and slowly emerging into various techniques to its peak under greek and roman rule, then into caesarean times in the 14th century, and again to experience decay. according to his presupposes that it is unavoidable because it happens to run in a natural order. after its decline, western art returned to the renaissance the resurrection. here, can be seen how the art growth through biological model as vasari’s idea. that the emergence of the real renaissance is because of the traced existence toward internal rotation of art itself. this is what continues to giving an embryo for the next stages. vasari’s research focused on environmet of artits while placed on subject history context. so far, he used lives in organized principal. he did not content with just narrating the facts, but “investigated the ways and means and methods used by successful men in forwarding ther enterprises…recognizing that history is the true mirror of life, which keeps the motive power of history within the control of the individual.” furthermore, vasari examined artist works by questioning connoisseurship technique. what is connoisseurship? this term comes from the word “connoisseur or connaître,( french language) describes a person who possesses the ability to evaluate and render critical judgments about a given cultural product. shorhtly, vasari used connoisseurship to dishtinguish good, better and the best works for showing art quality between absolute and relative. from the beginning of the 14th, 15th and 16th centuries, vassari illustrated the three development stages for renaissance art: giotto, marriage of the virgin, 1305. the giotto style showed many standing figures cladded in profile and clear lines. in addition, there was interaction between the subjects standing in front of the building where the scene occured. masaccio, the tribute money, 1424. the use of clothing or long cloth strands used posed very diverse in which line was a more open and the placement of figures more organized and convinced, and back to the scene. michelangelo, the sacrifice of noah, 1508 had many indentations. the pull of the line was also more varied, and the figure integrated in the space where they moved. there are three things that are required for estimating this work component, first: we view drawings with trained eyes in the renaissance tradition and allow for errors to be affected by vasari’s writings. second, the themes of the three works are different from each other. giotto’s work concerns solemn figures in ritual performing, masaccio shows dramatic moments as if in a ritual. thirdly, micheangelo further presents 75 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ...asep hidayat wirayudha, the secret of brahms cellos sonata no. 1 op. 38...r. m. surtihadi, music acculturation in rhythm of ...yustina devi ardhiani, sahita’s performance, satire of the life...irfan palippui. book review the stylistic differences of the two artists above. according to vasari, in the 15th century the works were strongly influenced by natural paintings whose results were somewhat dry and soothing. however, it appears that the work of michelangelo has surpassed it. michelangelo has entered “the realm of ideal beauty,” vasari said. the standard meaning of a work by vasari depends on what it calls, style. in terms of these assessments, vasari does not emphasize the chronological importance of historical writing, but based on the educational background of the artist and the style. style is something that refers to the highest quality of a work of art. the quality of art is exemplified in an “ugly” work and becomes an extraordinary one. for example, the 14th century bc carvings in constantinople were later reused with an amazing relic in trajan in the 2nd century ad what vasari does is not just recording what the artist has done, but distinguishing which works are good, better, and best. vasari uses methods, ways, styles, actions, and ideas of artists. by accidentally not reviewing karel van mander’s idea of “dutch and flemish painters (1604) and giovanni bellori” ideas of painters, sculptors and architects selected from the higher natural beauty of nature (1672) put in second and third positions by fernie, we see the next character idea. johann joachim winckelmann (1717-1769) was also one of the most important figures in art history. he studied theology and medicine, and became a library manager in dresden. certainly, encountering with books (in the library), he finally found himself concerning the practice of art and cultural research on the art and culture of antique, greece. from this interest also, he published a book of art history that was different from previous art history, because it is no longer centered on the theory of history through the artist. and these writings positioned him as the first to work on art history with cross-perspective. from that time he got the title as the father of art history, as well as the father of archeology, which introduced the methodology of science in the history of art and by the excavation of antiquities. drawing on previous art historians, winckelmann was also still greatly appreciated by vasari. he strongly believes in the birth of a work of art associated with the relationship between art and culture, in which the subject or artist must be related to it. winckelmann places a strong connection between art and culture. this is the key word distinguishing it from other art historians, mainly vasari, who later became the novelty of the method in art history. as vasari’s most influenced person, namely: (1) in the early stages of his analysis, he borrowed the ‘biological cycle’ to see the birth, progress, and decline of an art tradition. the original study was focused on roman art, second century bc. winckelmann illustrates how art was in the time of king antonine. it is like the light of a petromax lamp, before it goes out will collect the remaining oil that creates a bright light, after it goes out again. winckelmann believes that the only thing to be able to restore our confidence or greatness is to turn and imitate classical greek and of course this is a common feature of renaissance (neo-classical). therefore, (2) he stressed the importance of studying it, one of them, by examining the monument. to get to the writing of antique greek art history, is to do it in rome. at least, a historian, to understand his artistic connoissurship, must stay for a year to examine and project the workings of, for example, carvings. here, winckelmann, as well as many writers who disregarded the direct experience of the art work. (3) he also criticized the 76 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016book of reviewijcas: vol. 3, number 2 december 2016editorialbook of reviewijcas: vol. 3, number 2 december 2016 inability of most writers to see how art works from the eyes of their artists this point is also influenced by vasari. (4) winckelmann measured the development of these technical advances, which in turn bring together the distinction between personal and ideal beauty. point of tap, ideal beauty can only be achieved from eclection of the beauty of a personal nature, then the result of that becomes unity. the differences between winckelmann and vasari are: first: of the most essential how to make distinct between vasari and winckelmann is reference. winckelmann experienced directly through field research while vasari extracted his information from the book. winckelmann wrote the history of art through direct observation by taking many samples in the context of which he studied, such as: the relevance of the period and location, including the setting of the situation, the form of government, the way of thinking, the status of the artist, the usefulness of the art is laid, and the study of the knowledge of the members of the surrounding community. in short, he examines the culture as a whole based on the context. second: by vasari who pionered a new model of biological cycle: new and setbacks. he proposed sustainability from the outset based on the need to move to understand beauty and lower it into something more. for that stage of the cycle called it a very metaphorical naming. the period of antique art, that all are the same in the earliest stage, just as the birth of the handsomest of human beings are misshapen. in the (adult) period as the peak of antique greek culture, like a river with clear waters flowing through a fertile valley. and its decline is like a river which divides into rivulets or rage and crashes against the rock (like etruscan). furthermore, we jumped on the idea of jakob burckhardt (1818-1897). burchardt was a modern professor who spent his life on campus. his touch with art began when he studied art history at berin, which was fostered by franz kugler (1808-1858). the civilitation of the renaissance was the most influential paper on the subsequent works. beside that, he was also strongly influenced by humanism, so that the works he was born are the result of a diagnosis of pathological events. in this book, fernie selected the burckhardt essay, reflection on history, written during university. this essay provided a very clear introduction to the proposed method or approach used in viewing the history of art as a whole. he asserted that the practice of the creation of a work can be traced through direct observation to see and discover what is the basis for the birth of a great idea of a person or artist. to research history, he offered observations with half-random, then broken it down and heard the data to see the reaction from the compaction of the subject matter. from here, we are able to reconstruct the past events in detail. burckhardt also commented on hegel and gave an overview of why he did not follow his method. hegel argued that the history of the world was rational and refused the philosophy of history as something associated with many components (centaurs). by that, burchdat said this to hegel, i did not follow hegel for not knowing the eternal wisdom secret. burckhardt himself was more in agreement with winckelmann and used his method of examining the various cases in the history of greek and roman art, then testing 77 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ...asep hidayat wirayudha, the secret of brahms cellos sonata no. 1 op. 38...r. m. surtihadi, music acculturation in rhythm of ...yustina devi ardhiani, sahita’s performance, satire of the life...irfan palippui. book review them in different ways. in his rejection of the hegelian method as a common tradition developed in germany, he proposed the path of empirical humanism in writing a complete history of culture and of course has included the history of art in which the humanity achievement and every aspect of social life presented it. furthermore, fernie held out the idea of art history from heinrich wolfflin (1915). fernie said, wolffin deliberately wrote the book of principles of art history aiming to strengthen the classification of art history, in the sense of classification style. as a historian interested in style, and primarily recognizing the process of imagination before he determines each case, wolffin reinforced the claim that imagination was necessary to know the content of the imagination itself, moreover to discover the concept of history as part of the history of thought itself. the pressure on the imagination as a worldview was not based on external aspects, but rather on how it manifests in life. wölfflin follows vasari’s steps to find a method about style. his contribution is about three phases in the history cycle, namely: early, classic, and baroqe. here, he does not follow vasari in proving the quality of art by pointing to the biological cycle, but borrowing it to assess the relativity of the above three phases. for wolffin, to give an assessment of the history of art is not merely in the linearity of the cycle, such as classics, renaissans and baroq, but can be examined, through the style category of the artwork through different periods. wolfflin exemplified the building differences (ss apostoli, rome, 15th century) and (s. andrea della valle, 17th century) by showing the baroqe character at the same time distinguishing the early renaissance and renaissance styles. the two buildings of this distinct century represent the contrast between the line and the quality of painterly. the buildings of the 15th century seemed simpler and the composition of the lines became clearer than in the 17th century, where so many individual lines of detail were inadequate to explain. additionally, it appears that on the surface was given a fairly thick staining. subsequently, two paintings of the same title: the asumption of the virgin, by titian and rubens (16th and 17th centuries). both of these works showed contrast. the 16th century painting closed and 17 shapes were openly. in the 16th century the form pointed back on themselves, on the contrary the 17th century, a pointing outward form of themselves. the gesture in these two paintings also clearly distinguished them as the apostles’ fossils with the drawing plane under the painting. at the palazzo della cancelleria, rome 1486 (15th century) and bemini, palazzo odescalchi, rome, 1664 (17th century) the most striking difference here was the diversity and unity of form. the workings of the individual showed the independence of the work done, while others mixed whole. here is a projection between the absolute (da vinci) and the relative (rembrandt). absolute = more explicit and relative = less explicit. at chartres cathedral (mid-12th century) and st. maclou (late 15th century), here wolffin read the monument by using a distintive example of period or style (gothic in france). chartres cathedral had characteristics being linear with characters in the early renaissance (classic). the composition of the field was very easy to identify. the 78 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016book of reviewijcas: vol. 3, number 2 december 2016editorialbook of reviewijcas: vol. 3, number 2 december 2016 individual element looked also very young readable and the absolute sense so clear. st. maclou (late 15th century) had a baroque character. the composition of the field interrelated and had an open shape. the composition was very medetail so it must be read thoroughly (relative sense). differentiating from before, the next character was erwin panofsky (1892-1968). he was an art historian, hegelian, most prominent in the 20th century. here, fernie, focused more on panofsky’s review of humanism and art history. according to him, art historians were humnanist, because the artwork was the main material. in addition, the main purpose of art work created aesthetic significance. like a humanist, art historians are able to reconstruct such significance at the base of intuition. in the meantime, panofsky then extended three strata of subject matter or meaning. it was panofsky’s bid to find three levels of understanding in art history. first, natural subject matter: this stratum was part of understanding the way and the pure form of an art work activity. for example: last supper, when we decay at the first stratum, this work is only understood by a group of people or there are 13 people in front of the dining table. this first level was the most fundamental of understanding something. at the first level, there was no cultural knowledge in it. second, conventional subject matter (iconography): this stratum went a step further and brought to the equation of cultural and iconographic knowledge. for the westerner’s view, he would understand that the 13-man painting at the banquet is a representation of the last supper. third, intrinsic meaning or content (iconology): to understand the birth of a work depends on the knowledge of the person, technique and cultural history that surrounded his birth. for example, when we ask why da vinci painted last supper? what does it represent? this third part is a synthesis and becomes the whole question of an art historian. what’s the point of it all? for panofsky, art history, as a branch of humanism, illustrated that his approach could find such art experts on the moreli approach. although different from the way art historians place the limits of contribution in identifying; sources, authors, quality evaluations and diagnoses of historical concepts. for pernie, panofsky’s approach described as archetypal art historians. it was like reading old books or mythology, and religion. thus, studying this humanistic approach required to explore antique traditions, including “multiplying ancient tombs.” however, the method of investigation was not in all types as some do in the 20th century. the investigations that he intends to see similarities such as in antique and renaissance periods, look out (similarity) as in islamic and modern traditions. what to know and do, said panofsky (1) have prior knowledge before conducting an investigation. to understand a document, we are required to understand other documents. (2) the workings of aesthetic recreation and investigative rationality require instinct and judgmental subjectivity as a basis. (3) understanding the rational form of investigation and form of art theory. both become the basis, essentially to conduct a rational investigation otherwise. furthermore, fernie, referring to arnold hauser (1892-1978), who wrote the social history art whose effects were extraordinary, especially in the relationship between 79 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ...asep hidayat wirayudha, the secret of brahms cellos sonata no. 1 op. 38...r. m. surtihadi, music acculturation in rhythm of ...yustina devi ardhiani, sahita’s performance, satire of the life...irfan palippui. book review art history and sociology. hauser was a german historian and marxist theorist. he maintained a unique connection between social history and art itself. art, for him, always presents life in it, so art as part of culture became a part of something that protects society itself. hauser understood three boundaries to view when examining art, believe in: naturality in art, sociology does not explain the quality of work and sociology does not explain the relationship between artistic quality and popularity. art history is closely related to individual work and social history in art, as well as its overall social relation. hauser refers to it as the principle of individual action that produces both. this then gives a new capacity and situation found from them. hauser’s history of art was a discipline that places social as its greatest content, also without alienating its artistic value as its major. hauser criticized his predecessor who saw only one side of the art event. in the social history of art, says fernie, he shows how the behavior of the bourgeoisie, liberal groups, and others can be seen from these artistic events. using sociology in view of material and art history, hauser focuses on “high art” and avoids basic questions, for example, how the work was made. from the method offered by hauser, we enable to compare the proximity or the difference between the writings of winckelmann and burckhartd. in addition to hauser, the next marxist art historian is t.j. clark (1974). clark can be called one who pursuits the idea of the artistic social history of arnold hauser in his social context and locus on works or art work. in a paper on the creation of art, clark gives a historical view, art history, 20th century divided into three periods: the era of maturity, the age of postwar generation, and the era (future) of art and ideology. what does clark mean by the golden age era? this era is shown in the development of marxist philosophers, george lucas, 1920. according to clark, the intellectuals of the time dare to ask important questions about how art is produced and accepted by the audience. here, clark also highly praises panofsky’s particular work of perception as a symbolic form, in which subjects can use clarify and explain the way how people think about everything, not just visual representations. post-war generation for clark is how art historians no longer question is what previous generations have proposed and changed methods into formal analysis. they use ‘iconography’ for example, not in order to understand the relationship between the artist and the context, but rather on something that is not systematic and thematic or desultory theme-chasing. they are no longer like panofsky who are continuesly to provocate the study in a perspective and lower it into the professional literature; they also ignore hegel as the basis of the golden age era. clark’s emphasis, precisely this time, they become servants, art as a market that is provider of ideas for the sake of the market. the future era is an attempt to rebuild the order of high-quality art history, exploring the most useful in one period, primarily denial of hegel. clark proposes to replace the idea of creation in one of the artistic productions and build an important hierarchy among artist’s resources, ie between the technical means, the drawing tradition, and the ideas that surround it. 80 ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016ijcas: vol. 3, number 2 december 2016book of reviewijcas: vol. 3, number 2 december 2016editorialbook of reviewijcas: vol. 3, number 2 december 2016 according to fernie, clark made ideology as a research center. he wanted facts about the patronage, art and status of an artist, and the question of the relationship between art and artists. there, we will see how social classes are used in art work, and styles are seen as expressions of an ideology in visible form. then it would be thoroughly explored and the relationship explaining the artistisk production relationship, and how to accept and understand by patrons and audiences. the results of this investigation will guide us how the ideology works. clark seemed strongly influenced by lucas. he longed freely the alienation of man dominated by the means of production. here he believed that art (literature) has a liberating role. he also strongly believes that the aesthetic structure is created from the ideological character and daily life of the community. art, is an inseparable thing from society, not simply bringing back the consciousness and experience of life but forging that experience with each other. this is what allegedly can raise awareness of life and change human consciousness. if philosophy speaks rigidly, art (literature) presents experience with a straightforward, communicative and flexible language. science shows facts and links, while art influences the soul and certainty. under the stranglehold of capitalism, art loses its original meaning as an expression of freedom to give new meaning to reality. art is stolen by money, art becomes a commodity product of capitalist negotiations with artists. because the capitalist has no interest in art, but sees it as a commodity. what is the end of the history of art? that question arose in the essay of hans belting (1984), which fernie selected, saw the sunglasses of the next art historian. as to previous artists, such as giorgio vasary and other artists, today artists are not in a position to participate in art formulating history. today both artists and art historians choose their own path, even the way to combine art and also in the process of artsistic history apart from one another. belting said, the end of the history of art is a new bridge connecting contemporary art and the history of contemporary art, and some of the concepts that vasari has implanted. he stated art historians having lost their way in creating a more rational process of art history, called vasari as a universal concept of art history itself. vasari confessed about the autonomy of art, understood only by the artist, as well as the patron (primarily a chatter of style). this is what belting has replaced, by new concepts, new questions, new tools, to see art in its social context. new (contemporary) art today is a global art. the similiar way road is to a network connected to the rest of the world. like the internet, the word global is defined as something that is used everywhere, although it does not imply, the message, the charge and the universal meaning. it makes it possible to be accessed by anyone and gives kesempatam to anyone to respond (events) the world. this is where the position of global art gives space to anyone to be able to be equivalent to various art perspectives in the world, as well as distinguish it from the world art as impressed by modernism-universalism as a high artistic view called belting with the end of art history. the end of the world art that imposed the vacuum of universalism, and the particular of the sounds of third world art with all the richness of its visual vocabulary. 81 rasa suntrayuth, collaborations and design development ...donna carollina, rejection of the cigarette billboard... tawipas pichaichanarong, visual methods in social research ...asep hidayat wirayudha, the secret of brahms cellos sonata no. 1 op. 38...r. m. surtihadi, music acculturation in rhythm of ...yustina devi ardhiani, sahita’s performance, satire of the life...irfan palippui. book review contemporary art or global art allows everyone to present themselves and express their own entities through the production of works the change in art history can be seen from the historical roots of modernism itself. for belting, from here can be found two different traditions, both from the emergence of avant-garde art that rejects tradition as the history of pre-modern art and the period of modern art. from here the path is available to bring these two concepts of art history together in order to see the boundary between art and culture that gave a new concept. according to fernie, “he (belting) believes that contemporary artists are already mounting this new challenge, as they place themselves in an autonomous aesthetic context and immerse themselves in anthrophological awareness of their culture in particular and all cultures in general, by using all visual and linguistic media. “belting reminded us, in the current era, art historians must provide full attention to the writing of art history, because its fast motion and uncertain. therefore, the most likely thing done by art historians is the concentration on three problems in the creation of an artwork (image), first, what brings the truth, what distinguishes modernism and what has been achieved therein. the position confirmed that beltin was convinced of modernism as central, which he claimed to be the cause of separating art history of art itself. this will remove that splitted by bringing art historians into contemporary art as a support and view of contemporary art as historical. finally, it is griselda pollock (1988). pollock was one of the most prominent writers and researchers of feminism and art history, while successfully searching and researching the relationship between the contexts of painting in the 19th and 20th centuries. the books he has composed including mary cassat (1980), old mistresses women, art and ideology with rozsika parker (1981), and dealing with degas: representations of women and the politics of vision, with richard kendal (1992). he was also a professor in the field of art and social history criticism at the university of leeds.we will see pollock’s main idea of the relationship between feminism and art history. pollock’s main foundation, based on his view of the structured sexism that he had learned from the formation of such a political discipline, and operated through the class, the race, which continued to preserve the status quo. so even if there is a female artist in the arts (who can represent a feminist), she will not be seen as something extraordinary, because the criterion of greatness has been frozen by man. for pollcock, feminist art historians should be able to unveil the art history bias, and not necessarily be concerned with female artists, but as a thorough discipline. in particular, paradigm shifts, rejected and perceived the view that creativity existed in aesthetic reality and separated from the social context. pollock bid (by borrowing marx’s terms) to replace the term artistic creation with artistic production, to model totality as a social force. by looking at art as a result of social relationships indicating pollock’s offering to view art as a social context as a whole. pollock pursuits on approaches with other research fields, including: social history and art, literary studies and film theory. for pollock, images and texts are not mirrors of the world, but everything is coding with their conventions. the forms and conventions 82 ijcas: vol. 3, number 2 december 2016 then come and represent each subject. this is the work of the ideology of pollock, defined in a form of meaning. these meanings are then used by power in relation to the formation of society herein is the formation of culture. the culture that brings us to be part of the ideology and helps us understand our position in there. follock pointed out two things to read how the two things gave a role in the formation, consisting the role of art. first, see art as a class struggle, race, and gender. second, how it was produced and how and for whom (this can be seen in some cases). in this study, pollock, provided psychoanalysis and stdma sign systems. he questioned, “what has art history to do with the struggle for liberation of women? pollock made great hope to the feminist role for the world, also able to attend and engage in political struggle. for pollock, the feminist goal revolutionized the practical space and theories and we needed them all. pollock’s proffer, for example, in communicating the history of traditional art as an old model, written in a new model of cultural history. the feminist contribution in this regard was not intended as in the new art history merely aimed at improving the style of thought, but making it part of the women’s movement in the changing world. that there was a commitment and optimism shown there, in support of the women’s movement by placing itself from outside of art history for inward intervention. according to fernie, there are two polemical statements from pollock: first, he considered that the history of modernist art saw women to be great artists, because of lack of phallus. it did not accept the whole concept of modernism. second, men dominated authorship, so the definition of beauty was presented from their perspective. this of course ignored the contribution of female artists in the late 20th century. even removing women from canon of great writers. in closing, following the pollock statement at the end, this book is also very “male” so that we made curiously to discuss the anniversary that feels happening in our environment, both in the academic environment and in the arts environment (especially writing art history). then, as an introduction, fernie has been quite helpful in deciphering the history of ideas developed in art history. it is also helped that novice readers by providing an introductory understanding of each of the essays of his choice in this book. this is very interesting and of course important to read by art students (or who pursue art history). however, as a preliminary introduction, this is just enough to give a map of historical art thinking only. furthermore, the reader’s job is to map out and start an adventure to the next ideas. 67 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdomkiki rahmatika. fall-recovery technique as technology fall-recovery technique as technology in dancer’s body kiki rahmatika hujan hijau dance-lab kiramsyaher88@gmail.com 0853-2967-7348 abstract the human body is a tool that capable of understanding and then reveal various problems that exist in the social life. body as tool means a body that has a technique or as technology that is able to express the problem. if the body has been positioned as a tool, of course the tool must have a technique that has been honed its ability. for example fall-recovery’s technique which is discovered by dorris humphrey. then to get to the technique, the body must get treatment, conditioning and emphasis through strict discipline. ultimately the techniques that make the body into technology will be constructed through body behavior which is doing by long exercises and method from the right technique. keywords: fall-recovery, technique, discipline, behavior, technology introduction in the past people thought technology was always connected to a machine or a device that could facilitate human work. but when we viewed from the word technology’s word, technology is one branch of science that investigates the ways of work or technique. the technique is not only related to machines. in the works of art also found many things related to techniques such as painting techniques, vocal techniques, dance techniques that tool itself is a brush, voice and body. tool is not always related to the machine, body also can be said as a tool when the body has a technique or way of working to facilitate a job or achieve goals. along with the changement of the times, the view that the tool is a machine began to be abandoned because of the development of science. included in the world of performing arts has realized that the performer’s body is a tool of expression that can produce certain techniques. in the world of performing arts, especially dance, using the body as a tool of expression that will produce to certain techniques. in order to get the technique, the body must get training with a high level of discipline. for example, in the world of dance, of course, recognize the fall-recovery technique popularized by doris humphrey. to perform the fall-recovery technique very accurately, dancers must be train their body with a certain method and strict body discipline. so the body can become a technology and produce new knowledge products. 68 editorialbook of reviewijcas: volume 5 number 2 december 2018 method this study is the result of a fall-recovery technique trial of four dancers body that trained for a full month with rules that have been considered in accordance with the crteria of the selected dancers. the rule is use 1x8 tempo in the first week, use 1x4 for meetings in second week, 1x2 for the third week and the trial of the technique in the fourth week of meetings. the application of this rule itself uses ‘discipline and punish’, michel foucault (1977) to see how strongly the discipline influences body techniques. after the accuracy of the technique is obtained, the body can be used as a technology in expressing expression. in this case there are 4 dance bodies that have received forged for a full month with the rules and disciplines that have been established. • the first week of body discipline with a tempo of 1x8 seconds this experiment is done with a simple motion that falls with the correct technique. this fall motion is done in a standing position. in this experiment did disciplining the body, start from standing, how wide of the foot should be opened as a repulsion when it wants to fall, the body position when the it want to droped and position when the body had in fall condition. relation between the body and the various tools that used is also determined by the discipline relations. a soldier who wants to shoot requires a proper set of motion between several elements of the body with the weapons he uses. how the foot stands on the ground, the hand raises a weapon as high as a certain size, puts the eye close to take the direction of the shot, holds the right position with the position of the particular hand, and finally the finger pulls the trigger (foucault, 1977). • the second week of body discipline with a tempo of 1x4 seconds the second week trial was an experiment that repeated the material in the first week’s experiment, but this experience was increase in tempo and discipline. beside the tempo of each movement becomes faster, there is the addition of behavior or movement that is wake up from a fall position. the discipline of the body in this experiment also increased, both from the tempo and the precision of motion and body position. the tempo of motion falls on the experiment in the second week of falling and waking technique is moved at a tempo twice as fast. • the third week of body discipline with a tempo of 1x2 seconds in the third week experiment only doing repetition of motion, discipline increases with the acceleration of tempo into two sec per one technique. of course, in an increasingly fast body is no longer thinking about the correctness of position, but in this condition the role of discipline is needed. discipline gives punishment to bodies that not obedient to the role, so that the bodies perform the techniques according to the original rules. 69 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdomkiki rahmatika. fall-recovery technique as technology • fourth week of trial trial done in the fourth week. it is done without count and stimulation. in this trial, it is expected to produce a very precise and accurate form. in this trial there is no a coach who gives a punishment, because through this trial will see how much influence the discipline in producing of the accurate techniques analyse like isadora duncan and martha graham, doris humphrey was interested in the fundamental importance of tension and relaxation in the body, and used it as the foundation of her own system of movement principles. she called her version of the contraction and release of muscles and of the breath cycle “fall and recovery.” fall-recovery is a body technique that is done by falling and then waking up. this technique was invented by doris humphrey in 1927. doris’s theory was that of the ‘fall and recovery’. she explored the idea of relating to the bodies of resistance to gravity and the potential of the body; both unbalanced and balanced. she also used the motionless movement of the body as the base of her movements and discoveries, and her movements often fell between the complete motionless of the body to a complete surrender to gravity. in the world of dance today, the technique is often used to express a message. the body is used as a means to achieve certain goals, for example expressing a form. in this case the meaning of body as a tool is not a body that is seen conventionally like the human body is a body consisting of organs that function to see, walk, and so forth. the body referred to in this discussion is a body that is trained in order to find the right technique to achieve the goal, which is expressing a form. the body is a tool used by a choreographer to make meaning in a work of dance. through the medium of motion the work of dance is able to give meaning that will be captured by the eyes of the audience. because the body is placed as a tool, so the tool must be honed the ability continously, and in fact, the body is a tool that is not easy to tamed. because the body within the creator or the dancer needs more effort to try to make any model, and it uses elements that are still strange and unknown or uncontrolled. control of the body requires a very long process. dancers should always have mind awareness and form awareness in performing every motion that has been instructed. this controll just can be done with concentration and self-awareness. foucault (1977) pointed out that body mastery technique is not on the mastery of the body in the form of ‘mass’ but on the overall power of the individual as precision. a power which by itself produces a mechanism of motion, behavior, physical form and velocity, produces a gentle, infinitesimal force over an the active body. dance techniques are presented as a way to condition the body to achieve a certain level of training desired by the idea or by the demands of a particular dance style. a choreography that is being prepared has the technical consequence to direct the dancer to a condition, that is the conditions for achieving various 70 editorialbook of reviewijcas: volume 5 number 2 december 2018 illusions becomes a reality. the reality of ideas is not enough to be phrased, but demanding the technical consequences of “practice”. exercise is an irresistible keyword. success in realizing an idea into choreography is a culmination of the effort to conquer the body of untrained dancers. the dance body that is said to be a tool is a body that always receives forging. the forging like an exercises with very strong body discipline. first of all the discipline of using counting techniques that in the calculation technique is made a rule. the rules of the count can be made according to their own needs for a technique. for example the dancer’s body must fall in the fourth count and should re-wake in the eighth count. with a strong discipline the body will emerge a habit that has proven its precision. the precision is tested when the application of discipline is done when the body is given training with several stages. the results of the stages are as follows. • the first week of body discipline with a tempo of 1x8 seconds in the first stage of the body usually begin to recognize the ways of moving his limbs. in this case when the falling technique is given to the body, the technique is only recognized by the body in ways that must be done from standing to fall. a very slow tempo helps the body to perform every technique in great detail. so the body’s memory works spontaneously when there is a command to drop the body. picture 1. body discipline with a tempo 1x8 seconds. photo: oddzhaheho creative affirmed by joan russell (l969: 33) body as a means of expression, meaning the dancer’s body is the only tool used to express a number of ideas into a form of choreography. direction leading to the condition, the body should be treated, conditioning and strict emphasis and discipline. the purpose of all that is to conquer the body with the condition of untrain, far from the range of presentation motion (untrained) and natural structural conditions. because the body in untrained conditions in general only serve the daily routine habits, so it was far out of the reach of role awareness. 71 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdomkiki rahmatika. fall-recovery technique as technology • the second week of body discipline with a tempo of 1x4 seconds because there is an increase in motion and the tempo was increases, so automatically there is increased energy and expression. in this experiment there are imperfect dancers performing techniques that have been established rules. so in this experiment discipline is further improved to obtain the accurate techniques. picture 2. body discipline with a tempo 1x4 seconds. photo: oddzhaheho creative after the body of dance succeeds in getting the accuracy of the body, then the target control is not a meaningful element of behavior and body language (expression contained in the concept), but the nature of the economy and the efficiency of motion and internal regular of the body. in this case the dancer must have a loyalty schedule in sharpening his body, more carefully doing every movement and do checks on the accurate gestures. exercise becomes the only important ceremony. finally the preferred way of achieving control is a constant conquering mechanism that produces useful obedient relationships, and mechanism of conquest like this is called ‘discipline’ (foucault 1977). • the third week of body discipline with a tempo of 1x2 sec in the third week of trials, the dancers’ bodies seem difficult to accept motion with a faster tempo and should be able to do with the correct technique in order to get an accurate movement. but along with the continuous training of body, the bodies are successfully controlled and produce motion with an accurate technique. 72 editorialbook of reviewijcas: volume 5 number 2 december 2018 picture 3. body discipline with a tempo 1x2 seconds. photo: oddzhaheho creative in the world of dance, the body is manipulated, trained, corrected into obedience, becomes responsible, becomes skilled and increases in strength. the body is always subjected to ‘power’. the target of power in this case is that a good body discipline of a dancer is capable of transmitting the body’s discipline of the other dancers. power from one another to another always touches the body, only the way, the size and control target was changing (foucault, 1977). furthermore the body of dance is trained to form the precision between time and action. as a concrete example we can see in the army’s marching activities. the whole motion is arranged in a regular time. there is a time to move slowly, and there is also time to move faster on a regular basis. the whole motion is done by keeping the exact time (foucault, 1977). through it, time is no longer a thing to be thought, but time has become a power to control body activity thoroughly. • fourth week of trial in the trial, finally the body can perform motion with an accurate technique without giving a command. the bodies move were very organic without had to given a stimulus. picture 4. body discipline trial. photo: oddzhaheho creative 73 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdomkiki rahmatika. fall-recovery technique as technology discipline is a careful control mechanism over the body. through discipline the body is trained to become a skilled body. but also constantly tested and corrected so that these skills, dexterity and readiness eventually become the mechanism that just works in the body itself. discipline simultaneously improves the skills, strength and usefulness of the body, but also controls and places the body into subservient and useful relationships. discipline is intended to develop individual control of the body. then from there it can be seen how the discipline gave birth to the technique of the dance body (foucault, 1977). from the results of the above experiments can be seen that the discipline gives a significant impact to obtain accurate techniques of the body. discipline also touches the body through the control of activities achieved by timing, the formation of timeliness with action, the creation of an efficient posture, the creation of an efficient relation between the body and the tools, and the continuous improvement of time. timeliness to a very small matter, the use of time effectively and thoroughly, and the avoidance of all kinds of deviations are of paramount importance. foucault argues that through this all the body is brought into a model of fixed activity. conclusion discipline in the end is also imposed on the effort to produce accuracy of posture in doing certain actions. the body is trained to find the right attitude for a particular action or action. the body is trained to find the right attitude for something action or action, so the use of time can be made more effective and efficient. people need to be trained to take a sitting posture and position the right hand in writing in order to have the right posture. foucault says that a disciplined body is a requirement of an efficient body (1977). order is instilled by power, from the same time it is the law of activity formation. through the penetration of the power of time against the body, there is a conquest of the body. the body is conquered in order and timeliness. in this way a new object of power, which is a trained body, becomes useful. the trained and useful body is destined for a new form of knowledge. the body is a trained body, a body manipulated by command and rule, a body that is trained and becomes useful. thus the work of a trained body, the body can be similar to a machine or a tool in order to achieve a certain goal through the power of the body. nevertheless, the power of discipline applied to the human body also provides another advantage, not only of creating an analytical and cellular individuality, but also of natural and organic individuality. 74 editorialbook of reviewijcas: volume 5 number 2 december 2018 references foucault, michel. discipline and punish. the birth of the prison. londonworcester:billing and sons, 1977. harahap, poerbahawatja, 1982. ensiklopedi pendidikan. jakarta: pt gunung agung. russell, joan. creative dance in the secondary school. lodon mac donald and ivan ltd. 1969. 41 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks pattern alternatives formation of bricks pattern from trowulan through parametric design stephanus evert indrawan interior architecture department, ciputra university uc town-citraland surabaya sindrawan@ciputra.ac.id tri noviyanto p. utomo interior architecture department, ciputra university uc town-citraland surabaya tommy@ciputra.ac.id abstract this research is a continuation of the potential mapping from trowulan art and crafts commodity based on its material which consist of terracotta, stone and brass. studies are limited to terracotta and bricks as its products. terracotta of trowulan has a distinctive color texture and the product that based on this material are mostly sculpture, roofs tile, roofs ornament and bricks. bricks are the most common material for building construction and being exposed in a common principles of bricks formation. this recent research aims to find an alternative principles of bricks formation through parametric design approach. the software that being used are rhinoceros and grasshopper plug ins. product of studies are parametric script that enables designer to make a well calculated simulation and shorten the prototyping process. it is also implemented as design module or designs pattern that can be developed manually by handworkers. keywords: parametrics, designs pattern, products design, terracotta introduction trowulan district located in mojokerto (east java). trowulan established around 1900. there are many artifacts and historic site that has been discovered and it gives an information about trowulans ancient cultures and the empire of majapahit. beside of its historic value as majapahit legacies, trowulan also known as a place for handicraft. there are a cluster of artist that spread in different area that categorize based on 3 main material used which is terracota, stone and bronze. the category based on the facts that the majority of majapahits artifacts that has been discovered was made out of these 3 materials.(utomo et al. n.d.) based on indonesian archeology definition, terracotta is a clay that has been through burning process. among terracota products there are form of figurine (both human and animal), temple models, traditional house models or detail of traditional house. terracota products supports the economy of villagers. beside 42 editorialbook of reviewijcas: volume 5 number 1 june 2018 of handicraft, bricks also a featured product from this district.traditional bricks process, form and application still untouched by modern technology and design method. the bricksprocess are strongly depend on weather situation, form that was used mostly 240x115x52 (lxwxd)(akmal 2010) in a box shaped and the application are mostly for buildings wall.bricklaying formations still follow traditional formations or follow the standard construction of conventional bricks but its tectonics quality shows an image of majapahit culture. bricks of trowulan has a typical red color of majapahit temple. nowadays, the situation of bricks industry in the last few years was not going well. traditional bricks have to compete with light bricks which produced by modern industry. the price was more affordable, not labour intensive and its not depend on weather situation. younger generation tend to leave this business and choose to work in the cities or working in different industries. based on this situation this research is focusing on the application process in order to preserve and re-adding value of local skills and material. the aim of research are involving the digital generative designs tools to bricklayering process without reducing the role of handworkers. 1. tectonics: ground theories digital technology development makes more possibilities to apply an interrelationship between technology and design. the combination of digital design and manufacturing technologies are shifting material-related design studies and practices. there are two types of model practices as stated by sheila kennedy (kennedy, 2011). first,the horizontal model is a design based model that need a well-understood design models and knowledge. it is a traditional way of model. secondly, the vertical model that underlining synthesis of new techniques, experimental models of design and embedded technologies. the concept of tectonics will be explained as reported by rivka oxman (oxman, 2012). tectonics based of historical refrences. tectonics word or tekton originaly from greek word that means carpenter or builder. tectonics is a concept that defines the relationship between architectural design and its structures and materials. the relationship between architectures and structures was changing from time to time influenced by its periods (r. oxman, 2010). there are concept of tectonics that defines its relation to informed tectonics. 1. vernacular tectonics was the origin of tectonics expression. vernacular design always expressing the essence of material technology. in the vernacular traditional material technologies evolve to become buildings system. the system are strongly related to material origin and construction process. the expression of vernacular tradition are an implicit “poetics” or explicative theory. the traditional house of japan is a good example of vernacular tectonics, providing an essential expression of construction potentials of material. 2. tectonic as culture: prioritizing building and construction, since the 19th century and through modern periods can be seen that the theory of tectonic 43 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks pattern evolve through the nature of design. according to frampton “the poetry of constructions” is the foundation of modern architecture and shape, structures and materials still interpretated separately. this condition brings a closer exploration of tectonics to contemporary definition in which fabrication and manufacturing are viewed as parametric systems. 3. digital tectonics as virtual and physical materiality. there are various different approaches of digital tectonics in the last decade: 1. digital tectonics as virtual materiality, a virtual computational space is an accommodation of material representation. 2. digital tectonics as physical materiality, digital tectonics was related to dynamic factors of motion, information, generation and fabrication. 3. digital tectonics as fabricated materiality 4. digital tectonics as structured materiality, digital technologies make technological possibilities more affordable 5. digital tectonics as digital form-finding and morphogenetic processes, related to form-finding processes and in-nature 6 digital tectonics as adaptive materiality, adaptive building required an adaptive material by system performance of material.(oxman 2012) fig.1 scheme of vernacular tectonic to informed tectonics concept vernacular traditional tectonics tectonics as culture parametric design approach fig.1 scheme of vernacular tectonic to informed tectonics concept 2. research framework this research are proposing an alternative formation of trowulan bricks construction. the original intention is to involving the emerging engineering design technologies on the design stages. this research drew on simulation based research. in general, the bricks of trowulan paradigm will be categorized on tectonics concept of oxman. the traditional of bricks formation will be reinterpretated by generative software. the bricks formation will be modelled in the rhino modeling software and the parameters of object studies will be calculated and projected by grasshopper plug ins. the model of objects will be simulated in rhino software and printed in scaled models by 3d printer. 2.1 vernacular traditional tectonics. trowulan bricks have the same material with terracotta crafts. majapahit temples found also use the same material. the bricks are derived from trowulan’s distinctive red soil. the clay should be wetted before it was used for bricks process and it will be pressed until become solid. once the soil becomes solid then it can be molded, followed by drying and burning process. this process has been known for hundreds of years. this traditional process is done repeatedly from time to time. most of industry is home industry and the skills were taught from generation to generation. the quality of home industry bricks was not 44 editorialbook of reviewijcas: volume 5 number 1 june 2018 mathematically precise and the quality very dependently to weather condition but this kind of brick are affordable for every customers segment. . fig.2 traditional house of majapahit village in trowulan fig.3 traditional construction house of majapahit village in trowulan from the image of majapahit’s village house (fig 1 and 2), it can be seen the expression of materiality and its construction system. timber structure works as main support of roof structure and also as a frame of wall system. from this case can be viewed that the choices of materials structure will informed the construction process. vernacular tectonics are giving an inter-related information both structure system and constructional process. building materials technology are involving to become one building systems. such system more or less describes material origins and construction process. vernacular building is a product of craft tradition such as masonry. 2.2. tectonics as culture: prioritizing building and construction. according gottfried semper (1803-1879) mentioned that tectonics is a phenomenon that describe the use of different materials in architecture as a cultural phenomenon. he was reffering a review of the physical relationship order of structure and material. (oxman 2012) 45 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks pattern fig.4 candi tikus built in 15th century fig.5 wringin lawang built in 15th century based on frampton (1995), the interpretation of structural form development in architectural context is more than visual, space experience, content of tectonics. from the image of candi tikus and wringin sewu can seen that formation of bricks or brick layering become an essential part of its form. the temple of majapahit describes the “poetic of construction” that mentioned by frampton. nowadays, there are some different bricks dimension that commonly used in practice 1. conventional bricks (23x11x5cm), 2. modular bricks (10x6x20cm), 3. norman bricks (10x6x30cm), 4. engineered bricks (10x8x20cm), 5. norwegian bricks (10x8x30cm), 6. roman brick (10x8x30cm), 7. economy brick (10x10x30cm). in indonesia there are 3 general types of bricks 1. handmade bricks is the bricks that made manually, very affordable and the quality are strongly depend on weather condition. 2. pressed bricks process was made in factory with a modern machine. bricks was burned in the oven in a high temperature (1000 celcius) and 46 editorialbook of reviewijcas: volume 5 number 1 june 2018 it was cooled for 48-72 hours. pressed bricks have a better quality. 3. tiles bricks is a type of brick that being used for finishing or decoration purposes. there are also 4 different way of bond of bricks 1. stretcher bond or known as running bond is the longer narrow face of the bricks. it was a simple repeating pattern. 2. header or heading bone is the short square face of the bricks. it was used for construction of walls. 3. english bond is a combination between stretcher and header bond. 4. flemish bond, also known as dutch bond, is created by laying alternate headers and stretchers in a single course. (akmal 2010) fig.6 traditional bricks industry fig.7 stretcher bond (the constructor.org) fig.8 header bond (the constructor.org) 47 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks pattern fig.9 english bond (the constructor.org) masonry wall in indonesia still labor intensive and manualy done by construction workers. masonry wall should be supported by column on every 12 square meters and bricks material should placed in a dry place. every level of bricks should measured by waterpass and weighted by “benangan”. after the bricks was installed, it should be cleaned by sand paper and roskram. from this explanation can be seen that bricks industry especially in trowulan haven’t touch much by technology of design nor engineering process. fig 10. masonry wall and support column fig 11. construction process done manually fig 12. construction phase 2.3. parametric design approach from the explanation above can be seen that bricks still separated from design process. parametric design approach are challenge orthodox working methods of design. designers and engineer should involved at the early stages at generative stage. there are two different way of approaching the design, it is the top down and bottom up as a trial and error process. top down is a stepwise approach, started from general pictures and broken down into a sub element. designwise, some steps cannot be too specified for detailed system to fit in. bottom up is a approach where the system collected together by individual elements. this system will be connected together until the top system can be defined clearly. 48 editorialbook of reviewijcas: volume 5 number 1 june 2018 fig 13. design approach scheme general concept spatial geometry geometrical constraint solution material constraint building components solution constraint fig 13. design approach scheme the combination of both scheme can be usefull for complex design. it gives a better vision on what the desired design should look like. the explanation will start from spatial concept general concept bricks has many times used for contemporary architectures materials, because the quality and the cost are widely range. this research focuses on bricks that made by trowulan villagers. the production are very traditional and labour intensive because the molding process and burning process are done mostly manual. the advantage of bricks from trowulan is longlife lasting, weatherproof, fireproof, waterproof, special skills are not required, have a relative small dimension-easy for transport, special adhesive are not required and affordable. the disadvantage of handmade bricks are construction process is long, a strong gap temperature will decrease bricks quality, bricks are heavy, neat and precise construction quality is hard to achieve. the formation of bricks are commonly build along cartesian coordinate system. mathematically the location of objects are specified by each point in a pair of numerical coordinates. the coordinate described as a position of perpendicular projection of points. geometrical constraint in 3d modeling software such rhinoceros, cartesian coordinate system can be evolved into uv mapping. uv is a different name of xyz coordinates because its already used for model space. uv texturing makes 3d object to be painted or applied with material texture or color. the uv mapping process involves applying pixels in the image to surface mappings on the polygon. this process normally done “programmatically” by pasting material onto triangular surface 49 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks pattern (mullen 2009). uv only maps material onto texture space rather than geometrical space of objects. parametric design approach using the principles of uv mapping to apply geometry onto surface(murdock 2008). from figure (fig.14) below can be seen a schematic surface that commonly (left) and uncommonly (right) used for masonry wall. the loft was generated by grasshopper (gh) definition, it was divide in some layers (based on user needs) by contouring method. contouring is a techniques that shaping a surface in order to create three dimensional relief by removing successive layers of material. (iwamoto 2010). fig 14. cartesian coordinate fig 15. wall of candi kedaton fig 17. the definition of loft made by grasshopper plugins (for rhino) fig 18. loft divided base on bricks height fig 16. flat surface and dynamic loft 50 editorialbook of reviewijcas: volume 5 number 1 june 2018 material constraint the type of brick that being used for this research is handmade bricks because of its advantages and disadvantages. handmade bricks is the bricks that made manually by trowulan villagers, very affordable and the quality are strongly depend on weather condition. conventional bricks (23x11x5cm) is a sample of objects that will be generated by parametric design model. stretcher bond also a sample masonry bond for this model because its commonly used in indonesia. fig 19. bricks based on grasshopper definition fig 20. stretcher bond after the loft/surface being divided into contour lines, the bricks placed along the curve lines. planes were spread along the curve as a base for bricks model. every curve lines from surface will re-mapping the surface in 3 dimensional objects with bricks. fig 21. dividing contour lines fig 22. the result from definition of box,loft and contour 51 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks pattern fig 21. dividing contour lines fig 22. the result from definition of box,loft and contour fig 23. compiled definition from the compiled definition can be seen that the position of bricks are not placed properly. the number slider of each definition is a parameter to shape the object through visual definition. user can slide each parameter to achieve desired form. parametric design process consist of the following components 1. design schema 2. a means creating variations 3. a means selecting desirable outcomes. (krish 2011) fig 24. from loft to bricks fig 25. finished fig 26. alternatives formation of bricks from trowulan 52 editorialbook of reviewijcas: volume 5 number 1 june 2018 solution from the explanation above can be seen that the core definition can be plugged into different kind of lofts. the building process for construction may depend upon reinterpretation of specific tectonic properties. since the trowulan village have a highly skilled workers, specific design can easily implemented. the knowledge of structures, materials, construction method is a key factor in creation of parametric design. the next phase of this process is to build a scale model. scale models are printed with 3d printer. 3d printer works based on contouring procedure, from printing process can be seen possibilities to build it. parametric design approach and material = based design fabrication are now integrated in one singleline process. (fig.27) fig 27. scheme of parametric design approach (krish 2011) fig 28. scale model modify designer idea algorithm constraint output conclusion the emerging technologies of fabrication and design software has been seen as a possibilities to find alternatives creation of manual craft. within the framework of parametric design approach, the formation of bricks layering can be described as a process that enhance the integration between tectonic properties of construction rules (masonry bond) within the logic and the rationale of fabrication technologies. the knowledge of tectonics and parametric design are become the main concept to bridge the relation between tradition and contemporary design approach.parametric design has been introduced as a basis to find an alternative ways to produce traditional craft. 53 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks pattern references akmal, imelda. 2010. seri rumah ide : bata. 1st ed. ed. fialita f. jakarta: pt gramedia pustakautama. https://www.getscoop.com/id/buku/seri-rumah-ide-bata-kuatawet-indah-eksotis. iwamoto, lisa. 2010. architecture briefs. digital fabrications :architectural and material techniques. http://www.papress.com/html/ book.details.page. tpl?cart=125777262860796& isbn=9781568987903. krish, sivam. 2011. “a practical generative design method.” cad computer aided design 43(1): 88–100. http://dx.doi.org/10.1016/j.cad.2010.09.009. mullen, t. 2009. masteringblender. 1st ed. indiana: wiley publishing. http://as.wiley. com/wileycda/wileytitle/productcd-1118275403.html. murdock, k l. 2008. 3ds max 2009 bible. 1st ed. indiana: wiley publishing. oxman, rivka. 2012. “informed tectonics in material-based design.” design studies 33(5): 427–55. http://dx.doi.org/10.1016/j.destud.2012.05.005. utomo, tri noviyanto p et al. “identifikasi potensi pengembangan produk untuk arsitektur interior berbasis karakteristik material seni kerajinan trowulan.” : 5–21. http://journal.uc.ac.id/index.php/aksen/article/view/230/213. 31 stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks patternkarna mustaqim. drawing perform’sferdinand indrajaya. art as the manifestation of embodimenttepika rodsakan. music: a tool in transforming the social statusd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”surasak jamnongsarn, lalita poolsup. music deculturation music deculturation: a traditional thai music tool for indonesian music adoption surasak jamnongsarn srinakharinwirot university, sukhumvit 23 bangkok 10110 temanbkk@hotmail.com lalita poolsup suan dusit university lpoolsup@gmail.com abstract there has been foreign music influence on traditional thai music since ayutthaya period. pi jawa (java flute), klong jawa (java drum) and some traditional thai song with foreign title have been legally and literally evident in ayutthaya era. some said that thai people are open-minded in music, harmonious mixing overseas music culture with their own. ethnomusicologists have seen this social phenomenon via music context and explained the revolution of traditional thai music differently from the acceptance of music in general. this article reviewed the acceptance of indonesian music, including javanese music from central java and sundanese music from west java, into the javanese idiomatic melody in traditional thai music and angklung thai style. indonesian music was seriously and forcefully deculturated. playing technique has been adjusted to suit thai music playing. tuning system of javanese gamelan in thailand has been fine tuned to conform to that of thai music. physical appearance of sundanese angklung has been replaced with angklung thai style. javanese song have undergone music elaboration and rewritten to satisfy thai musicians, with approval from elite thai musicians and previous thai music institutes together with thai people in the society. keywords: indonesian music, music deculturation, adoption introduction thailand and indonesia, the latter being popularly known by the former as chawa (java), are two nations with long relationship since the traditional state era. there are evidencesthat showed the multi-faceted acquaintance of ayutthaya kingdom with mataram territory whose center was located at kartasura (pronounced karto-su-ro according to javanese language) in the java island. this includedpurchase of horses from java for ayutthaya royal court uses (dhiravat na pombejra 2008, 65); establishment of diplomatic friendly relations by the king phet racha of ayutthaya with the javanese mataram territory and exchange of state tributes and peppers with jambi court, aterritory on sumatra island under kartasura’s mataram administration, in the reign of king narai (ricklefs 2001, 108). there was also traces of various cultural contacts, one of which was introduction of inao, a javanese literature, to thailand on the late ayutthaya kingdom. with two 32 editorialbook of reviewijcas: volume 5 number 1 june 2018 known variants: inao yai (large or unabridged inao) and inao lek (small or abridged inao), the novel would go on to become one of the most prominent thai classical literatures and theatrical plays (r.m. soedarsono 2011, 341). inao was even used as a relationship bridge during a conversation between thai and javanese royal members when, in 1945, hm king chulalongkorn visited the dutch east indies which is indonesia today (his majesty king chulalongkorn 2555, 173). musics of indonesia (javanese and sundanese) in thai music evidences from ayutthaya era shows various ways in which thai music and indonesian music are related. for an example, the word klong chawa, a membranophone known to have existed since the era, appeared in a royal title “chalaad klong chawa” which was rhymed with “chanai pairoh”. these titles, conferred as a part of phra aiyakarn tumnaeng naponlaruean natahaan huamuang, a law enforced by king somdej phra boromma tri lokkanaat, denoted the court musicians whose duty was to beat klong chawa and blow pi chanai during a royal procession. pi chawa is another instrument found to be used in processional music as the instrument was mentioned in punnowaad kham chan to be the main instrument for the royal elephant procession’s religious march towards phrapudthabaat (buddha’s footprint). punnowaad kham chan punnowaad kham chan besides its use as processional music for ayutthaya court, javanese music was available to laymen as well. it was found that khongchawa appeared in the incantation of wai khru lakorn chatri and in pleng nhatrae, a piece that which honors teachers, in wai khru nora. these texts, still being used today, praise the quality of javanese gongs that it has sonorous and tuneful timbre. with such high reputation given to the instrument, it is fair to assume that java-made gongs were of such high quality that lakorn chatri and nora artists compared their voices to its sound while praying. repertory-wise, it has been found that several titles of thai musical pieces may have had its original roots come from melayu and javanese language of indonesia (cherdchoo 2012, 1). these pieces may be divided into two categories based on the time of composition: the old period and the new period. the former includes pieces like nirapatee whose title comes of javanese narapati meaning a monarch or a mighty and is comparable to thai naruebodi, yong-ngid from javanese joget meaning dancing, khaek kulit (since the word kulit means leather or nung in thai, 33 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks patternkarna mustaqim. drawing perform’stepika rodsakan. music: a tool in transforming the social statussurasak jamnongsarn, lalita poolsup. music deculturation the piece is also known alternatively as khaek nung), khaek awang, saraburong, and mulong. the pieces of the latter category were composed following the visits to java by royal family in rattnakosin (bangkok) era. some of them are preseban (from javanese paseban), karad raya, kediri, semarang, yawa kao, yawa mai, yawa rew. considering remnants of javanese language in thai musical instrument names and repertory titles, it is found that musical relationship between thai and indonesia has long existed in multiple points of time, has literature connection with the likes of inao (panji), rammakien (ramayana), and mahapharata (mahabharata), and could as well extend to the field of dance (duangchanthip, personal communication). the image of thai-indonesia musical relationship became increasingly clear after a set of sundanese angklung was brought to thailand. luang praditpairoh (sorn silpabanleng), an important thai music master who accompanied his master – prince bhanurangsi savangwongse – to java in 1908, was the primary teacher for the instrument. apart from angklung, repertory as well as characteristics peculiar to only javanese music was also introduced by luang praditpairoh, for example, bima kurda, a piece that became the model for yawa kao played on thai angklung. another type of javanese instrument introduced to thailand was javanese gamelan which was given to hm king prajadhipok by sri susuhunan pakubuwana x, a ruler of surakarta, during the former’s visit to java in 1929. the court of surakarta even composed a new piece on gamelan to honor the presence of the thai king. there is an interesting anecdote, recorded in an archive, on the giving of this particular set of gamelan that king prajadhipok officially received the instruments while he was in surakarta on september 1929 before he returned to thailand on october in the same year. two months later, the king made an inquiry why the gamelan had not arrived at bangkok. having learnt the king’s doubt, officers frantically sent a reminder to java, and reported back to the king that the surakarta court would ship the gamelan to the thai consulate at batavia who would, on december, subsequently send the instruments from a port in semarang city. when the gamelan has arrived, thai officials arbitrarily separated it into two sets, one sent to the national museum, phra nakhon while the other stored at the music division, fine arts department. details regarding the separation of the gamelan shall be discussed later. deculturation of javanese (sundanese) angklung to thai angklung via musical genetic modification the sundanese angklung, known as angklung chawa (javanese angklung) by most thais, was first brought as a mere souvenir or gift from java following hm. king chulalongkorn’s visit (amatyakul 1985, 5). it was brought to the country for the second time, this time with musical purpose and along with musical ideas from javanese gamelan, by luang praditpairoh who accompanied prince bhanurangsi savangwongse to java. the angklung brought by luang praditpairoh in 1908 did not only refer to the instrument itself but also included repertory, and to either aspects changes were 34 editorialbook of reviewijcas: volume 5 number 1 june 2018 made in multiple ways to make the original sundanese angklung more “thai”. sonically, its pitch frequencies were retuned to match that of thai music while its physical appearance was changed by adding another bamboo tube to two already-existing tubes. the original way of playing angklung – suspended on a player’s write while being swing sideways by the other hand – was replaced by holding angklung on each hand and shaking it to-and-fro. musical concepts of javanese gamelan was applied to and incorporated with that of thai classical music through luang praditpairoh’s interpretation in an attempt to balance the two musical genres with thai angklung as mediator. inspired by javanese musical pieces, the thai music master, using thai classical music concept, wrote several new compositions. one of them was yawa kao which was based on bima kurda (hughes 1992, 17). indigenous javanese melodies were adapted for thai angklung, for examples, karad raya and kadiri (thubthimsri, personal comm). together with other pieces, these newly composed pieces were played one after another, resulting in what is known as phleng chud homrong yawa or the javanese suite, which was known alternatively as tab busensog the word busensog came from buitenzorg city, today bogor in the west java – consisting of busensog, yawa mai, samarang, karad raya, kadiri, and bukantumo. process of musical genetic modification by thai music against javanese (sundanese) angklung step 1. the first generation of sundanese angklung, represented by f0s, was cross-mixed with the thai tuning system, represented by f0t, resulting in the second generation of sundanese angklung with thai tuning and appearance, represented by f1st. step 2. the first generation of javanese repertory, represented by f0j, was crossedmixed with thai repertory, represented by f0t, resulting in the javanization of thai repertory or javanese-accented thai repertory, represented by f1jt 35 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks patternkarna mustaqim. drawing perform’stepika rodsakan. music: a tool in transforming the social statussurasak jamnongsarn, lalita poolsup. music deculturation step 3. the javanese-accented thai repertory (f1jt) was performed using thai angklung (f1st), resulting in a new form of music which is a fusion of sundanese music, javanese music and thai music in a ratio of 1:1:2, respectively. the resultant third generation of music is represented by f2sj2t from the above process, it is found that thai angklung bears more thai characteristics than javanese or sundanese because of the ratio in which thai music influence is twice as much as that of either javanese or sundanese music. thus, changes made to indonesian angklung whether in terms of tuning system, repertory, appearance, or performance practice disabled the instrument from retaining the characteristics of indonesian angklung. because of those changes, thai angklung has since played the role of cultural connector between thai and indonesia through performed repertory. this can be regarded as one major accomplishment of luang praditpairoh who was instrumental in introducing and popularizing angklung as well as javanese-accented thai repertory or pleng bhasa1. today there are numerous angklung competition, teaching and learning 1 pleng bhasa is thai traditional repertoires that imitate idiomatic melody of various foreign nations. it has been present since the ayuddhya era. earlier, the repertoire is called by the name of nation whose idiomatic melody is imitated therein, such as nerapati, patong (probably derived from melayu word – patung – which means a statue), mudtrum (probably refers to mataramempire in java, indonesia). later in the rattanakorin era, it is customary to begin the title of an accented repertoire with the name of respective imitated country, such as chin (china) khim lek, khmen (khmer) pai ruea, mon (mon) rum daab, pama (burma) rum kwan. the repertoires of various accents are often played as a suite, known as “awk pasa” or “awk sib song pasa” 36 editorialbook of reviewijcas: volume 5 number 1 june 2018 of angklung in almost every level of thai schools. the pervasiveness of angklung has sometimes caused confusion over whether it is a thai or a foreign instrument. regarding this matter, government from the philippines once sent, via royal thai embassy of manila, an official letter requesting donation of angklung as a tool to study thai culture (national archivesof thailand 1968). musical deculturation of javanese gamelan to co-exist with thai music in 1929, a complete set of javanese gamelan surakarta model, donated by susuhunan (sultan) pakubawana x (p.b. x) to h.m. king prajadhipok, has arrived in thailand following the latter’s return to thailand (national archives of thailand 1929). being the first gamelan to have imported to thailand, the set contained instruments of two tuning systems: pelog and slendro. later on this gamelan was separated into two groups because the thais understood to have received two different sets of javanese musical instruments (amatyakul, personal comm). one of them used to be displayed in the national museum, phra nakhon, but is now being stored elsewhere, while the other was in the custody of the music division, fine arts department who used it occasionally to accompany inao and perform various javanese-accented pieces composed by thai music masters. the division of one unitary set of javanese gamelan into two smaller sets posed certain intriguing points worth studying. originally, typical javanese gamelan contains two tuning systems: the seven-pitch slendro and the five-pitch pelogwhose pitches are numbered 1, 2, 3, 4, 5, 6, 7 and 1, 2, 3, 5, 6, respectively. due to great discrepancy, the two tuning systems cannot be played together. except for pitch of the note number 6 or nem which is identical in both systems, pitches of all corresponding notes are tuned differently. the partition the gamelan done by the thai government, however, neither conformed to the tuning system nor followed the javanese ensemble formation, making the so-separated sets contain slendro as well as pelog system. even if one divides instruments correctly based on two tuning configurations, the entire set of gamelan should not have been separated from the first place because there are instruments used in both tunings, i.e. kendang (drum), some kempul (suspended gongs), and gong. saron at the music division department of fine arts, thailand photo: surasak jamnongsarn, 12 april 2015 37 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks patternkarna mustaqim. drawing perform’stepika rodsakan. music: a tool in transforming the social statussurasak jamnongsarn, lalita poolsup. music deculturation retuned saron photo: surasak jamnongsarn, 12 april 2015 unlike the set of javanese gamelan once displayed in the national museum, phra nakhon, which was treated merely as exhibition items, the set of javanese gamelan under the custody of the music division, fine arts department is being taken care of by thai music masters and is more in playable condition than the other. the set has been retuned to match tuning system of thai music. this has enabled the instruments, as a representation of java, to accompany inao, a thai court play, by playing thai repertory along with piphat ensemble (phachoen kongchok 2015, personal comm). the javanese accented song in thai musical repertoire: a process of writing with-none-javanese involved attempts to increase the scope of thai traditional music are always happening. the same can be said in the case of javanese-accented thai traditional repertoires contributed by luang pradit pairoh’s (sorn silpabanleng). this is a very interesting rise in increasing musical scope not only for the sake of musical contexts alone, but also of association with other contexts such as international politics, thailand’s national history and the aspects of applying foreign music to establish the stability of court music. after the introduction of indonesia’s angklung and gamelan in thailand, both instruments played key roles in propelling the emergence of new musical genre, i.e. javanese-accented thai traditional repertoires. based on the already existing language suite combined with the fresh knowledge of javanese music, whether in the form of angklung, javanese gamelan, or the memorized songs from indonesia, a new javanese-accented composition for thai angklung was created under the title home rong java (the java overture suite). since then, home rong java has influentially inspired other thai traditional music masters to compose subsequent javanese-accented thai traditional repertoires such as khaek a wang by master montri tramote, a javanese-accented variant version of khaek sai by master chaloem buathang. following highly-reputed thai traditional musical masters’ participation in composing javanese-accented thai traditional repertoires, there was an immense force that raised this particular genre of musical composition, 38 editorialbook of reviewijcas: volume 5 number 1 june 2018 concept and its overall popularity to a height that it became one of the prominent accented-repertoires among the vast list thai traditional compositions. the composed javanese-accented thai traditional repertoires can be sorted into following groups1. unmodified indonesian original repertoires, e.g. burung kakatua. 2. composed repertoires based on javanese original repertoires, e.g. yawa kao being composed based on bima kurda. 3. completely new thai traditional repertoires with javanese accent, e.g. rabum krailas samroeng2, rabum srivijaya.3 4. a javanese-accented variant version of an existing repertoire, e.g. khaek sai. in this paper, the writer would like to give an example of the modification of an existing thai traditional repertoire to produce a javanese-accented variation by referring to khaek sai song chan which is composed by luang pradit pairoh (sorn silpabanleng). the purpose for citing this popular repertoire is to give an idea of how musical javanization process was carried out by luang pradit pairoh. also, this is to indicate the area of javanese culture according to the viewpoint of thai traditional musicians that although it is a very well understood by all that khaek sai refers to the state saiburi or kedah, located north of present malaysia, but still thai traditional musicians do not seem to have any doubts towards the use javanese-accented variation. khaek sai song (2nd chan) 2 rabumkrailassamroeng is a repertoire composed by master montritramote to accompany krailassamroeng dance. the dance is a part of manohra theatrical play. premiered in 1955, the repertoire is javanese-accented and was also used as an interim repertoire for one of archeological dance series, rabumsrivijaya, whose particular repertoires was not yet complete. 3 rabum srivijaya is a repertoire composed by master montri tramote for the srivijaya dance in 1966. the repertoire was inspired from musical instruments carvings on borobudur in java island. 39 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks patternkarna mustaqim. drawing perform’stepika rodsakan. music: a tool in transforming the social statussurasak jamnongsarn, lalita poolsup. music deculturation khaek sai song in javanese accent for a brief explanation, the original melody of the repertoire is modified, producing new melodic character, while conserving the repertoire’s length. the term variant means changes to melodic progressions, but not to the important notes, to give different melodic and rhythmic effect than that of the original. the composer, here, has chosen to install javanese accent as a new variant character. in order to achieve this, several streams of knowledge about theory of thai traditional music is utilized. for example, composer must be able to synthesize special characters of javanese music through perception of the melodic direction of various javanese repertoires. if it is found to be in disjunct progression, the feature is then applied into his/her composition of javanese-accented repertoires. another example is that composer must analyze how tone colors/timbres of each javanese musical instrument differ from one another. once detected, the difference is then applied into the javanese-accented thai traditional repertoires in order to convey the musical expression qualities of the java through the new composition. the level of these abilities, along with other necessary ones, depends on a composer’s capability of synthesis through listening. the more proficient, the lesser times of listening required for synthesis. in addition, there is also use of suitable javanese rhythmic instruments such as drums and its nha tap4(rhythmic pattern) to emphasize more javanese characteristics. another interesting observation is the effort to balance the composition’s javanese authenticity with the delicacy of thai traditional music by creating new lyrics of foreign language, which actually is the melayu language rather than original java language. references amatyakul, poonpit. angklung. 2528 b.e. bangkok: raksipp. cherdchoo, waraporn. kham dontri thai chue sai jawa (javanese word in traditional thai music). 2553 b.e. pitsanulok: naresuan university. 4 nha tap is a rhythmic pattern of the drums that punctuates a musical piece. its pattern can sometimes provide a clue to idiomatic features of a musical piece. for example, a chinese drum is used to play nha tap in a chineseaccented repertoire. 40 editorialbook of reviewijcas: volume 5 number 1 june 2018 chulalongkorn, h.m. king. raya thang thiew jawa kwa song deaun (the journey to java for more than two months). 2555 b.e. bangkok: saengdao. dhiravat na pombejra. 2008. javanese horses for the court of ayutthaya. in breeds of empire: the “invention” of the horse in southeast asia and southern africa, 1500-1950. nordic institute of asian studies: studies in asian hughes, david w. 1992. thai music in java, javanese music in thailand: two case studies, british journal of ethnomusicology volume 1, issue 1: london. pachoen kongchoke (kru chean). 73 years, senior traditional thai musician, department of fine arts, sriprawat nonthaburi thailand. bangkok. pirasit buatang (kru pat). 70 years, senior traditional thai musician, department of fine arts, bangyai nonthaburi thailand. pradjapangrawit, r. ng. 1990. serat sujjarah utawi riwating gamelan wedhapradangga (serat saking gotek). surakarta: stsi surakarta dan ford foundation. ricklefs, m. c. 2001. a history of modern indonesia since c.1200. houndmills: palgrave. satien duangchanthip. 50 years, traditional thai music historian, wat paknam tai, thonburi, bangkok. sawit thabthimsri. 70 years, traditional thai music expert. bangyai nonthaburi. soedarsono, r.m. dan tati narawati. 2011. dramatari di indonesia, kontinuitas dan perubahan. yogyakarta: gadjah mada university press. suharto, imtip pattajoti. 2012. the journey to java by a siamese king. bandung: itb press. sumarsam. 2003. gamelan: interaksi budaya dan perkembangan musikal di jawa. yogyakarta: pustaka pelajar. ijcas: volume 5 number 1 june 2018 national archives of thailand, bangkok. b.e. 2451 สมเด็จเจ้าฟ้ากรมพระภาณุพนัธุวงษวรเดชเสดจชวา (the journey to java by h.r.h. bhanurangsi).ตอน 2 หมวดเบ็ดเตล็ด แฟ้มท่ี 56. b.e. 2472 การสง่เคร่ืองป่ีพาทย์และเคร่ืองละครซึง่ซูซูฮูนนัและมงัโกโนโกโรทูลเกล้า (transport of gamelan ensemble and theatrical costumes, presented by susuhunan and mangkunegoro).เลขท่ี 12. b.e. 2511 ขอบริจาคเคร่ืองดนตรีองักะลงุ (donation request for angklung set by university of the philippines).แผนก ต .ท . 10. กระทรวงการตา่งประเทศ .๗ 1 adam wahida. empowerment of the students creativity empowerment of the students creativity through participatory art project in surakarta adam wahida graduate school of indonesia institute of the artsyogyakarta, yogyakarta, 55000 indonesia email: adamwe91@yahoo.com abstract the general objective of the participatory art project creation is to provide inspiration and concrete solutions to the creativity problems of senior high school students in surakarta. while specifically aims to: 1) create useful the art strategies to empower the students creativity, 2) realize the art project that favors the development of students creativity potential, 3) create many artwork that comes from the students socio-cultural context. the methods of participatory art creation were done by: 1) an intensive on-site art project that was on going at sman 5 surakarta, sma murni and ma al-islam in surakarta. object observation included student activities in and outside of school, the learning atmosphere in the classroom, student work documents, and documents teacher (curriculum, syllabus, lesson plans, learning materials). 2) in-deep interviews; with the head master, teachers, and students. 3) the literature review; to examine the theory to reinforce the concepts as a foundation that provides clear direction and path in the process of creating art works for the purpose of creating some participatory artwork. 4) workshop and experiments; provide workshops of art creation to the students and conduct experiments with materials, techniques and formats in order to achieve a shape that corresponds to the concept of creation. the results of this art project are: 1) the product of participatory art creation strategies that are able to empower the students creativity. 2) the realization of participatory art project moving in the area of art creativity empowerment of students in the school. 3) the creation of art works based on the socio-cultural context, namely: print making, comic strips, comic puppets, etching. through the creation of a participatory art project has been a change as follows: 1) an increase in the students activity receiving learning material of art creation, especially of the creativity led to the idea in visual forms. 2) participatory art project can be oriented to direct experience of completing a variety of problems from simple. 3) the students have a skills to creative thinking with a different perspective and can be flexibly applied to solve a of problems as well welcoming the opportunity. keywords: participatory art, students, creativity. introduction in 2010, i was doing research at several high schools in surakarta. the results of these research indicate that the implementation of art learning, especially the subject matter creation/expression is still done conventionally, because students are only taught technical skills by imitating the teacher. in this case the student as ‘forced’ to do the activities that they do not necessarily like it. this happens because in implementing the learning, the teacher only vertical thinking. this way of thinking is choose the approach that sequentially, exact at every step so the construction of learning tend to be rigid, instructional, not explorative and boring. this condition is shown on the behavior of students who pay less attention to the teacher, chose to have a chat with 2 ijcas: vol. 2, number 1 june 2015 friends and art learning considers as free time to rest before following the next lesson. conventional learning is motivated by: 1) a lack of knowledge, understanding, and creativity of teachers in developing the model, material and methods of learning, 2) teacher only orients the achievement of student learning outcomes in knowledge without seeing any further goals as student life skills, especially creativity power. (wahida, 2010: 73). as an artist and art teacher at teacher colleges, i have a moral responsibility to always care about the social environment, in this case the development of young people (students) creativity. thus the search of various models and art learning strategies that can evoke of creativity, be a challenge that must be solved. instinctively, the phenomenon of the art learning implementation that occurs in the school, always disturbing my mind. materials and methods in art, an artist can not be viewed as an individual solely because he is basically a society member. he lives and function in society and its culture. thus the interaction between the society members (as a cultural buffer) in a variety of models of social relations will affect the creative process of the artist. according to kayam (1981: 39) art never stands be separated from society. as one important part of the culture, art is an expression of creativity of the culture itself. the society supporting of culture and arts similarly is able to provide the opportunity to move, nurture, transmit, developing for then creating a new culture again. in line with the above thinking, responsibility as an artist and art educator for resolving the social environment, must be solved. art learning phenomenon that occurs in senior high school especially in an effort to creativity empower has inspired and sparked the idea of creating my art. based on this awareness, i do self-liberation associated with the creative process. thus to do search arts strategies that is able actively involving the social dimension, not only as a tool the borrowed by artists to create works, so there is a real contribution which is done through the arts movement. steps to be taken to answer the above problems is creating a participatory art project with high school students in surakarta. through participatory art project will be able to open up the energy and give each other a chance to communicate with each other, which then be able to unify the experience and vision and encourages creativity stimulation. in the empowerment of creativity, i will be able to see a variety of possible strategies, models, and methods of creating art. art project based on the spirit of alignments on the creativity of the students is to give an alternative solution in addressing the phenomenon of art learning in senior high school also became a offer of new art creation model. the creation of a participatory art project is an unease accumulation on the phenomenon of neglected students’ creativity in the art learning process in the school. art learning in schools is less than optimal became the subject matter. expected through the creation of art project will be a model of creative and solutional to empower creativity. thus the specific problems in the creation of art project, 3 adam wahida. empowerment of the students creativity formulated as follows: 1) how to create the art project model which is based on the students creative potential? 2) how to create an art project that capable to developing students creativity? 3) how to create an art work that is sourced from the sociocultural context of the student? in contemporary art, participatory art practice began to receive attention in the praxis and discourse. the presence of participatory art in the arena of modern western art, is a form of resistance to the elitism of art that appear, when the discourse of art only an interests dominated (artist-gallery) while communities to take only become consumers. participatory art emerged as an alternative that gives the possibility for the general public to be part of the the creation of art work. participatory art is often called the interactive art, engage the audience/participants to become part of the artistic process in various ways. engage the audience/participants to mix things asked by the artist per section, or even be part of the overall artistic work. observing practice, participatory art has a lot of understanding basic in the theory and practice. but the simple participatory art can be said that the artists working together with a community of people, where they take part in the creation process of the artist’s work. because it involves many people in a community, the art practice of many involves inclination of creating works. the artist became the center of all creative processes conducted. this practice is a multifaceted art practice, involving many understanding of artistic practice disciplines. because it involves the many individuals with different artistic understanding, practices qualifying are also different, certainly raises many of significance in a participatory art work. so in participatory art, creativity exploration from each individuals involved in it becomes the main focus in the the creation of artist’s work. pablo helguera, art as a social activity relating with participatory art, there are several theories that can be used to view the spectrum of ideology-praxis of this art activity. pablo helguera perspective in education for socially engaged art, jorge pinto book 2011 became the basis of interesting to see how the participatory arts is an option to make art as a social practice (socially engaged art). he argued that, art in the paradigm of modern have a position that ‘isolated’ from the context of social practices. this is due to the practice of making art by artists tend to be conventional and is from the practice of other sciences, such as sociology, politics, and the like. art just take the vertices of issues and represented in the form of work, rather than in a more tangible activity. although the practice of the art with the sciences another long-standing, however when the discussion between the two branch of science is brought in a wider sphere, for example in the social practice never found a clear action point. while this is also influenced by the dilemma that occurs within artists when they have to deal with the art paradigm that built by the market. artists working in the realm of social practice, must continue to define the idea, write it down, and affirm its existence in the realm of art, as artists. although sometimes they do work like anthropologists, sociologists, and so on. on the basis of ‘art elitism’ and to bridge art practices tendency 4 ijcas: vol. 2, number 1 june 2015 that came out of this conventional line, pablo helguera asserted that the practice of these artists in the term ‘socially engaged art’/sea. this term emerged in the mid1970s, as the bridge of the art in the social work area . furthermore, pablo helguera said there are two important differences in an art practice that is: the symbolic and actual. art practice of sea is more emphasize on the actuality and practical work, not symbolic. many art works were done by artists who are motivated politically or socially in a community, but they acted through a representation of an idea or problem. in the result, the work of which they are designed to deal with matters of social or political level only in allegorical, metaphorical, or symbolic. for example, a painting about social issues is also claiming to offer a social experience, but only do it on a symbolic level. art as a social activity is not a manipulative activity to achieve a certain goal, but more than that, communication which the art activities is able to direct on understanding each individual involved to understand the political and cultural context, lead to emancipatory attitudes. thus artists to produce art collective impact on the public sphere in a way that is deep and meaningful, instead of creating representations of social problems alone. it is true that many participatory art practice take action and movement of symbolically, for example; create a mural or sign-art in the village, but the important thing is not the mural, but how the interaction with the community. create a mural is a symbolic act, but it is not a symbolic practice. symbolic action is act which emphasizes aspects of communication, or the actual art activity. in summary, social interactions occupies central part and inseparable of any socially engaged art. sea is a hybrid, multi-disciplinary activities between art and non art. relating with participatory art, pablo helguera gives a spectrum which has some of the same elements. the spectrum ranged on: 1) nominal participation (participant reaction when confronted with an object/idea), 2) artists participation (when an artist gives a simple task to be done by participants, such as the make a wish and write it down), 3) creative participation (when participants are responsible for producing some creative content), 4) collaborative participation (when participants share the responsibility for developing the structure and content of the work). grant h. kester, participatory art as a dialogic practice the next perspective with regard to participatory art is thoughts of grant h. kester on ‘dialogical practice’ in the creation of art works. regarding this dialogic practice he reveals that the art practice shifted which art has been the object, the practice of making art as an activity that is open, there is exchange of thoughts and interactions process more extensive. in his book the one and the many: contemporary collaborative art in a global context, ‘dialogic practices; this explicitly interpreted as advocating act to perform collaborative work, that is politically presenting artwork that blurs the line between community activity and the creation of works of art. kester defines collaborative work as a reflection of the status of ‘creator’ in self an artist, challenge the notion of aesthetic 5 adam wahida. empowerment of the students creativity autonomy, and the interactions that occur between artist-artwork-audience. kester idea rests on ‘relational aesthetics’ that was developed by nicolas bourriaud (1998). a term that emerged in the mid 1990s to the artist who creates interactive installations or multi-sensory and emphasize the possibility of social exchange within them. french art critic nicolas bourriaud coined the term and described it as “a set of artistic practices that take as a point of departure theoretically and practically whole of human relations and their social context.” relational aesthetics was first used by bourriaud on 1996 for the exhibition catalog ‘trafict’ at capc musée d’art contemporain de bordeaux. relational aesthetics celebrate art as experience, defines art as a set of participatory meetings not only as objects of art, as exemplified by the work of thomas hirschhorn, pierre huyghe, and rirkrit tiravanija. participatory art in kester thinking is a trend that is not strictly in view of art and politics, as is the reference in the conventional art practices. participatory art work has certain functions to generate social change through creative collaboration. principles of participatory art based on theoretical understanding of participatory art the above, i formulate some principles of participatory art that can then be used as a benchmark in doing the work of participatory art creation. 1. participatory art allows each individual involved to explore things that are interesting and meaningful to their lives. because the basic conception of the activity of this art is a creative process where artists and participants were able to produce meanings together. this means, the artist worked with individuals or groups to explore ideas that are meaningful to their and how to interpret the things that have been made . 2. participatory art focuses on creativity that is both challenging and has a compelling power for artists and participants. every creative process that is executed should be able to evocative consciousness of every individual, to see something that is meaningful to their lives today. therefore art activities undertaken should prioritize the ways in a creative, non-linear, to explore the creative potential during this sometimes overlooked. it is very important to fosters an alternative perspective on the self identity and others, that will be shown by the spontaneity attitude, the use of language, symbols and images taken in the artwork that they create. 3. participatory art understand that the a person’s identity is how a person tells themselves about himself. an awareness efforts to understand that identity is constructive, determined by people that sometimes very forced. therefore, participatory art became a way to help individuals exploring and contemplating each of its potential and how to communicate it to others. participatory art is an activity that uses art practices to empowering communities, reflecting every individual involved as part of the culture, while helping to build their identity. 4. participatory art is actual and contextual. an activity that emphasizes of selfunderstanding, potential exploration of experience and individual identity. artists and participants understand the context of their existence in the social sphere of society and culture. the raw material of participatory art project is a certain experience of the participants and artists. both must find a way to reveal it. 6 ijcas: vol. 2, number 1 june 2015 5. participatory art is process of together creative exploration, as well as learning spaces for artists and participants. understand that the each individual has a creative potential, knowledge and skills. they mutually formulating questions that will become the guidelines of the art practice that will be done. finding the idea of the phenomena that occur in daily life. this principle asserts that the work of participatory art based on process. understanding of this variety is an intrinsic value that would be realized in a variety of artistic products. participatory art does not just focus on the product, but also on ‘the traces left by the art’ itself. in this method of art creation, i positioned myself as an artist expand, seek and explore with students about theories, discourse and creating methods of participatory art works. according to melvin rader in ‘the meaning of art’ (yustiono translation, 1986) art as a creative act, very fluid and open, and no restrictions are tight enough for wise to line. this is due to too many crossing and linkage between human diversity, art, religion, technology, economy and so on. art creation method followed by structured stages and unpredictable steps, spontaneous and intuitive. therefore, in this participatory art creation, in general i use the following methods: engaged observations engaged observations carried in various activities related to the art learning problems, such as the organization’s activities and learning activities. this is done in order to obtained an understanding of the processes and actions of an object under study (spradley, 1980: 53-58). type of data collection have been selected on the grounds that by observation involved is much better, even enables the obtaining of complete data, when compared with doing the interview (gateword, 1985: 215). however, the procedures offered by the two experts these not the only framework that leads, because the role of the tool itself (research instrument) is more important, especially in negotiating conditions enables the data or information that is more accurate (bogdan & tylor, 1982 : 33). this observation techniques used to collect data related to the ideas and creativity of teachers in implementing the learning to evoke the creative potential of students. in the process of collecting this data i am engage in the process of art learning in school. however, where i am not as ‘insiders’ (those researched), but just trying to want to be ‘insiders’ are limited to the purpose to understand all the processes and events held during the observation. in this way it will not lose its essence, so that the limit as ‘insiders’ and as or ‘outsiders’ can still be maintained. it is very important to obtain the data sought objectivity. the population of this observation is senior high school students in surakarta, and the artwork by students, learning activities, thoughts, activities places, and things that support the art learning activities. while the samples taken of some students from population of senior high school students in surakarta. the population is subject of research, while the sample is the majority or representative of the population (arikunto, 1991: 102-104). sampling technique conducted with a purposive sampling, the selected schools apply the subject matter of art. as for sampled schools namely: sma negeri 5 surakarta, 7 adam wahida. empowerment of the students creativity surakarta murni sma, ma al islam surakarta. the sample selection was based on input competitiveness in school, school infrastructure and teacher qualifications. sma negeri 5 were sampled to represent the enter school with high competitiveness and have a a special room for art lessons, ma al-islam and sma murni competitiveness represent the school with low entry and do not have a special room for learning art. as for sample class is a class x with consideration that a class x is a class in the beginning for high school students so that is expected continue to develop their creativity in the next class. in-dept interviews a technique to complement the observation data is in-depth interviews (in-depth interviews). the interview process is conducted freely, by placing a situation and open process, informal and unstructured, but leads to a focus of research problems (bernard, 1994: 213). however remain pursue data quality. interview naturally more of ensuring that real information (lincoln and guba, 1985: 37). to obtain the data in depth about the informant portfolio resources, is done by collecting biographical data (individual life-history), especially the activity data supporting the professionalism of teachers in the learning and creative activities. with techniques like this will make it easier to obtain a deep understanding, about things that are not easy to do with observation or observing from the outside (pelto & pelto, 1987: 108-109; koentjaraningrat, 1983: 59-72). the process of in-depth interviews conducted to obtain an understanding of teachers role in arousing students’ creative potential. similarly other matters related to the students’ creativity to create art works. this is done to complement the lack of data and to check the data carried with observations by involvement. literature review the study was conducted in order to examine the theory to reinforce the concepts as a basis that provides direction and way in the process of creating art works for the purpose of creating a participatory artwork. the data will be collected with this technique, the theory of participatory art movements including the concepts and methods of its creation. workshop and experimentation from a review of the concept and study of literature, i give art creation workshops to students and make experiments with materials, techniques and formats in order to achieve a shape that corresponds to the creation concept. material and strategies of workshop based on the students needs in the context of teens socio-cultural. thus matter and strategies of workshop according to the students psychological, and students can enjoy their involvement in this art project. 8 ijcas: vol. 2, number 1 june 2015 discussion and results a. the art project model based on student creativity to resolve the above problems, i prepared a draft of art project strategies that studentcentered. in this case the students need to be taught a way of thinking to generate ideas and creative works. besides, students are given the freedom to manage the idea of the everyday environment. visual culture of teens in surakarta used as the basis to integrate with art lessons. the proper way to change the mindset of students about art lesson is to apply lateral thinking method. this method is believed to help awaken the imagination of the students is freely and unimpeded. beside it can also give alternative of ideas related to the visual aspects is freely and are not confined by convention or common rules. lateral thinking is directly related to the search concepts and perceptions are diverse. in some ways changing perceptions and concepts are the basis of creativity that involves new ideas (marianto, 2006: 120-123). lateral thinking regard with to evoke new ideas. lateral thinking also has a role in the break away from shackles of the old idea conception. this role generating attitude and approach to observe the problem in a different way. (bono: 1991: 11-12). to build a common understanding in this art project, the concept of lateral thinking is used as the basis of participatory work. the strategy is to explain the concept of lateral thinking to the students bring up awareness on the meaning of each problem through a variety of perspectives. once students understand how to think laterally and then given a workshop creating creative works are sourced from environmental and social context of the student as a teen in the community. in the concept of lateral thinking-based learning, students are not only given the subject matter, but the creative thought process implanted to explore the potential of individual creativity in order to develop properly, and always grow in life. each subject is a basic theme which must be developed by the students to look for other possibilities that could happen, how widely its development, will be in accordance with the potential and uniqueness of each individual. before determining the workshop materials, i and teachers unify perception of the importance of creativity, creativity and development barrier. the results as a basis for designing the workshop material so as not to deviate from the curriculum and students are able to facilitate expression. in addition, i identify various possible development through brainstorming approach. the approach is to look for as many workshop materials to be found more specific material. the design of the workshop material is done by understanding and analyzing competence standards and basic competences in the curriculum. after getting the material in accordance with achievement of student competencies then the design method through a variety of perspectives. the main benchmark is that students have appreciative power that can trigger the rise of the creative potential, because it is the core of art learning implementation in school. 9 adam wahida. empowerment of the students creativity based on this insight, i create learning materials alternative that can construct the idea of the surrounding environment observation as well as introduce and bring art to everyday life through techniques variety. the workshop materials are selected that make comics, comics puppet, etching, woodcutt. these materials were chosen with consideration that a familiar the artwork diversity among students as visual attributes. while ideas of its creation derived from the socio-cultural of teens in surakarta. b. participatory art creation process after conducting a variety of workshops series and experimentation, then i along with students carrying out the artwork creation process. here is the artwork creation process done with participatory. 1. gubuk grafis this art work creation begins with setting up a canvas size of 20 x 30 cm, stitched edges and each corners was given a red ribbons. the canvas pieces totaling 100 pieces. once the canvas is ready, then i and the students choose hardboard cut that has been generated during the workshop on woodcut. each hardboard is then printed on canvas that is already prepared. the process of printing that is done is monoprit with black ink. after all canvas printed, then set its visual composition and merged into one. connection of each canvas is done by connecting the ribbons on canvas corners. figure 1. the process of printing on canvas (collection: adam wahida, 2013). after all canvas composed into a single, then the next process is to create a pole of wood to put the canvas to be easy set up like tent. the selection of tent shape was inspired by the tents used in extracurricular activities such as; scouts, outbound, camping. as such, conceptually the tent shape can be interpreted as a space to gather and creative activities for students. to complement the artwork force this gubug grafis, also presented the board/hardboard cut as its floor, while on the inside of tent arranged a table to put the graphic arts paper and lcd projectors that play video woodcut workshop process at some schools. 10 ijcas: vol. 2, number 1 june 2015 figure 2. the process of organizing the inside of a tent. (collection: adam wahida, 2013). visually, the work of graphic art is a ideas communication form between students who represented into a single unit. the practice of artwork creation is in line with the theory of relational aesthetics by nicolas bourriaud that art is a way to do exploration at the same media experiments on activities of communication between some people. compiling graphic artwork in the form of tent, printmaking paper put on the inside and play video shared work processes chosen as a model presentation. in addition to artistic considerations, all of the material into a single unit is presented to show a complete process of participatory work models that has been done. art lovers are expected to understand and interpret each set of process shown through video documentation, as well as view the resulting graphic arts. the selection this tent as a representation of the idea of the importance of a gathering space for students to express their creativity. the confidence of students who appear on each graphic art, demonstrate a complete personal creative expression. students demonstrate cognitive ability for expressing ideas, creating patterns and styles, as well as expressing the spirit in the artwork. 2. expression of etching the creation of this etching work begins with setting up a wooden board size of 10 x 10 cm as a frame. further etching produced during the workshop affixed on the board using a glue. each board was given a hook at the top for hooking a rope hanger. 11 adam wahida. empowerment of the students creativity figure 3. making and installing the etching on wooden board (collection : adam wahida, 2013). because of this artwork will be presented in the form of 2-dimensional installation, then i set up a hanger board of canvas size 140 x 200 cm, some nails fitted on the back of board for hooking a rope. the canvas is painted black and brown to resemble wood. when all is ready, the next etching board fitted red rope to hang on the canvas. red rope to give contrast effect when arranged on black canvas. compilation each etching on canvas is made randomly and unorganized to overlap one another. the idea of setting this artwork inspired by teens visual attribute setting such as pins, emblems, stickers, key chains, which are on display of randomly and overlap for sale in a store. figure 4. thread installation and etching arrangement on canvas. (collection : haidar ammar, 2014). all etching randomly and piled presented, one with the other. in addition to artistic orientation, presentation like this to be symbolization so random and wild teens creativity of today’s if not accommodated and facilitated. accommodate all of etching in the canvas, became a symbol of that expression is random and piled it can be seen and facilitated. this representation model also become sign that the current teens surrounded by popular symbols that obscure the meaning of self identity and communal identity, everything is overlapping and random. efforts to accommodate the creativity of students is one way to identify their potential so that will bring up personal identities are strong. through participatory work, these efforts done with students to bring 12 ijcas: vol. 2, number 1 june 2015 up critical dialogue about the potential of creativity that is not accommodated. this participatory art project also become space to discover how each potential should be represented and accommodated. 3. documentation of comic through workshop of comic the students were able to make uniquely character comic pictures his own. technical ability in drawing is not be a problem that hampers. each student is able to develop imagination, build a story and present it. comic the resulting from the workshop are presented in a book format. its creation begins with the grouping based on the comic theme and visual tendencies. due to these comic are made with different size then i put on the same paper size of 30 x 40 cm. after all comic tacked then arranged into 4 books. the final presentation of comic book each placed on a wooden pedestal shaped a cross. this presentation as well as documentation of the workshop process that has been done. in addition to the format presented in the book, this comic is also presented in a 2-dimensional panels are made with cut-out technique. each character image affixed to the sponge and then cut at the edges. pieces of the character images are grouped and affixed on a bigger sponge. to add to artistic value, ornamented background on sponge are made with a cutting technique. this is in addition to add to artistic value, is also a space to put a tagline which i was able to represent the whole set of pictures of this comic. figure 5. presentation of comic book and panel. (collection : adam wahida, 2014). the selected tagline is “seni iku kalakone kanthi laku, lekase kalawan kas, tegese kas handayani, setya budya pangikising durangkara”. this text is taken from the famous excerpt of serat wulangreh: ‘ngelmu iku kalakone kanthi laku, lekase kalawan kas, tegese kas nyantosani, setya budya pangikise durangkara’ means that science can be understood /controlled must be trying hard to strengthen the character, strength of character to keep away from the evil nature. 4. comic puppet this comic puppet is the result of the development of the previous comic workshop. the idea was inspired by the unique puppet shape and the freedom the comic shape. the unification of the two will bring a more unique visual form. the shape idea of each character is taken from the story of everyday life, such as: political issues, economics, pop culture, poverty, and unemployment. 13 adam wahida. empowerment of the students creativity figure 6. students are coloring and put the handle of puppet. (collection: adam wahida, 2014). the creation of the artwork is started collecting comic puppet types and shapes that have been made . the presentation of an interactive artwork is created using a simple kinetic energy. kinetic techniques have been selected to represent the proximity of the students to the environment. an interactive presentation through manual kinetic energy is expected to be the audience feel closer to the expression of these teens. puppet driven by wheels of wood a number of 20 pieces. the wheel was given axis, on each its axis are connected using a wood as long as 300 cm. length of wood that is used to put the handle of puppet. for driving force, one wheel was given a handle so that if one wheel is driven then all the wheels will move. next i made a rectangular wood construction a number of 2 pieces the size of 100x 300 cm, and 200x 300 cm. the wood construction made like multilevel racks, large size is placed on the front and a small one in the back. the next series of wheels mounted on wood construction at the back. the series of the wheels, in the wheels part of most central added gear are connected with rotary handle using a chain. after buffer construction and wheels can be rotated, then each handle of puppet is placed on the wheels. figure 7. position structuring comic puppet. (collection: adam wahida, 2014). 14 ijcas: vol. 2, number 1 june 2015 the idea of the form in this artwork is a sequence diorama. the story is not built in sequence, but more fragmented. interpretation of story is left up entirely to the audience who saw it. the form of puppets and story taken from everyday stories that students encountered. taking puppet motion techniques, comic characters and stories of everyday life is everyday reality manifestation of the typical teens. representation techniques an interactive kinetic comic puppet is aimed to represent the tendency of teens creativity practices in surakarta who live between tradition and modern culture. conclusion the creation of a participatory art project is able to improve the art learning quality in senior high school. through workshops series based on lateral thinking, students are able to explore ideas and the creative potential for creating artwork accordance to the soul. through the creation of a participatory art project has been a change as follows: 1. an increase in the students activity receiving learning material of art creation, especially of the creativity led to the idea in visual forms. it is shown from a variety of visual forms created by each student independently, original, and accordance with the wishes and attention on an object. 2. the subject matter is more interesting because it emphasizes the involvement of students to observe a variety of things that are presented in the subject matter with many perspective so that the essence of their meaning can be found. this means that learning process can be oriented to direct experience of completing a variety of problems from simple. 3. implementation of learning more encouraging students to understand meaning of the subject matter with linking in the context of everyday life (personal context, social, and cultural). thus, students have the skills to creative thinking with a different perspective and can be flexibly applied to solve a of problems as well welcoming the opportunity. references arikunto,suharsimi. (1991), prosedur penelitian. suatu pendekatan praktik. pt. jakarta : rineka cipta. bernard, russel h. (1994), research methods in antropology qualitative and quantitative approach. usa: sage publication.inc. bogdan & tylor. (1982), dasar-dasar penelitian kualitatif. terjemahan a khozim affandi. surabaya:.usaha nasional. bono, edward de. (1991), lateral thinking atau berpikir lateral, terjemahan sutoyo.1991., erlangga, jakarta. bishop, claire. (2012), artificial hells: participatory art and the politics of spectatorship, verso, uk: 6 meard street, london. cammarota, julio & michelle fine (ed). (2007), revolutionizing education: youth participatory action research in motion. routledge, new york & london. cooper, mark and lisa sjostrom. (2007), making art together: how collaborative artmaking can transform kids, classrooms, and communities, beacon press, boston. lincoln y and guba, e.g. (1985), naturalistic inquiry. beverly hill: sage publications marianto, m.dwi. (2006), quantum seni, dahara prize, semarang. munandar, utami. (1999), pengembangan kreativitas anak berbakat, rineka cipta, jakarta. 15 adam wahida. empowerment of the students creativity nasution. (1988), metode penelitian naturalistik kualitatif. bandung: transito. pelto, pretty j & gretel h. pelto. (1987), antropologycal reaseach:the structue of inquiry. london: cambridge university press. wahida, adam. (2010), pengembangan materi pembelajaran seni rupa berbasis lateral thinking dan life skill untuk meningkatkan kreativitas seni siswa sma di surakarta. laporan penelitian dipa blu fkip uns. online resources lowe, toby. (2012), a quality framework for helix arts’ participatory practice http:// www.helixarts.com/pages/research.html. accessed on may 2, 2014. 13 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as art techne as technology and techne as art: heidegger’s phenomenological perspective d. rio adiwijaya dkv new media, school of design, binus university jln. kh. syahdan no. 9, jakarta 11480, indonesia (6221)5343830 ext. 2107 rioadi@gmail.com yasser rizky dkv new media, school of design binus university; jl. kh. syahdan no. 9, jakarta 11480, indonesia (6221)5343830 ext. 2107 yasser_rizky@yahoo.com abstract we live in an age where our existence has been remarkably shaped by technology. however, as contemporary thinkers have elucidated, technology is not a mere sum of our tools. at a more profound level, technology forms an instrumental context that frames our relation to the world and to ourselves. everything thereupon tends to appear merely as a means to an end. countering the instrumentalistic tendencies of global technologization, this paper would like to ponder on the meaning of technology beyond mere tools. the core influence of this study is the thought of martin heidegger (18891976) which reveals that both technology and art stem from ancient techne, our basic way to reveal reality through embodied praxis. however, 2500 years of western intellectual history has rendered the instrumental meaning of techne – that is, the way we understand technology today as practical utilization of science – becomes far more dominant than the artistic or poetic one. it is the aim of this literary study to elucidate heidegger’s dense phenomenological inquiry which reveals the dual meaning of techne: techne as technology and techne as art. recovery of the forgotten poetic meaning of techne is crucial to counter instrumentalism that pervades art in our techno-scientific age. keywords: instrumentalism, embodied praxis, instrumental techne, poetictechne introduction nowadays, most of our lives take place in engineered environments, powered by electricity, equipped with lighting and water supply systems, air conditioners, audio-visual devices and so forth. as professionals from various fields including the art, our works rely on myriad of tools from computers and gadgets to art materials and instruments manufactured in large-scale industries. indeed, for most of us as twenty-first century human beings, technology is like an oceanic habitat in which we make a living as if we were fish, rendering it inconspicuous to us due to its proximity, pervasiveness and ubiquity. 14 editorialbook of reviewijcas: volume 5 number 1 june 2018 in the modern art world, the invention of mechanical reproduction had ignited twentieth century visual art’s inclination towards formal abstraction, setting aside its age-old preoccupation with mimesis. however, under the urge of constant renewal while the modern art itself was heavily saturated with form-driven specimens, one of the most possible breakthrough pointed out by arthur danto (as cited in braembussche, 2009) was achieved through a staunch conceptual approach, initiated by artists such as marcel duchamp and andy warhol with their found objects art (pp. 153-155, 157). from then on, there emerged an approach that shattered the traditional distinction between art and non-art, since under a conceptual credo, everything can be made a work of art. contemporary installations are still echoing what the 1960s conceptual artist sol lewitt said about the art of his cohort: “when an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. the idea becomes a machine that makes the art” (lewitt, 1999, p. 12). however, when the the concept and not the physically created or performed works takes over the center stage, consequently artwork becomes ‘dematerialized’ (lippard & chandler, 1999, pp. 46-50) and tends to appear as only a kind of message carrier or sign. art’s preoccupation with its own sign-like functionality was attested by modern day employment of semiotics in art (bolt, 2004, pp. 116-117). ironically, this ‘immaterial’ yet instrumentalistic conception of art also implies a ‘self-cancellation’ dilemma known as ‘the end of art’ put forward by figures such as arthur danto and victor burgin (brand, 2000, p. 175). judged only by its message-delivery function, art loses its inherent ‘material’ significance. without purposely making the case worse, our technological predicament does not only affect our understanding of art, but of ourself. in today’s language, we even conceive ourselves instrumentally, namely as ‘human resources.’ the ‘superstar’ or ‘celebrity’ culture we often witness or experience in the art world, instead of a mark of individual liberation, is very likely a part and parcel of the ordering of those individuals within the production and consumption cycle of art as commodity. as cited in bolt (2004), artists josephine starrs and leon cmielewski attested from their own experiences in the contemporary art scene that at first, celebrity artists themselves are regarded as products to be promoted in order to sell their artworks. later when they have achieved enough fame and fortune, they can also be used as a tool to promote other products (p. 57). of course, to be circulated within this commodification cycle is not the same as endorsing it. in other words, we may still engage in such a circumstance from a critical standpoint. what is crucial here is rather that technology, as a global phenomenon, does shape our mindset in a seamless but profound manner, at which point our common understanding of technology as just a tool is clearly inadequate, even exhibiting the problematic itself, that is, instrumentalism. 15 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as art speaking of the instrumentalism that pervades us at societal level, it is necessary to take a glance over some major studies of techno-industrial society, such as those of max weber and critical theorists (horkheimer, adorno, marcuse, habermas). weber theorized that along with the modernization process in which techno-science played a constitutive role, there also came about the process of ‘rationalization’ which characterized society. premodern people were deeply tied to and motivated by traditions, while rationalization led to societal structures and behaviours that were governed solely by goal-oriented or instrumental rationality (gane, 2002, pp. 15, 24-27). jürgen habermas who shared weber’s concern asserted that the rationalization process had yielded ‘colonization of lifeworld by system.’ our culturally rich and dialogical forms of life were more and more pervaded by instrumental logic of technocapitalistic system (layder, 2006, pp. 224-226). as contemporary sociologist george ritzer attested, we can still witness weber’s gloomy prognosis of modernity in an ever-increasing demand for calculability, predictability, control and efficiency over many aspects of our life today (ritzer, 2010, pp. 16-17), e.g. through imposition of ‘measurable performance’ in education, ‘certification’ of profession, et cetera. after seeing how profoundly technology has shaped us, we can now ask, how was that all possible in the first place? how could the human, the creator, become enslaved to his/her own creation, technology? furthermore, is there still any significant place for art in the age where technology has become so dominant, and where its instrumental or goal-directed thinking seems to be the only logical way to think? is there any meaning of art more than a message-delivery tool? it is no coincidence that martin heidegger (1889-1976), one of the most influential thinker of the twentieth century, occupied his life and work with fundamental questions such as the ones above. he does have some very fresh and original, yet deep and illuminating answers about the human condition, and its co-constitutive relationships with technology, and with art. to appropriate heidegger’s enlightening answers, it is first required to grasp the basics of his pivotal approach, namely phenomenology. accordingly, the first discussion in this paper is of heidegger’s phenomenology, which revealed our basic constitution as being-in-the-world instead of subject vis-à-vis object. as being-in-the-world, we firstly engage reality immediately vested with our practical interest in a ‘mindless skillful’ manner (dreyfus, 1991, p. 3), before we access them as objects of disinterested cognition. in other words, our most basic way to relate to reality occurs through embodied praxis or techne, not theoria or cogito as traditional and modern philosophy think. this topic will occupy the second part of this paper. however, techne, as heidegger suggested, does not merely bring forth instrumental things (i.e. tools or technology) but also noninstrumental yet meaning-bestowing artworks, as will be discussed in the third and final part. here we discover the phenomenological significance of techne as art, that is, the disclosure of reality in a qualitatively meaningful way, in contrast to techne as technology that reveals reality solely as quantifiable function. 16 editorialbook of reviewijcas: volume 5 number 1 june 2018 heidegger: the quest for the meaning of being through phenomenology heidegger is well known for his life long quest for the meaning of being. being, a traditional subject for ontology or metaphysics, is perhaps too abstract for us who are concerned about art and technology. however, what he means by being is neither an abstract entity that exists beyond perceptible reality, nor a special concrete entity among others, nor the sum of all entities, nor an aspect of entities (carman, 2013, pp. 84-85). so, what is being and why it is important? firstly, we should notice that heidegger did not ask about ‘being’ per se but about ‘the meaning of being.’ as carman noted, his question is actually “what does it mean to be” anything at all (p.85), as we often ask in sentences like “what does it mean to be a cat?” or “what does it mean to be a human being?” and so forth. this question, as simple or as superficial as it may seem, is actually a very fundamental yet very difficult to answer. indeed, since being and time (1962), heidegger decided to embark on his quest for the meaning of being (of many entities, i.e., human, natural, technological, or artistic entities) by firstly interrogating the only entitiy that concerns about the meaning of its own being, that is, us, the human being (pp. 32-35). to be sure, heidegger did not begin from square one since philosophical tradition has already provided some answers, but these he deemed to be a misinterpretation of the meaning of being. for heidegger, the whole western philosophical tradition has misinterpreted the meaning of being of either human or non-human entities as substance, i.e., the underlying ‘what-ness’ or essence of all entities that remains unchanged over time (frede, 1993, pp. 43-46, 61). for plato of the antiquity, what underlies all entities is their eidos or form, i.e., their perfect and permanent ‘blueprint’ which can only be accessed through theoretical inquiries. for the medievals, the underlying essence shared by all entities is ens creatum (created beings). it is under the influence of the progenitor of modern thinking, rené descartes, that we have been inclined to think that there are basically two kinds of substance: the mental that thinks and the material that occupies space (guignon, 2005, p. 92). today, it is still very common to assume ourselves to be a combination of non-physical mind and physical body, to see an artwork as a mixture of mental concept and physical medium, or a natural object as an entirely physical entity. as a field of philosophical research, heidegger did not find anything inherently wrong with metaphysics. however due to its historical sedimentation in language, substance metaphysics eventually becomes worldview, and in our time, it has been so tyrannical in framing our mindset that it “drives out every other possibility of revealing” (heidegger, 1977, p. 27). one of the most harmful effects of cartesianism is the reduction of the meaning of reality to mere objects to be dominated by man, the thinking subject. beginning from the interpretation of her/himself as an entity that has a mental-thing ‘inside,’ entirely separated from material reality ‘outside,’ descartes also initiated representationalism, that is, a belief that our most basic yet ultimate access to reality occurs through 17 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as art mental representation or ideas inside our mind. this common metaphysical assumption has many peculiar consequences, for example, excessive theoreticism which presumes that all human ability consists of having a theory that can be transparently formalized (clark, 2002, pp. 9-17, dreyfus, 1991, pp. 1-6). next, a sharp division between what is considered to be merely inside and what is truly outside, which in turn deems qualitative meaning as merely ‘subjective’ and quantitative empirical facts as ‘objective’ (guignon, 2005, p. 92). modern trivialization of art as merely subjective fiction vis-à-vis scientific knowledge as the one and only objective truth surely has cartesianism as its culprit. finally, the cartesian binary and its representationalism culminates in the age of technology when its bureaucratically controlled forms of life is embraced all over the modernized globe. within this technologically ‘enframed’ world, human and non-human entities are even no longer appear as distinct subject and object but rather equally as ‘resources’ to be maximally utilized (heidegger, 1977, p. 18). as iain thomson (2011) explained, subject-object dualism precisely becomes technological enframing “when the subject objectifies itself – that is, when the human subject, seeking to master and control all aspects of its objective reality turns that modern impulse... back on itself” (p.58). representational thinking, though initially was one of the most important self-discoveries which empowered human beings, has now led modern humanity to systematic domination of all entities including him/herself. to release ourselves from the grip of cartesianism, heidegger’s strategy in being and time was to show that the subject-object binary itself is a metaphysical construct that does not determine our basic ‘way to be’ in concrete life. to let our way to be in concrete life show itself, heidegger is indebted to edmund husserl’s phenomenology. prior to heidegger, phenomenology for husserl was a rigorous self-examinaton of the inquirer’s own consciousness, with a goal of providing a firm epistemological basis for science, since all scientific knowledge is constituted in consciousness. husserl’s aim was to achieve a comprehensive account of how knowledge is given to consciousness (zahavi, 2003, p. 12). husserl’s crucial finding is the intentional character of consciousness, which means, consciousness never occurs vacuously as if it is an empty container but always intending something, or directed towards an object outside of itself. we can see that intentionality already exceeds cartesian sharp-dualism, since subject and object for husserl are inter-dependent or presuppose one another (moran, 2005, p. 50). indeed, husserl rehabilitates the role of the human subject in constituting knowledge, including the objective-scientific one. heidegger embraced husserl’s intentionality, but at the same time saw that the latter was still trapped within cartesian metaphysics by accepting pure consciousness of subject as a zero-point of intentionality. for heidegger, there is no pure point to which we can anchor ourselves to get a neutral view of things. it is true that we could only begin from the first-person perspective or the ‘i,’ but for heidegger, there is no evidence that there is any metaphysical substance, i.e., 18 editorialbook of reviewijcas: volume 5 number 1 june 2018 subject or ‘mental-thing’ that underlies the ‘i’ in accessing reality. it is actually my prior involvement in practical affairs of my social milieu that gave me first access to things, other people, and myself (guignon, 1993, p. 6). heidegger named this co-constituve intentional relation between us and our socio-practical context: being-in-the-world, a relation that occurs at a pre-reflective level of engagement prior to conscious intending. being-in-the-world and techne to say that we exist as being-in-the-world does not mean that we merely occupy a spatial coordinate of planet earth which can be located by a gps. prior to the geometrization of space-time, the world we are being-in is a space of familiarity that envelopes our relations to things, people and ourselves in a pre-relective manner. it could be a world of family, a world of office workers, a world of academia, a world of art, and so forth. each world serves as a backgound whole in which things and people including ourselves directly show up in the foreground as its meaningful parts. in our daily academic world for example, we find ourselves already coping with things (e.g., computer, printer and paper) in-order-to produce scholarly writings whereof words can be composed on papers towards sending it to a seminar, for-the-sake-of our own self-realization as academics. things barely appear as meaningless and unrelated to each other and to us but always already within the world’s referential structure: … in-order-to … whereof … toward-which … for-the-sake-of-which … (heidegger, 1962, pp. 91-122). in contrast to this basic human way of being as being-in-the-world, the cartesian subject merely occupies a uniform geometric space where she/he firstly encounters things as meaningless objects for her/his bare perception. things become meaningful only through subjective value-predication or arbitrary conceptual imposition inside the mind, explaining why cartesianism may lead us to crisis of meaning. replacing the concept of subject, heidegger’s german neologism for the human entity whose basic way to be is being-in-the-world is dasein. translated literally, dasein means being-there, which is actually heidegger’s designation for an a-priori human ‘openness’ towards worldly contexts instead of being enclosed within itself as an ego (dreyfus, 1991, p. 13). as discussed earlier, cartesian ego is actually a metaphysical (i.e. hypothetical) substance which is conceived to be entirely self-sufficient and isolated from any worldly context. while as dasein, we and the world basically constitute each other from the very start in a part-whole relationship. self and world belong together in a single entity, the dasein. self and world are not two beings, like subject and object, or like i and thou, but self and world are the basic determination of the dasein itself in the unity of the structure of beingin-the-world. (heidegger, 1988, p. 297) one can indeed question the a-priori validity of being-in-the-world in disclosing entities as already familiar to us, for does one not become familiar with things by recognizing them in cognition one after another? but if we begin our existence 19 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as art from the position of a worldless subject who basically accesses things through bare cognition, then we should begin by merely perceiving things as meaningless objects. computers, printers, stack of papers, et cetera in our office should firstly be perceived as mere box-shaped objects of assorted sizes, colors and textures without any significance, then we must attach meaning to each of them in a piecemeal manner, followed by relating each thing to the others until it forms a coherent whole, then we know what to do amids them. in fact, our daily encounters with things never proceed in a such a way. we ‘proximally and for the most part’ find ourselves already coping with things we are already familiar to, in order to pursue the socio-practical goals we are already aiming towards. for us whose constitution is being-in-the-world, things within the world are thereby initially revealed as “ready-to-hand” or equipmental things through daily coping, prior to their disclosure as “present-at-hand” or neutral objects for bare perception as descartes suggested (heidegger, 1962, pp. 97-98). this praxical yet embodied disclosure of reality as equipmental things does not apply only to man-made artifacts but to nature. “the wood is a forest of timber, the mountain a quarry of rock; the river is water-power, the wind is wind ‘in the sail’” (p. 100). it is only in total absence of dasein (which is impossible since we in fact, are) or when our initial coping runs into breakdown that equipmental things begin to occur as neutral objects for disengaged cognitive perception. for heidegger, this equipmental breakdown is the origin of theoretical attitude, which implies that human praxis never emerges from some previously established theories. it was philosophy since plato that has misinterpreted humanity’s prime comportment towards reality as cognitive or theoretical in nature. however, heidegger discovered that the pre-socratic before plato has recognized this praxical yet axiomatic way to reveal the real in their concept: techne, the etymological source of today’s term technology. in the introduction to heidegger’s the question concerning technology (1977), leavitt explained this broad sense of techne. techne was a skilled and thorough knowing that disclosed, that was, as such, a mode of bringing forth into presencing, a mode of revealing. (p. xxv) here, heidegger has no other intention than implying that humanity and technology co-constitute each other from the very beginning, which means they both are each other’s perpetual condition for being what they are. this coevolution between human and technology also means that we can never escape technology, since our very being is already technological from the start. stated differently, technology is never merely the total sum of artifacts ‘out there,’ but rather, the artifact itself is already an outcome of our ‘technological’ way of comporting ourself embodiedly towards the world (i.e. techne). even theoria which became axiomatic for western humanity since plato and aristotle is regarded by heidegger as emerging from both thinkers’ unrealized projection of technological attitude towards the cosmos as whole. zimmerman (1990) glosses this technologically-contaminated inquiry of plato and aristotle into the nature of reality as “productionist metaphysics.” 20 editorialbook of reviewijcas: volume 5 number 1 june 2018 the metaphysical schemes of plato and aristotle, heidegger argued, were based on the view that the structure of all things is akin to the structure of products or artifacts. aristotle’s metaphysics, for example, is ‘productionist’ insofar as he conceived of all things, including animals, as ‘formed matter’. the most obvious example of such ‘formed matter’ is the work produced by an artisan who gives form to material. plato and aristotle seemingly projected onto all entities the structure of artifacts. (p. 157) this short glimpse into heidegger’s deep vision about technology more or less illustrates why western culture for him inevitably culminates in the technological era, that in turn it becomes a threat to humanity through its pervasive instrumental mindset. however, if technology itself is nothing but the basic co-constitution of our own being, then the big question is how can we ever release ourself from the grip of instrumentalism that heidegger himself despises? it turns out that heidegger (1977) also indicated that in ancient times, techne did not only disclose reality instrumentally, but also poetically (i.e., as artworks). once that revealing that brings forth truth into the splendor of radiant appearing also was called techne. once there was a time when the bringingforth of the true into the beautiful was called techne. and the poiesis of the fine arts also was called techne. in greece, at the outset of the destining of the west, the arts soared to the supreme height of the revealing granted them. they brought the presence [gegenwart] of the gods, brought the dialogue of divine and human destinings, to radiance. and art was simply called techne. (p.34) simply stated, the only way to counter-balance the instrumental side of techne for heidegger is through techne itself, though its non-instrumental side, that is, art. techne as technology and techne as art to be able to experience art as a counter balance to technological frenzy, we should pay attention to how heidegger differentiate the phenomenality of equipments and artworks. as mentioned earlier, equipmentality of things is disclosed at the same time we engage them through daily coping. however, equipmental things have a very peculiar phenomenality: they are disclosed in a transparent manner. this transparency becomes obvious if we take examples of our ‘nearest’ equipments such as clothes, shoes, or glasses. when we use these proximal items, we don’t pay attention to them but instead to the goal of our practice. we are busy reading books by wearing glasses, while the glasses themselves becomes barely noticable. this transparency is also tied to the fact that any equipment is disclosed within the referential structure of the world as previously discussed. a hammer, for example, never exists individually but always in its reference to nails, then nails refer to woodboards, woodboards to furniture, furniture to houses, houses to districts, districts to cities, et cetera, until it forms our world as an ‘equipmental totality,’ which is also transparent to us insofar as we immerse ourselves in it in daily life. a city as an equipmental whole remains inconspicuous until a breakdown such as electricity failure occurs, 21 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as art modifying its previous transparency into an explicit availability (i.e. natural object) for our rational scrutiny. in the early parts of the origin of the work of art (1975), heidegger begins to describe initial differences between equipmental things and artworks, that the latter do not need equipmental breakdown to explicitly announce themselves. it could be related to art’s ‘thingly character,’ eg. “colored in painting” or “sonorous in musical composition” as heidegger begins to ponder (p. 19). however, this attempt to capture the phenomenality of artwork from its mere materiality ended in the need to add immaterial values or concepts to that material thing for it to be valued as art. this is precisely the way binary substance metaphysics frames our basic understanding of everything, the way that heidegger expects to overcome. returning to his phenomenological position that things are initially revealed as equipmental things and not mere things, heidegger in the origin decides to directly compare phenomenal differences between an equipmental thing and a painting of equipment, in his case a pair of farmer’s shoes and van gogh’s painting of shoes. the comparison itself is carried out in a very unorthodox manner, in which heidegger attempts to redescribe real farmer’s shoes (which are of course unavailable for heidegger at the time he visits the gallery where van gogh’s painting is displayed), with the help of the painting (p. 33). this sequential and careful reading of the origin of the work of art is necessary to avoid the false impression that heidegger is attempting to interpret the content of van gogh’s painting. before attending to the painting, heidegger already brings an example, that is, the real shoes of a female farmer, probably from rural southwest germany, the same area where heidegger lived. heidegger begins by describing the transparent phenomenality of real shoes from within the world of the farmer herself. the peasant woman wears her shoes in the field. only here are they what they are. they are all the more genuinely so, the less the peasant woman thinks about the shoes while she is at work, or looks at them at all, or is even aware of them. she stands and walks in them. that is how shoes actually serve (p. 33). the only way for the shoe to be individuated from its world as equipmental totality in being and time is through equipmental breakdown, which then modifies the transparent phenomenality of equipment into an explicit object. now as heidgger moves his attention away from real shoes of the farmer to the painting of van gogh, suddenly he sees: from the dark opening of the worn insides of the shoes the toilsome tread of the worker stares forth. in the stiffly rugged heaviness of the shoes there is the accumulated tenacity of her slow trudge through the far-spreading and ever-uniform furrows of the field swept by a raw wind. on the leather lie the dampness and richness of the soil. under the soles slides the loneliness of the field-path as evening falls. in the shoes vibrates the silent call of the earth, its quiet gift of the ripening grain and its unexplained self-refusal in the fallow desolation of the wintry field. this equipment is pervaded by uncomplaining anxiety as to the certainty of bread, the wordless joy of having once more 22 editorialbook of reviewijcas: volume 5 number 1 june 2018 withstood want, the trembling before the impending childbed and shivering at the surrounding menace of death (pp. 33-34). clearly heidegger is not interpreting the content of van gogh’s painting, but rather speaking about the shoes of the german farmer in the way he describes equipmental things in being and time. but this time he does not describe it directly but through the facilitation of van gogh’s painting. heidegger indeed sees the difference between seeing the shoes directly and indirectly (through painting). directly seen, real shoes appear as something ready to wear. if we notice some worn marks on the leather, it is only a sign for us to check whether the shoes need a maintenance or a repair. in short, it is all about the functionality of the shoes. but seen through the painting, it now appears that those worn shoes do not only belong to an equipmental context, but to ‘earth,’ the source of its poetic meaning beyond mere funtionality (kockelmans, 1986, 131-132). from this illuminative power of painting then heidegger concludes that a simple mimetic painting of van gogh’s pair of shoes neither merely represents a real object, nor merely expresses its painter’s intention, but reveal ‘the truth’ of reality (heidegger, 1975, p. 35), that is, the inherent and qualititative meaning of things, in this case, a pair of shoes. the ordinary significance of equipment is usually its ‘usefulness’ (p. 34) or functionality. here, we should remember that for heidegger’s phenomenology, every equipmental thing always refers to another equipmental thing, e.g., hammer refers to nails, nails to woodboards, woodboards to furniture and so on until they form an equipmental totality. every equipmental thing therefore does not have any intrinsic significance, since it is determined by its function to fulfill certain extrinsic goals, which in turn refer to other extrinsic goals, and so on ad infinitum. in modern age, the functionality of equipment is determined quantitatively, e.g., by measuring its efficiency in fulfilling its function. less efficient equipment is usually deemed to be obsolete and disposable. however, the worn marks on the shoes in van gogh’s painting which have nothing to do with functional decay, reveal an even more original yet qualitative meaning of equipment, that is, its ‘reliability’ (pp. 34-35). when we wear out our equipment, this ‘reliability’ is indeed inconspicuous. only through the illumination of the painting, it is revealed that the worn marks are a sign that the shoes have always been relied upon, in heidegger’s case, by the farmers in roaming the earth. earth is nature’s materiality that sustains the world, but remain excessive or lies outside its horizon of practical inteligibility (polt, 2011, p.38, mitchell, 2010, p.10). earth as ‘excess’ that is resistant to the world’s daily instrumental logic can be seen in heidegger’s lyrical description about nature that gives harvest (instrumentality) but also scarcity (resistance). while there should be earthy elements in every equipment, earth only appears conscpicuously through artworks due to its non-instrumental or poetic treatment of materiality. “the work lets the earth be earth” (p. 46). 23 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as art in the origin, heidegger further discusses the difference between the instrumental and poetic treatment of materiality, or between instrumental and poetic techne. in the citation below, heidegger refers to his second example of artwork, that is, a greek temple that due to its monumental nature is more capable of demonstrating an artwork’s capacity for opening up a cultural world. in fabricating equipment – e.g., an ax – stone is used, and used up. it disappears into usefulness. the material is all the better and more suitable the less it resists perishing in the equipmental being of the equipment. by contrast the temple-work, in setting up world, does not cause the material to disappear, but rather causes it to come forth for the very first time and to come into the open of the works’s world. the rock comes to bear and rest and so first becomes rock; tones to sing, colors to glow, tones to sing, the words to speak (p. 46) for heidegger, artworks as intentional things, that is, things that have a coconstitutive relation with us, originally emerged through our own poetic treatment of materiality. but in our techno-scientific age, art tends to become more and more dematerialized and overly conceptualized. heidegger’s ouevre could remind us that poetic embodied praxis which does not merely treat things abstractedly and instrumentally is in fact the condition of possibility of the emergence of something that we can call art at all. as something that is noninstrumental in nature, an artwork is indeed something that can still meaningfully speak to us about the intrinsic and qualitative significance of many things. even our ‘tragic’ mortality can be brought forth in a beautiful way, only through the poetic nature of art. speaking of mortality, the technological mindset is of course incapable of conceiving it as more than a ‘functional failure.’ references bolt, barbara. 2004. art beyond representation: the performative power of the image. london: i.b. tauris & co ltd. brand, peg. 2000. “glaring omissions in traditional theories of art.” in theories of art today. 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(a. alberro & b. stimson, eds.). massachusets: the mit press. pp. 1217. lippard, lucy & chandler, john. 1999. “the dematerialization of art” in conceptual art: a critical anthology. (a. alberro & b. stimson, eds.). massachusets: the mit press. pp. 46-50. mitchell, andrew. 2010. heidegger among the sculptors, body, space, and the art of dwelling. stanford: stanford university press. moran, dermot. 2005. edmund husserl, founder of phenomenology. cambridge: polity press. ritzer, george. 2010. mcdonaldization: the reader. london: sage publications. thomson, iain. 2011. heidegger, art, and postmodernity. cambridge: cambridge university press. van den braembussche, antoon. 2009. thinking art. (m. krassilovsky, r. h .c de groot, & d. van spronsen, trans.). brussels: springer. zahavi, dan. 2003. husserl’s phenomenology. stanford: stanford university press. zimmerman, michael. 1990. heidegger’s confrontation with modernity: technology, politics, and art. bloomington: indiana university press. 1 ferdinand indrajaya. art as the manifestation of embodiment art as the manifestation of embodiment in the age of modern technology ferdinand indrajaya pelita harapan university uph tower – lippo karawaci, tanggerang 15811, indonesia ferdinand.indrajaya@uph.edu abstract it is undeniable that modern technology has been penetrating our contemporary life in myriad aspects. from the water we drink, foods we eat, to the installed applications in our phone. hence modern technology has become one dominating worldview on its own which skips our reflection upon it. its rapid growth stems from the dismissal of tradition and simultaneously with the tremendous scientific discoveries with its inherent instrumental rationality. it actively participates in serving the irrational dimension of our cybernetics-contemporary life. thus it is not a neutral ensemble of devices, but normatively-prescriptive directs our being in achieving our goals mechanically. as heidegger said, it enframes our being in the world in a disembodied fashion. enframing, is the quintessence of modern technology. merleau-ponty, as another ardent critic, also stated that modern technology is essentially manipulative. under the heading of scientism (and or cybernetics), it anesthetizes humanity as its own manipulandum. contrasting with such view, art potentially re-attunes our relation with things. from merleau-ponty’s phenomenological perspective, art (especially painting) powerfully shows the prereflective and embodied contact with the world. this paper is an attempt to show the role of art in a life that has been eclipsed by the modern technological worldview. keywords: modern technology, enframing, disembodied, painting modern technology as a worldview – a background this first part of the paper is an attempt to mainly concern on how modern technology has become a dominating worldview in the life of our contemporary society. some understandings from different perspectives will be presented before touching upon the main philosophical concern. this is necessary for exposing two things. first, it is quite challenging for us to come up one absolute interpretation on technology and it would be too ambitious to do that. secondly, it is an initial stage before touching upon what really matters, which is to expose how problematic it is when modern technology has become one dominating worldview. the most common interpretation of technology perhaps it is an always changing bag of tricks (like that of magician hat) that helps us to live healthier, happier, therefore we will have more fulfilling lives (li-hua, 2009, p. 18). though it may 2 editorialbook of reviewijcas: volume 5 number 1 june 2018 sound rather hedonistic in a vulgar and naïve sense a life full of enjoyment equals to a fulfilling and meaningful life -, it is the most ordinary interpretation on technology. many of us understand technology in such way. a business owner, for example, technology is a corporate asset for him to compete with his or her business rivals. academically, nowadays students may think of technology as software and computer that help them significantly in working on their projects and assignments. medically, a surgeon understands technology as a crucial part for him or her in conducting a surgery. for a scientist, it is the end product of one’s research. as for the smartphone users, which probably make the most of us today, technology is a sophisticated social-global communication tool. based on those provided examples, we may understand that technology exists for the benefits of human being in dealing with practical problems. as mentioned previously, defining technology with just few well-chosen words is way too ambitious of a project and a challenging effort indeed. thomas hughes, as one of a historian of technology, has once stated that “defining technology in its complexity is as difficult as grasping the essence of politics” (hughes, 2004, p. 2). it is similar with an attempt to come up with the most objective and universal definition about art, in which it is difficult to pin down the complexity of human expression by only few words. to interpret what art is, what technology is, or what a thing is, we’re always wearing a certain spectacle or perspective that is not exactly neutral or totally objective and universal; a perspective which is born out of a specific context or a certain world. how do a business owner, a scientist, a surgeon, a student describe what technology is, as exemplified, is related with two interpretations from many historians of technology in studying the salient phenomenon of the twentieth century. first, many historians of technology pointing out that the twentieth century have been quite attentive to large technological systems, while the other historians from the same century tend to look at technology from a user’s perspective in daily life (misa, 2009, p. 8). from the former, the large technological systems refer to things such as electricity, industrial production, and transportation. while the latter refers to how do people deal with technology in solving their everyday life’s problems. what unifies both interpretations is related to what have been mentioned previously about ordinary understanding on technology in our modern contemporary life: technology is believed to be truly effectively beneficial for us. we judge how great and useful it is in accordance with the criterion of efficiency. up until now, treating technology as a means to an end for the benefit of human being is still current to us. but regardless that of socio-historical perspective that configures our common and popular understanding about technology, what is technology quintessentially? or is our current perspective on technology really touching upon what technology is at its core? martin heidegger (1889-1976), in his the question concerning technology (1977), proposed a different insight from 3 ferdinand indrajaya. art as the manifestation of embodiment that of current and popular understanding. according to him, technology is not a mere means per se but “a way of revealing” (heidegger, 1977, p. 14). the term “technology” itself stems from an ancient greek technē and it “belongs to bringing forth, to poiēsis; it is something poietic” (heidegger, 1977, p.14). in that sense of the word, technology is a mode of disclosing the uniqueness or singularity of things; it brings things (nature, world, or beings including human being) forth poetically. according to him, we can find this understanding of technē manifested in the forms of art, the arts of the minds and also fine arts. nevertheless, the understanding on technology in a sense of technē, is different with technology in a modern contemporary sense; an understanding that took its beginning in the 1750. it was characterized by the rise of machines as means for production, and also since then, the machine has become the only form of meaningful technique (verene, 2004, p. 241). modern technology, according to heidegger, is also a way of revealing. what makes it different from the ancient technē is that modern technology is not understood in a sense of bringing-forth, but challenging-forth. he said that “the revealing that rules throughout modern technology has the character of a setting-upon, in the sense of challenging forth. that challenging happens in that the energy is concealed in nature is unlocked, what is unlocked is transformed, what is transformed is stored up, what is stored up is, in turn, distributed, and what is distributed is switched about ever new. unlocking, transforming, storing, distributing, and switching about are ways of revealing. but the revealing never simply comes to an end” (heidegger, 1977, p. 16). modern technology represents the manner of interacting in terms of which humans encounter everything within the world as object to be used, to be enforced without limit, and to be manipulated at will (sabatino, 2007, p. 64). the real or the reality itself is taken up as a standing reserve to be exhausted. it represents the manner in which humans have extended their reach to change, shape and thereby control just about everything we encounter within the world with practically no limit. modern technology is about control and nothing has meaning if it’s not available to be used. agriculture has been revealed as the mechanized food industry, water is now set upon as a hydroelectric power plant, sun has now been set as solar energy for electricity, while electricity is challenged forth to be the fuel for transportation, and so on. how the real is revealed as a standing reserved is related to what heidegger took as the essence of modern technology, which is enframing (heidegger, 1977, p. 20). what is this enframing means? it’s going back again to “the way in which the real reveals itself as standing reserve” (heidegger, 1977, p. 21). in our contemporary life, enframing has become the most salient vision and conception of life; its worldview. in another way of saying it, enframing as the essence of technology has contaminated our contemporary life. it is as a particular way of being in the world that veils other ways of being in the world. marshall mcluhan (1911-1980), described that modern technology (manifested as modern media of information) 4 editorialbook of reviewijcas: volume 5 number 1 june 2018 has worked us over by altering and shaping the way we see the world (mcluhan, & fiore, 2001, p. 26). modern technology has become the environment itself; the dominating worldview. in its progress, the development of modern technology is not driven by the complexity of ever renewed inventions. it is driven by deserting life’s traditional standards and simultaneously interwoven with the growth of science. david tabachnick in his book entitled the great reversal – how we let technology take control of the plane, pointed out the concrete examples from the consequences of modern science and technology’s development which stems from the dismissal of tradition. these two exemplified consequences are comprehended under heideggerian essential understanding of technology as enframing. there are two unsettling and related consequences: the first one is the more obvious one while the second one is the less obvious (tabachnick, 2013, p. 21). the former refers to the world wars. instead of treating science and technology as a means to improve the quality of human life, we built and developed a technology to eliminate other fellow human being in a most efficient way. in this case, technology serves human appetites for destruction and power. the later or the less obvious one refers to human enhancement technology that might be illustrated by the recent discoveries in biotechnology and psychopharmacology. basically, human enhancement technology or it is also commonly labeled as human augmentation, is an emerging field within medicine and bioengineering that aims to develop technology and techniques for overcoming current limitation of human cognitive and physical abilities (brey, 2009, p. 169). it’s a mode of challenging forth the traditional understanding about the aims of medicine, which is to cure and treat illness. human enhancement technology aims to challenge, to transcend the human condition beyond a state of mere health and it influenced the way we judge ourselves. how healthy and happy we are, judged from how do we finally choose to undergo certain treatment. treatment such as stem cell therapy, skin whitening treatment, cosmetic plastic surgery procedure, and so on. this is problematic since these inventions of modern science and technology, try to recalibrate or manipulate our passions; our way of being human. from those two exemplified consequences, we may say that modern technology is all about desire (verene, 2004, p. 239). modern technology has become the manifestation of our wild and unlimited desires to master and dominate other people, the world, and ironically even our own selves. reason, as an intrinsic aspect in modern technology, “is, and ought only to be the slave of the passions,” (hume, 1978, p. 283) as david hume (1711 – 1776) said. through the inherence of instrumental reason and scientism, modern technology has become that of cybernetics. scientism is an ideology that understands scientific methods as the one and only way for us to achieve the most valid truth. while cybernetics is understood as a purposeful machine and also a model to understand purposeful behavior in living creatures (including us) with its mechanical telos 5 ferdinand indrajaya. art as the manifestation of embodiment (pickering, 2009, p. 118). it is presenting itself to steer (from the word kybernân) ways of our being in the world for the sake of domination and manipulation. perhaps, theodor w. adorno (1903-1969) and max horkheimer (1895-1973), the 20th century philosophers of the frankfurt school were right when they said that “technological rationale is the rationale of domination itself” (adorno & horkheimer, 1973, p. 121). touching upon reason means we have intersected with one of the dimensions of human being. it shows that in discussing modern technology is inseparable with a certain conception of man. the conception of man in modern technology – the problem there is no explanation about human society without any description on how do they relate themselves with technology in a sense of technē or the modern contemporary one. conversely, it is going to be very difficult to describe what technology is without touching upon a certain conception on what human being is. how modern technology reveals reality as mere objects to be exhausted, how its rationale is that of domination, or how reason is apparently slave to passion in the age of modern technology, are all presupposing a certain metaphysical assumption on man. the metaphysical anthropological assumption that is intended to be highlighted here is the one of french philosopher, rené descartes (1596-1650). he is the one that we can consider as the father of modern philosophy. though he is the father of modern philosophy, it will be too much for us to judge him as the cause of our modern contemporary life with all of its challenges. the further discussion will not cover all aspects from his philosophical views but only the ones that are relevant to our main concern, which is modern technology. the writing on this part is an attempt to show how his philosophical view on man is actually the basis for our modern technological life. in order to do that, we can start from what is philosophy according to rené descartes. for descartes, philosophy was not a mere practical wisdom, but more importantly, about wisdom in a sense of gaining true knowledge. it was his fundamental aim to reach a philosophical truth based on reason (copleston, 1958, p. 67). through putting an emphasis on the search for true knowledge, we may understand in a very broad sense that his philosophy is an epistemology. there are two philosophical perspectives from descartes that are orbiting to epistemology that will be put under the discussion here. first, it is related to his view on the significance of method. second, the discussion will be highlighting his metaphysical “i”, which is his anthropological conception on person. these two philosophical perspectives are closely correlated with each other and also intimately linked with the role of modern technology as a prominent worldview in our contemporary life. in his view, method is crucial for us to attain the infallible truth about the real. method is understood simply as a set of rules. these rules need to be applied as a step-by-step process. according to descartes, the rules that configure a method 6 editorialbook of reviewijcas: volume 5 number 1 june 2018 are rules for employing rightly the natural capacities and operations of the mind (copleston, 1958, p. 73). method will be fallacy proof if the rules contained in it are based on the operations of mind or reason; then the rules will be effectively utilized to attain the truth. but then, what did descartes mean by natural capacities and operations of mind? the answers to this question are intuition and deduction (copleston, 1958, p. 74). what descartes meant by intuition is an intellectual seeing or vision which is clear, distinct, and it leaves no room for doubt. intuition, therefore, is understood as a pure mental activity. deduction, on the other hand, is described as an inference from facts that are known with certainty. these are the two methods that will orient us to the certainty of knowledge; they are necessary to give us as a sense of security. certain and secure to be utilized. these methods are also inherent and presupposed in modern technology. in challenging the water forth as a hydroelectric power plant, we need to know some natural fact about water and electricity subsequently we need to apply the deductive reasoning in a form of procedure to be finally manifested as hydroelectric power plant. this is also may be exemplified by our daily use of smartphones. we need to think operationally, procedurally intuitive and deductive to have finally used all the applications installed in it. there is a certain demand for us to affirm with the reality and truth of the method in technology. we are not really precisely using it since we need to conform ourselves with its technique and procedure; we need to comply to its intrinsic criterion. nothing is real and nothing is true unless it can be executed through a step by step ordering, formed as a procedure (verene, 2004, p. 237). as descartes suggested, by the power of intuition and deductive reasoning, we can overcome the challenges, the mystery of the real, when it is chopped down into parts then working on it procedurally from the simplest to the most complex. to this extent, along with descartes, we may say that to attain certainty, we need to deal with everything by method. what descartes did was formulating an intellectual method for attaining the certainty of truth, but what we are doing is actualizing, conducting it daily not only in dealing with our gadget but also in human affairs that is accumulated to what we know as sop or standard operational procedure. this understanding of ‘everything must be done by method for the sake truth’ implies a certain anthropological framework on what is precisely human being. since method is based on the fundamental operations of mind, and it is the only way to attain the certainty of truth, descartes’ metaphysical conception of man is not secluded from this insight. it is reflected and confirmed by the famous dictum of his, cogito ergo sum (i think therefore i am). the dictum was intended to show that the existence of a person is determined by his or her mind; existing equals thinking. consequently, human being for descartes is thinking being. the ‘i’ in descartes’ view is the thinking ‘i’ or the subject. the thinking ‘i’ for descartes is certain and leaves no room for doubt. for descartes, i who thinks can doubt the certainty of everything except the i who is thinking (copleston, 1958, p. 97). the i who thinks that everything is open to be doubted, is itself certain and indubitable. 7 ferdinand indrajaya. art as the manifestation of embodiment as he said, “i am, i exist, is necessarily true each time that i pronounce it, or that i mentally conceive it” (descartes, 1911, p. 150). descartes reduced all the complexity of existing or being human to mind or thought. we may ask then, what about body? or how is thinking related to body? through these questions, we are touching upon descartes’ dualistic approach to human being. his philosophical perspective on human being is understood under the banner of mind-body dualism. according to his dualism, mind and body are two distinct substances. these two substances are different in nature and capable of existing apart (copleston, 1958, p. 116). the body, cybernatically speaking, is considered as a mechanical object that is controlled and steered for the mind to achieve its purpose. the body is substantially an object to the mind, while mind is the subject. how body is related to the mind is understood in subject-object dichotomy. the thinking ‘i’ in descartes view on human being is asserted as the essential point of reality. the ratification of human being as thinking being has been crucially promoting the emerging of modern technological life. as exemplified previously, the cartesian method of mental intuition and deductive reasoning (as applied and necessary in natural science) is inherent in modern technology with the challenging forth as its characteristic. since the method itself is mind or mental latent, therefore it is the thinking ‘i’ that works on the method and working on the method allows the ‘i’ to master its object (body, nature, the world, and everything that is impermanent). turn what was opaque, blurry, and mysterious, into something that is certain, clear, and distinct (verene, 2004, p. 239). it leaves no room for mystery for sure. the modern technological universe is fully populated by this thinking ‘i’ and it leads to one philosophical problem, namely disembodiment. the problem of disembodiment may be understood in two ways that to a certain extent are actually intersecting. first, modern technology through the inherent thinking ‘i’ is orders everything through technique. it treats the world as an objective standing reserve to be exhausted, to everything this thinking ‘i’ desires since it has what it takes to do that. but this attempt to fulfill all desires results nothing, it always leaves a never ending hollow space in the modern person. we can see this in the world wars and the emerging of human enhancement technology as mentioned previously. the thinking ‘i’ sees everything as an everlasting problem to be solved through method and technique, therefore the challenging of everything forth is also perpetual. again, it leaves no room for mystery. more fundamentally, the thinking ‘i’ is cut off from its struggle in life, from the intimate engagement with the world since the world is viewed as a mere standing reserve to be exhausted by method and technique. the modern technology disembodies the relationship between human being with the world. secondly, based on the way cartesian ‘i’ treats body as a mere mechanical object, modern technology disembodies our ontological relationship with our concrete body. the most vulgar example of this, again, shown by the progressive development of human enhancement technology. 8 editorialbook of reviewijcas: volume 5 number 1 june 2018 in which the body is progressively challenged forth as if the body is detached from us and merely a standing reserve. the cartesian ‘i’ has been promoting the bodiless floating self. but is that it? are we all truly a crowd of ghosts in the shell? is there any other way for us to view the real as not a mere standing reserve? the next part of this paper is an attempt to answer such questions. art as the embodiment – a way out this part of the paper is an attempt to show how art, especially painting, may ‘save’ us from the disembodiment that has been the consequences of living in the modern science and technology era. in order to do this, i will borrow some of the phenomenological insights, mainly, from one french philosopher, maurice merleau-ponty (1908 – 1961). phenomenology is an early 20th century philosophical discipline that deals with what appears and simultaneously together with its appearing. it designates that which appears in its very appearing (lewis & staehler, 2010, p. 7). in short, it’s a philosophical discipline that studies the ‘how to’ and ‘what is’ of things in their appearing. for merleau-ponty, his phenomenology is mainly occupied with the problem of perception. his phenomenological view on perception is not like cartesian one, which is a mental construction. perception to merleau-ponty is practical involvement with things (matthews, 2006, p. 21). to perceive something is not to think abstractly or analytical about it but to deal with it directly and concretely. this phenomenological view on perception is simultaneously inseparable with his view on the body. the fundamental characteristic of perception is that it always a bodily one. perception is always an embodied perception and the body is primordially a perceptual body. first of all, we understand the world around us with and through our body. we’re not some floating bodiless consciousness like that of cartesian. we are our bodies (carman, 2008, p. 11). body, from merleau-ponty, is a condition of possibility of being in the world. this means that we are belong to a world and simultaneously open to the worlds in and through the body. he stated that “the body is our anchorage in the world” (merleau-ponty, 1962, p. 144). body is not a mere mechanical object to be controlled by the cartesian thinking ‘i’. likewise, merleau-ponty’s view of the world is also different with the modern science and technology perspective that is founded on the cartesian thinking ‘i’. the world is not mere a standing reserve, an object to be manipulated and exhausted. it is not before us, but first of all, we are in the world. it is the place in which we live our lives, the world we act in, have feelings and hopes about, as well as the world we are always trying to know about (matthews, 2006, p. 20). as merleau-ponty said himself, “the world is what we perceive” (merleau-ponty, 1962, p. viii). in short, the world is not an objective property but it is the one which constitutes our existence. basically, what merleau-ponty wanted to promote through his phenomenological account is that our primordial contact with the world through bodily 9 ferdinand indrajaya. art as the manifestation of embodiment perception precedes the reflective and abstract way of seeing the world. this phenomenological account of his on bodily perception is closely related to his account on art, especially painting. his philosophical account on art, likewise his phenomenology, is started precisely from a critical response to cartesian thinking ‘i’, to cartesian mind-body dualism. since the thinking ‘i’ has become the basis for the modern contemporary technology, merleau-ponty’s phenomenological account on art may be read as also a critical response to it. according to merleauponty, modern science and technology “manipulates things and gives up living in them” (merleau-ponty, 1964, p. 159). the real (including the concrete body and also the world) exists to be manipulated and constructed. it disembodies our intimate engagement with the world and our own bodies because “it makes its own limited models of things; operating upon these indices or variables to effect whatever transformations are permitted by their definition, it comes face to face with the real world only at rare intervals” (merleau-ponty, 1964, p. 159). it treats the real as objects in general, as if they have no meaning to us except as utilities. this is not the case with an artist or a painter. he or she has a different way of seeing the world and according to merleau-ponty, his or her way of seeing or looking at things is not the same with that of cartesian intellectual way of seeing. it is not seeing in modern technological sense, which is challenging things forth. according to merleau-ponty, a painter is truly aware of the enigma of seeing, he or she is aware “that my body simultaneously sees and is seen” (merleau-ponty, 1964, p. 162). to see is to be open to a world, to be penetrated and possessed by it. merleau-ponty illustrated this way of seeing from a situation that was experienced visually by one swiss painter, paul klee (1879-1940). “in a forest, i have felt many times over that it was not i who looked at the forest. some days i felt that the tress were looking at me, were speaking to me…i was there, listening…i think that the painter must be penetrated by the universe and not want to penetrate it…i expect to be inwardly submerged, buried. perhaps i paint to break out.” (merleau-ponty, 1964, p. 167) in seeing, we are possessed by the things that we see, by the world, but at the same time it becomes an annex or prolongation of our selves (merleau-ponty, 1964, p. 163). the world is embodied in us, it becomes part of us. when it is expressed in painting, painting becomes the manifestation of our embodiment. painting is a bodily expression; it’s the manifestation of our embodied relation with the world. but then we ask: why painting? as merleau-ponty said, it is because the painters take the body with them and lend it while painting (merleauponty, 1964, p. 161). in painting, the dichotomy between subject-object, between the one who paints and the painted, is dissolved. this means, to paint is to be painted. since the painter responds the world through seeing, he or she brings forth what others do not see. thereby, a painting “gives visible existence to what profane vision believes to be invisible” (merleau-ponty, 1964, p. 166). what has been eclipsed by our modern technological life is revealed differently. what has been 10 editorialbook of reviewijcas: volume 5 number 1 june 2018 challenged forth and enframed, brought forth poetically through painting. by making visible of what is invisible, art’s highest calling is in helping us to get attuned. it has the power to re-attune our relationship with ourselves and with the world. re-attuning the relationship that might have been crystalized by a challenging forth characteristics of modern technology. conclusion modern technology reduces life with its dimensions as a problem and leaves no room for mystery. problems, as popularly understood, is usually dealt by stating, proposing solutions, analyzing, and accepting or rejecting. mystery, on the other hand, or what merleau-ponty labels it as enigma, is different from problem. as merleau-ponty suggests, mysteries can only be named, gestured at, and pondered (carman, 2008, p. 7). the similarity between problem and mystery is they both deal with the questions of being, time, knowledge, love, and no less profound, death. the difference is in the way we deal with them. regarding what has been discussed in this paper, i will touch upon the question of death. it is the question that expresses our being as mortal or our finitude. treating finitude as a problem that needs to be solved is the nature of modern technology, it is its being. this equals to disengaging the constitutive element of our own very existence. human augmentation is one way which modern technology deals with our finitude. it challenges forth our finitude and it againsts our being as mortal, or being-unto-death as in heideggerian term (demske, 1970, p.2). it is purposefully constructed to forget that what makes our life meaningful is death. we are always in search for meaning because we know that one day we will die. modern technology through the development of human augmentation, dries out the meaningfulness of life by infecting us with the illusion of “forever young”; the enframing delusional aim for immortality. art, on the other hand, embraces life and its finitude as mystery. with its highest calling, art helps us to get attuned with things (wrathall, 2011, p. 28). things that may also refer to the finitude of our being as mortal. art entices us to listen to, in merleau-ponty’s term, the voice of silence. it purveys an admonition to pause for a while in a life which is accelerated by the advances, noises and glut of modern technologies. to pause means to put ourselves in attunement. it means to listen and inhabit the silence that permeates the world, to get in touch with our prereflective and embodied relationship with the world (mazis, 2016, p. 7). lastly, unlike the modern technology, to pause is to embrace our finitude in a poetic sense. a necessary pause as the prelude to one truly meaningful act. last but not least, this writing doesn’t try to fully condemn modern technology per se. this writing is simply an alarm. an alarm to pause ourselves for a while from the hassle dazzle yet comfortable of our contemporary life. 11 ferdinand indrajaya. art as the manifestation of embodiment references adorno, theodor and max horkheimer. 1973. dialectic of enlightenment, translated by john cumming. london: verso. brey, philip. 2009. “human enhancement and personal identity.” in new waves in philosophy of technology, edited by jan kyrre berg olsen, evan selinger, and søren riis, 169-185. london: palgrave 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university press. merleau-ponty, maurice. 1962. phenomenology of perception, translated by colin smith. london & new york: routledge. misa, thomas j. 2009. “history of technology.” in a companion to the philosophy of technology – a blackwell companion to philosophy, edited by jan kyrre berg olsen, stig andur pedersen, and vincent f. hendricks, 7-17. new jersey: blackwell publishing ltd. pickering, andrew. 2009. “cybernetics.” in a companion to the philosophy of technology – a blackwell companion to philosophy, edited by jan kyrre berg olsen, stig andur pedersen, and vincent f. hendricks, 118-122. new jersey: blackwell publishing ltd, 2009. sabatino, charles j. 2007. “a heideggerian reflection on the prospects of technology,” janus head 10(1): 64-76. tabachnick, david e. 2013. the great reversal – how we let technology take control of the planet. toronto: university of toronto press. 12 editorialbook of reviewijcas: volume 5 number 1 june 2018 verene, donald p. 2004. “persons in a technological universe.” in globalization, technology, and philosophy, edited by david tabachnick and toivo koivukoski, 235-242. new york: state university of new york press. wrathall, mark. 2011. “the phenomenological relevance of art”. in art and phenomenology, edited by joesph d. parry. new york: routledge. 25 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulae combinatorial principle in the use of drum (kendhang) formulae in gamelan music of yogyakarta. from prescriptive models to the interpretation of a composition: the case of kendhang pinatut. luca pietrosanti sapienza university of rome, piazzale aldo moro 5, rome 00185, italy email: nanaqui2013@hotmail.com abstract in this paper, i address the question to the use of drums (kendhang) in the traditional gamelan music of yogyakarta, by presenting some prescriptive models (or formulas). i illustrate how, the use of different prescriptive models in a composition follow what i labeled as “combinatorial principle”. in order to describe the essential elements of this principle, i will analyze the modalities of interaction between a very flexible drum formula (known as pinatut) and three other prescriptive models for drum within some exemplary pieces of traditional gamelan music. the concept of combinatorial principle illustrated in these pages, on the one hand explains the way of interaction between the drum’s rhythmic formulas and their capacity to influence the choices made by the entire orchestra during a performance; on the other hand, through this principle we are able to trace a path that attempts to understand the “deep structures” that are the basics of making music in gamelan tout court. through the perspective of the combinatorial principle it is possible to analyze the prescriptive models and techniques of many other instruments of the gamelan of central java. keywords: gamelan, kendhang (or kendang), drums, prescriptive models, formulas, pinatut. introduction listening to different versions of the same piece of traditional music for gamelan is something that happens frequently. this is not only about the ability or the expressiveness of the musicians, but it also concerns aspects such as the duration, the execution of one or more sections of a song, the use various instrument techniques, etc. thus, a piece of traditional music for gamelan is a flexible and interpretable entity. while observing how a piece of traditional music is realized, we have to consider that each musician doesn’t necessarily follow a score, but instead, he calls to mind and elaborates prescriptive models and playing techniques for each instrument starting from the same nucleus of organized sounds (balungan). through the creative application of shared rules of composition based on manipulation of melodic and 26 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 rhythmic formulas inherited from tradition, musicians generate a collective melody, which is the result of the overlap of multiple layered melodies, rhythms and timbres. therefore, a piece of traditional music is recreated every time. although the identity of a composition is maintained and, in general, there are exemplary performances in which musicians are inspired, a simple variation of a sound or a melodic-rhythmic pattern can be distinguished as a regional or personal style. each musician can contribute with his own instrument to the overall character of a song. in the case of the drum (kendhang), the choice of a certain model during the performance is decisive for the final result of the composition. among all the instruments that compose a gamelan orchestra, the drum plays a role of particular significance: it controls and manages all the dynamic processes that come into play during a performance. viewed through the perspective of a particular “conductor”, the kendhang player influences the way of playing of the other musicians; for example, through his rhythmic formulas, he is able to indicate which section of a song must be performed, what kind of technique can be adopted by the other instruments, when the singers can enter the composition, and giving signals for the speed variation, for the opening and the closing of a piece, etc. therefore, the study of the rhythmic formulas of the drum leads us to the heart of the performance of traditional gamelan music. materials and methods in this paper i will start to talk about the concept of “kendhang formula”, focusing on the aspects that can qualify a certain succession of sounds as a “formula”; then i will move to the presentation of some prescriptive models used in gamelan music in yogyakarta; finally, through the analysis of some gamelan pieces, i will show how the interaction and manipulation of prescriptive models for the drum follow a combinatorial principle, which is articulated in three interconnected processes: 1) caesura of a rhythmic formula in one of the moments of the composition marked by some instruments with accentual function; 2) re-use and re-contextualization of a formula (or a part of it) both in the same and in different musical forms; 3) time variation. discussion 1. kendhang formulae. there are many factors that determine the rhythmic sequence of a prescriptive model for the drum. although today the prescriptive models are learned and circulate more and more in written form, they still represent the result of consolidated performance practices transmitted orally for a long time. for this reason we can find a lot of variations (regional or personal). in this study i consider only some formal-type variables (through which the identity of a formula is maintained) leaving out those “surface” aspects such as specific sounds or patterns used in a certain rhythmic sequence. 27 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulae 1.1. type of drum and rhythmic formulae. the rhythmic formulas that can be used in a composition depends primarily on the type of drum used. in the big gamelan orchestras of central java there are three types of double-head drums of different sizes: the largest one takes the name of kendhang ageng; the medium size drum is named kendhang batangan; the smallest one is called kendhang ketipung. the largest of the three drums can be played individually (satunggal, lit.”one”) or together with the smaller drum: this configuration is called kendhang kalih (lit. “ two drums “). in this study, i focused on the latter type (or combination) of drum. thus, the formulas that will be presented and analyzed in the following pages are all performed with the kendhang kalih. 1.2. structure of a composition and rhythmic formulae. the second aspect that determines a rhythmic formula is the musical form (bentuk) of a piece of traditional music. this is defined by a particular distribution of “accents” represented by an organized succession of a group of instruments of the orchestra, i.e. gong, kempul, kenong, kethuk, kempyang. the first two instruments mentioned form the group of the large gongs suspended vertically; the others form the medium and small size group of gongs arranged horizontally. in general these instruments have a limited register (only one sound in the case of gong, kethuk and kempyang) and their use during the performance is to create engravings in the melody. because of their specific use, the ethnomusicologist jaap kunst labeled these instruments as “colotomy”.( kunst, 1973). in this paper i analyze only two of the many musical forms in which gamelan repertories are divided in, i.e. the form lancaran and ladrang. these forms are presented below in the cipher notation used in the gamelan music (note: they are layed out following the methods of transcription commonly adopted by the javanese):         + = kethuk = kempul    = kenong = gong = beat bentuk lancaran bentuk ladrang         + = kethuk = kempul    = kenong = gong = beat bentuk lancaran bentuk ladrang 28 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 although there are cases of formulas developed for a specific song, in general the same prescriptive model is valid for any composition which has the same structure made by the succession of the colotomic instruments. they are common prescriptive models (umum) that take their name from the musical form they belong to: we say kendhangan lancaran (lit. drumming lancaran) in the case of the form lancaran, and kendhangan ladrang (lit. drumming ladrang) in the case of the form ladrang. 1.3. level of irama and rhythmic formulae. a third element that determines the type of rhythmic sequence used to work out composition is represented by the “level of irama”. the theory of central java gamelan defines four levels of irama. in the tradition of yogyakarta these levels are distinguished by using the roman numerals i, ii, iii and iv. irama is a concept that deserves its own detailed discussion, however, in this paper we will focus only on some essential aspects, which are as follows: • time: a level of irama can be in a certain way associated to the time speed. in gamelan music theory there are three types of time: cepat (or seseg = fast); sedang (or tanggung = medium, moderate); lambat (= slow). these are general indications, not exactly quantifiable and must be contextualized in the song played, while respecting the character or the spirit of a composition. for instance, depending on the case, playing in “irama i” could mean playing on a fast or moderate time; playing in “irama ii” coluld mean playing on a medium or slow time. • proportionality: each irama is the result of a different rhythmic layering level within it is possible to conceive a certain melodic and rhythmic formula. different levels of irama are in a proportional relationship with each other: a level of irama is in relation to the next with a ratio of 2:1. consequently, even the melodicrhythmic elaborations of an instrument in different levels of irama will have the same proportional relationship in quantitative terms. this can be also applied to the drum, which adopts different rhythmic formulas based on the level of irama in which such models are executed. • instrument technique: depending on the level of irama many instruments of the orchestra realize different melodic-rhythmic techniques. to summarize, we can say that the level of irama expresses the relationship between time, stratified dimension of the instrumental parts and the playing technique of an instrument. type of drum, form of a composition, and level of irama are three elements that determine the identity of a formula and do not depend on stylistic variables. the drummer, whatever the rhythmic formula he chooses, must consider these elements during the performance. prescriptive models umum. i illustrate below the prescriptive models used to work out the form of a composition (see 1.2) i learned during my studies of traditional music in yogyakarta. such models admit of course variants in terms of played sounds, but as mentioned, we are not going to consider that, as it does not influence the mechanisms that are going to be analyzed in the following pages. formulas for the form lancaran (irama i) and ladrang (irama i and ii) are presented below in cypher notation, by using one of the many ways of drum 29 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulae sounds transcription adopted in yogyakarta. in addition to the use of letters to indicate the sounds, the reader also must pay attention to the use of one or more horizontal bars placed over two sounds, which indicates fractional durations. drum sounds (kendhang kalih) p = phung (or thung): a sound produced by striking the big membrane of the ketipung, leaves the membrane vibrating after the stroke. t = tak: a sound produced by striking the little membrane of the ketipung, without releasing the hand. k = ket: a sound produced by striking the big membrane of the ketipung, without releasing the hand. b = dhang: a combined sound produced by striking the big membrane of the ageng releasing the hand, concurrently with the sound tak. tl = tlak (or plak): a sound produced by playing the sounds phung and tak almost simultaneously l = lung: a sound produced by striking (with one finger) the membrane of the ketipung and releasing the hand. dl = dhelang: a combined sound produced by striking the big membrane of the ageng and the sound tak, almost simultaneously, leaving both membranes vibrating. kendhangan lancaran (irama i – cepat)   kendhangan ladrang (irama i – sedang)            kendhangan ladrang (irama ii – lambat)           30 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 kendhang pinatut. compared to prescriptive models shown previously, which are strictly linked to the form of a composition, the kendhang pinatut (or kendhangan pinatut) is a more flexible formula, even if it is mostly used in pieces in the form ladrang. the term pinatut comes from the javanese patut, which means “appropriate/matched with the situation”; the infix in is used to give the meaning of “to make something”; thus the term pinatut can be interpreted as “to make something in an appropriate way”. while talking with one of my teachers, pak didik supriyantara, i learned how this formula is somehow connected to that is known in yogyakarta as semarangan style. elaborated by ki nartosabdho, this style had wide circulation in the 60s and 70s, mainly due to cassette recordings and radio transmissions. native of klaten and trained as dhalang (puppeter) in surakarta, ki nartosabdho was one of those musicians that from the second half of the last century has introduced many innovations both in the shadow puppet theater (wayang kulit) and in traditional gamelan music. from the stories of pak didik, what made ki nartosabho so special was his ability to assimilate various musical styles and playing techniques and editing them, thus creating his own unique style. i have not yet had the opportunity to learn more about aspects of the history of ki nartosabdho, so i cannot say if the kendhangan pinatut is his own exclusive creation, or rather, the re-elaborated version of rhythmic formulas already used in the area of yogyakarta. the fact is that the kendhangan pinatut is a rather anomalous formula within the whole prescriptive models of gamelan music in the tradition of yogyakarta, eventhough is frequently used. one more interesting aspect about this formula is that, even if at the beginning it could be a free interpretation of a single musician, it soon became a specific formula for other musicians. consequently, today it is performed without significant variations. the pinatut formula can be observed as a recent case of crystallization of a personal style, which can possibly explain the evolution of many other formulas, such as the lancaran and the ladrangan before they became common models used by everyone. kendhangan lancaran (irama i – cepat)   kendhangan ladrang (irama i – sedang)            kendhangan ladrang (irama ii – lambat)           31 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulae below there is the prescriptive model taught to me by my first gamelan teacher here in yogyakarta, pak abujana: the use of the pinatut formula and the others illustrated above will be the subject of the analysis in the following pages. i will try to show how the interaction between these formulas is based on principles of combinatorial nature. i will also try to underline how the choices of the drummer can influence the final result of a piece of traditional music. 2. interaction between rhythmic formulae: combinatorial principle. speaking about improvisation in gamelan, the ethnomusicologist mantle hood already realized that if there had to be rules (implicit or explicit) followed by musicians during a performance, these rules were “1) reasonably simple (when viewed as deep structures), 2) but also capable of generating endless variety and complexity (when realized as surface structures)”. (hood, 1988 : 150). by observing drum formulas as “deep structures”, i tried to identify the generative elements of dynamic processes implemented during the performance of a composition, while also trying to show off the “reasonable simplicity” of the rules that allow the musician to generate infinite variety and complexity of the formulas. i defined “combinatorial” the procedure used in a piece of traditional music for gamelan. this is based on three elements: a) caesura of a rhythmic formula in those moments of composition marked by the colotomic instruments (gong, kempul, kenong, kethuk, kempyang). b) re-use and re-contextualization of a formula (or a part of it) in different levels of irama and in different musical forms. c) time variation. to understand how the prescriptive models for the drum are subject to manipulations based on a combinatorial principle, i have chosen to present some gamelan pieces, illustrating the ways of interaction between the ladrangan and lancaran formulas and the pinatut one. the three aspects summarized above will be argued separately, but the reader must keep in mind that they are not organized hierarchically, but rather interconnected. kendhangan pinatut (ladrang)         32 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 2.1. form of a composition and caesura of a rhythmic formula. first, on the one hand we have rhythmic formulas, on the other hand we have a traditional piece that needs to be interpreted. as previously said, the formulas are not associated directly to a specific song, but to the musical form. this form is defined by the succession of instruments such as gong, kempul, kenong, kethuk, kempyang. in the case of drum formulas, the moments of a composition marked by these instruments constitute the break points: in other words, the most simple process of manipulation of formulas in a composition is the interruption of it in a structural joint in the form of a composition, which follows the grafting of a new formula. many of the dynamic processes that take place during the performance of a song depend on the application of this caesura mechanism, such as the change of playing technique by the other instruments, the change of a section of a song (if this one is divided into two or more parts), or even the entry of the vocal part. during my studies i observed two ways in which the break and graft of two formulas from a to b by inserting in a the rhythmic sequence of b; the second one is realized by inserting in a a special rhythmic sequence “c” which facilitates the passage to the formula b; this intermediate formula can also contain the sequence of strokes of the formula b. to give a first look at what happens, i propose the following two generic models (lines marked with the colors represent the parts of the formula played during the transition process): the case of kendhangan pinatut falls into the second model shown above. i will illustrate two cases, represented by the pieces ladrang asmåråndånå and ladrang gonjing miring. here the kendhangan pinatut interacts differently with the prescriptive model kendhangan ladrang irama i. apart from the opening section (bukå) – which is common to all the traditional pieces of gamelan music – both the pieces are structured into two sections, dados and ndhawah. these kind of compositions are known as lirihan, in which the vocals are co-leader with instruments such as rebab and gender. i present them below in cypher notation (we have previously introduced the diacritical marks and the point; the numbers from 1 to 6 indicate the notes, a point above the number indicates the higher octave): 1. 2. a b from a to b b follows c from a to b through c b follows a b follows 33 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulae ladrang asmåråndånå, slendro manyurå                  ladrang gonjing miring, slendro manyurå                     bukå: dados: ndhawah: dados: ndhawah: bukå: i only consider the section dados of both compositions, because the pinatut formula is used in there. i learned the two ways of working out from my first gamelan teacher in yogyakarta, pak abujana. caesura of a rhythmic formula: ladrang asmåråndå. from the example below the reader can observe that the rhythmic formula kendhangan ladrang (a) is cut in correspondence to the third kenong; the succession c is inserted after this point; this one precedes the entire execution of the pinatut formula (b), which takes place after the gong. ladrang asmåråndånå, slendro manyurå                  ladrang gonjing miring, slendro manyurå                     bukå: dados: ndhawah: dados: ndhawah: bukå: 34 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 ladrang asmåråndånå, slendro manyurå (dados – irama i)                                a a c b considering the moment of interaction of the formulas, we can draw the following scheme: g = gong n = kenong p = kempul t = kethuk ng t t n t p t n t p t n t p t ng t a kendhangan ladrang from a to b through c b kendhangan pinatut 35 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulae caesura of a rhythmic formula: ladrang gonjing miring. in this case the break point of the formula kendhangan ladrang is in correspondence to the fourth kenong, where the formula has already ended. at this point, immediately after the gong, the sequence c is inserted; the pinatut formula is performed after the first kenong and it is a part that is a cut off of the entire rhythmic sequence (see next page). as done in the previous case, we can draw the following scheme: g = gong n = kenong p = kempul t = kethuk at this point an observation can be made: why does the pinatut formula have two ways of interaction in compositions that are formally equivalent? it depends on the particular use of kendhangan pinatut in compositions that also contain the vocal part (lirihan). here, this formula is used to accompany the vocals (gerongan), as an alternative to the use of rhythmic formulas of kendang batangan. ladrang gonjing miring, slendro manyurå (dados – irama i)                           a b c ng t t n t p t n t p t n t p t ng t a kendhangan ladrang from a to b through c b kendhangan pinatut 36 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014      gån – då a – rum cah – ya – ne kar – yå wu – yung   in ladrang gonjing miring instead, vocals begin after the first kenong, as follows:      a – ku nya – wang ke nyå len – cir ku – ning  in ladrang asmåråndånå the vocal part is collocated after the gong, as we can see in the following example, where the moment of transition between formulas is represented: from the two examples illustrated above, we can add by saying that the drummer decides when the vocals can enter the composition by using the pinatut formula; moreover, the rhythmic sequence c has not only the function of linking two different formulas, but also becomes a signal that indicates to the choir (gerong) when it is time to sing. 2.2. re-use and re-contextualization of a rhythmic formula. this is probably the most interesting aspect of the combinatorial principle. re-use and re-contextualization of a rhythmic formula can happen in two situations: 1) the same formula can be used in different levels of irama in the same musical form, taking advantage of the relation of proportionality between different levels of irama; 2) a formula can be used in different musical forms taking advantage of the relation of proportionality between different forms. the difference between two musical forms consists in the level of density of the strokes sequence of gong, kempul, kenong, kethuk. when the distribution of a certain accentual schema is “condensed”, it produces a short musical form; when vice versa the distribution of the same accentual schema is more “rarefied” we will have a longer musical form. between two levels of irama of a same composition or between different musical forms there is a substantial ratio of similarity, as there is for two geometric figures. moreover, in the music of gamelan this relationship of similarity is strictly proportional and in a strictly arithmetic sense. this similarity represents the second “key” in the process of working out of a piece of traditional gamelan music. in this process, a rhythmic formula is subjected to a re-framing that offers the possibility to the musician to operate a manipulation on it, in order to make it consistent with the new level of irama or with the new musical form in which it is realized. 37 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulae in the following pages i will present: a) the case of ladrang jatikumårå, in which a part of the pinatut formula is used in irama ii; b) two cases of re-use of some rhythmic patterns of the pinatut formula in a piece belonging to a different musical form, i.e. the lancaran manyar sewu. re-contextualization in a different level of irama. the ladrang jatikumårå illustrated below is a composition which consists of two sections (a, b) that can be played both in irama i and irama ii. if played in irama ii, the part played by the saron can change. this change is connected to the use of kendhangan pinatut. let us observe now the behavior of the formula pinatut in this song. here the drummer must to consider the relationship of proportionality between the levels of irama i and ii. ladrang jatikumårå, pelog nem                    bukå: a b if irama ii 38 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 ladrang jatikumårå, pelog nem (irama ii)                                               a a c c 39 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulae first of all, we call attention to the sequence of transition from the formula ladrang – irama ii. the reader will notice that the sequence is inserted after the kempul, where the notes “3 5 3 2” are played. the sequence c in the form “ladrang – irama i” works out the space of eight notes (see 2.11., 2.12.); now, due to the process of expansion of the structure in the level of “irama ii”, it works out the space of four notes. if then we look at the rhythmic sequence c used in the first section of the song, where the melody changes, we can trace the rhythmic material of the pinatut formula, as follows: the rhythmic sequence c is repeated twice, however the second time, in correspondence to the kethuk, it is cut off and followed by the rhythmic sequence of the ladrang formula for irama ii. once again, we can draw a scheme as we did in the previous cases, considering the moment of transition between the ladrang formula and the one traced in the kendhangan pinatut: g = gong n = kenong p = kempul t = kethuk similarly to what we have seen for the previous pieces, even in the ladrang jatikumårå the drummer’s choices are crucial for the other instruments. if he adopts the formula c, the saron group must play the variation in b. thus, the formula of transition c is the signal to which the other musicians will have to pay attention. c:    kendhangan pinatut:      n t p t ng t t n t p t n t a kendhangan ladrang irama ii c c (pinatut) c (pinatut) a kendhangan ladrang irama ii “” 40 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 re-use and re-contextualization in a different musical form. the lancaran manyar sewu is one of those compositions defined as soran (vigorous) where the saron group plays the most relevant role. in my experience i have encountered several variations of this composition. i show below a version taught to me by pak abujana; it is made by two sections: the first one in which the the melody played by the saron consists of a regular succession of notes; the second one in which the succession is variable (ngracik); each section consists of four gong cycles. i illustrate two different cases of re-contextualization of the pinatut formula rhythmic material, which show the relations of proportionality between the form ladrang and the form lancaran. in the first one the reader will observe that the rhythmic material of the formulas used to generate the composition is traced within the pinatut formula, even if there are special rhythmic patterns inside (i). in the second one, the formula pinatut and the relative formula of transition are reproduced entirely (ii). (i) in the case presented below, the formula kendhangan lancaran (a) is repeated three times, working out three of the four cycles of the first section of the song. in the last cycle, a variant of the formula c viewed in the previous cases is inserted. in the example, this formula is indicated as c1: lancaran manyar sewu, slendro manyurå                   ngracik: bukå: 41 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulae the formula c1 has the function of a bridge to the second section of the piece (ngracik), in which two rhythmic sequences have been illustrated (d1, d2). these sequences can be traced in the pinatut formula: the formula indicated as d1 is exactly a part of the pinatut formula. in the formula d2, a specific sequence is instead used. this sequence is also performed in the transition formula c1. (ii) looking at second case illustrated below, we can see clearly how the recontextualization of the formula pinatut shows the relationship of proportionality between the form ladrang and lancaran:    lancaran manyar sewu, slendro manyurå (irama i)                       c1 a a a d2 d1 d2 d1 ngracik: d1:   d2:   kendhangan pinatut:     "" 42 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 if the whole pinatut formula works out a gong cycle in the ladrang form (irama i), it works out four gong cycles in the lancaran form: thus, the proportional relationship between the two forms is 1:4. as seen in the previous cases, in lancaran manyar sewu the use of pinatut formula (or the rhythmic material contained in it) has the function to work out the second section of the song. consequently, the execution of this section depends on the choice of the drummer, who suggests to the other musicians the change of section by playing the formula c (or c1). 3. time varation and manipulation of formulae. the third essential element that comes into play in the combinatorial principle is the “time variation”. as said for the concept of irama, even the concept of time should deserve its own discussion. in fact, time (laya) and irama are different and, at the same time, interconnected concepts. these concepts occupy a central role in gamelan music theory and they are subjects of dissonant interpretations. here, i want to focus the attention only on two aspects, which are relevant for the manipulation of drum formulas, as follows: • generally, in gamelan music all the moments of a performance follow one another without interruption; therefore, time variations are necessary to combine two rhythmic formulas. time variation is – in other words – the lubricant through which the graft of two formulas is realized in the most balanced way possible. for instance, all the transitions between the different lancaran manyar sewu, slendro manyurå (irama i)                         c a a a ngracik: b (pinatut) 43 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief luca pietrosanti. combinatorial principle in the use of drum (kendhang) formulae formulas described in the previous pages are always accompanied by a decrease of time. • time variation may determine contractions and expansions of the form of a composition, which has large repercussions on the performance. since the techniques of each instrument in the gamelan is bound by its specific collocation in terms of proportionality and melodic-rhythmic layering, contractions and expansions of the accentual schema marked by gong, kempul, kenong, kethuk or kempyang (colotomy) determine changes in the “logical space” of a composition within it is possible to conceive different techniques, as well as new relations of proportionality between the parts. we have previously observed that a formula can be re-contextualized in different levels of irama, as in the case of pinatut one in the ladrang jatikumårå. conclusion in conclusion, when observing the ways of interaction between prescriptive models of the drum, the reader will have noticed a strong arithmetic component in the elaboration of a composition. although music as art cannot be reduced only to arithmetic calculations, we can say that the work out of a composition through the manipulation of formal models in gamelan seems to follow a rather strict logic. perhaps this could be for the “refusal of anarchy” that mantle hood was talking about in his paragon of the roaring sea, a rejection that leads to the diametrically opposed land of numbers, proportions and formal analogy; or perhaps, because thanks to this particular vision, musicians finds their way to interact with each other and generate a rich complexity of interlayed melodies, rhythms and timbres. the concept of combinatorial principle illustrated in these pages, on the one hand explains the way of interaction between the drum’s rhythmic formulas and their capacity to influence the choices made by the entire orchestra during a performance; on the other hand, through this principle we are able to trace a path that attempts to understand the “deep structures” that are the basics of making music in gamelan tout court. through the perspective of the combinatorial principle it is possible to analyze the prescriptive models and techniques of many other instruments of the gamelan of central java. furthermore, if we consider the term “combinatorial” in a wider meaning, we could also apply it to the repertories themselves. for example, let us think about the re-use of the same group of notes in different composition, which is crucial for some authors to define the concept of pathet. or we could even examine the re-use of the same composition into the many contexts (such as the wayang kulit, or the kethoprak – the javanese traditional theater –) in which these repertoires are performed until today. references agamennone, m., facc,i s., giannattasio, f., giuriati g. (1991). grammatica della musica etnica, bulzoni editore, roma. basset, c., fabien, l. (a cura di). ( 2001). images du monde et traitement du temps dans le gamelan, in les écritures du temp – musique, rite, etc. –, harmanattam, ircam/centre georges-pompidou, parigi (trad. it. paolo martinaglia), pp. 93-140. 44 ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014ijcas: vol. 1, number 2 december 2014 becker, j. (1980). traditional music in modern java – gamelan in a changing society. the universitypress of hawaii, honolulu. becker, j., feinstein, a. h. (1984). karawitan – source readings in javanese gamelan and vocal music –, vol. i, center for south and southeast asian studies, university of michigan. becker, j., feinstein, a. h. (1987). karawitan – source readings in javanese gamelan and vocal music –, vol. ii, center for south and southeast asian studies, university of michigan. benamou, m. (2010). rasa – affect and intuition in javanese musical aesthetics, oxford university press. heins, e., (1980). instrumental ensembles, in indonesia, londra, new grove dictionary of music and musicians, pp. 173-9. heins, e.( 1993). music in java: current bibliography 1973–1992. institute of etnomusicology jaap kunst, university of amsterdam, the netherlands. hood, m. (1954). the nuclear theme as a determinant of patet in javanese music, walters j. b., groningen. hood, m., mcvey, r. (a cura di). (1963). the enduring tradition. music and theater in java and bali. in indonesia, human relation area file press, new haven conn., pp. 43871. hood, m. (1988). the evolution of javanese gamelan, book iii – paragon of the roaring sea –, florian noetzel verlag, heinrichshofen-books, wilhelmshaven. kartiman. (2006). gending pamijen gaya yogyakarta suatu kajian tekstual. tesis memenuhipersyaratan mencapai derajat magister dalam bidang seni, minat utama musik nusantara, p. p. institut seni indonesia, yogyakarta. kriswanto. (2007). dominasi karawitan gaya surakarta di daerah istimewa yogyakarta. departemen pendidikan nasional biroperencanaan dan kerjasama luar negeri, program biasiswa unggulan. kunst, j. (1973). music in java – its history, its theory and its technique –, vol. i. e. l. heins, the martinus nijhoff. martopangrawit, r. l. (1972). titilaras kendangan, jilid i-ii. bagian research konservatori karawitan indonesia, departemen p. dan k., surakarta. nuryakusuma. palen, s., r., m. (1998). gendhing-gendhing karawitan gagrag ngayogyakarta. taman budaya, propinsi daerah istimewa yogyakarta. raden, b. w. k. (1991). gendhing-gendhing mataraman gaya yogyakarta dan cara menabuh, jilid i, k.h.p. krida mardawa karaton ngayogyakarta hadiningrat, yogyakarta. rokhayatum, tri s. (1987). pola tabuhan instrumen balungan dalam gending soran gaya yogyakarta, tugas akhir program studi sastra karawitan jurusan seni karawitan fakultas kesenian institut seni indonesia, yogyakarta. siswanto, m. (1977). tuntunan dasar menabuh gamelan. ikatan keluarga smki negeri, yogyakarta. siswanto, m. ( 1983). pengentahuan karawitan daerah yogyakarta. departemen pendidikan dan kebudayaan, direktorat jenderal pendidikan dasar dan menengah, direktorat pendidikan menengah kejuruan, proyek pengadaan buku pendidikan menengah kejururan, yogyakarta. sorrell, n. (1990). a guide to the gamelan. faber and faber, london, boston. sugiarto, a.(1998). kumpulan gending jawa karya ki narto sabdho. proyek pengembangan kesenian dankebudayaan jawa tengah. sumarsam.( 1975). introduction to ciblon drumming in javanese gamelan. manuscript (1975), in judith becker, alan h. feinstein (a cura di), karawitan – source readings in javanese gamelan and vocal music –, voll. i-ii-iii, center for south and southeast asian studies, university of michigan, 1984, 1987, 1988: vol. ii, pp. 171-201. 45 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief sumarsam. (1999). introduction of javanese gamelan – notes for music 451 (javanese gamelan beginners); booklet, middletown, october 1988, revised for wesleyan’s gamelanwebpage,(lastrev.fall2002); <sumarsam.web.wesleyan.edu/introgamelan. pdf>. sumarsam. (2005). la teoria musicale in asia. il caso del gamelan giavanese, in enciclopedia della musica, vol. v, giulio einaudi editore, torino. [the edition i own is published by il sole 24 ore, milano, 2006. te essay is contained in the volume viii: pp. 555597]. suprapto. (1992). tabuhan karawitan cara ngayogyakarta hadininngrat – kendhang (satunggal –kendhang kalih). taman budaya propinsi daerah istimewa yogyakarta, yogyakarta. suprapto. (1995). tabuhan karawitan cara ngayogyakarta hadininngrat – kendang batangan. taman budaya propinsi daerah istimewa yogyakarta, yogyakarta. susilo, h. (1967). drumming in the context of javanese gamelan, m. a. thesis, university of california los angeles (ucla). sutton, r. a., titon, j., t., (a cura di) .(2003), i mondi della musica le musiche del mondo – asia/indonesia. zanichelli, bologna, (ed. it. a cura di tullia magrini), pp. 284-331. sutton, r a., suanda, e., williams, s. (2008). java. in kartomi m., j., sutton, r. a., suanda e., williams s., harnish d., indonesia, in the garland handbook of southeast asian music, miller. e, sean w. (a cura di). routledge, new york, pp. 347-405. trustho. (2005). kendang dalam tradisi tari jawa, stsi press, surakarta. editorvol1no22014.pdf (p.2) npscn001(2).pdf (p.1) jurnal ijcas vol . 1 number 2 desember 2014.pdf (p.3-112) 27 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of control the paradox of control: visual clue vs. auditory instruction in game designing yusup sigit martyastiadi 1,2 1faculty of art & design, universitas multimedia nusantara 2doctoral student of graduate school, indonesia institute of the arts yogyakarta yusup.martyastiadi@umn.ac.id abstract visual clue and auditory instruction are information that used in games. the genuine information is developed on game design conceptualization. this paper explains the study of the paradox of control, which was applied in the process of game designing. basically, the research investigates the differences of powerful game information between visual clue and auditory instruction to gain complexity of game levelling. the research method used game design experiments, playing observations, and the interview to clarify the respondents’ decision-making. the visual clues and auditory instructions were occurred randomly based on the path of the respondents’ chosen. however, in one level of observation, the information of visual clue & auditory instruction were happening together in the same time and those were contradictive each other. this condition was called the paradox of control on information handling in the game. interestingly, in this circumstance, most of the respondents decided to follow the visual clues, although it was not the right direction. that condition potentially led by visual perception. this paper will describe the respondents’ motivation on their decision-making. finally, the result of this study could give recommendation for level designers in game designing, especially on complexity of the challenge in the game’s dramatic element. keywords: paradox of control, visual clues, auditory instruction, visual perception, players’ decision-making introduction the research objective is investigating the paradox of control to gain challenges in game designing. the goal of this study would be used as a recommendation for developing game challenges as part of the dramatic element of the game design. the background of this study was triggered by players’ decision-making observation during playing games. trendily, the players influenced by visual clues when doing game play, although there were auditory clues in the game environment. the curiosity of the study was “where is the stand of sound game to direct players’ decision-making?” and “what kind of sound functionality in the game play?”. however, this research would not pay a lot of attention on the auditory perspective. the sound game as a cross modal with visual perception will be contradicted to investigate the players’ decision-making. 28 editorialbook of reviewijcas: volume 5 number 2 december 2018 in the process of learning in game designing, bates (2004) states that the students as designers have to learn about what gamers’ thought. the game designer cannot think about what their want in the game. the perspective is thinking of designer’s plan for gamers’ wish in the game. the good game can attract players to play and accomplish the goal. the one of great game indicator is player immersed in the game world. on the other hand, the players should be conscious on where, why and what they are staying on doing the game stuffs. this condition is called grounding the player (bates, 2004). figure 1. game environment looks in the game designing point of view, designers suppose to be understood what will be expect on the players’ head and anticipate their reaction on complexity game situations. bates (2004) points-out the important of player empathy by ensure interaction between the players and the game is going smooth. moreover, gorini et al. (2011) states that combination of immersion and narrative are significant features to generate an effective experience with virtual world. this great interaction would lead better experience in game play for users. in the formal elements of the game, sometime the play needs conflict by creating rules, procedures, and situations (fullerton, 2008). it is needed to make game just not easy to mastering and making interesting game flow. by gaining complexities with creating conflicts and challenges could boost the interactivity. for instance, constructing paradoxical circumstances could improve enjoyment experiences. in term of game design, the paradox of control is a situation that players are not actually in full control of their plays. the paradox of control is commonly used in some games to attract more game players’ challenge. the paradox uses difficult situation that planned by designer. in some cases, fullerton (2008) states that players enjoy this personal conflict condition on the game. the paradox of control is also one factor of the pleasure of the game. it means, joyful playing game could be gained by making complex setting. csikszentmihalyi (1990) points-out that this enjoyment on the sense of experiencing control in knotty control, actually the gamers are not in full control due to unsure outcome. 29 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of control on the other hand, this paradoxical sensation could be applied in the csikszentmihalyi’s theory about ‘flow’, especially for generating balance situation on psychological of the gamers by adjusting the challenges. basically, the gamers’ skills/abilities need to be improved in line with the growth of the challenges. the meaning is the game design considers that gamers should be inside the flow channel, otherwise they will feel bored or frustrated, as showed on figure 2 below (fullerton, 2008). figure 2. flow diagram (csikszentmihalyi, 1990) methodology this research is mixed methodology which using quantitative and qualitative methods. the study involved 27 students, majoring in animation, universitas multimedia nusantara, who took 3d game design subject. the subject of 3d game design, commonly, taken by about 25 – 30 students for each semester as an elective subject. this research was also part of their learning about develop challenge for design levelling. in general, they learned how to develop 3d game as designers and practice their knowledge on their game projects. sequence of lesson, they applied game theories including formal elements, dramatic elements and finally, system dynamics of the game. the study divided in three steps, which are experiment, playing observation, and interview. first of all, the experiment was set-up on game lab with unity3d software. there were challenge conceptualization, implementing the concept for cross modal visual clues & auditory instruction, applying the paradox of control, and game testing through the game engine (without publishing the game). secondly, the students asked to play the game and i did observation on that. the observation was done about 2.5 hours. i went to each student for watching their play and wrote their decision-making on the game play. the last, for confirmation, i conducted interviews with the students by clarified their considerations on taking step for each pathway they decided. there were some qualitative arguments when making judgments of their path for game achievement. 30 editorialbook of reviewijcas: volume 5 number 2 december 2018 experiments the materials of the game world used ‘island demo project’ assets that belong to unity3d, a 3d game engine software; except some game objects, such as sign system (turn left, turn right, and camp sign), survivor marker (food wrap, soft drink cans), and auditory instruction, which made by researcher. 1. conceptualization this experiment used mechanism of ‘search and rescue’ (sar) scenario game as an adventure game. generally, the design was searching and rescuing survivor who lost in the mountainous jungle. the players asked to explore the jungle and seek the lost person. the players guided by visual clue and auditory instruction, however, they supposed to make decision on their own judgement. in term of game design, decision making means action for chose given task/quest in the game world. the tasks decision could be a pathway, an answer of puzzle, a strategy, and so on. the plot of this game level used modulated plot, which referred to meadows (2003) concept. the modulated plot means the users could make decision freely by choosing non-linier nodes, so they have the own pathway of interactivity. however, actually the designer already modulates the plot of decision points, it means users’ choices are not really boundless. figure 3. modulated plot (http://zach.tomaszewski.name/uh/ics699/modulated.gif) the design of game plot for the experiment is as showed in figure 4. there are three main experiments, such as cross modal visual clues & auditory direction, auditory instruction without sign system, and paradoxical clues. 31 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of control figure 4. design of sar game plot 2. implementation concept all of game objects, including visual and audio, are integrated in the game engine. basically, all of assets are located based on decision point (as showed in figure 4) and the game scenario. first of all, the experiment begin with easy task that the respondents will follow the cross modal clues and they are not contradictive command. the gamers will be helped by sign system, such as sign of turn right/left and auditory instruction. secondly, there is only auditory command, which heard by the respondents for each challenge and no sign system aid. the respondents suppose to make their own decision according to their perception and game scenario. the quests are finding the shelter and finding the potential pathway of the survivor. the last, the concept of paradox of control is implemented on this level. there are some contradictive clues between visual information and auditory instruction. this challenge experiments two typical of paradoxical clues, which are simple complexity and difficult complexity. the difference is just on the number of paradox clue in each challenge. observation & disscussion the perpetual term on cross modal perception in the game is needed to boost immersion. the meaning that dramatic element of the game grows challenge and ability. roettl & terlutter (2018) describe that the term “perceptual” refers to real-time feedback towards an object in a person’s setting and involves real time responses from the personal emotional and cognitive processing or sensory system. moreover, o’leary & rhodes (1984) explains that the perception has function to analyse the sensory collection into objects. this is the important of perception that influences the decision-making. we focus on the interview clarification based on respondents’ decision-making. generally, there were three types of cross modal clues on this study, which are common visual clues (signage) & auditory direction, auditory instruction without sign system, and paradoxical clues. figure 4. design of sar game plot common cross modal auditory instruction – no sign system paradox of control 32 editorialbook of reviewijcas: volume 5 number 2 december 2018 1. cross modal visual clues & auditory direction 1. cross modal visual clues & auditory direction figure 5. sign system & voice-over direction to turn left/right this common cross modal is simple to understand, because of commonsense in daily life, as illustrated in figure 5. most of respondents followed the visual clues & auditory direction and they went to the correct pathway. universally, gamers’ path was in the same trail. there were no distinct judgements and arguments on the clarification. when users found street sign, they heard an instruction to go direction as showed on the street sign, either took right or took left way. there is no difference clues between visually and auditory. 2. auditory instruction without sign system in this level, respondents asked to think their judgement with indirect visual aid. there was just auditory instruction as information for making decision. however, king (2009) states that there still has cross modal interaction since conflict information is occurred which provided by different senses, even though visual clue is disguised. a. finding the shelter experiment the voice command was “please find the shelter where the survivors could be there for having rest!”. as showed in figure 6, we could estimate the location of shelter by guessing the form of shelter. there could be in the right hill or the left hill. i make aid for this discussion by placing red circle on the right hill, which is bunker ruins; and yellow circle for a cabana on the left hill. 33 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of control figure 6. finding the survivors’ shelter based on the observation, 19 respondents went to the shelter where located on the left hill (yellow circle), 6 students chose the red circle shelter on the right hill, and interestingly, rest of 2 respondents went far away to the middle of valley (blue circle). the undirected two respondents did not give explanation on their decision. ▶ the cabana during interview for clarification, the 19 respondents said that ease to find the shelter due to form of the cabana on the left hill. logically, the cabana was build as a shelter for mountain hikers & villagers having rest. in addition, the respondents had information about the cabana and experienced use a cabana before. visually, the cabana was located little bit difficult to see from distant position, especially, trees surrounding camouflaged it. however, the 19 respondents still recognised it as a cabana, which could be a shelter for the survivors. figure 7. the cabana according to solso (2003), eyes will attract to the objects due to mind perception. the mind’s eye distorts an object influenced by the surrounding cues. the colour of environment enclose the object will aid eyes to recognise the name of the object. furthermore, some researchers state that visual 34 editorialbook of reviewijcas: volume 5 number 2 december 2018 perception is caused by frequently seeing pattern and the edge of corners. as showed in figure 7, the left picture is the pattern of cabana. this pattern helps respondents to recognise the cabana as a shelter in the game environment. captivatingly, the 19 students who chose the cabana in the game were explaining that the position of the cabana in left of the hill is also made easier and faster to find. i believe this visual perception is led by reading pattern that start from left hand side. ▶ the bunker ruins the six respondents who chose the bunker ruins stated that the ruins could be a shelter for the survivors. at least, there is concrete as a cover from extreme weather. the reason is made sense, however, according to game scenario, there are some risks using the bunker ruins as a shelter. the survivors would unsafe due to sea tide (the bunker ruins is located in the seashore), the ruins have potentially collapsed, and wild animals. figure 8. the bunker ruins b. tracking the path experiment the game task in this position is tracking the potential lane of the lost people. there is no sign system that directs the players to both directions, as showed in figure 9. there are two hike trails, where both pointing to different peak of the hills. the auditory instruction gave command to the gamers for tracking the potential pathway of the survivors. figure 9. the potentially survivor’s path 35 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of control to sum up, the result of this section interview states that most of the respondents picked the right path and three students took the opposite pathway. the main reason that respondent decided to turn right, as potential pathway of the survivor, was finding garbage of food wraps and soft drink cans, looked at inset of figure 10. in sar situation, that garbage could use as a marker and a possible indicator that the survivors just passed the track. figure 10. the survivors’ marker the rubbish of food wraps and cans is simple thing, however in the right place & time, it leads great perception for human brain. respectively, the visual perception guided someone for making decision. minissale (2013) adding that human get visual perception in easy structure by identifying of such kind as line, colour, movement, luminance, and texture in the visual world. in my opinion, the respondents were making visual perception by differing the colour of the markers (food wraps & cans), which they are red eye-catching, to the environment that dominate by natural colour (green & brown). furthermore, the visual sensation of presence is related to the fact that a perception of the object as a current one that we can cooperate with in our daily world (the perception of the surface) (ferretti, 2017). as a result, the players can ease predict the potential survivors’ track based on this visual perception. 3. paradoxical clues the final level of experiment is applying the paradox of control on designing game. essentially, the paradox of control is using cross modal of visual and auditory clues. the both of information are occurred simultaneously and contradictive each other. the challenges were separated in two levels, such as simple complexity and knotty complexity. the complexity were developed by multifaceted information that given to the respondents. consequently, the players would assume multi interpretation on that information before making decision. 36 editorialbook of reviewijcas: volume 5 number 2 december 2018 simple complexity the information on this situation used straightforward contradictive visual clues and auditory direction. for instance, visually directs to turn right and auditory asking to turn left. in the first experiment (figure 11), visually the respondents asked to turn left and simultaneously, the players heard auditory instruction “please take the track by follow the bridge!”, which was turning right. figure 11. first level of the paradox of control i noted that the 23 respondents took to turn left by following street sign and the rest followed the auditory instruction. as showed in figure 11, there is no pathway if followed the sign system by turning left. interestingly, the majority respondents still followed the sign system. mostly the players stated that the street sign was more trusted differ to the easy pathway when followed the auditory direction. they thought that street sign was the proper way and would be the pathway for the survivor. this visual perception guided the respondents to take the imaginer confidence although it was not the correct one. the result of this level observation is interesting. the respondents actually were gambling follow the signage. there was no track path and no destination information, however the players chose that way using their visual perception. the respondents defined that they focused on the sar scenario and logic of survival by not going close to river if unnecessary, due to wild animal. basically, when someone gets lost in the jungle or mountain, he/ she should hike to ridge, so it helps the lost person look the accessible pathway. on the other side, the gamers were making decision to turn left (following the sign system), it means they found the river. actually, visual perception also gives unconsciously fast judgement before doing assessment, which is a negative condition that affects wrong decision. minissale (2013) explains that the brain that associated with 37 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of control monitoring internal states and keeping long-term plan & objective in mind also influences visual perception. in my opinion, sometime people does not consider with their short-term plan as a process of long-term achievement. back to the result of observation, making decision by following the sign system is not long-term plan. it is just the way to achieve the long-term goal. b. difficult complexity in this paradoxical perception experiment, the complexities are multiple contradictive clues. the challenge consist visual clues, auditory instruction, environment clues/symbol, as showed in figure 12. the setting of this scenario is the players still seeking the survivors in the evening, close to the one of the summit with a cabana on it. then the players heard auditory instruction, “take another summit, probably you will find the survivors!”. the result of observation, most of the respondents decided to take a cabana for camping, three students continued finding the survivors by turning to the right track, and the rest of two respondents followed the voice direction to ‘jump-up’ to other summit of the mountain. figure 12. complex level of the paradox of control i summarised the 22 players’ statements who decided to camp on the cabana. most of them have similar visual perception about the situation; first of all, there was an evening, difficult to find the survivors in the dark, even moonlight help illuminate the environment. secondly, objects did not look bright, including the trail track, so they could not recognise the way properly. thirdly, in the evening, eyes face hard to distinguish colour. as a result, the players could not recognise markers that left by the survivors. lastly, naturally, the respondents assumed that working in the night were not effective. they had percept that the game system has artificial intelligence (ai) for limiting productivity of searching the survivors in the evening. according to the players’ arguments and perception, those are made sense. let’s we look at figure 12, there are some visual information that we could percept, such as: 38 editorialbook of reviewijcas: volume 5 number 2 december 2018 • a street sign to take right track • a camping signage • a cabana • moonlight reflection of moonlight from the sea behind the mountain • impression of slippery trail track those clues & symbols could support the respondents’ visual perception so their judgments are commonsense. this paradoxical experiment states that visual clues give more perception compare to the auditory instruction. the voice information is happen once and unrepeatable, while the visual data is constant seen by the eyes. in addition, king (2009) explains this situation happen caused by the retinas send high-resolution and consistent information to the brain. it means the brain got prominent information for making-decision from its visual perception. conclusion this study investigates paradoxical situation using cross modal visual and auditory clues. in general, the investigation found that a visual clue is more powerful for leading visual perception. visually, the respondents followed street sign, street path, and game objects, such as building and others object/properties in the game world. moreover, in case without visual clues, the respondents also followed the auditory command about which direction should be taken. the visual clues and auditory instructions were occurred randomly based on the path of the respondents’ chosen. interestingly, in circumstance of the paradox of control, most of the respondents decided to follow the visual clues, although it was not the right direction. the paradoxical cross modal using auditory instruction would not really affect the gamers’ perception. most of them are influenced by the visual clues for generating perception and making decision respectively. the logical terminology of visual perception in the gamers’ head is greater than voice directions recognition. finally, the game players’ decisionmaking is predominantly triggered by visual perception. recommendations from this study are; firstly, in designing game, visual aspect is more important. secondly, the study needs to develop more detail, especially for going in depth investigation on the players’ brain perception. thirdly, conducting visual perception research using virtual reality technology. references bates, bob. 2004. game design. thomson course technology. 2nd edition csikszentmihalyi, mihaly. 1990. flow: the psychology of optimal experience, new york: harper & row publishers, inc. ferretti, gabriele. 2017. are pictures peculiar objects of perception?. journal of the american philosophical association; cambridge vol. 3, iss. 3 39 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of control fullerton, tracy. 2008. game design workshop: a playcentric approach to creating innovative games. elsevier. 2nd edition gorini, a., capideville, c.s., de leo, g., mantovani, f., & riva, g. 2011. the role of immersion and narrative in mediated presence: the virtual hospital experience. cyberpsychology, behavior and social network. vol. 14, no. 3, 99–105. king, andrew j. 2009. visual influences on auditory spatial learning. a review, philosophical transactions of the royal society biological sciences meadows, m. s. 2003. pause and effect: the art of interactive narrative. pearson education. san francisco minissale, gregory. 2013. the psychology of contemporary art. cambridge university press o’leary, ann & rhodes, gillian. 1984. cross-modal effects on visual and auditory object perception. perception & psychophysics. volume 35, issue 6, 565–569 roettl, johanna & terlutter, ralf. 2018. the same video game in 2d, 3d or virtual reality – how does technology impact game evaluation and brand placements?. plos one. vol. 13, iss. 7. san francisco solso, robert l. 2003. the psychology of art and the evolution of the conscious brain. mit press/bradford books series tomaszewski, zach. 2005. foundations of interactive narrative. retrieved from: http:// zach.tomaszewski.name/uh/ics699/intnarr.html game objects: unity3d. 2011. island demo project. downloaded from http://download.unity3d. com/gallery/demos/demos/islanddemo.zip 55 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks patternkarna mustaqim. drawing perform’s drawing perform’s: an artistic research karna mustaqim universiti teknologi mara kolej amira uitm puncak alam road, 42300 shah alam, selangor, malaysia karnamustaqim@yahoo.com abstract the determination of academic research on the field of the arts education troubling its own artistic practices. it was assumed by clarifying the objective and method of doing the research, art was believed would be contributing to a greater intellectualisation, otherwise it is just an art practice without justification from science, and therefore no contribution worth to human knowledge. since it contrastive to the nature of artistic practice embodied in the arts itself, which unfortunately not even realize by the artist his/herself. whilst it is well said by joseph kosuth (1971) that: “the artist, not unlike a scientist for whom there is no distinction between working in the laboratory and writing a thesis, has now “to cultivate the conceptual implications of his art propositions, and argue their explication.” this paper is about explicating the writer as the artist himself who done the livedexperience of drawing performs as the research processed. artists use drawings an activity or a way of understanding the meaning of who we are and how we lived in the world. however, the objective of this research is an exceptional one, it searches for the dual experiences of the researcher as the artist as the instrument who producing the drawing and as the spectators himself welcoming and appreciating as he/she reveals him/ herself capable of wondering. in a particular way, this research is to show that through the making of drawings, the drawing performs lived-experience, that it can be another paradigm so called art-based or artistic research. keywords: artistic, research, practices, performed introduction the determination of academic research on the field of the arts education bring about peculiar challenges. in the research realm, promptly, the artists as researcher face the kind of accusation says their works are not academic enough, or specifically not fulfil the scientific reasoning. the artist as researcher should have a well-defined research plan since the beginning. to conduct a research, the artists should have clear the direction and the process of producing the outcome of their research. the artist who become the researcher at this instant constrained by specific relentless procedure to comprehend something called: the ‘objective of research’. whilst in the artistic research, as suggested by joseph kosuth (1971) in reference to his sixth investigation: proposition 14, said that: 56 editorialbook of reviewijcas: volume 5 number 1 june 2018 “the artist, not unlike a scientist for whom there is no distinction between working in the laboratory and writing a thesis, has now “to cultivate the conceptual implications of his art propositions, and argue their explication.” henceforth, artist who turned out to be a researcher is oblige to doubt the nature of the art practicalities, particularly confront the matter of the artist own artistic practice. despite the fact of research realm predominantly by large of empirical reasoning, there were inadequacy methods to explicate the richness of the artist’s researcher self-observation on his/her lived-experience of artistic practices by employing those scientific paradigms. the art based research is grounded on the artistic practices, without which the research in the art would not become discernible. artistic practices provide us a kind of experience that deepen our understanding of the world we live. this type of activity has brought creativity to integrate man and the world, to the greater being in the world. artistic practices were believed as an utmost capability of human being. those people whom devoted to artistic practices were called ‘artist’. they put on effort to let the creativity emerged through the work of art. whilst creativity itself is a lifelong realization, and barely those creative people put certain target on their pursuit of idiosyncratic works. however, if the artist involves and take part on an academic research, the pursuance of creativity, thus coerced by the time frame and limited budget. general public bewilderedly measures up the creative process with certain degree of productivity in such demand ways to produce new invention, new product, new things, new kind of concept or new type of art’s object. the academic research should not drive by the same intention like the general public’s demand. the research in the arts supposed to give contribution to the body of knowledge of the artistic practices which can lead to novelty on original or fresh understanding of the meaningfullness of the arts and the practice itself. in this sense of research practices, the artist can seek contemporaneous even through an old age medium of basic elementary human activity such as ‘drawing’. furthermore, rob walker (2002) asserts that ‘a drawing practice which originates from within the artist, whose own experience and developing philosophy comprise the agenda can become a lifelong process (p.110)’. drawing the new of an old age medium drawing, this form of communication is fairly old in our history. almost 50.000 years ago, our humanly ancestor were found communicates through marking in the cave’s wall. drawing may not be seen just as a medium or technique of markmaking, but as ‘a human activity with a rich and complicated history’, states tony godfrey (1990) who presumed that drawing is actually a ‘passionate affair’ of a man (p. 7). as cited in gabriel coxhead (2006), francis outred from sotheby’s london believes ‘drawings are the most directly expressive form of art, and are increasingly being recognised as valuable documentation of important artistic activities’. 57 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks patternkarna mustaqim. drawing perform’s ‘drawing is the primary means of symbolic communication, ‘says deanna petherbridge as cited in howard riley (2002),’ which predates and embraces writing, and functions as a tool of conceptualization parallel with language (petherbridge, 1991,p. 7)’. when drawn marks on a pieace of paper turned into any recognizebale image, that image is not a real tangible object, of course, but an iconic pictorial image that reminds us of an object. by creating a recognizable object that the viewer could make meaning out of it, the artist with his marks is performing an abstract act. margaret davidson (2011) says the fundamental truth of drawing, according to phillip rawson comments: “for a drawing’s basic ingredients are strokes or marks which have a symbolic relationship with experience, not a direct, overall similarity with anything real. and the relationships between marks, which embody the main meaning of a drawing, can only be read into the marks by the spectator, so as to create their own mode of truth (p. 40).” bert dodson (1985) purported that ‘drawing is primarily a process of seeing rather than strictly an application of principles’ (p.8). common people assumes drawing as one of the utmost art practice that every single person on earth possibly could have made it once in a lifetime, everybody make it, even the blind who have no vision could draw up on some scratches. tania kovats (2007) goes further by stating that drawings are a direct form of communication, it belongs to everyone. “acts of drawing occur all the time–someone applying eyeliner, doodling whilst on the phone, or making someone a map on the back of an envelope. we are all mark-makers (p.7)”. method and paradigm the work of art may also be seen as a work of research in particular way, as barone & eisner repeatedly announced, the term ‘research’ has a scientific ring to it that people assume the work that is of a research kind will be ‘scientific’ in character, and their refutation on such assumption that there is a kind of research other than the scientific one, such as art based research (barone & eisner, 2012, p. 45). the process of research is re-researching that of “comeback again and again to perceived phenomena, scrutinizing the world, and thereby re-experiencing it (p. 47)”. anita taylor (2008) in her foreword – re: positioningin writes: “drawing is a central and pivotal activity to the work of many artists and designers, a touchstoneand tool of creative exploration that informs visual discovery and enables the envisagementand development of perceptions and ideas (p.9).” recently, the drawing as subject of study has become of interest not only to communities in arts and design, but as well as in science, psychology, education and history. what may differentiate the study or research of the arts from the one from the scientific are their objectives of study or researches objectives. scientific researchers search for findings some facts in repeatable pattern than can be formulate, the aim is to answer, to find solutions and giving some conclusion 58 editorialbook of reviewijcas: volume 5 number 1 june 2018 to the research questions or problems. the scientific methodology demands a replicable method that can generate by other researchers elsewhere. if the same method used on same subject of study by several researcher in several similar conditions by which resulting several similar answers then it means have a highest probabilities of objective conclusion. studying the arts from within the art itself to certain extent is unlike studying scientific object. it’s true that almost certainly the artistic techniques, the art objects, and the artists themselves can be investigated just like any other objects of study. researcher can collect data, comparing, categorizing, and make conclusion from some visible pattern that keep repeating. as a matter of facts, the truth in the art was not about correctnes, precision, accuracy and true or false facts. barbara bolt (2004) according to heidegger’s conception of art, it is art as a mode of revealing, not the artwork, that constitutes the work of art (p, 9). martin heidegger once said, “...art then is a becoming and happening of truth”. the arts are not simply an obvious factual evidence of a collection of artworks. the arts touches upon a sincere heartful, which is neither it can be quantifiable nor something that can be qualifiable. it should be at least a different kind of research paradigm needed to realize what is the objective of the arts research and what not. artist as instrument of the research for artist as the researcher who used his capability of making art, there is a significant sense in which an artistic practice-based research, the researcher should exhibit an artistry skilled in whatever form he or she choose to do through the research (barone & eisner, 2012: 57). the making of the drawing was a process rather than outcomes. yet, it was not merely a research on the creative process as commonly known. indeed, this objective is an exceptional one, in order to define it, reflection is less devoted to it than to the experience it implies. it is the dual experience of the creator producing the object and the visual readers (as spectators) welcoming and appreciating it. as described precisely by dufrenne (1987) that: “...the experience of the creator, because here man reveals himself as capable of escaping the realm of necessity and devoting himself to a gratuitous praxis; the experience of the spectator (and this would apply to creator as well), because here man reveals himself as capable of wonder” (p.viii). the so called scientific studies willing to search for phenomena by looking for the pattern that keeps on return in many circumstances. it is common for this type of researcher to have some findings from their analysis of data, and come up with one or many formulations that explained the repeated phenomenon. the process of research is re-researching that of “comeback again and again to perceive phenomena, scrutinizing the world, and thereby re-experiencing it.” this mean to include re-looking, re-doing, re-wondering and we may return to innocence. the objective of artistic research by practicing the making of the drawing done by artist’s researcher here is neither to find a new formulation nor to give a guidance for doing some kind of artistic techniques of mastering the drawing 59 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks patternkarna mustaqim. drawing perform’s artistry. through the wondering method, the activity of re-searching in artistic research is to let the meaningful of the creative process on the practices shown itself. indeed, mustaqim (2016) asserts the inquiry in aesthetic research, as stated by liora bresler and margaret macintyre latta (2008), ‘becomes a movement of thinking, a medium in which meaning is not applied or imposed but rather manifested and could never be fully anticipated’ (p. 46). everything begins with perception, as merleau-ponty has imparted, and aesthetic perception is perception par excellence, a wonder is the harmony between perceptum and percipiens, and perception situates man in the world. commonsensically, drawing has associative with the resemblance of mere phenomenal appearance of things on how the visual world is perceived, and its immediacy to thought and functional perception in which the coordination of hand and eye allegedly intends to make objective realism in terms of imitation of the visible things. the instrument of a research, usually uses to collect data from the object of study. from here, we may see that the collected data were the works done by the artist. all of the drawings drew by karna mustaqim are datas to be analysed. so, the artist must research himself. researcher had to look into his own drawings. is it possible to inquiry one own-self? nothing is impossible, but according to kosuth, being an artist was not questioning the self, not even questioned the artwork, but questioning the art itself, the question of being. the origin of the artist and his work of art. the arts itself. ‘art is the origin of the artwork and of the artist (heidegger as cited in bolt, 2004, p. 87)’. ‘the painting takes on a life of its own,’bolt stated, she furter implies,’ it breathes, vibrates, pulsates, shimmers and .... no longer merely represents or illustrates reading. instead, it performs .... in the performativity of imaging, life gets into the image (p.2)’. therefore, the artist as researcher turned out to become the instrument on the artistic research. the research practitioner practicing artistic research reveals the truth about the work of art in itself through the used of the artist as instrument of the research. drawing as seeing/moving in artistic inquiries researcher as an artist shall now turn to look into the origin meaning of drawing. the etymology of ‘draw’ and ‘drawing’ brought us back to the old english which was dragan that means “to draw, drag, pull”, from proto-germanic was draganą, and german tragen means “to carry, bear”. in sanskrit धधधधधध (dhrájas) which means “gliding course or motion”. the meaning of ‘draw’ is neither a noun for the object we knew as picture, nor a verb of activity on image-making. ‘to draw’ and ‘drawing’ means to pull or to drag something from one position to the other position. its primary meaning of ‘to draw’ and ‘drawing’ are about seeing as intention to grasp things and then moving it. therefore, when we make a drawing, our vision sees the things first, then we become know what we see by drawing the things through vision, all before we begin to making mark on a surface by using any other thing as tool. researcher putatively put drawing as seeing/moving in this artistic inquiries. 60 editorialbook of reviewijcas: volume 5 number 1 june 2018 the inquiry comes when researcher as artist realize that there is no exemplification of dots, lines, strokes, shades or textures found in direct perception. artist only seeing things, and at the same moment begins to draw upon his lived-experience on that things. frederick franck (1973) says: “seeing/drawing is a way of contemplation by which all things are made new, by which the world is freshly experiened at each moment....it is the opposite of lookig at things from the outside, taking them for grantend.... what i have not drawn, i have never really seen...” figure 01. researcher left-hand drawn by himself as artist. graphite pencil 2b on white paper, 80 gsm. year 1994. the hand drawn by researcher (figure. 01) in the past few years ago shows how a passionate drawing could be perceive as a hand not only by the artist eye’s himself, but also appear to be a true representation of a hand for other spectator eye’s. mustaqim (2013) once asserts ‘drawing is ability to synchronizing thought, feelings, body movement, tools and materials (p.108).’ this ability to mimic the hand shapes, texture and tone (color) were trained through years of willing to master the technique of making realistic objects. meanwhile, in the middle of pursuing his second degree on academic works, researcher diminished enthusiasm on making any riil object. somehow, researcher commenced seeing different way of grasping knowledge by returning to articulate elementary drawing. it seems the lines as the basic elements of drawing speaks of thousand words on researcher’s mind. subsequently, researcher keen to articulate the basic elementary dots and lines by deliberately practicing it for the next few years up until now. after a while, researcher came to realize that a strange enigmatic sense touches feelings. the practice of making to draw has opened up the world. it was not a world fulfil with some imaginative objects of the real concrete things commonly found in everyday life. it was not even a world of projection likewise platon’s cave allegory. sean dorrance kelly (2005) affirms that we are not seeing things as such, but we experience objects as seeing one another, merleau-ponty assertion is, ’to see is to enter a universe of beings which dislpay themselves(p. 76)’. 61 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks patternkarna mustaqim. drawing perform’s figure 02. ink and drawing pen making blots and lines experimentation on white paper, 80 gsm. year 2004. kelly (2005) writes seeing things in merleau-ponty that discuss about ‘the canonical kind of indeterminate visual presence which is the visual presence of the background against which a figure appears (p.82)’. we experience an object of things appear in front of us not only as two dimensional facades, indeed we must acknowledge that we see things by experiencing something as a full-fledge threedimensional entity. the real object of hand should not be defining as the sum of several perspectives on it, but since the most basic unit of perceptual experience is the presentation (p.97) of a figure aginst a ground, the moment i looked at my hand meanwhile the other surrounding object also determine my visible attribution. the actual shapes, size, texture and tone (colour) of the hand as object that were trained thoroughly over the years were never exist as such, they were hidden side of the object, which is ‘positively presented in experience, but it is presented indeterminately (p.97)’. whereas researcher as the artist have a direct bodily understanding of the shape, size, texture and tone of the hand, then i already perceive the invisible in the sense of readiness to drawn into existence of making to draw with it. another works was done by using various size of drawing pens, the story arc is about the fight of two wanara’s brother causes by misinterpretation. 62 editorialbook of reviewijcas: volume 5 number 1 june 2018 figure 03. battle for supermacy. various drawing pen on bristol white paper, 120 gsm. year 2016 (redrawn from 2002 version). figure 04. in the line of drawing no. 23 (series). various drawing pen on bristol white art paper, 120 gsm. year 2012 (redrawn from 2002 version). while in a life and death combat with the king of beast, the elder asked his younger brother to leave him and immediately close the cave if he saw white blood running over the small river from inside where the deadly fighting took place. king mahesasura, the beast, died and spilled his red blood and white brain into the river flows, which mistakenly perceived by sugriwa, the younger one, as his brother blood. later on, subali and sugriwa involved in a deadly fight, wathed by their wife tara, and king rama who backed up sugriwa from behind. figure 03 shows the two brothers fought each other, the lady tara seems willing to stop them, and someone masked prepares to shoot arrow to them. on figure 04, spectator may not see any recognizable figurative form, although this one is made after the figure 03. after drawing the piece on 2002, researcher works on an abstract non-figurative art form. drawing by using the same tools: various sizes of drawing pen from 0.005 mm to 0.8 mm. researcher trained his self by using nearly same techniques and similar materials. within the time, researcher look at the details and seek to the elementary form which lead to appreciate more carefully the dots, the lines, the shapes, the texture, the shades of tones and so on. researcher did not put away the artist within himself, but let both dissolves into articulation of embodied being-in-the-world. all the dots, the lines, the shapes, the texture and so on are organize spontaneous and one in a while it begins to become synaesthetic perception – the blend of the various senses – which merlau-ponty (1945) elaborates by discussing cezanne’s artistic practice. those basic elementary shows in researcher series ongoing works titled ‘in the line of drawing’ is essential to the aesthetic experience, since it materialize as the aesthetic object. galen b. johson (1993) implied that: “nevertheless, the aesthetic object is not the work of art simpliciter, rather the aesthetic object just is the world itself, but the world as revealed by the work, that is, the world-cum-work. the aesthetic object signified by a work of art is not 63 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks patternkarna mustaqim. drawing perform’s a feeling or imagined object found in the truncated relation between viewer and work, .... the work reveals the world in a new way (p.33).” according to elizabeth fisher (2011) those works of art, the activity of making to draw, identified by heidegger,’ as the locus of the unknown (p.8)’. she asserted that heidegger implied that,’ the unknown is not beneath, behind or secreted within the work, the unknown is the work.’ here researcher cites length from bolt (2004), elucidation about heidegger on the work as work sets up a world: “...is neither referring to the world as the tangible space of the physical world, nor of our preconceptions of what the world is. when the world worlds, it cannot be encompassed within the parameters of our representational frame. it cannot be set before us as an object for a subject. rather it involves an opening up of the world in which the scope and limits of being are experienced. process is performative. it opens onto possibility and brings it into being. heidegger terms this opening to being, spaciousness (p.113)”. figure 05. in the line of drawing no. 02 (series). various drawing pen on bristol white art paper, 21 x 29 cm, 120 gsm. year 2012. figure 06. in the line of drawing no. 19 (series). various drawing pen on bristol white art paper, 21 x 29 cm, 120 gsm. year 2012. concluding re-mark: pursuance of the anonymous outcomes the making of the drawing was a process rather than outcomes. there is no such thing called the direction, the process and the result that already anticipates in the artistic practice. drawing is no way of any projection of the artist’s intelligence, yet, hermeneutically saying that research through drawing practices is not only a description, but it also seen as interpretative process in which the artist-researcher makes an interpretation of the meaning of lived experiences of drawing(s). the artistic research here perform by the art itself through the uses of the researcher as an artist making to draw that opens up the world, the hidden, the unknown that visible in its invisibility. the artistic research of making to draw by letting the drawing performs itself through the hands of the artist, make appearance through the tools, on the surface such as paper or any other materials choose along the way of the process. the research from the visible side of the artist is unknowingly to scratch, to smudge, 64 editorialbook of reviewijcas: volume 5 number 1 june 2018 to streak, and to smear the uncanny feeling of making to draw playing onto the papers and wandering around wondrous world set forth by drawing itself, in which bring to the question of poetical revelation through the process of artistic research. through the interchange of the artist and the researcher, its enabling the creative process as an activity to search for the artistic knowledge like never before, at least it is what have been lived-experienced by the researcher himself as the artist. drawing has never been simplistic. they range from a linear straightforward to a complicated devious yet mysterious. literally transform strokes into lines, abstracted entity put on the surface close up against realisation of spatial presence. sometime the artist let it go uncontrolled, yet the researcher retreat and re(dis)-cover it again. in contrast to the chaotic, immersive encounter with the outcome being anonymous walking by seeing/moving beyond the pages. it becomes a narrative of its own story, constructing his-story of the world where the past, the present and the future collides. collapsing each other to one another intertwining time and space. aforementioned by katherine stout (2014) that,’ a turn towards non-figuration did not mean that artists were not making work response to what they saw and experienced in the world’. indeed, the artist as researcher did not copying the environment surrounding him in the factual world. nonetheless, the artworks are not just finished products, but it echoes the human effort, their lives and perceptions of the world. in accordance to merelau-ponty, the central of mysteries is the capacity of perception to disclose a world: “a world is not just a collection of objects, but an environment or situation we inhabit, in which we find ourselves having to cope with possibilities and impossibilities, opportunities, obstacles—in short, a space of meaning (carman, 2008, p. 26)”. figure 07. poeisis of the lines p. 12 (ongoing research on comics form). various drawing pen on bristol white art paper, 21 x 29 cm, 120 gsm. year 2012. figure 08. poeisis of the lines p. 14-15. various drawing pen on bristol white art paper, 21 x 29 cm, 120 gsm. year 2012. 65 ferdinand indrajaya. art as the manifestation of embodimentd. rio adiwijaya, yasser rizky. techne as technology and techne as arti-na phuyuthanon. video art of “bannangsata case study”stephanus evert indrawan, tri noviyanto p. utomo. alternatives formation of bricks patternkarna mustaqim. drawing perform’s commonsensically, we see things in the world, but whereas artist see and make visible the visibility of things. ‘seeing the visibility of the visible requires stepping back from our ordinary naïve immersion in things, just as, conversely, seeing things in the ordinary way...,’ carman further implied (p.188). thus, a drawing or a painting or an illustration is made by an artist but it is no merely imitate the visible world around, it is a world of its own. this research has disclosed a wider horizon about the world we live in. as a realization conjured up here by matthews (2006) that: “what we call ‘realism’ in painting, then, is not a matter of creating a resemblance of what we think we see in nature, but of a certain manner of constituting the world of the painting itself (p.136)”. the artworks presented on this paper use only simplistic basic elements of art, yet it become complicated, as researcher trying to perceive it and make conclusion on the writings. here and there we would only found a complexity of appearances. sometimes researcher would think it more as less, otherwise the other moment might think otherwise. in this ongoing research by making the draw to create drawings, researcher do not anticipate or creating any objective ends purposively. it is to letting it be the creative process as a pursuance of the anonymous outcomes. figure 09. five sequences: panels divider. drawing pen and coloring marker on white art paper, 21 x 29 cm, 120 gsm. year 2016. wholeheartedly, this ongoing artistic research engagement would like to be a continuous wondering of the world as it experiences by the artist who conducting the research. those the return to the basic elementary art means to reexperiencing the wonderful world we lived by. to further study how the world could reveal poetical stances against normative art making and at the same time the practice of scientific research perspective that already being domination in the research and study on the arts. what is more important is not the things clearly state in the work of art, in the same manner as said by ludwig wittgenstein that,” ...what can be said at all can be said clearly, and what we cannot talk about we must pass over in silence....”, which means that the things that cannot be talked about logically are the only ones which are truly important. 66 editorialbook of reviewijcas: volume 5 number 1 june 2018 references barone, t. & eisner, e. e. 2012. art based research. los angeles: sage. bolt, b. 2004. art beyond representation: the performative power of the image. new york: i.b. tauris. carman, t. 2008. merleau-ponty. london & new york: routledge. coxhead, g. 2006. drawing – crossing the line today’s drawing is zany, iconoclastic, and a hit with collectors in financial time. retrieve on march 25, p. 50. london (uk). davidson, m. 2011. contemporary drawing: key concepts and techniques. new york: watson-guptill publications. dodson, b. 1985. keys to drawing. ohio: north light books. fisher, e. & fortnum, r. 2013. on not knowing: how artist think. london: black dog publishing. franck, f. 1973. the zen of seeing/drawing as meditation. new york: vintage. garner, s. 2008. writing on drawing: essays on drawing practice and research. bristol & chicago: intellect ltd. johnson, g. b. (ed.). 1993. the merleau-ponty aethetics reader. illinonis: nortwestern university press. kantrowitz, a. 2011. thinking through drawing: practice into knowledge (exhibition and symposium). new york: teachers college, columbia university. kelly, s. d. 2005. seeing things in merleau-ponty, in carman, t. & hansen, m.b.n. (2005), the cambridge companion to merleau-ponty, pp. 74-110. cambridge: cambridge unversity press. mahamood, m. & mustaqim, k. 2013. i draw therefore i am: drawing as visual (communication) studies, in journal of visual art & design, vol. 4, no.2, pp. 103118. bandung: penerbit itb. matthews, e. 2006. merleau-ponty: a guide for the perplexed. london & new york: continuum. mustaqim, k. 2016. drawing as (writing as research) as art, in matter at hand (exhibition and art talk). kuala lumpur: galeri chandan. rawson, p. 1969. drawing. london: oxford university press. riley, h. 2002. firing practice: drawing as empowerment. journal of visual art practice, 1(3), 150–161. https://doi.org/10.1386/jvap.1.3.150 stout, k. 2014. contemporary drawing from the 1960s to now. london: tate publishing. taylor, a. 2008. foreword – re: positioning in steve garner, writing on drawing, p.911. bristol: intellect books. thayer, p. 2003. the experience of being creative as a spiritual practice: a hermeneuticphenomenological study. new york: peter lang. walker, r. 2002. ‘drawing out; a humanist approach to drawing, in journal of art and design education, vol. 21.2. 11 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaning materiality, making and meaning: building the artist record through conservation in indonesia eliza o’donnell, phd candidate, grimwade centre for cultural material conservation, university of melbourne elizao@student.unimelb.edu.au dr nicole tse, grimwade centre for cultural material conservation, university of melbourne nicoleat@unimelb.edu.au abstract ways of knowing and understanding the artistic process are not fixed, and there are multiple perceptions that rely on the experience of the viewer and sources that inform them. this paper presents a case study of a conservation residency and collaborative treatment of indonesian artist entang wiharso’s ‘landscaping my brain’ (2001) oil on canvas triptych painting, to examine how we understand the artistic process from a conservation perspective and how this material knowledge contributes to the artist record. an interdisciplinary methodology for the conservation treatment of wiharso’s painting relied on technical and visual examination of the artwork in partnership with artist interviews and archival research. the residency concluded with an exhibition of the painting in an ‘active state of conservation’, highlighting the conservation decisionmaking process as value based and culturally grounded, leading to questions of authority, the role of technical-conservation expertise, what approaches work best, who should do the work and what knowledge informs it. in considering how we understand the artistic process, this paper will draw on the importance of practice-based interdisciplinary learning between conservator, artist, collector, curator and students, and the potential for collaboration and knowledge building at the intersection of these disciplines. keywords: conservation, knowledge sharing, painting, interdisciplinary introduction when considering an archive, we often ask, “who built this archive and for what purpose?” (melani setiawan 2018) these questions are at the root of understanding why dr melani setiawan began documenting her interactions with the art world in indonesia and how this personal project has evolved into the largest single collection of photographs of the indonesian art world in the last 40 years (setiawan, personal communication, may 2018). the cultural and historical significance of melani’s art collection and personal archive lie in the personal relationships she establishes with the artists themselves. known as the ‘mother of indonesian fine art’ and considered to be one of the most influential figures in the contemporary indonesian art world today, melani does not identify as a collector in the traditional sense, rather as an art lover, close friend and support network to many artists and individuals 12 editorialbook of reviewijcas: volume 5 number 2 december 2018 in the indonesian art community (setiawan, personal communication, may 2018). the diversity of melani’s collection, which includes approximately 600 paintings, sculptures, drawings and new media works, is a reflection of and testament to the strong relationships she has built with indonesian artists and cultural practitioners across time, practice, region and community. in 2012, melani’s personal archive of 45,000 photographs documenting art world events over the past three decades was recognised by the indonesian museum of records (museum rekor-dunia indonesia {muri}) for its excellence in ‘photo documentation of the most fine art activity interactions’ (muri 2018), this award coinciding with the re-claim exhibition at galeri nasional indonesia (the indonesian national gallery) which presented new work from 60 indonesian contemporary artists inspired by melani’s personal archive (cocca 2012). more recently, in 2017 the exhibition saya datang (here i come) at taman budaya yogyakarta, presented 70 paintings and sculptures from melani’s collection prior to 2007. alongside the artworks, the exhibition featured testimonials and photographs from melani’s archive, presenting the archive as an active site of cultural production and highlighting the history of her relationships with the artists and the indonesian art world (suhari, 2018). melani’s collection of photographs takes viewers inside the homes, studio gatherings, exhibitions and discussions to witness the indonesian art worlds shifting landscape, the flux of three decades of presentation, negotiation collaboration and confrontation amongst the members of the indonesian art community (cocca 2012).this personal archive, art collection and historical record of indonesian art world events inform and contribute to a record of contemporary indonesian cultural production since 1977. the verification of histories and development of identity require the existence of, and access to, an authentic cultural record a tool for understanding the past, to make decisions for the future (sloggett 2018). the inaugural australia indonesia art forum (aiaf) conservation residency was conceived within the context of melani’s culturally significant collection and a recognised need to preserve and care for a selection of paintings at rumah melani (melani house), yogyakarta. working with the painting collection, the conservation residency was established in response to the tropical climate preservation challenges associated with cultural collections in indonesia, limitations in conservation training, recognised expertise in the region and the opportunity to undertake a conservation project grounded in knowledge sharing. based at ruangdalam art house in yogyakarta, the three month residency involved the treatment of an oil on canvas triptych ‘landscaping my brain’ (2001) by entang wiharso, followed by an exhibition of the painting highlighting the conservation process exhibited at the conclusion of the residency. drawing on the treatment of wiharso’s painting as a case study, this paper is presented from the perspective of a conservator working in collaboration with melani setiawan, entang wiharso and the residency team of art students, curators, writers and cultural practitioners from ruangdalam art house. exploring the potential for collaboration and knowledge building at the intersection of these disciplines, 13 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaning this research aims to critically question and expand disciplinary frameworks for cultural material conservation knowledge sharing as a methodology for building artist records in indonesia and aims to contribute to the cultural record of melani’s archive and collection. methodology: building an artist record the conservation of objects, collections, archives and sites is a practical and philosophical response to both material changes over time and the cultural dynamics related to these objects (eastop 2006). as such, conservation as a practice evolves over time and place and is shaped by inter-regional dialogue (tay 2015); regionally relevant preservation solutions; access to conservation grade materials and culturally embedded ways of knowing. however, ways of knowing and understanding the artistic process are not fixed, and there are multiple perceptions that rely on the phenomenological experience of the viewer and sources that inform them (eastop 2006; tse et al 2018). this research draws on an interdisciplinary methodology for building material knowledge to inform the treatment process and the artist record. visual and technical examination of the painting from a conservation perspective, is complimented by information drawn from interviews with artist, entang wiharso, focussing on the production of the painting, and custodian, dr melani setiawan, providing information on the artworks history and provenance. visual examination, artist expertise and questions of practice and production are located within the framework of the residency program, which provided a space for contextualised artistic practices to be put into conversation with broader questions of engagement and knowledge embedded in the community. figure 1. outlines the research methodology utilising a multidisciplinary approach based on conservation, artist, custodian and community knowledge and expertise. the central hypothesis being that these avenues of enquiry are interdisciplinary in their scope and rely on multiple perspectives to build a robust body of material knowledge and documentation to inform further research and questions of authorship, centres of conservation expertise and authenticity as they arise. the diagram presents an intersection of historical, archival and technical pathways that inform our knowledge of artistic production, and how these areas of enquiry relate to each other. the residency framework is presented as a modality for ‘beyond-text’ research methods to deliver co-produced research with the wider art community (beebaujaun 2013). this approach is based on the demonstrated benefits of decentralising western informed conservation knowledge pathways and finding new ways of serving society and gaining material knowledge by working directly with artists, collectors and communities (scott 2015, p. 4, williams 2013). as cultural material conservation practices continue to emerge in indonesia, this development is based on principles of intercultural and intergenerational enquiry and requires conservation practices to be fully engaged with wider society and its many diverse cultures and value systems (scott 2015, p. 3). this methodology aims to examine how a material investigation grounded 14 editorialbook of reviewijcas: volume 5 number 2 december 2018 in interdisciplinary conservation enquiry can contribute to the cultural record and asks, what material knowledge do we need to create an authentic cultural record? where does this knowledge live and who or what informs it? figure 1. interdisciplinary methodology for building the artist record based on conservation, artist and custodian and community expertise. conservation practice in indonesia: an emerging discipline (?) traditional and contemporary works of art in indonesia, and the wider asia pacific region, are important in the development of national identity and collective cultural memory, yet research on their conservation and preservation has not been a major focus of research in our region until recently (aptccarn 2018). as the conservation and research of cultural material in tropical climates is an area that has begun to receive more attention in recent years, questions asked in cultural heritage studies “have graduated from ‘how to conserve?’ to ‘why conserve?’ and they are now grounded in questions of ‘for whom to conserve?’ (luxen (2004) cited in esposito 2014). esposito argues that this reflexive approach has gained momentum in the social sciences during recent years, where acknowledgement of these knowledge gaps and asymmetries have resulted in networks dedicated to addressing tropical climate preservation issues (esposito 2014). research conducted by the association of critical heritage studies (achs), the southeast asian regional centre for archaeology and fine arts (seamo spafa) and the asia pacific tropical climate art conservation research network (aptccarn) are working towards addressing knowledge gaps associated with conservation and critical heritage studies in the asia pacific region. with a goal to support asia focused cultural materials conservation research and practice, aptccarn meetings provide an opportunity for face-to-face exchange and have been held in malaysia (2008), melbourne (2009), thailand (2012), taiwan (2015) and the philippines (2017). the respective themes of the meetings mirror the tension between a material-based approach to a dialogic and socially 15 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaning situated examination of cultural materials conservation in the asia pacific region (tse 2018). other events and workshops highlighting conservation activity in indonesia include ‘training in painting conservation: prevention, restoration and maintenance’ workshop at yayasan arsari djojohadikusumo (yad) in jakarta, 2015; ‘conversation on conservation’ public seminar at bentara budaya jakarta in may, 2018 and the ‘international seminar on cultural management, conservation, research and innovation’ at the bandung institute of technology (itb) in august, 2018. building on these events as critical platforms for disseminating conservation knowledge and the scope of asia focused research networks in promoting conservation through practical and observational engagement, the residency was built within a framework for inter-personal exchange, relationship-building and action-based conservation research based on a prolonged and collaborative approach to knowledge making and production. conservation residency/residensi konservasi each year a number of art houses and independent organisations in yogyakarta facilitate residency programmes which provide an opportunity for artists from abroad to interact and engage with artistic production in a local context. a traditional residency format provides the artist with time and space away from their local working environments, these new surroundings creating opportunities for networking or cross-cultural exchange to create new body of work (bahdam, hill, purves, cockrell and spiers, 2016). building on this model, the aiaf conservation residency was invited to take place at ruangdalam art house in yogyakarta, the art house providing a studio, gallery, residence and meeting place for the treatment and exhibition to occur over the three month residency period from march-may 2018. as an australian paintings conservator and researcher new to indonesian studies, the art house provided a supportive environment to undertake the project in collaboration with a team of local professionals familiar with the artworks in melani’s collection. the residency team included art students from institut seni indonesia (indonesia institute of the arts [isi]), curators, photographers, graphic designers, writers, artists and cultural material practitioners based in yogyakarta, each individual drawing on their expertise to contribute to the collection assessment, documentation, treatment, workshop and exhibition preparation and install. the first week of the residency was dedicated to establishing the conservation studio, sourcing materials and assessing a number of paintings at rumah melani that had been flagged for conservation intervention. the team of isi art students managing the collection at rumah melani participated in the visual assessment of approximately 20 artworks, ranging from mid-twentieth century oil paintings to contemporary acrylic and mixed media artworks. sharing knowledge on the collection and creating a space for mutual exchange of ideas about the artworks and their history was essential to the success of the collaborative project. during this time, an understanding of deterioration mechanisms and level of damage was 16 editorialbook of reviewijcas: volume 5 number 2 december 2018 established, which informed what conservation materials would be required to begin the treatment process. as such, in addition to a small selection of conservation materials brought from australia, locally available proprietary products were purchased for use in the studio during treatment. a small handheld vacuum and artist quality brushes for brush vacuuming the back of paintings; bamboo skewers and sheets of cotton for rolling swabs and a small handheld ultraviolet (uv) torch, traditionally used in retail outlets for verifying the authenticity of bank notes, which can be used in conservation to determine the presence of a varnish layer. however, the availability of specific conservation grade materials presented limitations to what treatments could be undertaken, with specific reference to chemical solvents used for cleaning painted surfaces, adhesives for consolidation of flaking paint layers and relining materials for repairing structural damage to torn canvases. as conservation practices in indonesia are evolving and continue to develop, many local conservation laboratories and private practitioners source these materials from overseas, and restrictions to what can be brought on a plane or imported at short notice meant that some treatments requiring these materials could not be performed. this alone raises questions about the suitability of imported materials and the limited incorporation of local knowledges on the behaviour and performance of indonesian sourced materials. it points to a universal, practiced based discourse of materials conservation that relies on standards of chemical durability and performance and luxen’s ‘how to conserve’ (2004). in ontological terms, the tools and actions of materials conservation are still very much characterised by expert knowledges. this was very much recognised during the residency and was a point of navigation. during the assessment period, one painting was identified as requiring urgent conservation treatment due to the extensive paint loss and the cardboard that had adhered to the painted surface. based on the availability of the conservation materials required to begin the treatment and the significance of the painting to melani’s collection, a large scale oil on canvas triptych painted in 2001 by entang wiharso, (600cm x 97cm) was selected as the focus of the conservation residency treatment project (figure 2). figure 2. before treatment: ‘landscaping my brain’ by entang wiharso (2001), oil on canvas triptych. panel one, two and three (from left to right). photograph by harry arafat, march 2018 17 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaning visual assessment of ‘landscaping my brain’ the conservation of paintings usually takes into account properties such as its structure, material and chemical composition and visual appearance, as well as its ‘living’ relationships such as its cultural and social values that it embodies and historical information which locates its provenance and measures of esteem. in order to build a comprehensive understanding of the artwork, a visual assessment of the painting is compiled into a condition report with written observations and photographic data. in the case of ‘landscaping my brain’, it is made up of three oil on canvas panels that are connected by interlocking horizontal frame members and presented as one whole painting. each of the three canvases measures 97 cm x 200 cm (600m total in length) and is supported by a stretcher with two vertical cross brace members. due to the size of the work and the studio space, it was not feasible to work on the painting as a whole, rather each canvas was conserved individually, referred to in the documentation as panel ‘satu’ (one), ‘dua’ (two) and ‘tiga’ (three). figure 3. nova dwi jayanti, andrea gani hidayat and eliza o’donnell performing digital microscopy to examine the painting surface on a microscopic level. photograph by harry arafat, april 2018 during the visual assessment, three primary mechanisms of deterioration were observed within the paint layer and categorised as mould; accretion; and three levels of media loss classified as minimal, moderate and significant. a summary of each is provided below with images and a description of any early treatment steps that were undertaken to stabilise the artwork. mould paintings in tropical climates are highly susceptible to biological deterioration, particularly mould growth. it responds to environmental factors of high relative humidity in excess of 60% -70%, high temperatures and collections stored in dark and damp environments with minimal ventilation. mould spores can grow on any organic surface and commonly feed on the binding medium or the size layer in painting canvas supports. 18 editorialbook of reviewijcas: volume 5 number 2 december 2018 in landscaping my brain, white mould spores were observed on the body of the dark figure in panel one, suggesting a selective material susceptibility and were successfully removed during the stabilisation process. figure 4 & 5. white mould observed on panel ‘satu’ during visual examination. photograph by harry arafat, march 2018. accretions an accretion is used to described the accidental addition of non-original ‘foreign’ material that was not intended as part of the painting process. the cardboard observed in localised areas throughout the three panels can be categorised as an accretion that has adhered to the paint and varnish layer while the artwork was in storage. proceeding with removing the cardboard from the surface raises questions of original material and artists intent, and consultation with melani and examination of early photographic evidence of the painting confirmed that the cardboard was not original and should be removed. throughout the stabilisation process, the cardboard was successfully removed from the surface using a swab with deionised water. figure 6 & 7. cardboard adhered to the surface of panel ‘dua’. photograph by harry arafat, march 2018. loss: minimal, moderate & significant a ‘loss’ describes the absence of original material observed in one or more layers of the painting, most frequently occurring as a result of flaking, abrasion, tearing or physical damage. in landscaping my brain the areas of 19 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaning loss have been categorised as minimal, moderate and significant, each category referring to varying degrees of damage or deterioration resulting in the loss of original material from the artwork. culturally embedded decisions regarding the introduction of non-original material through a process of aesthetic retouching and who should be authorised in making such decisions was a point of discussion. minimal loss areas of minimal loss refer to shallow localised areas observed throughout the composition, where the original upper paint layer has been removed from the painting, exposing the ground or paint layers below. a process of retouching the shallow losses using watercolour, a reversible painting material, was selected to tone back the areas of paint loss and minimise the localised signs of damage and abrasion. the process of minimal retouching aims to restore visual cohesion to the composition where the losses break up the subject matter and distract the viewer from reading the composition. in this case, how is visual cohesion measured, who is authorised to make such judgements and how are such processes culturally and geographically embedded? figure 8 & 9. minimal loss of primary media observed on panel ‘dua’ and ‘tiga’. photograph by harry arafat, march 2018. moderate loss the areas classified as moderate loss refer to the deeper losses that expose the ground layer and require the introduction of an infilling material prior to retouching. these areas are located in background ‘non-prominent’ areas and some of the moderate losses were filled and toned during this treatment using reversible conservation grade materials. the principle of retreat ability in the selection of retouching materials is usually a key to conservation ethical considerations and allows for any non-original material introduced to the painting to be removed at a later stage. the question is whether the conservation materials with re-treatable characteristics, are the same in the hot, humid climates of indonesia. 20 editorialbook of reviewijcas: volume 5 number 2 december 2018 figure 10 & 11. moderate loss of primary media observed on panel ‘satu’ and ‘tiga’. photograph by harry arafat, march 2018. significant loss areas of loss that were categorised as significant demonstrate widespread deterioration of the original paint layer through extensive media loss and are located in prominent areas within the subject matter, such as the face of the figures in each of the three panels. in consultation with wiharso, the decision to leave the areas of significant loss untreated at this stage was made based on limited time, conservation grade resources and ethical considerations regarding interventive treatment steps and the role of the conservator. this approach further highlights the conservation decision making process and the need for collaboration and communication with relevant stakeholders will be examined in further detail shortly. figure 12. significant loss of primary media observed on the face of the central figure in panel ‘satu’. photograph by harry arafat, march 2018. during the visual condition assessment, it was evident that the three panels each exhibited similar signs of damage, most notable was the presence of thick cardboard adhered to the surface of the paint layer in localised areas. based on the thick paint and varnish layer, it is likely that while the paintings were in storage, the media layers softened in high temperatures, and the cardboard adhered to the 21 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaning surface while the paint was in a soft and malleable state. further to the cardboard, there were areas of loss of original media, inconsistent levels of yellowing varnish layer and localised areas of mould growth, predominately located on the dark figure of panel one. mould growth was observed on each panel presenting a significant risk to collections in yogyakarta and the need for regionally relevant approaches. discussion with setiawan and wiharso, was required to determine further information about the paintings, materials and how they view its trajectory–which would inform the treatment going forward. entang wiharso’s painting practice wiharso painted ‘landscaping my brain’ in less than two weeks in november of 2001, working in the evenings at melani’s residence in jakarta where he was staying throughout the duration of his nusaamuk exhibition at galeri nasional indonesia (national gallery of indonesia) (wiharso, personal communication, april 2018).). in an interview with wiharso in april 2018 at his studio in yogyakarta, the artist described his use of materials as a process of experimentation; mixing oils, animal glues and pigments in his large scale canvas paintings (ibid). focusing on the idea as the starting point, wiharso usually begins with a conceptual approach to his artworks, using composition, colour and form to explore his ideas on the canvas, followed by a process of improvisation with the materials (ibid). using rabbit skin glue as a priming layer, wiharso undertook the canvas preparation for ‘landscaping my brain’ himself, rather than purchasing a prepared artist canvas, priming the linen support with a rabbit skin glue size layer and building the ground up in a three layered structure (ibid). rabbit skin glue is a traditional canvas size layer which protects the raw canvas fibres from the disintegrating effects of fatty acids in oil based colours and grounds. following the size layer, wiharso applied a ‘triple layered ground’ to achieve a smooth surface to begin painting. beginning with a white gesso acrylic ground, followed by a deep dark purple/grey and then an orange layer, this multi-layered ground structure was observed during visual analysis through different areas of loss which highlight the depth of the paint layers and provide an understanding of wiharso’s painting technique. the final step prior to beginning the painting, wiharso often uses charcoal or oil as a preparatory underdrawing to map out the composition. wiharso favours winsor and newton or rembrandt as his preferred oil paint brands, and golden when working with acrylics. since 1997, wiharso has divided his time between yogyakarta, indonesia and rhode island, usa, and prefers to purchase paints when he is in america as there is a larger variety of materials available and they are more affordable (ibid). in ‘landscaping my brain’ wiharso has used a combination of painting techniques working with brushes and palette knifes to create lines and textures in the surface, achieving varying levels of transparency and opacity in the paint layer. figure 13 from melani’s archive shows wiharso during the painting process in 2001, working on panel satu, with dua positioned by its side. in figure 13. the composition of satu appears almost 22 editorialbook of reviewijcas: volume 5 number 2 december 2018 complete and the image shows a collection of skewers in a bucket of water next to wiharso as he is working in front of the canvas. it is likely that wiharso used the skewers to carve out lines in the painted surface creating texture and exposing the layered ground underneath. figure 13. entang wiharso painting ‘landscaping my brain’ at melani’s residency in jakarta, 2001, from melani setiawan’s personal archive. figure 14. panel ‘dua’ from entang wiharso’s ‘landscaping my brain’ (2001). photograph by harry arafat, march 2018. the basic premise that guides the current work is that the physical landscape always has a connection to, or reflects, the interior landscape of a community. (wiharso 2003) liaising with melani throughout the residency provided an opportunity for consultation regarding the treatment decision making process as she provided crucial information on the history and biography of the painting and its significance to her collection. executed at her home in jakarta, wiharso’s painting hung on the mezzanine floor wall overlooking melani’s living room for a number of years, prior to its storage and subsequent transit to rumah melani in yogyakarta (setiawan, personal communication, may 2018). the surreal and abstracted 23 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaning dreamlike world of ‘landscaping my brain’ is embedded with motifs and symbolism that is consistent with wiharso’s oeuvre, with particular reference to the paintings shown in the nusaamuk exhibition at galeri nasional indoneisa from may 15th – 30th 2001. an overt reference to melani’s professional medical practice is represented by the white medical coat in panel ‘satu’ (figure 14), as well as several anatomical limbs observed throughout the composition. this is a painting created specifically by wiharso for melani, and when asked about the symbolism and hidden meanings in our interview, wiharso did not elaborate and alluded to the personal dialogue that exists between artist and friend (wiharso personal communication, april 2018). during a visit to the archive in jakarta, melani produced a certificate of authenticity signed by wiharso along with individual photographs of each panel on the back. this archival evidence provides a verifiable link and secure provenance connecting the production of the painting to the artist’s hand which is tied directly to melani’s collection. furthermore, the photographs taken in 2001 confirm the original appearance of the primary media showing the varnish layer has significantly yellowed over time and the original colours were cooler and brighter. this valuable primary documentary source data builds our understanding of the historical trajectory of the painting from its inception in jakarta in melani’s home, to its current location in rumah melani in yogyakarta. each year in may, the yogyakarta art world welcomes the opening of artjog, an annual interdisciplinary exhibition of visual arts, music, dance and performing arts held at the jogja national museum. during this time, a number of art houses and galleries in yogyakarta host parallel events and exhibitions highlighting the immense artistic output of south java’s ‘cultural hub’. on the 3rd of may 2018 the landscaping my brain (2001), artwork by entang wiharso, painting conservation project by eliza o’donnell exhibition opened at ruangdalam art house, showcasing the residency activities and the treatment undertaken on wiharso’s painting over the last three months. the painting was presented in an ‘active state of conservation’, raising discussions around perceptions of damage, to what level artworks should be conserved, and around time, resources and the unique conservation treatment requirements for indonesian collections. viewing the painting from the perspective of the conservator, the exhibition focused on the materials and techniques, mechanisms of deterioration, archival documentation and information gained directly from the artist and custodian, demonstrating how these avenues of enquiry are used to inform a holistic understanding of the artwork to develop an appropriate treatment methodology. the exhibition was used as a platform to demonstrate the scope of the residency as a truly collaborative project made possible by many members of the ruangdalam residency team. co-productive and collaborative research is a response to these challenges which offers a way of recognising the resource contribution of communities to research and emphasizing the conduct of researching ‘with’ communities rather than ‘on’ communities (beebeejaun 2013). 24 editorialbook of reviewijcas: volume 5 number 2 december 2018 furthermore, the exhibition demonstrates how conservation can enhance viewer’s interactions with works of art, illuminating the skills that are brought into practice in the creation of the work and contributing to a broader access to this material knowledge in present and future. conclusion it is not often that conservators are given the opportunity to share their decision making process in a public forum, and it is even more rare that a painting in the process of a treatment is presented in an exhibition to highlight this decisionmaking framework. however, in advocating for interdisciplinary research and conservation practices in indonesia, this transparency and active engagement with the treatment is an important step in developing an awareness of preservation issues within tropical climate collections. drawing on the case study of entang wiharso’s painting within melani setiawan’s collection, this research aims to highlight the importance of working across disciplines to build the artist record, working with artists, custodians and community members to build a robust body of material knowledge. approaching cultural materials conservation in indonesia as a field of multi-directional connections, requires local assemblages of heritage notions, measures and practices, coming from various backgrounds, and re-contextualised in the strategic agendas of the stakeholders involved in conservation (esposito 2014). building on conservation practice as a starting point to build the artist record relies on this interdisciplinary process of knowledge sharing and exchange. references asia pacific tropical climate conservation art research network (aptccarn). 2018. our history. retrieved from: https://www.aptccarn.com/about-us/ badham, m, hill, k, purves, t, cockrell, s and spiers, a. 2016. ‘forms for encounter and exchange: field school as social form at laughing waters artist residency’ in unlikely, issue 02. retrieved from: https://unlikely.net.au/issue-2/forms-forencounter-and-exchange beebaujaun, y. 2013. ‘beyond text’: exploring ethos and method in co-producing research with communities’. community development journal, oxford university press. cocca, c. 2012. – to be confirmed. eastop, d. 2006. conservation as material culture in tilley, c, keane, w, kuchler, s and spyer, p (eds) handbook of material culture, (pp. 516-533). london, england: sage publications. esposito, a. 2014. ‘theorizing heritage in asia as an ‘encounter’’. the focus. 69. 19 – 21. luxen, jl. 2004. ‘reflections on the use of world heritage charters and conventions’. getty conservation, institute newsletter, 19(2), pp. 4-9. museum rekor-dunia indonesia (muri). 2018. retrived from webpage: http://muri. org/?s=melani+setiawan scott, m. 2015. normal and extraordinary conservation knowledge: towards a postnormal theory of cultural materials conservatin. aiccm bulletin, vol 36(1), pp. 3-12. 25 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaning suhari, shm. 2018, january 3rd. for melani setiwan, fine art and friendship go hand in hand. jakarta post, retrieved from: http://www.thejakartapost.com/ life/2018/01/03/for-melani-setiawan-fine-art-and-friendship-go-hand-in-hand. html sloggett, r. j. 2018. truth and authenticity public lecture, retrieved from https:// events.unimelb.edu.au/events/10923-truth-and-authenticity tay, d, tse, n and ho, m. 2015. glocalising conservation. furnace, issue 1, pp. 36-40. tse, n, labrador, a, scott, m & balarbar, r. 2018. ‘preventive conservation: people, objects, place and time in the philippines’. studies in conservation, supplementary issue turin preprints, vol. 63, doi 10.1080/00393630.2018.1476963. (accepted 11 january 2018). tse 2018 ‘aptccarn: working towards a network of shared material conservation actions’, the newsletter, no. 81 autumn (accepted 27 august 2018). wiharso, e. 2003. hurting landscape williams. 2013. – to be confirmed acknowledgements: this residency was supported by konfir kabo and monica lim from the australia indonesia arts forum and project 11. further acknowledgements to the ruangdalam art house team, bayu whardana, gusmen heriadi, titik suprihatin, nova dwi jayanti, andrea gani hidayat, harry arafat and bayu adi pujo asmoro for their support and to dr. melani setiawan and entang wiharso for their involvement with the residency program. 75 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdomkiki rahmatika. fall-recovery technique as technologysinggih sanjaya. new composition concept for keroncong music new composition concept for keroncong music in the oboe concerto with keroncong and orchestra singgih sanjaya music department, indonesia institute of the art yogyakarta parangtritis street km. 6,5 – yogyakarta, indonesia abstract this research aims to design a new concept in keroncong music creation with an explorative method. keroncong is one kind of entertainment musics in indonesia that has a long existece and evolved up to today. keroncong music is a musical mixture of a western diatonic music with javanese gamelan music. the term of keroncong comes from the sound “...crong crong crong...” on the ukulele instrument that played rasquardo. an instrumentation music consists of: vocals, violin, flute, cak, cuk, cello, guitar, and bass. during this moment, keroncong is basically just served as a vocal accompaniment music. this becomes a driving force for the author to compose a special composition for keroncong music solo instrument. there is a new concept used in the arranging of this composition, as follows. this composition is designing a concerto, which is a type of the instrumental musics with a western diatonic instrument on the part-one of the solo oboe and an english horn in part-two, with keroncong music and orchestra. the conclusion of these designs are as follows. keroncong music will be able to stand on its own as an instrumental music. keywords: new concept of composition, keroncong, oboe, orchestra introduction a few months after the author took a private flute learning, the author becomes very interested in keroncong music which becomes a part of the culture in his hometown, surakarta. after several months learning the flute, the author is invited to join a keroncong music group led by waljinah as a flutetwo, in the mid of 1977. from the author’s experience as a keroncong flute player up to 2005, none of keroncong music creation is specifically created for an instrumental music. during the time, keroncong is basically just served as a vocal accompaniment music. this prompted the author to compose a special composition for keroncong music solo instrument. the author has been challenged because he studied the classic music formally at musical middle high school yogyakarta, and continued to the department of music isi yogyakarta. 76 editorialbook of reviewijcas: volume 5 number 2 december 2018 this research designs a new concept in keroncong music creation using an explorative method. some new concepts are designed in the arranging of this composition, as follows. this composition is designing a concerto, which is one type of instrumental western diatonic music compositions with an oboe solo instrument on the part-one and an english horn in part-two, with keroncong music and orchestra. the oboe and the english horn instrument became the primary instruments in this kind of composition. this composition explores the instrument’s playing techniques. keroncong music which is basically just played as an entertainment music which is obviously as an ‘easy listening’ music, uses the tonal scales. the arranging of this composition also uses the atonal scales on part-two as a new thing in keroncong music. the rhythm patterns that oftenly used in keroncong music are: single, dobel (double), kothek’an, kentrung, and sambyong. the author explores the rhythm pattern of kothek’an by using only one tone. the rhythm section instruments which are usually only play the rhythm in improvisation based on chord, in this design plays in unisono atonal melodies. harmony in music keroncong is relatively simple. this design is used in a much more varied harmony, which also uses jazz harmony. similarly, the measures of usage. keroncong songs (original keroncong, langgam keroncong style, and stambul) only use the measures of 4/4. the creation of this composition which is using several measures other than 4/4 is to get the feel/nuance that is apart from the steadiness feeling or ‘monotonous’. origins of keroncong music in indonesia discussing about the history and keroncong music development rom the 17th-century, precisely in 1661 when the portuguese began to inhabit the kampung tugu in batavia up to today-will never be separated from the history of the archipelago itself. the portuguese has advanced navigation technology which have contributed to the formation of indonesian culture. in addition to dissemination of religion, politics, economics, the portuguese influence the art of indonesia, one of them is music. keroncong is the oldest popular music than others, which survived until the 21st century today, and the hallmark of the authentic owned by indonesia at this time. in the view of ganap (2008: 24), keroncong only in indonesia. accordingly, the portuguese simply left the instrument (cuk-cak). then, those has been modified in such a way by the indonesian nation. while the songs that we know today, with many forms, is not separated from the role kusbini, who was in the 70s, created a sense of indonesia keroncong, which in portugal (portuguese now), that never existed. likewise in other countries. keroncong from the original time (17th century), is a unique music. not to mention the time when keroncong music arrived to java, at the beginning of the 20th century, it has a connection (syncretism) which is quite strong with javanese gamelan. moreover, other forms are subsequently emerged such as langgam 77 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdomkiki rahmatika. fall-recovery technique as technologysinggih sanjaya. new composition concept for keroncong music keroncong, stambul, original keroncong, and so forth. aftr the 1980s, or in the decade of the 1990s precisely, there were many changes in keroncong music. there are several musical expansions, such as the inclusion of gamelan instruments directly, thus forming the birth of campur sari, pioneered by manthous. there is also congdut (mixture between keroncong and dangdut). the general instrumentations used are ukulele (representing keroncong), and ketipung (representing dangdut), also combined with modern music instruments), which combines keroncong with dangdut. similarly, there congrock, (mixture between keroncong music and rock). marco marnadi can be said as the pioneer of modern congrock, with the instruments expand, generally used such as band instruments in keroncong which combines keroncong with rock, which marco marnadi of semarang, and other movements that are also considered successful in bringing the young generation creative keroncong and became a significant reformer. this could be noticed more for the common statement that always states, keroncong music is the music for the elder generation. while in fact, for example in kampung tugu nowadays also known as a tugu community of keroncong which actually played by the children. this can be used as an evident that the life of the this community has survived more than 13 generations there, which all players are children. in some cities, such as solo, yogyakarta, semarang, jakarta, surabaya, the younger keroncong musicians occupy an important role, because they always create innovations, which makes keroncong able to survive with new repertoires, new music composition, as well as the expansion of the listeners segment. according ganap (2011: 98), in a musicological perspective, keroncong history can be traced from the traditional music and portuguese song-dance played in the 17th century. for example fado de coimbra, a traditional music of coimbra, the largest city after lisbon, capital of portugal. there is also camelias, a folk dance. besides those, obviously the song of moresco and kr. (keroncong) moresco, as a strong evidence of the moorish art history. the song of kr. moresco is famous among musicians keroncong today, and popular as a form of original keroncong. kusbini is the maestro who introduced moresco song to the audience at the firsttime. the conclusions stated by ganap, the indonesian keroncong music has the elements of portuguese music of the 16th century that were influenced by the islamic culture of the moors from north africa who were entering and growing in portugal. it can be seen, that keroncong stays alive and become an authentic cultural richness, both in terms of musical as well as the values of its humanity. instrumental keroncong music reading from the existing advancement, generally keroncong is a music for vocal accompaniment. as far as the data that owned by the author, there is no keroncong as a result of an instrumental work, it means that it stands as a 78 editorialbook of reviewijcas: volume 5 number 2 december 2018 pure music without any vocals. thus the authors feel challenged to innovate an instrumental keroncong music composing. so far the author compiles some reasons. first, the scarcity of keroncong instrumental music. second, creating a new aesthetic on keroncong music. third, to bring keroncong music into the realm of the more “serious”, in an appreciative understanding. fourth, this option has become the mission of the author who could be mentioned who have engaged long enough in keroncong music, as a player or an arranger. the instrumental keroncong music scarcity can be seen from the scarcity of keroncong music recordings on the market. in fact, according to the authors, none of the keroncong music is created for an instrumental. keroncong “jali-jali”, which became one of keroncong icons, the original is not an instrumental, a song that originated from betawi kromong xylophone, which is also uses poetry/lyrics on its song. while the aesthetics of the composition to be achieved is related to the expansion of the structure and techniques in keroncong music, orchestra, and solo instruments that play it. there is a different challenge when composing a non-keroncong instrumental music with a keroncong instrumental music. the particular challenge is on how to transform the idiom and keroncong medium into an orchestral music, as well as how to address the technical ability of an instrument as a solist. during this time, keroncong is also known simply as an entertainment music. this time the author would like to bring it to the “serious music”, in the sense of an appreciative understanding viewed from the side of composing it. the results of this work can still be enjoyed by all audiences. an appreciative music is a music that is able to invite a deeper question about the creative process of the music itself. as for the creativity element in the instrumental keroncong music creation lies in the preparation of the new musical elements by not leaving the taste of keroncong music which is already well established, for example in the case of knitted rhythmic and harmony. this effort will make people have a more careful choice of keroncong music that had been circulating in the market.it is also a shape of the author’s accountability as an artist who also was born at an academic sphere. besides, the author has a long enough track record with keroncong music as artist, author also experiences an academic music education, these combination will be a great challenge for the author. art music keroncong according to adorno (2011: 76), there are some significant differences between an entertainment music and a serious music, or adorno called it by the term of “serious music” and “light music”. the difference is mainly on the aspects of the process. an entertainment music merely for the commercial purposes, while the serious music (art music) is for the appreciation purposes, although they both were in the popular music area. adorno gave the example that the flood of the pop music and hits, the critical power of the listening has decreased. they are 79 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdomkiki rahmatika. fall-recovery technique as technologysinggih sanjaya. new composition concept for keroncong music getting more accustomed to vulgar lyrics and the all mechanical and passive formulation. the listener is no longer childlike (inquisitive and critical), but he/she becomes childish with low power appreciation. adorno (2011: 53) also emphasizes on the sociopsychological function in music, concerning on how a closer connection between the audience and the music itself. by doing so, according to adorno, that would create an appreciation. similarly, in an instrumental keroncong music. the level of success of the appreciation of this composition is that when people have the response then an intensive dialectic occurs. this kind of effort is demanding a musical life after the stage. the appreciation thereafter should be done continously to achieve the target of a real music appreciation. hence, in addition to this work as a result of a creative manner, this study is also necessary which is likely to expand the horizon of the people to music, besides as a spectacle, as well as a guide for people to understand the many values in music that have not come to the surface yet. original keroncong song specifications, langgam keroncong, stambul keroncong has a uniqueness on its song type that is basically has three types of songs, namely: original keroncong, langgam keroncong style, and stambul. the three form of those songs are distinguished by the wording, chord progressions, the number of bars, introduction and its interlude. besides those three form of the songs, according to harmunah is classified as ‘extra tracks’. original keroncong, has several distinctive characteristics, namely: the number of its bars: 24 bars, measures of 4/4, started with voorspel, song form a b c, diatonic scales, with chord progressions as follows: i . . . iv . v . i . . . i . . . v . . . v . . . i . . . v . . . (sentence a) i . . . iv . v . i . . . i . . . v . . . v . . . i . . . i . . . (sentence a') iv . . . iv . v . i . . . i . . . ii . . . ii . . . v . . . v . . . (sentence b, reffrain) i . . . iv . v . i . . . i . . . v . . . v . . . i . . . i . . . (sentence a’) this original keroncong style was preceded by the introduction called voorspel, a cadenza series that consisting of three phrases. a cadenza is usually played by a flute, a violin, or a guitar. cadenza on the first phrase ends on the chord-i followed by ‘rhythm section’. cadenza on the second phrase ends on the v chord which is also followed by the rhythm section. the third cadensa or last ended on the chord-i followed by a rhythm section that directly play a rhythm pattern (usually engkel rhythm). then, the violin or flute play the melody referred to as ‘senggaan’ (a melody that consists of four bars, taken from the last eight bars, including the hung bars). this original keroncong type is usually sung twice. after the singer sings the whole song, music plays an interlude in the form of ‘senggaan’ as the previous. song example: kr. (keroncong) moritsko, kr. tanah airku, kr. bandar jakarta. 80 editorialbook of reviewijcas: volume 5 number 2 december 2018 figure 1: waljinah sings keroncong moritsko in light keroncong orchestra concert music director, conductor, composer, arranger: author at taman budaya concert hall yogyakarta, juli 2008 (photo: author’s collection) langgam keroncong has the characteristics as follows: the bars number: 32 bars, measures of 4/4, the form of the song a a ‘b a’, in the pop music form is called ‘song form’, with diatonic scales, some chord progressions, as the following: i . . . iv . v . i . . . i . . . v . . . v . . . i . . . v . . . (sentence a) i . . . iv . v . i . . . i . . . v . . . v . . . i . . . i . . . (sentence a') iv . . . iv . v . i . . . i . . . ii . . . ii . . . v . . . v . . . (sentence b, reffrain) i . . . iv . v . i . . . i . . . v . . . v . . . i . . . i . . . (sentence a’) the style of ‘langgam keroncong’ is usually preceded by the introduction of the melody which is usually played by a flute or a violin, and took this last 4 bars of its song melody (along with the hung bars). langgam keroncong style usually played one and a half songs. after the introduction, vocal sings a full song, and then continued to the interlude part (melody played by a violin or flute) that plays the phrase a’, then continued with the singing vocal of phrase b (reffrain) followed by sentence/phrase a’. song example: lg. (langgam) bengawan solo, lg. rangkaian melati. langgam keroncong style (song form) was first used by gesang in langgam song bengawan solo that became one of the legendary and popular songs up in foreign countries. stambul has characteristics as follows: the number of bars: 16, measures of 4/4, the form of the song a b, diatonic scales, with chord progressions as follows: i . . . i . . . iv . . . iv . . . iv . . . iv . v . i . . . iv . v . (sentence a) i . . . i . . . v . . . v . . . v . . . v . . . i . . . v . . . (sentence b) 81 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdomkiki rahmatika. fall-recovery technique as technologysinggih sanjaya. new composition concept for keroncong music this type of stambul song also has a unique characteristic. the stambul song introductions is usually played by a guitar instrument that plays a chord phrase i, improvised with broken chord technique approach (playing the tones regularly or randomly, based on the chord tones). after the guitar introduction, the first vocal is sung recitatively (a western diatonic term which the meaning of the uncountable way of singing, same as people talking) without accompaniment on the early two bars of the song, which is forwarded to the accompaniment to the fully one song. after singing a fully song (16 bars) vocal sings a full song (the same melody) with the second lyrics (without recitative as in the beginning part). after the interlude played by violin and flute, for example, the violin plays the sentence-a and continued to the violin that plays the sentence-b, or vice versa. after the interlude of one fully song has been completed, followed by the vocal which plays a full song (without recitative as in the beginning part). singing and playing on these types of stambul songs demand more ‘patient’, because it has a relatively slower tempo and usually use engkel rhythm (rhythm pattern) only. kusbini, one of the indonesia keroncong maestro, did not allow using the double rhythm pattern in a stambul song. song example: stb. (stambul) baju biru, stb.kecewa, stb. jauh di mata. the concept of oboe concerto creation with keroncong and orchestra from the author’s experience since 1977 as a keroncong flute player up to the year of 2005, none of the keroncong music creation was specifically created for an instrumental music. during this time keroncong music is basically served as an entertainment music, as vocal accompaniment. this becomes a driving force for the author to compose a special composition for solo instruments for keroncong music. so far, the author has been noticing that, there is no concerto work for keroncong music. the musical concept designed on the concerto creation is: instrumentation, scales, harmony, and measures. keroncong music instrumentation generally consist of: vocals, flute, violin, cak, cuk, cello, guitar, and bass. this work formed in concerto with the instrument composition as follows: oboe is a solo instrument or the main instrument on the part-one and the english horn as a solo instrument in the second part with keroncong music and orchestral accompaniment. keroncong consists of: cak, cuk, cello, guitar, and bass. the orchestra consists of: 2 flutes, oboe, french horn, trumpet, trombone, chimes, xylophone, violin 1, violin 2, viola, violoncello, and contrabass. scales used in keroncong music is diatonic scales, that are the major and minor scales. in addition, this work is using a major-minor scale, on part-two also uses atonal music, as the following : 82 editorialbook of reviewijcas: volume 5 number 2 december 2018 notation 1: violoncello and contrabass bars of 12-20, using atonal scales notation 2: english horn bars of 21 -27, using atonal scales there are few keroncong rhythmic patterns in, namely: engkel, dobel, kothek’an, kentrung, and sambyong. the new conept of the accompaniment pattern in this composition is, kothek’an rhythm pattern which uses one tone only. typically, kothek’an accompaniment patterns using the tones in the chords [broken chord]. notation 3: 37-50 bars rhythm section, the rhythm pattern kothek’an one tone keroncong rhythm section consisting of cak, cuk, cello, guitar and bass which plays a melodic phrase in unisono using atonal scales is also a new concept that is used in the arranging of this composition. notation 4: bars of 63-68 rhythm section, fiddling the melody, unisono with pizzicatto strings. the harmony in keroncong music is simple, whether is in the chord progressions or in the kind of its chord. the chord progressions of keroncong music that have been written is a simple chord, which is functioned as a progression “pattern” for each track. mostly of the original keroncong songs and stambul basically use progressions as above. it could not be applied on langgam keroncong style. there are at least six progression patterns used in langgam keroncong types. the type of chords on keroncong music is also simple. basically, the types of chords used are: major, minor, and dominant septime are sometimes added with diminished and augmented chord types. 83 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdomkiki rahmatika. fall-recovery technique as technologysinggih sanjaya. new composition concept for keroncong music harmony concept used in this oboe concerto is not a pattern and the chord type used unlimitedly as well. as an example of progressions and the chord type of the early part of the bars for a string/friction section. notation 5: string section bars of 1-4, using progressions and different types of chord the measures of 4/4 is the only one used in all keroncong songs. the arranging concept of this oboe concerto uses unrestricted measures. in part 1 of this work usies the measures of 4/4. part 2 of this composition uses unlimited measures. notation 6: english horn bars of 1-41, the use of measures of part 2 part 2 of this composition uses several measures, which basically aims to eliminate the impression of ‘patterned’ measures. bars 1-15 use the measures of 4/4, bars of 16 uses the measures of 3/4, bars of 17 uses the measures of 4/4, bars of 18 uses the 84 editorialbook of reviewijcas: volume 5 number 2 december 2018 measures of 6/4, bars of 19 uses the measures of 2/4, bars of 20 uses the measures of 4/4, bars of 20-21 use the measures of 6/4, bars of 23 using the measures of 5/4, bars of 20-27 use the measures of 4/4, and so on. design result the results of this new concept of keroncong music composition design creation is a musical composition entitled oboe concerto with keroncong and orchestra, which consists of two parts. allegro spirituoso as the part one. lento as the part two. these compositions have been performed in solo international keroncong festival, in ngarsopuro solo, in 2012, by keroncong light orchestra, founded and led by the author. this composition is an adaptation and advancement of a composition titled clarinet concerto with keroncong and orchestra, which has been performed at taman budaya yogyakarta, in 2009. figure 1: joost c flach played solo oboe of oboe concerto with keroncong and orchestra in the solo international keroncong festival light keroncong orchestra music director, conductor, composer, arranger: author at taman budaya seminar room yogyakarta, september 2012 (photo: author’s collection) the composition can be watched/downloaded on youtube in two versions. first version, live version : singgih sanjaya concerto oboe part 1 [https://youtu.be/0ogq0gtajro] and singgih sanjaya concerto oboe part 2 [https://youtu.be/1hohl2ib_bi] second version, recorded version: singgih sanjaya oboe concerto 1st lko 2012 [https://youtu.be/3uldqaxtmz0] singgih sanjaya oboe concerto 2nd [https://youtu.be/1hohl2ib_bi] singgih sanjaya clarinet concerto 1st lko 2008 [https://youtu.be/zyzrxo-7vvc] singgih sanjaya clarinet concerto 2nd lko 2008 [https://youtu.be/kwcnvf2ed8w] 85 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdomkiki rahmatika. fall-recovery technique as technologysinggih sanjaya. new composition concept for keroncong music result several conclusions from this scheme are as follows: keroncong music which initially served as a vocal musical accompaniment, will be able to stand alone as an instrumental music based on this design. keroncong music not just only served as a musical entertainment, but this can be classifed as an ‘art music’, since it is complexly composed from the composer side. although the composition of the oboe concerto is an adaptation and advancement of clarinet concerto with keroncong and orchestra, the exploration of this composition arranging still needs to be developed. references budiarto, c. teguh. 2001. musik modern dan ideologi pasar. tarawang press. budiman, hikmat. 2002. lubang hitam kebudayaan. yogyakarta: kanisius. ganap, victor. 2011. krontjong toegoe. bp isi yogyakarta. ganap, victor “musik keroncong hanya ada di indonesia”, gong, edisi 105/ix/2008. harmunah. 1996. sejarah, perkembangan, dan gaya musik keroncong. yogyakarta: pusat musik liturgi. kennedy, michael dan kennedy, joyce. 2007. oxford concise dictionary of music. new york: oxford university press inc. korsakof, nikolay ramsky. 1964. principles of orchestration. new york: dover publication inc. sriwidjadjadi, r. agoes. 2007. mendayung di antara tradisi dan modernitas sebuah penjelajahan ekspresi budaya terhadap musik keroncong. yogyakarta: hanggar kreator. purba, mauly dan ben pasaribu. 2006. musik populer. jakarta: lembaga pendidikan seni nusantara (lpsn). papers alfian, magdalia. 2006. seni pertunjukan dalam perspektif sejarah: keberadaan musik keroncong di indonesia. seminar sejarah, balai kajian sejarah dan nilai tradisional. 41 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdom cross-cultural study in localwisdom for creative food package development in secondary school sineenart laedpriwan1; wongduean nuntatong2; komnate ponsanthia3; waristha iam-in4; bunkant silpanurak5; pattamaporn thunmarong6; paweena chimklang7 srinakharinwirot university and ministry of education1; maejadee withayakom school, chiengrai2,6; nikompimaisuksa school, nakornrachasrima3,7; rachaboriganukrough, rachaburee4; panagtungsuksa, patalung5 abstract the purposes of this research were ๑) to study the wisdom of thai food package by wrapping and packing technique from the local thai and japanese food experts. ๒) to develop the wisdomtransferring model of food packaging ๓) to experiment the specific program of wisdom-transferring model of food packaging in secondary school: mathayomsuksa 4th year. the experimental program was examined in thailand locally separated into 4 parts/4 schools. the result of this research can be explained the transferring technique of thai wrapping were similar in attitudes and beliefs. the subject should described the content of materials and processes which directly matched with the subject of professional practice and technology together with the social science/cultural and history integrated with english understanding language the researcher founded that the program of thai wisdom transferring has contained to be 24 hours or 4 = full day a continuing program. the control group of this research sample has increasing their creativity in wrapping and packaging up to 40.89% in attitude and belief and 55, 84% the same as the meaning between languages. keywords: knowledge transmissible, wisdom, food-package development, packaging introduction the method of the knowledge transferring messages could be described by effectiveness of social science and behavior in community. the tacit knowledge in each community from family to the childhood usually happened from environmental aspects and geographical situation. there are varieties of traditional food in various parts of each country which so called community’s food and traditional cooking styles. in any of geographical situations, people can find material which is usually derived from nature on the other hand food process derived from wisdom in community. the previous generation of people have developed those community’s food so many times until it could be measured by today behavior in each society (torger gillebo, 2010). therefore, we can find the similarity and differentiation in traditional food by distances. the processes of cooking between communities are slightly different in appearance. there are differences of materials and cultural process in food preservation technique. this situation causes cultural of food in community 42 editorialbook of reviewijcas: volume 5 number 2 december 2018 (goffman. e, 1956). the development of food preservation in community has been developed from day to day until the particular food became signature in each particular area (paul e, bierly iii, eric h. kressler, edward w. christensen, 2001). then those procedures have been derived to the new generation by experimental activities for living (bryant, de walt, courtney, & schwartz, 2003; korthals, 2002). moreover, the study of wisdom in food preservation could be integrated with the new technology to create the innovation of food products for creative economy in community (michel boko, antoine heideveld, anne elsen, 1997). wrapping technique is the most favorite ways of preservation program for traditional food in each area. the quality of food not only means by the ingredient and material but also the process of food wrapping technique. people knew how to preserve food in any of short and long term preservation. they have found how to pick up natural material such a huge piece of leaf to hold all the ingredient mixtures. (flávio meira borém, fabiana carmanini ribeiro, luisa pereira figueiredo, gerson silva giomo, valquíria aparecida fortunato, eder pedroza isquierdo, 2011). therefore, traditional food usually separated from the long term of food preservation. the particular area has their own criteria of community’s consumption (จุลทัศน์พยาฆรานนท์, 2543: 8). as a matter of fact, the ingredient of traditional food must effects on quality of food in each community. there are some basic physical aspects influence to the cultural food and learning process of traditional cooking styles which appeared on “country styles of food” such as japanese, chinese, italian or event thai traditional styles (torger gillebo, 2010) (goffman. e, 1956). besides, the integration of preservation technique has been suitably developed for each area and certainly shown the particular style. moreover, the development of food will be extended day by day in each society (paul e, bierly iii, eric h. kressler, edward w. christensen, 2001). people learning from generation to generation and develop process by telling stories, observation and also the experimental activities (bryant, de walt, courtney, & schwartz, 2003; korthals, 2002). in japan, the country of best practice in packaging, people usually focus on product and packaging to locally create their own techniques in food wrapping from local wisdom. (michel boko, antoine heideveld, anne elsen, 1997), finally, it became signature of traditional food in japan. the food creation technique in community usually start up by divided food into two separate categories: one is for fresh cooking, another is for preservation. therefore, people must consume food for the whole year long (flávio meira borém, fabiana carmanini ribeiro, luisa pereira figueiredo, gerson silva giomo, valquíria aparecida fortunato, eder pedroza isquierdo, 2011). in the old day, people believed that leaves can be able to contain food by keeping in lower temperature and make sure that it wouldn’t be spoiled for a while. the leaves would be provided by natural plant in each area (ชาติ ชายอนุ กูล, 2554). food packing techniques are developed from the integration of various cultures and technology in each area. the natural wrapping material would be similar in neighborhood but different from wrapping techniques and cooking styles. some 43 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdom area cooks them by boiling, some streaming or frying or event being grill. the wrapping technique can provide signature in taste and smell due to the cooking process and wrapped material (paula hook, joe e. heimlich, 2009). the traditional food can create value added to the signature one. thai foods are divided into four traditional parts: northern, north-eastern, central and southern parts of thailand. they have their own traditional technique in wrapping and cook from local wisdom. (มยุรี จัยว ัฒน์, วรรณวิบูลย์กาญจนกุญชร, นงนุ ชรั กสกุลไทย, พงษ์เทพวิไลพันธ์, 2550). people usually find local material for holding and wrapping. in the old day, people never searching material from nature, there are so many materials for ingredient and cooking process. mostly, the ingredient comes from local herbs and plants. they have applied their own wisdom by proportion and scale exploratory. people knew how to do mixed and matched in terms of quality in tasting and smelling. the learning process of wisdom technique for creativity is not exactly appeared in the curriculum. the basic educational school open-widely full fill the detail of each professional practice subject which is the subject for living such as understand how to cook and experience in house hold technique. anyhow, there are particular principles living in each society, culture, tradition in locally living. people can create their own advantage from their local wisdom by produce the national creative-economy for the tourist business. the results of learning in basic education program are four criterias of student’s characteristics: 1) the thinking of knowledge (tok); 2) extended essay; 3)cas: creative action service; and 4) global education. the learning process has been developed from two types of activity which are learning by doing and copying the previous process. in addition, there are followed by four types of process: interesting, memorizing, physical, and motivation process (bandura a, 1993: 117-148). researcher founded that the idea of value-added by creative economy would produce the national strength of local business, the best practices providing for the tourist business in thailand. moreover, the basic educational concepts for asean normally allow the particular school to create their own learning process of local wisdom in each area. student might be expert in local wisdom and sustainably create new product and packaging for their own community. materials and methods the research has been designed by studying main local wisdom of food from four parts of thailand. the mixed method by starting with the qualitative interview and observation techniques followed by focus group discussion of professional program in product and package through the wisdom and development from students. the purpose of this research are to: • to study the local wisdom of food wrapping and packing of 4 parts: northern, north-eastern, central and southern part of thailand. • to develop the professional learning program of food wrapping and packing techniques from local wisdom. 44 editorialbook of reviewijcas: volume 5 number 2 december 2018 • to explore the professional learning program for student creativity of 4 areas in the particular school. the research hypothesis can be explained by the higher score results of creativity from the experimental group of student after attending the professional program in attitude and knowledge of product and package by the significance measurement of 0.05. the sample sizes are 4 parts of thailand. the group of sample are following: northen part : maejadeewithayakom school, chiengrai north-eastern part : nikompimaisuksa school, nakornrachasrima central part : rachaboriganukrough school , rachaburee southern part : panangtungsuksa school, patalung the research frame work can be explained by following diagram: results the research found the main signature of local wrapping food are jin-som in the chiengrai, the sugar-palm cake in north eastern, the nga-salad sweet in central and the sweet rice & kapoh leaf in southern part. there are described by culture and traditional in each year. the cross cultural results are explained by material and process of wrapping technic and also the transferring of knowledge in community. there is main material which mostly use of wrapping that is banana leaf. anyway, the wrapping technique are slightly different by experiences 45 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdom of local wisdom some of them are wrapped with bamboo stripe some took stick of coconut. some of the wrapping technique is helping food to be cooked and ready to serve. jin-som has main ingredient from fresh meat. the others are sweet type of food which has to be enclosed the sweet ingredient by wrapping technique and protect them from streaming process suach as the sugar-palm cake, ngasalad and sweet rice &kapoh leaf. the expert in community always transferring their wisdom knowledge by telling stories and legend of food and culture some are religious relevant but some are wrapping by tradition which means doing by following the old people, they believe that you might have better of live from doing such tradition every year. the research focus on the professional program development for basic education school samples in secondary school from four parts of thailand. the researcher founded that the program of thai wisdom-transferring has contained to be 24 hours or 4-full day a continuing program. the control group of this research sample has increasing their creativity in wrapping and packaging up to 40.89% in attitude and belief and 55, 84% the same as the meaning between languages. tables and graph jin-som wrapping material process banana mixing-n/a sugarpalm cake wrapping material process banana mixing-steaming ngasalad wrapping material process banana cooking-n/a sweet rice & kapoh leaf wrapping material process kapoh leaf mixing boil table 1: the component of actual wrapping food between 4 parts of thailand 46 editorialbook of reviewijcas: volume 5 number 2 december 2018 control group tools 1 knowledge tools 2 practicum tools 3 attitude tools 4 creativity test n/ne/ c/s in ax ean in ax ean in ax ean in ax ean maejadee with ayakom school, chiengrai 0 6 8 6 8 2 5 00 1,5 0 8 9 nikompimaisuk sa school, nakornrachasrima 5 6 0,5 3 6 4,5 0 8 4 8 0 4,5 rachaboriganukrough school, rachaburee 4 9 2 2 7 4.5 7 6 1,5 0 5 7.5 panangtungsuksa school, patalung 5 9 7 3 5 0 0 7 8.5 2 7 4,5 table 2: the results of tool 1-4 maejadee withayakom school, chiengrai nikompimaisuksa school, nakornrachasrima 1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 47 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdom rachaboriganukro ugh scool, rachaburee 6 7 8 9 10 1 2 3 4 5 6 7 8 9 10 48 editorialbook of reviewijcas: volume 5 number 2 december 2018 panangtungsuksa school, patalung 1 2 3 4 5 6 7 8 9 10 discussion the wisdom of wrapping food in community has been developed in particular area focus on geographical aspects, the integration of culture and the knowledge in each society. the old generation people mostly transferred community’s local wisdom by telling their cultural legend and demonstrated how to wrap and cook their traditional food for the special event and the annual festival. the tastes of the local food in all parts of the country are slightly different in detail of the table 3: the creative natural package applied from local wisdom 49 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdom selective material and how to prepare materials and cook each specific food in community. the banana leaves are mostly favorites for being wrapped because of their thickness and elasticity. the creativity in food wrapping technique can create the innovation of product and development for national economy. the dignity in community will be inspiration for sme (small and medium enterprise) to apply the new technology in social concern activities. the professional program for locally learning wisdom in school needed to be conducted in secondary school curriculum to prepare student deeply understand their own local wisdom ready for being outstanding designer for each community. the program must contain at least 4 days: 1) historical knowledge; 2) social aspects in community; 3) attitude & belief of wrapping food; 4) human needs and behavior; 5) creativity development through practicum study. students learn how to develop their ideas under circumstances of local wisdom. the more they understand their own wisdom the more creativity are being touch and sustainably. it should be suggested that the school must intent to build up deeply understanding of local wisdom to the student in secondary school before attending in the university. the enrollment criteria should concern much about the experiences of local wisdom in the individual student by checking portfolio and certificates of professional program 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logistics and the environment; are there trads-offs? journal of physical distribution & logistics management, 26(6), 60-72. o’rourke d, connelly l, and koshland cp. 1996. industrial ecology: a critical review.int. jornal environment and pollution, 6(2): 98-112. w.brislin, richard. 1976. comparative research methodology. international journal of philosophy, vol.11. sakane s. 1986. japanese packaging and its roots in tradition. senge, p. et. al. 1994. the fifth discipline field book: strategies and tools for building a learning organization. silverman, phillip: massinger, jacquelyn. 1997. the standard cross-cultural sample. california state bakerfield: unpublished manuscript. engstorm, stephen. 2002. kant’s distinction between theoretical and practical knowledge. harvard review of psycology, 10(1): 49-63(2002). gillebo, torger. 2010. “food identity” as a guide in confronting contemporary challenges in food markets and rural districts. norwegian university of life sciences. e. p., torrance. 1980. growing up creatively gifted: the 22-year longitudinal study. the creative child and adult quarterly, 3, 148-158. torres f, gil p, puente st, pomares j, and aracil r. 2004. automatic pc disassembly for component recovery, int. j. manuf. technol. 23: 39-46. tsoukas. 1996. knowledge management from delta, selasa, 19 october, 1996. wang x, qin y, chen m and wang ct. 2005. end-of-life vehicle recycling based on disassembly, j. cent. south univ. technol. 12: 153-156. weaver pm, gabel hl, bloemhof-ruwaard jm, and van wassenhove ln. 1997. optimizing environmental product life cycle–a case study of the european pulp and paper sector, environ. resource econ 9: 199-224. yasnitsky, a. 2011. the vygotsky that we (do not) know: vygotsky’s main works and the chronology of their composition. psyanima, dubna psychological journal, 4(4). 12 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 irwandi. contemporary photography works of ruang mes 56 13 contemporary photography works of ruang mes 56: idea, interpretation of information, and model of creation irwandi photography department faculty of recorded media arts (fsmr) indonesia institute of the arts (isi) yogyakarta email: insinyurwandi@gmail.com abstract ruang mes 56 is a contemporary photography-based art institute in yogyakarta. this independent art institution has been widely known through its various works in international arts events. the resulting works are not merely personal, but appear to be conceptually charged and based on preproduction information. this article will discuss the discovery of ideas, excavations, and interpretations of information made by artists of ruang mes 56 in the creation of works. more specifically, this research will dig deeper into what kinds of information artists are searching for in the creation, and how they influence the appearance of the work they produce. the research data will be obtained through interviews and studies of documents owned by selected artists of ruang mes 56 members. the expected result of this research is the discovery of the created patterns of creation, and can reveal the process of transforming the information that has been collected into the form artworks. keywords: information, artwork, ruang mes 56, contemporary photography introduction mes 56 is an institute, a collective space of contemporary art based on photography, located in yogyakarta. this institute consists of a number of artists, managers who function as studios, learning environment, place to gather, and residence/residency. ruang mes 56 is an artist collective working cooperatively with their communities and networks to manage a house for studio, education, playground and a place to live in. formed in 2002 with self-funding, this community focusing on the development of photography and contemporary art crossing over with other disciplines in critical and contextual works (http://mes56.com/mes-56/). in a video published by foam photography museum amsterdam, foam 3h: foam x ruang mes 56 (2017) wimo ambala bayang tells that mes 56 also focuses on interdisciplinary, critical, contextual, and networking photography. this already indicates that mes 56 can be said to be different from photography communities in general. there is a certainty that the 14 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 medium of photography chosen by the agency is used with unusual approaches. cross-discipline, critical, contextual, and networking as stated by bayang, are the key to how mes 56 behaves, responds, and displays photography. another thing that is also mentioned is networking. mes 56 positioned networking as important in carrying out its mission. furthermore, according to angki purbandono in an interview video titled mes 56 released by indoart now, (2016), mes 56 has three principal definitions of networking or colleagues used as a reference, namely: 1) educational networking; 2) institutions having the same working character, independent in national and international coverage; and 3) art markets, whether in the form of exhibitions, art projects, or residencies. material and method mes 56 with a vision-mission choice and its network must necessarily adapt and run the consequences. it is these missions and networks that allegedly influence the ideas, interpretations of information or research/processing of pre-creation information, and creation models to the form of work produced. in more detail, the questions to be answered in this article are: 1) what kind of ideas tend to be chosen by mes 56 artists?; 2) how do artists of mes 56 do initial research/information processing on which to base their creation?; 3) how is the influence of the information gained on the form of the work produced? through this article, these questions will be answered. the methods used in writing this article include interviews, literature studies, and documents. the data obtained then presented in the form of description and analysis on the creation cases made by a number of artists in mes 56. through this study, it is expected to demonstrate the important role of research and discover the methods of creation that can be useful in the discourse of practice-based research, especially in the field of photography art. mes 56 and photography: overview in the beginning, in 1996 mes 56 was not an official art institution. at that time, mes (originally without 56) was the name of a rented house that was once a mes in indonesian meaning temporary living residence or as a guest residence in the military for the residence of an unmarried officer belonging to auri, located on kolonel sugiyono 56 street. the location became a place to gather and live for a number of photography students, photography department faculty of recorded media arts (fakultas seni media rekam) indonesia institute of the arts (isi) yogyakarta who had the same point of view, association, and interest in the work of photography. in those days, the uniqueness of the work of the members of mes irwandi. contemporary photography works of ruang mes 56 15 was motivated by the desire to create different works and influenced by their academic background on campus, where they received a course on photographic expression taught by subroto sm and risman marah. they were driven to be „crazy‟, crazy in the experimentation of photography (isabella in widhi, 2015:117). negative films were often targeted for exploration and experimentation of members of mes 56, some of were them angki purbandono, wimo ambala bayang, and iskandar. according to akiq aw, “the early generations of mes 56 tried to follow the visuals development shown in magazines from abroad. while it was still oriented towards painting, we had not realized that photography itself was very political” (interview, july 24th, 2018). as time passes, digital photography begins to popularize. the resulting photo displays with negative experiments are now easily produced with the photography software. rangga purbaya, one of the earliest members of mes 56, said “the looks of the works in the past which seemed very skillfull and needed knowledge, in the digital age becomes nothing” (interview, july 25, 2018). this became a challenge of mes 56. collectively they began to think of the direction of the working of mes 56 in the future. in 2004, through the holiday mes 56 project increasingly carrying conceptual photography heavily. in general, conceptual photos are photographs that cannot be included in traditional photo categories, photographs that no longer serve objective, documentary, and pictorial representation, but rather place photography with all its properties as a means of articulating ideas, social views, issues of life that exist outside the media of photography itself (see molon in warren, 2006: 304-306). there is a significant change in the style of the work of mes 56 in 4-5 years of age. the works of technical-visual experimentation through the processing of negative films begin to be abandoned. after that, mes 56 emphasized the collectivity in working through the works of conceptual photography. nevertheless, since its inception, mes 56 has had one characteristic in its employment practice: emphasizing ideas, concepts, life issues in the themes of their work, both in the works of technical-visual experimentation and in their conceptual works. to create photographic works that emphasize ideas, concepts, life issues, the research process, the deepening of ideas are familiar to members of mes 56. the research, the deepening of ideas, and the concepts of work are certainly closely related to information gathering, information interpretation. both of these are the focus of this article's discussion, especially on how the process and its effects on the way they create and present their works. 14 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 medium of photography chosen by the agency is used with unusual approaches. cross-discipline, critical, contextual, and networking as stated by bayang, are the key to how mes 56 behaves, responds, and displays photography. another thing that is also mentioned is networking. mes 56 positioned networking as important in carrying out its mission. furthermore, according to angki purbandono in an interview video titled mes 56 released by indoart now, (2016), mes 56 has three principal definitions of networking or colleagues used as a reference, namely: 1) educational networking; 2) institutions having the same working character, independent in national and international coverage; and 3) art markets, whether in the form of exhibitions, art projects, or residencies. material and method mes 56 with a vision-mission choice and its network must necessarily adapt and run the consequences. it is these missions and networks that allegedly influence the ideas, interpretations of information or research/processing of pre-creation information, and creation models to the form of work produced. in more detail, the questions to be answered in this article are: 1) what kind of ideas tend to be chosen by mes 56 artists?; 2) how do artists of mes 56 do initial research/information processing on which to base their creation?; 3) how is the influence of the information gained on the form of the work produced? through this article, these questions will be answered. the methods used in writing this article include interviews, literature studies, and documents. the data obtained then presented in the form of description and analysis on the creation cases made by a number of artists in mes 56. through this study, it is expected to demonstrate the important role of research and discover the methods of creation that can be useful in the discourse of practice-based research, especially in the field of photography art. mes 56 and photography: overview in the beginning, in 1996 mes 56 was not an official art institution. at that time, mes (originally without 56) was the name of a rented house that was once a mes in indonesian meaning temporary living residence or as a guest residence in the military for the residence of an unmarried officer belonging to auri, located on kolonel sugiyono 56 street. the location became a place to gather and live for a number of photography students, photography department faculty of recorded media arts (fakultas seni media rekam) indonesia institute of the arts (isi) yogyakarta who had the same point of view, association, and interest in the work of photography. in those days, the uniqueness of the work of the members of mes 16 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 result alhamdulillah, we made it one of mes 56's collective works of photography to be discussed is a work entitled „alhamdulillah, we made it‟. this work is the comission works achieved by mes 56 in 2015 which was first shown at adelaide festival centers australia in the ozasia festival event, september 24 october 4, 2015 (ozasia festival catalog 2015:29). the search of this „alhamdulillah‟ work, comes from rangga purbaya‟s information which was one of the intensely involved in this project through an interview conducted on july 25, 2018. “at that time, we got an invitation to exhibit there, but the committee did not set a specific theme for the works to be displayed. we were asked to propose a theme. as a contemporary art-based art institution, mes 56 is concerned with social and life issues. based on that, this work raises the issue of refugees who want to become immigrants to australia, which at that time is being warmly reported. indonesia at that time became the transit of immigrants who want to become permanent citizens of australia. for mes 56 itself, the problem of immigrants is not just a matter of indonesia and australia alone, this has become a regional problem.” photoworks „alhamdulillah, we made it‟ presented at the ozasia festival in the form of photo prints and folding books featuring photographs of asylum seekers stranded in indonesia. there were different ways in which mes 56 displayed the asylum seekers who were being accommodated by the jesuit refugee service (jrs) who then owns an office in yogyakarta. asylum seekers were photographed in a state of activity at a shelter: being at work, cooking, and posing in front of the camera. the human subjects were photographed by way of cuts, so the photographs featured the white silhouettes of the removed immigrants. in other photographs, the results of previous photographs had been cut in the collage digitally in other photographs of the mood of places in australia. the photographs were given a brief caption containing the name of the subject, country of origin, date of birth, duration of being refugees, and personal expectations. „alhamdulillah‟, as one of the words in the title of the work is derived from arabic which means praise (be) to allah, which is also a word that describes gratitude, pleasure of a person over a condition or achievement that matches or exceeds what is expected. thus, the title seemed to convey the gratefulness of the asylum seekers because it has succeeded in realizing their wishes, namely a comfortable and ideal life. in the end of the spectator would realize and empathize that the title is actually an irony and satire. because, in fact the achievement of the asylum seekers was only achieved virtually, through the medium of photography. irwandi. contemporary photography works of ruang mes 56 17 discussion the work of „alhamdulillah‟ is an example of collective photographic works made by mes 56 with various considerations. the members involved in the production of the work did many things before the process of making the work done. there was a research process undertaken, there were discoveries, which were then combined with their intuitive process as human beings and artists. the text in this section comes from interviews with rangga purbaya, one of the active members of this collective project, dated july 25, 2018. when the invitations for the exhibition came, and they were asked to propose a theme of work, the first process was to search and to gather information on issues being discussed at a global level. various information, both from the internet and the media around them used as material of thought and reflection. in the case of „alhamdulillah‟ works, artistic decisions were not directly defined. there was an initial discussion conducted by members of this art project continuously. one of the important moments in the process of searching for ideas and themes of their work was when one of the member of mes 56 involved in the project found an anti illegal immigrant poster released by the australian government. the poster was affixed to a typical padang restaurant located on parangtritis street, not far from the mes 56 studio. the moment struck them, and encouraged them to seek further information. until one day they also found posters of invitations to british whites to migrate to australia after world war ii. in 2015, immigrant problems in indonesia and australia were being discussed, one of which was the case of the return of illegal immigrants who had arrived in australia with vessels directed to indonesia (https://nasional.tempo.co/read/553979/kapal-wah-imigran-menlu-protes-keaustralia). “the ships were then stranded on the south coast of indonesia. from that we know that this issue is a big issue, a humanitarian issue, not just an australian problem” said purbaya. such stories annoyed the artists' sense of humanity in this art project, and in the end they decided to raise the issue of asylum seekers for their work on the „alhamdulillah‟ art project. 18 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 fig. 1. some of the works in the series „alhamdulillah we made it‟. the left picture is taken in yogyakarta, the right photo is cultivated with a catwalk „location‟ in australia. (source: mes 56 collection) the advancement of information technology, especially the internet, greatly helps artists in finding the necessary information to strengthen the foundations of the concept of creation. the process of extracting information done through the internet lead them to find the appropriate stakeholders. in the case of this work, mes 56 traced information about organizations dealing with refugees. based on these search results, mes 56 then studied and visited jrs under the international organization of migration (iom). jrs was headquartered in yogyakarta. “we came to jrs to seek further refugee issues, and we view jrs as a relevant institution. to find out the refugee problem, we are given a one day workshop, in order to understand the refugee problem, and so what we do in the refugee place do not become a new problem.‟ a further step by mes 56 after gaining access to asylum seekers was to communicate the intent and purpose of their program. persuasion attempts were made to build trust. as stated by rangga purbaya, “in fact they (the asylum seekers) are well aware that they are vulnerable to be utilized therefore we introduce our institutions, who we are, our intentions. we assure you that what we are doing is to send a message there (australia), that this issue is a common problem. we can irwandi. contemporary photography works of ruang mes 56 19 say we are accepted there, we can trust, and establish good relations with asylum seekers and jrs.” another problem arose in the adelaide festival, as this issue was a hot and sensitive issue in australia. there had been a disagreement over the issue raised, forcing the adelaide director of the festival to come to jogja, to object to issues raised by mes 56. “there was a rejection but we reasoned that what we were doing was our responsibility as an artist, to bring about an important issue. we do not question/seek political correctness of australian policy at the time, but feeling that the policy has an impact on the region, so it is important to be pushed there. about artistic/photo presentation is the thing done while progressing/last done. after interacting with asylum seekers in the refugee camp, mes 56 then thinks about what this work will be. what should we do with the materials? we finally try to subvert the concept of asylum. through the use of photographic technology, photographs of asylum seekers are cut and then pasted into australian background photos. photographic asylum seekers have achieved their goals. how to display photos in this project is an appropriation of our previous holiday project but with different concepts, content, and contexts. the holiday project itself was created in 2004.” 18 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 fig. 1. some of the works in the series „alhamdulillah we made it‟. the left picture is taken in yogyakarta, the right photo is cultivated with a catwalk „location‟ in australia. (source: mes 56 collection) the advancement of information technology, especially the internet, greatly helps artists in finding the necessary information to strengthen the foundations of the concept of creation. the process of extracting information done through the internet lead them to find the appropriate stakeholders. in the case of this work, mes 56 traced information about organizations dealing with refugees. based on these search results, mes 56 then studied and visited jrs under the international organization of migration (iom). jrs was headquartered in yogyakarta. “we came to jrs to seek further refugee issues, and we view jrs as a relevant institution. to find out the refugee problem, we are given a one day workshop, in order to understand the refugee problem, and so what we do in the refugee place do not become a new problem.‟ a further step by mes 56 after gaining access to asylum seekers was to communicate the intent and purpose of their program. persuasion attempts were made to build trust. as stated by rangga purbaya, “in fact they (the asylum seekers) are well aware that they are vulnerable to be utilized therefore we introduce our institutions, who we are, our intentions. we assure you that what we are doing is to send a message there (australia), that this issue is a common problem. we can 20 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 fig. 2. concept and design of the exhibition series of works of „alhamdulillah, we made it‟. (source: mes 56 archive) the mes 56 opt to select the way the work appears as it has been done based on the messaging, place, and customs of mes 56. the message becomes an important thing to deliver, therefore mes 56 chose the most easily understood photo style. "we need something simple and straightforwardly understood, we need a strategy for delivering messages and mes having a habit of choosing the simplest way. this method is also chosen because these photos will be displayed at the festival event. this work is shown to the public." finally the „alhamdulillah‟ project was done. mes 56 then resolved administrative/legal affairs to asylum seekers. it is important for artists that anyone involved in a collective art project was on record and formal. not just verbally. mes 56 makes a model release to make sure that what is displayed is subject to the approval of the subject in it. research: information, interpretation, and presentation: a conclusion an overview of works collected by mes 56 collectively and by individual members may illustrate how the interrelation between information outside the work, the interpretation of the artist to the information, and its effect on the presentation of the work applies in a process of art by mes 56 and the its members. information outside of works in creation cases described in this paper is broadly understood. how to search information and forms of information gathered irwandi. contemporary photography works of ruang mes 56 21 are done in various ways, in accordance with the ideas and context of creation. aspects of art, in this case creativity, intuition, and delinquency think as an artist cannot be forgotten and even greatly affect the way, type, and place of information which will be collected. presentation of the work, in the sense of style and subjects featured in the work interacts with issues raised, artist's memory, art intuition, artistic purposes of the work, and information gained in the process of creation research. the shape and direction of interaction of these aspects is very flexible and tentative. in the case of the work of „alhamdulillah, we made it‟, it appears that the deepening of information about immigrants and the projection of the wishes of immigrants becomes the main information to be further processed. instead of displaying the hope and suffering of asylum seekers with verbal photographs, subversive ways of photography were selected, with consideration of who the audience is and the readability of the message to be conveyed. that is, information about who the subject is being photographed and who the subject is looking at becomes an important consideration, with its ideological, political, and cultural implications. critical discourses of photographic media were used as approaches, coupled with the intuition and different perspectives of mes 56 on the medium of photography. photography here is used to express virtual displacement, adding to the rebuttal of the temporary and objectivity of photography. the following table illustrates the ideas, research, and works of mes 56: no. idea/issues research & information interpretation/art forms 1 live experience. literation, artefacts, and their meaning. 1. stimulation idea/memory through representative forms. 2. collage of memory. 3. interactive. 4. non-conventional. 5. witt, delinquency of thoughts. 2 popular practices/cultural practices. literation, observation, recording, participation. 4 misery & regional issues. 5 policy of social politics. stimulus, document study, and artefacts. table of ideas, research, and art forms of mes 56‟s works (irwandi) the examples of creation cases presented in this paper, there is a tendency for artists to treat the information they get. first, the information gained is the material of thought and then determines the issues to be presented in the work; second, the information around the creator is interpreted to be presented in ways that meet the artistic criteria of a work of art, the artist already has his or her personal style, in that way the artist then speaks; third, the creation of the work 20 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 fig. 2. concept and design of the exhibition series of works of „alhamdulillah, we made it‟. (source: mes 56 archive) the mes 56 opt to select the way the work appears as it has been done based on the messaging, place, and customs of mes 56. the message becomes an important thing to deliver, therefore mes 56 chose the most easily understood photo style. "we need something simple and straightforwardly understood, we need a strategy for delivering messages and mes having a habit of choosing the simplest way. this method is also chosen because these photos will be displayed at the festival event. this work is shown to the public." finally the „alhamdulillah‟ project was done. mes 56 then resolved administrative/legal affairs to asylum seekers. it is important for artists that anyone involved in a collective art project was on record and formal. not just verbally. mes 56 makes a model release to make sure that what is displayed is subject to the approval of the subject in it. research: information, interpretation, and presentation: a conclusion an overview of works collected by mes 56 collectively and by individual members may illustrate how the interrelation between information outside the work, the interpretation of the artist to the information, and its effect on the presentation of the work applies in a process of art by mes 56 and the its members. information outside of works in creation cases described in this paper is broadly understood. how to search information and forms of information gathered 22 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 begins with intuition, the creative idea of the internalization of the artist's experience which is then poured in the form of the work, the information gathered is reinforcing the ideas that have emerged. fourth, photography is seen as a processed entity differently, in accordance with the conditions and situation of pre-creation information, hence, traditional photographic conventions are abandoned. behind the importance of information in employment, the contexts, goals, and habits of artists in making works determine the direction of how information is treated. references dominic molon "conceptual photography", lynne warren. 2006. encyclopedia of twentieth-century photography, routledge, new york. http://mes56.com/foam-x-ruang-mes-56/ http://www. mes56.com/mes-56/ https://nasional.tempo.co/read/553979/kapal-wah-imigran-menlu-protes-keaustralia (13 februari 2014) https://subbacultcha.nl/event/foam-x-ruang-mes-56-yudha-kusuma-putera-andriwilliam/ https://www.foam.org/museum/programme/foam-x-ruang-mes-56 https://www.youtube.com/watch?v=5ed9md9kaze&t=18s, video mes 56, (2016), indoartnow. https://www.youtube.com/watch?v=grgb2w_acno&t=89s, video foam fotografiemuseum amsterdam, foam 3h: foam x ruang mes 56, (2017). isabella, brigitta, "cerita sebuah ruang dan orang-orang yang hidup di dalamnya", agung nugroho widhi (ed.). 2015. cerita sebuah ruang, menghidupi ekspektasi: membaca fotografi kontemporer melalui praktik ruang mes 56. yogyakarta: indoart now. ozasia festival catalog. 2015. adelaide festival centre, adelaide. informant akiq aw, 41 years old, artist, member mes 56, lives in yogyakarta. angki purbandono, 47 years old, artist, founder of mes 56, lives in yogyakarta. rangga purbaya, 42 years old, artist, member of mes 56, lives in yogyakarta. wimo ambala bayang, 41 years old, artist, co-founder mes 56, lives in yogyakarta. 1 ayu niza machfauzia. self-management strategies of music teacher self-management strategies of music teacher in musical interpretation teaching ayu niza machfauzia yogyakarta state university, yogyakarta 55281, indonesia email : niza.kudrat@gmail.com abstract in this paper, presented the results of a qualitative study of case studies of selfmanagement strategies music teachers in interpretation of music teaching. the purpose of this research is to reveal the self-management strategies that teachers use in interpretation of music teaching. subjects in this study were teachers who teach musical instrument practice as many as 12 people. in this study subject determined by purposive sampling technique. interviews, observation, and documentation techniques are used for data collection. the data have been collected from being validated by using triangulation techniques and triangulation time, and analyzed by means of data reduction, data presentation, and inference data. the results showed that components of self-management strategies used by teachers which include motivation, teaching method,and monitoring performance. keywords: self-management, interpretation of music, music teacher introduction in learning music, especially learning how to play instruments, teachers not only transfer all the knowledge related to music, but they also need to embed those knowledge which include teaching a variety of interpretation of music, so that students can understand and apply it when they perform music. it is as described by white (2009:6) that so that the students are able to interpret the music played, the teacher’s job to teach students about interpretation of music.unfortunately, many musicians and teachers music generally focus more on notation and rhythm that is part of the skeleton interpretation. ford (2011:2) said that developing interpretation of music played, is one of the aspects make music, the most important and enjoyable. this is because, interpretations that can reflects ideas and feelings about music player that played. thus through interpretation, a player can communicate the emotional connection with the music being played. conditions such as these occur also in the instrument practice learning at smk negeri 2 poor bantul, particularly in an interpretation of music learning. in the lesson, the teacher concentrates more on notation and rhythm. if it is related with a presentation music, it can be said that interpretation of music is important to be taught to the students. kitelinger (2010:1) explained that a paper music without interpretation is just a music that is written on paper and without 2 ijcas: vol. 1, number 2 december 2014 meaning, without values, and without the clarity of what is written. the same thing was expressed also by davie (1996:6) that if a music performer just plays what he saw in the sheet music, the results of musical performance will be tedious. therefore, interpretation of music needs to be taught to students, despite the fact that the interpretation of music teaching is a difficult and complex (matthay, 1913:1). materials and methods based on a preliminary study conducted at smk n 2 kasihan bantul, the data obtained through interviews with 2 teachers practice both instruments, 5 students, as well as the public relations vice principal that 1) the majority of the instrument practice teachers lack motivation to develop the ability including to develop capabilities academic; 2) there are many students who do not understand the musical interpretation; 3) the majority of the instrument practice teachers still use teachers-centered learning strategies in any process learning. other data obtained through the preliminary observation that in the teaching of interpretation of music, most of the teachers do not explain the objectives to be achieved in the learning. in fact, if teachers can be explain the purpose of the interpretation of music in instruments practice, then learning will be more focused and determined what can be achieved. some of the problems found in the field are issues that can degrade the quality of learning in schools. and so, for the purpose of learning musical interpretation can be more focused and obtain maximum results, then teachers need to use a strategy that can help students to think, so that when students play a piece of music, he was really playing music. it is as expressed by matthay (1913: 2) that the good teaching, not trying to make the students just do something, so that the results of his training efforts look like playing music without interpretation, but teachers can help students to think, so he looks rightactually playing music. furthermore, matthay (1913) explains that a good teacher is not trying to turn his students into an automaton, but the teacher tried to encourage students to grow into an intelligent human being. according to the description, the following questions can be presented; „what strategies can be used by teachers in teaching the interpretation of music? effective music teachers are teachers who give their knowledge with passion to be the best (young, 2010:xvi). therefore, music teachers need to improve the quality of their experience and the art of teaching music in school itself, so that the purpose and quality of learning can be achieved well. one of the ways to improve the quality of experience and the art of teaching music in school is to itself use self-management strategies. the purpose of the use of self-management strategies is that the teacher is able to deal constructively and effectively with the variables that affect the quality of personal life that includes time management, motivation, goal-setting, stress management, and concentration (wong, 2009), and this can be applied in interpretation of music teaching. 3 ayu niza machfauzia. self-management strategies of music teacher from the description above, the purpose of this study is to reveal the self-management strategies that are used by music teachers when teaching musical interpretation. self-management strategy self-management (dembo, 2004: 4) in education more leads to a strategy and useful to improve key skills (desirable) that will help an individual throughout his life including one of skill to play music. in other words, self-management is a strategy in which individuals can effectively direct the activities done in the face of achieving goals, including goal setting, decision making, time management, self-evaluation, self-intervention, self-development, self-monitoring, and self-motivated. the same thing is also presented by zimmerman and risemberg (1997) in dembo (2004: 10) states that there are six components in self-management, namely the motivation, methods of learning, use of time, physical environment, social environment, and monitor performance. the use of self-management skills associated with each of these components, can help a person (teacher or student) to take control of their own learning and to improve academic achievement to be achieved.thus, teachers can use self-management strategies in teaching musical interpretation with reference to the six components that have been submitted. this is especially useful for teachers to improve and develop themselves, especially in the academic field. one of the keys to success in learning (dembo, 2004: 4) is the practice of learning strategies in the classroom, so that students become automatic learning and motivated to learn. types of research this research is a qualitative case study type focused on self-management strategies that can be used by teachers in teaching musical interpretation. the collected data, obtained using the technique of interview, observation, and documentation. the use of case studies in this study (gerring, 2007:12) for studying the individual (teacher) in depth to help him obtain a good adjustment. in addition, this study is an empirical study that investigates the phenomenon (yin, 2009:18) in the context of the readiness of teachers in teaching the interpretation of music in the instruments practice classroom. the data was collected validated by triangulation techniques and triangulation time. research subjects and places subjects in this study were the teachers who teach the practice of instrument in class xii smk negeri 2 kasihan bantul, amounting to 12 people. determination of research subjects by using purposive sampling. in addition, involving students who follow the instruments practice learning to support research, amounting to 22 people. almost all the teachers have experience teaching music in smk negeri 2 poor bantul approximately 20 years old, and 10 teachers have the undergraduate music education background, while 2 teachers have the diploma music education background. meanwhile, the students involved in this study already had a musical learning experience for two years (studying music in class x, and xi). smk negeri 2 poor bantul itself is the only vocational school that organizes learning in the field of music skills, especially western art music of various era. the school is located at jl. pg. 4 ijcas: vol. 1, number 2 december 2014 madukismo, ngestiharjo, kasihan, bantul, yogyakarta. in the implementation of the learning, the use of ktsp (kurikulum tingkat satuan pendidikan). procedures implementation of this research were divided into three phases, namely the pre field, phase field, and post-field phase. in the pre field stage, the first thing to do is take care of the permit addressed to the principal of smk negeri 2 poor bantul. this is done to reduce the presence of rejection when researcher entering the field. after that, carry out a preliminary study to find the subject of research, conduct field exploratory (field study), and search for the initial data in order to determine the issues contained in the field to determine the focus of research. before doing a preliminary study, researchers conducted a literature review related research topics as scientific confirmation to support research data. another thing that is done at this stage was to select and utilize the research subjects (the informant), the teachers who teach the practice of instrument as many as 17 people. the determination of this amount is to represent each instrument of music that is taught in the schools where the research took place. in determining the subject of the study, assisted by the head of public relations that provide data about the teachers who teach the instrumental music practice. having given these data, researcher determined the subject of research by 17 people. furthermore, the researcher contacted the teachers to seventeen, to convey the intention of the researcher’s presence in the school. the second stage is the stage field. at this stage, researcher began to enter and understanding more about the research place (smk negeri 2 kasihan bantul) for data collection. therefore, qualitative research methods put more emphasis on process rather than outcomes, then to meet the accurate results can be seen from the whole process is done, so this research puts the researcher as the primary instrument in extracting and processing the data obtained. in the course of data collection, researchers active in direct data collection in twelve classes of instruments practice which carried out naturally. this means that, the data collection was doing the time of the teacher was teaching music instruments practices in accordance with the schedule specified by the school. data retrieval is done by observing the teacher while teaching that focuses on the strategies used by the teacher, and continued with the interview. interviews were used in this study was semi standard and conducted face to face, because it gives greater freedom in communicating with research subjects (satori and komariah, 2011; gilham, 2000). also conducted interviews at the 5 students who actively take part in practice learning the instrument. in this activity, has also been conducted documenting (photographing the activities of teachers in teaching). the change of the number of research subjects from 17 to 12 people due to the difficulty in the process of dividing the time of observation in the classroom, because the schedule practice learning instrument performed at the same hour in each class, ie hours 11:15 a.m to 00:35 p.m. and 00:50 p.m to 2:10 p.m, so the research process can not 5 ayu niza machfauzia. self-management strategies of music teacher cover the whole subject of research. the twelve teachers are drs. gmr i (clarinet and saxophone); brn ari, s. sn. (trumpet); drs. stn, m. pd. (oboe); sprj, m. sn. (guitar); fd, m.a. (violin); brt brg w, ep. (cello); gf fr. s. pd. (violin); drs. sdrt (contra bas); utr, s. sn. (piano); drs. lg smj (vocals); and dra. yhn l.s. (vocal). stage of data collection was conducted in april-august 2012, later extended to december 2012. the next stage in this research was post-field phase. in this phase, carried out the process of analyzing the data that has been obtained through observation, interviews, and documentation. the data have been analyzed using an interactive model that includes data reduction, data display and conclusion / verification. discussion learning strategies (surya, 2004: 109), is a method to assist students in realizing effective learning behavior in order to achieve the desired goal. in addition, learning strategies covering various aspects of activities that must be performed by teacher in a interactions situation of teaching and learning. thus, it can be said that it is an action strategy that included the use of methods, approaches, and various learning resources. the strategy used has been developed to achieve the intended purpose. so that strategies can be used effectively, it is necessary to define learning objectives to be achieved. the strategy itself shows activity steps (syntax) (ihsan, 2008: 7) or procedures used in presenting teaching materials to achieve learning objectives. a strategy chosen to implement learning methods can be chosen so that conditions conducive learning and fun. therefore, for students to be active in participating in learning a musical interpretation in practice learning the instrument, then in each stage (ihsan, 2008: 8) teachers need to include: 1) use a variety of learning resources, methods and instructional media; 2) provide a learning experience that are meaningful to the students in the act; 3) allow for students to grow and develop their ability to think critically, creative, innovative, and productive; and 4) motivate students to explore beyond the materials studied. learning strategies are used to facilitate music interpretation learning process, especially interpretation of a piece of music being played, so as to achieve optimal results. based on these descriptions, the interpretation of the music teaching strategies used by teachers varied in each stage of learning, both in the opening stages (a perception), the implementation phase and the evaluation phase and the final phase (cover). in the opening stages, not all teachers start with a formal atmosphere and prayed. teachers tend to only give a greeting and immediately asked the previous tasks with a relaxed atmosphere. this is evidenced in the results of observations made in class cello, guitar, trumpet, vocals a, vocals b, piano, contra bass, and oboe. meanwhile, in class saxophone, clarinet, and violin a, the teacher always started learning to pray and then do the tuning. here, the teacher shows the students a discipline, ie before playing the instrument needs to be tuned to the instrument prior activities. teachers can control himself and motivate himself to behave discipline. it is as shown in figure 1. 6 ijcas: vol. 1, number 2 december 2014 journal of creative and arts studies learning the instrument. in this activity, has also been conducted documenting (photographing the activities of teachers in teaching). the change of the number of research subjects from 17 to 12 people due to the difficulty in the process of dividing the time of observation in the classroom, because the schedule practice learning instrument performed at the same hour in each class, ie hours 11:15 a.m to 00:35 p.m. and 00:50 p.m to 2:10 p.m, so the research process can not cover the whole subject of research. the twelve teachers are drs. gmr i (clarinet and saxophone); brn ari, s. sn. (trumpet); drs. stn, m. pd. (oboe); sprj, m. sn. (guitar); fd, m.a. (violin); brt brg w, ep. (cello); gf fr. s. pd. (violin); drs. sdrt (contra bas); utr, s. sn. (piano); drs. lg smj (vocals); and dra. yhn l.s. (vocal). stage of data collection was conducted in april-august 2012, later extended to december 2012. the next stage in this research was post-field phase. in this phase, carried out the process of analyzing the data that has been obtained through observation, interviews, and documentation. the data have been analyzed using an interactive model that includes data reduction, data display and conclusion / verification. discussion learning strategies (surya, 2004: 109), is a method to assist students in realizing effective learning behavior in order to achieve the desired goal. in addition, learning strategies covering various aspects of activities that must be performed by teacher in a interactions situation of teaching and learning. thus, it can be said that it is an action strategy that included the use of methods, approaches, and various learning resources. the strategy used has been developed to achieve the intended purpose. so that strategies can be used effectively, it is necessary to define learning objectives to be achieved. the strategy itself shows activity steps (syntax) (ihsan, 2008: 7) or procedures used in presenting teaching materials to achieve learning objectives. a strategy chosen to implement learning methods can be chosen so that conditions conducive learning and fun. therefore, for students to be active in participating in learning a musical interpretation in practice learning the instrument, then in each stage (ihsan, 2008: 8) teachers need to include: 1) use a variety of learning resources, methods and instructional media; 2) provide a learning experience that are meaningful to the students in the act; 3) allow for students to grow and develop their ability to think critically, creative, innovative, and productive; and 4) motivate students to explore beyond the materials studied. learning strategies are used to facilitate music interpretation learning process, especially interpretation of a piece of music being played, so as to achieve optimal results. based on these descriptions, the interpretation of the music teaching strategies used by teachers varied in each stage of learning, both in the opening stages (a perception), the implementation phase and the evaluation phase and the final phase (cover). in the opening stages, not all teachers start with a formal atmosphere and prayed. teachers tend to only give a greeting and immediately asked the previous tasks with a relaxed atmosphere. this is evidenced in the results of observations made in class cello, guitar, trumpet, vocals a, vocals b, piano, contra bass, and oboe. meanwhile, in class saxophone, clarinet, and violin a, the teacher always started learning to pray and then do the tuning. here, the teacher shows the students a discipline, ie before playing the instrument needs to be tuned to the instrument prior activities. teachers can control himself and motivate himself to behave discipline. it is as shown in figure 1. figure 1.a violin teacher tune together (collection: ayu, 2012). figure 1. a violin teacher tune together (collection: ayu, 2012). meanwhile, in the violin class b at the beginning of the lesson, the teacher always asked students to fill out the attendance list first and then ask the tasks given. this strategy can be seen in figure 2. journal of creative and arts studies meanwhile, in the violin class b at the beginning of the lesson, the teacher always asked students to fill out the attendance list first and then ask the tasks given. this strategy can be seen in figure 2. figure 2.violin b teacher asked students to fill out the attendance list (collection: ayu, 2012). figure 1 and figure 2 show that each of the teachers in learning begin using a variety of strategies that pray, and fill the attendance list. even some teachers have students do the direct heating, such as in class b vocals, and this activity can be seen in figure 3. figure 3. b vocal teacher guiding the students of class xii warming (vokalisi) together (collection: ayu, 2012). furthermore, at this stage of the implementation of learning musical interpretation, all teachers practice instrument using a variety of methods including methods of imitation, demonstration method, and the method of repetitive exercise (drill). lecture method is used to describe things that related playing techniques. imitation method is used to give examples of the students' first game, then students mimic what has been exemplified by the teacher. demonstration method is used to give an example of playing an instrument that demonstrated by teachers to students, while the method of repetitive exercise (drill) is used to help students provide ease of play in certain parts of the songs that are considered difficult. with the implementation of repetitive training methods are no longer expected that students find difficulty in playing a song is learned. the use of these methods in practice collaborated with each other, and adapted to a variety of factors such as the development of students' skill levels, goals, contents of learning materials, and the environment. if only the methods used by teachers in teaching music interpretation, it may not be able to achieve the learning objectives have been determined. therefore, the teacher uses a variety of methods in each lesson. the use of such methods can be described through interviews with vocal b teacher (lg smj) follows. “usually, i give you an example first .. once up to two times. after that, the students tried to sing a song like what i've demonstrated. while the practice, i explain also about vocal techniques, so that they understand”. (mtd) the activities of teachers in an example for students by using the method of demonstration and imitation method, as shown in figure 4. figure 2. violin b teacher asked students to fill out the attendance list (collection: ayu, 2012). figure 1 and figure 2 show that each of the teachers in learning begin using a variety of strategies that pray, and fill the attendance list. even some teachers have students do the direct heating, such as in class b vocals, and this activity can be seen in figure 3. 7 ayu niza machfauzia. self-management strategies of music teacher journal of creative and arts studies meanwhile, in the violin class b at the beginning of the lesson, the teacher always asked students to fill out the attendance list first and then ask the tasks given. this strategy can be seen in figure 2. figure 2.violin b teacher asked students to fill out the attendance list (collection: ayu, 2012). figure 1 and figure 2 show that each of the teachers in learning begin using a variety of strategies that pray, and fill the attendance list. even some teachers have students do the direct heating, such as in class b vocals, and this activity can be seen in figure 3. figure 3. b vocal teacher guiding the students of class xii warming (vokalisi) together (collection: ayu, 2012). furthermore, at this stage of the implementation of learning musical interpretation, all teachers practice instrument using a variety of methods including methods of imitation, demonstration method, and the method of repetitive exercise (drill). lecture method is used to describe things that related playing techniques. imitation method is used to give examples of the students’ first game, then students mimic what has been exemplified by the teacher. demonstration method is used to give an example of playing an instrument that demonstrated by teachers to students, while the method of repetitive exercise (drill) is used to help students provide ease of play in certain parts of the songs that are considered difficult. with the implementation of repetitive training methods are no longer expected that students find difficulty in playing a song is learned. the use of these methods in practice collaborated with each other, and adapted to a variety of factors such as the development of students’ skill levels, goals, contents of learning materials, and the environment. if only the methods used by teachers in teaching music interpretation, it may not be able to achieve the learning objectives have been determined. therefore, the teacher uses a variety of methods in each lesson. the use of such methods can be described through interviews with vocal b teacher (lg smj) follows. “usually, i give you an example first .. once up to two times. after that, the students tried to sing a song like what i’ve demonstrated. while the practice, i explain also about vocal techniques, so that they understand”. (mtd) the activities of teachers in an example for students by using the method of demonstration and imitation method, as shown in figure 4. 8 ijcas: vol. 1, number 2 december 2014 journal of creative and arts studies figure 3. b vocal teacher guiding the students of class xii warming (vokalisi) together (collection: ayu, 2012). furthermore, at this stage of the implementation of learning musical interpretation, all teachers practice instrument using a variety of methods including methods of imitation, demonstration method, and the method of repetitive exercise (drill). lecture method is used to describe things that related playing techniques. imitation method is used to give examples of the students' first game, then students mimic what has been exemplified by the teacher. demonstration method is used to give an example of playing an instrument that demonstrated by teachers to students, while the method of repetitive exercise (drill) is used to help students provide ease of play in certain parts of the songs that are considered difficult. with the implementation of repetitive training methods are no longer expected that students find difficulty in playing a song is learned. the use of these methods in practice collaborated with each other, and adapted to a variety of factors such as the development of students' skill levels, goals, contents of learning materials, and the environment. if only the methods used by teachers in teaching music interpretation, it may not be able to achieve the learning objectives have been determined. therefore, the teacher uses a variety of methods in each lesson. the use of such methods can be described through interviews with vocal b teacher (lg smj) follows. “usually, i give you an example first .. once up to two times. after that, the students tried to sing a song like what i've demonstrated. while the practice, i explain also about vocal techniques, so that they understand”. (mtd) the activities of teachers in an example for students by using the method of demonstration and imitation method, as shown in figure 4. figure 4. b vocal teacher gives examples of class xii student articulation techniques collection: ayu, 2012). based on the pictures and the results of interviews with vocal teacher b (lg smj), can be explained that teachers use demonstration method (shows how to sing with good technique and correct articulation) are combined with the lecture method (explained on articulation techniques). more can be said also that the teacher also uses the method of imitation, because the teacher also gives examples of singing with good technique and correct articulation, then students trying to practice singing by imitating what has been exemplified by the teacher. the use of these methods in the study of music interpretation in vocal class b, was to motivate students to practice the spirit and continue to develop skills and improve their skills in singing. under these conditions, it can be said that teachers use self-management strategies that include the use of component learning method. unlike the vocal learning in class b, study of the music interpretation in the saxophone classroom of the class xii, teachers tend to use imitation method and lecture method. this is because the skill level of the students playing instruments is still low. in addition, the motivation of students in the following practice learning the saxophone too low. this is evidenced by the frequency of attendance less in following the learning process. the condition was revealed in the interview with gmr i (saxophone teacher) as follows. “class 3 (xii) is somewhat difficult to develop their skills. though i have tried motivation but yet succeeded. they are rather lazy to practice the saxophone. so, in teaching this class,i often give the figure 4. b vocal teacher gives examples of class xii student articulation techniques (collection: ayu, 2012). based on the pictures and the results of interviews with vocal teacher b (lg smj), can be explained that teachers use demonstration method (shows how to sing with good technique and correct articulation) are combined with the lecture method (explained on articulation techniques). more can be said also that the teacher also uses the method of imitation, because the teacher also gives examples of singing with good technique and correct articulation, then students trying to practice singing by imitating what has been exemplified by the teacher. the use of these methods in the study of music interpretation in vocal class b, was to motivate students to practice the spirit and continue to develop skills and improve their skills in singing. under these conditions, it can be said that teachers use self-management strategies that include the use of component learning method. unlike the vocal learning in class b, study of the music interpretation in the saxophone classroom of the class xii, teachers tend to use imitation method and lecture method. this is because the skill level of the students playing instruments is still low. in addition, the motivation of students in the following practice learning the saxophone too low. this is evidenced by the frequency of attendance less in following the learning process. the condition was revealed in the interview with gmr i (saxophone teacher) as follows. “class 3 (xii) is somewhat difficult to develop their skills. though i have tried motivation but yet succeeded. they are rather lazy to practice the saxophone. so, in teaching this class,i often give the example they mimicked. in addition, i continue to motivate students.”. (mtd). based on interviews with the teachers, it can be said that the use of learning strategies in music interpretation, the teacher uses a direct strategy is a strategy with a teachercentered approach (one direction). meanwhile, the method used is the lecture method, the method of imitation, and the method of demonstration, as well as using the individual approach. these strategies are used according to the conditions of students, 9 ayu niza machfauzia. self-management strategies of music teacher as well as the condition of the class, and the environment. in addition to using the strategies and methods such as these, some teachers also use audio media. the use of media was done by the teacher in some of classroom of practices, such as vocal class a, vocal class b, cello, and saxophone. in the third class of media used in the form of a set of cd players and laptops, as well as used to accompany students when playing a piece of music is learned. based on interviews with a vocal teacher a (yhn ls) revealed that the cd media, cd player, and 14-inch tv that is in a class is a self-financing of the teacher concerned. the media used to accompany students in vocal practice. the reason teachers use the media, because it is difficult to find a pianist who can accompaniment students in vocal practice. results of interviews with vocal teacher a (yhn ls) is seen as follows. “if for piano accompaniment, i bought the tools, let anyone accompany these students sing. because looking for a piano player that can accompany it hard “. (strg). procurement of audio media is self-financing by the teacher yhn ls in the classroom vocal a this is an attempt by the teacher to improve students’ skills in vocal practice. in fact, this is actually the responsibility of the school to provide a means of both audio and visual media that can be used in the practice of the instrument learning, especially learning the music interpretation. the media in question can be seen in figure 5. journal of creative and arts studies example they mimicked. in addition, i continue to motivate students.”. (mtd). based on interviews with the teachers, it can be said that the use of learning strategies in music interpretation, the teacher uses a direct strategy is a strategy with a teacher-centered approach (one direction). meanwhile, the method used is the lecture method, the method of imitation, and the method of demonstration, as well as using the individual approach. these strategies are used according to the conditions of students, as well as the condition of the class, and the environment. in addition to using the strategies and methods such as these, some teachers also use audio media. the use of media was done by the teacher in some of classroom of practices, such as vocal class a, vocal class b, cello, and saxophone. in the third class of media used in the form of a set of cd players and laptops, as well as used to accompany students when playing a piece of music is learned. based on interviews with a vocal teacher a (yhn ls) revealed that the cd media, cd player, and 14-inch tv that is in a class is a self-financing of the teacher concerned. the media used to accompany students in vocal practice. the reason teachers use the media, because it is difficult to find a pianist who can accompaniment students in vocal practice. results of interviews with vocal teacher a (yhn ls) is seen as follows. "if for piano accompaniment, i bought the tools, let anyone accompany these students sing. because looking for a piano player that can accompany it hard ". (strg). procurement of audio media is self-financing by the teacher yhn ls in the classroom vocal a this is an attempt by the teacher to improve students' skills in vocal practice. in fact, this is actually the responsibility of the school to provide a means of both audio and visual media that can be used in the practice of the instrument learning, especially learning the music interpretation. the media in question can be seen in figure 5. figure 5. the media used by teachers to accompany students sang (collection: ayu, 2012). with the media as in figure 5, the teacher can select the desired accompaniment according to the song that will be sung by students. the accompaniment has been packaged in a cd, and there are some who become vocal learning materials in the cd accompaniment tracks,, as expressed by yhn ls a vocal teacher follows. "in the cd there are some accompaniment of songs which being learning materials, so i only choose to live, according to the song that will be sung by the students". (mda). from what has the teacher is doing, it can be said that the teacher uses one component in self-management is motivation. that is, self-motivated teachers to meet the instructional media in its class by bought at his own expense. this is done, so that the student can sing with the accompaniment of music while following the practice of vocal learning. the conditions that occur in a vocal class, also occurred in the saxophone class (class xi), in which the teacher in using the media contained in the media room (provided the school) to accompany the students to play the saxophone. it is as revealed in interviews with gmr i below. “usually, i use this room (media room) for help students play saxophone with accompaniment. i created it's own accompaniment on cd”. (md). figure 5. the media used by teachers to accompany students sang (collection: ayu, 2012). with the media as in figure 5, the teacher can select the desired accompaniment according to the song that will be sung by students. the accompaniment has been packaged in a cd, and there are some who become vocal learning materials in the cd accompaniment tracks,, as expressed by yhn ls a vocal teacher follows. “in the cd there are some accompaniment of songs which being learning materials, so i only choose to live, according to the song that will be sung by the students”. (mda). 10 ijcas: vol. 1, number 2 december 2014 from what has the teacher is doing, it can be said that the teacher uses one component in self-management is motivation. that is, self-motivated teachers to meet the instructional media in its class by bought at his own expense. this is done, so that the student can sing with the accompaniment of music while following the practice of vocal learning. the conditions that occur in a vocal class, also occurred in the saxophone class (class xi), in which the teacher in using the media contained in the media room (provided the school) to accompany the students to play the saxophone. it is as revealed in interviews with gmr i below. “usually, i use this room (media room) for help students play saxophone with accompaniment. i created it’s own accompaniment on cd”. (md). furthermore, the activities of the students of class xi who played saxophone with accompaniment assistance carried in the media room can be seen in figure 6. journal of creative and arts studies furthermore, the activities of the students of class xi who played saxophone with accompaniment assistance carried in the media room can be seen in figure 6. figure 6. implementation of saxophone practice learning students class xi using audio media (collection: ayu, 2012). in another class, namely the class cello, the use of media such as laptops made by teachers to accompany students play a piece of music. this activity can be seen in figure 7. figure 7. cello teacher was prepare materials accompaniment music using a laptop (collection: ayu, 2012). the condition is also evidenced by the results of interviews with brt brg w, ep (cello teacher) as follows. “if the students play songs, accompanied with mp3's in a laptop”. (mda). of the three conditions, it can be said that a vocal teacher a , saxophone teacher, and cello teacher using only the audio media to accompany the students to play music, not to be heard in detail the elements of the music being played, and then discussed, but only to assist students in playing music. this was done because of the difficulty of finding students who can accompanying a playing instrument these students, so that teachers anticipate using the cd being played using a cd player. in addition to the use of audio media, some teachers in the learning process using an individualized approach. this is done so that learning can be more focused. one of the teachers who use an individualized approach was a cello teacher (brt brg w, ep). this is evidenced in the following interviews. “here i taught him one by one, .., although the students grade 3 (xii) there are 3, the students grade 2 (xi) there are 4 if i merge all so do not focus ... " (strg) another teacher using the same approach (individual) is a violin teacher b (fd). the reason for the use of the approach in learning proficiency level is almost the same as what is figure 6. implementation of saxophone practice learning students class xi using audio media (collection: ayu, 2012). in another class, namely the class cello, the use of media such as laptops made by teachers to accompany students play a piece of music. this activity can be seen in figure 7. 11 ayu niza machfauzia. self-management strategies of music teacher journal of creative and arts studies furthermore, the activities of the students of class xi who played saxophone with accompaniment assistance carried in the media room can be seen in figure 6. figure 6. implementation of saxophone practice learning students class xi using audio media (collection: ayu, 2012). in another class, namely the class cello, the use of media such as laptops made by teachers to accompany students play a piece of music. this activity can be seen in figure 7. figure 7. cello teacher was prepare materials accompaniment music using a laptop (collection: ayu, 2012). the condition is also evidenced by the results of interviews with brt brg w, ep (cello teacher) as follows. “if the students play songs, accompanied with mp3's in a laptop”. (mda). of the three conditions, it can be said that a vocal teacher a , saxophone teacher, and cello teacher using only the audio media to accompany the students to play music, not to be heard in detail the elements of the music being played, and then discussed, but only to assist students in playing music. this was done because of the difficulty of finding students who can accompanying a playing instrument these students, so that teachers anticipate using the cd being played using a cd player. in addition to the use of audio media, some teachers in the learning process using an individualized approach. this is done so that learning can be more focused. one of the teachers who use an individualized approach was a cello teacher (brt brg w, ep). this is evidenced in the following interviews. “here i taught him one by one, .., although the students grade 3 (xii) there are 3, the students grade 2 (xi) there are 4 if i merge all so do not focus ... " (strg) another teacher using the same approach (individual) is a violin teacher b (fd). the reason for the use of the approach in learning proficiency level is almost the same as what is figure 7. cello teacher was prepare materials accompaniment music using a laptop (collection: ayu, 2012). the condition is also evidenced by the results of interviews with brt brg w, ep (cello teacher) as follows. “if the students play songs, accompanied with mp3’s in a laptop”. (mda). of the three conditions, it can be said that a vocal teacher a , saxophone teacher, and cello teacher using only the audio media to accompany the students to play music, not to be heard in detail the elements of the music being played, and then discussed, but only to assist students in playing music. this was done because of the difficulty of finding students who can accompanying a playing instrument these students, so that teachers anticipate using the cd being played using a cd player. in addition to the use of audio media, some teachers in the learning process using an individualized approach. this is done so that learning can be more focused. one of the teachers who use an individualized approach was a cello teacher (brt brg w, ep). this is evidenced in the following interviews. “here i taught him one by one, .., although the students grade 3 (xii) there are 3, the students grade 2 (xi) there are 4 if i merge all so do not focus ... “ (strg) another teacher using the same approach (individual) is a violin teacher b (fd). the reason for the use of the approach in learning proficiency level is almost the same as what is expressed by a cello teacher. following expression violin teacher b (fd) on the use of an individual approach. “the learning process is deliberately one-on-one ... let me control it easily, and be more detail”. (strg) furthermore, interpretation of music learning activities with individual approach in the cello classroom and violin b can be seen in figure 8 and figure 9. 12 ijcas: vol. 1, number 2 december 2014 journal of creative and arts studies expressed by a cello teacher. following expression violin teacher b (fd) on the use of an individual approach. "the learning process is deliberately one-on-one ... let me control it easily, and be more detail". (strg) furthermore, interpretation of music learning activities with individual approach in the cello classroom and violin b can be seen in figure 8 and figure 9. figure 8. cello teacher teaches student of class xi individually (collection: ayu, 2012). figure 9. violin teacher b teaches students of class xii individually (collection: ayu, 2012). based on interviews, figure 8, and figure 9 it can be said that the teacher uses an individual approach meant that the interpretation of music teaching in the instrument practice learning can be more focused and more detailed in controlling students' skills in practice. though the number of students who take learning practices in the classroom cello instrument there are 7 people, which is divided into 3 and 4 students of class xii student of class xi). meanwhile, in the violin class b number of students who take learning amounts to 2 students. the effect of an individualized approach to learning in both the classroom, then the teacher needs to provide its own time outside the scheduled time. based on the research results obtained, the stages through which teachers and students in the learning interpretation of the music varies in each stage of learning, both in the opening stages (apperception), implementation, and evaluation stages and cover. opening stages, namely open learning activities is one important part in the learning process. most of the teacher started the lesson with a relaxed atmosphere with first greeting and immediately asked the tasks that have been given in the previous week (in class guitar, cello, trumpet, vocals a, b vocals, piano, contra bass, and oboe). this is done to remind the student to his duties, and once teachers see and assess the seriousness of the students in learning. meanwhile, in another class (saxophone, clarinet, and violin a) learning begins with prayer first, followed by tuning (in the violin class a). in class saxophone and clarinet followed by heating the play scales, which at the same time learn about the timbre (tone color). this is done also in the vocal class b. in this class, learning activities initiated by heating (vokalisi), where the previous teacher asks about the tasks given. in contrast to these classes, violin figure 8. cello teacher teaches student of class xi individually (collection: ayu, 2012). journal of creative and arts studies expressed by a cello teacher. following expression violin teacher b (fd) on the use of an individual approach. "the learning process is deliberately one-on-one ... let me control it easily, and be more detail". (strg) furthermore, interpretation of music learning activities with individual approach in the cello classroom and violin b can be seen in figure 8 and figure 9. figure 8. cello teacher teaches student of class xi individually (collection: ayu, 2012). figure 9. violin teacher b teaches students of class xii individually (collection: ayu, 2012). based on interviews, figure 8, and figure 9 it can be said that the teacher uses an individual approach meant that the interpretation of music teaching in the instrument practice learning can be more focused and more detailed in controlling students' skills in practice. though the number of students who take learning practices in the classroom cello instrument there are 7 people, which is divided into 3 and 4 students of class xii student of class xi). meanwhile, in the violin class b number of students who take learning amounts to 2 students. the effect of an individualized approach to learning in both the classroom, then the teacher needs to provide its own time outside the scheduled time. based on the research results obtained, the stages through which teachers and students in the learning interpretation of the music varies in each stage of learning, both in the opening stages (apperception), implementation, and evaluation stages and cover. opening stages, namely open learning activities is one important part in the learning process. most of the teacher started the lesson with a relaxed atmosphere with first greeting and immediately asked the tasks that have been given in the previous week (in class guitar, cello, trumpet, vocals a, b vocals, piano, contra bass, and oboe). this is done to remind the student to his duties, and once teachers see and assess the seriousness of the students in learning. meanwhile, in another class (saxophone, clarinet, and violin a) learning begins with prayer first, followed by tuning (in the violin class a). in class saxophone and clarinet followed by heating the play scales, which at the same time learn about the timbre (tone color). this is done also in the vocal class b. in this class, learning activities initiated by heating (vokalisi), where the previous teacher asks about the tasks given. in contrast to these classes, violin figure 9. violin teacher b teaches students of class xii individually (collection: ayu, 2012). based on interviews, figure 8, and figure 9 it can be said that the teacher uses an individual approach meant that the interpretation of music teaching in the instrument practice learning can be more focused and more detailed in controlling students’ skills in practice. though the number of students who take learning practices in the classroom cello instrument there are 7 people, which is divided into 3 and 4 students of class xii student of class xi). meanwhile, in the violin class b number of students who take learning amounts to 2 students. the effect of an individualized approach to learning in both the classroom, then the teacher needs to provide its own time outside 13 ayu niza machfauzia. self-management strategies of music teacher the scheduled time. based on the research results obtained, the stages through which teachers and students in the learning interpretation of the music varies in each stage of learning, both in the opening stages (apperception), implementation, and evaluation stages and cover. opening stages, namely open learning activities is one important part in the learning process. most of the teacher started the lesson with a relaxed atmosphere with first greeting and immediately asked the tasks that have been given in the previous week (in class guitar, cello, trumpet, vocals a, b vocals, piano, contra bass, and oboe). this is done to remind the student to his duties, and once teachers see and assess the seriousness of the students in learning. meanwhile, in another class (saxophone, clarinet, and violin a) learning begins with prayer first, followed by tuning (in the violin class a). in class saxophone and clarinet followed by heating the play scales, which at the same time learn about the timbre (tone color). this is done also in the vocal class b. in this class, learning activities initiated by heating (vokalisi), where the previous teacher asks about the tasks given. in contrast to these classes, violin class b, learning begins with the teacher asking students to fill out the attendance list first (as shown in figure 2). from what has described, it can be said that most of the teachers do the same thing in starting learning the musical interpretation, namely greeting and asking the tasks given to the subjects discussed before giving the new, while some of teachers do different, such as praying, heating, and complete the administration of (fill in the attendance list). thus, activities that have been carried out by teachers in learning begin (apperception) is said to act as a business teacher in creating an atmosphere to start the mental preparation in learning, and motivation to lead students in learning. in this case, the teacher has created an atmosphere that is fun for the students, so that, expect students’ attention can focused on what will be learned. teachers can obtain information about the readiness of students in participating in learning, and determine the level of achievement of predetermined competencies of learning material provided on the previous week. therefore, for the learning process can be run properly and effectively, it is necessary that the teacher’s role can manage the class include the ability in terms of open learning. this capability is still room for improvement in teachers who teach music interpretation.furthermore, the core activities of the implementation of learning musical interpretation. this activity is the main activity of learning, and play an important role in achieving the learning objectives have been determined. the core activity is also an activity that can shape the ability and competence of students in learning music interpretation. from the research that has been obtained, the activities carried out by the teacher in teaching outline music interpretation is not much different from one another. that is, all teachers practice the instrument that is the subject of research, the teaching is more focused on music interpretation of teachers themselves. this strategy is a strategy ekspositorik (majid, 2013: 71), that is learning strategy is more teachers oriented. this strategy is also called direct learning strategies. it means, learning is much directed by the teacher (majid, 2013: 73). in this strategy, the teacher has to process all the learning material in the form of finished goods and then delivered to the students, so 14 ijcas: vol. 1, number 2 december 2014 the teacher does not involve students to play an active role in learning. more teachers to guide students in reading and playing notation correctly, explaining frasering techniques, and explain things that are technical, especially in class x. in addition, interpretation of music in the learning process, teachers do not give students the opportunity to ask. thus, the learning process takes place in one direction. it means, the learning process is controlled by the teacher. this condition occurs in all classes of instrument practice that is the subject of research. the use of direct strategies that teachers do in teaching the interpretation of music has its own advantages and weakness. the surplus is easy to use and implement this strategy by teacher , while weakness is less able to develop the ability of teachers and students in learning skills of music interpretation. not only this, but also the teachers can not develop students’ abilities and skills in critical thinking, problem solving, and can not develop an attitude. therefore, a strategy that has been used by teachers in teaching music interpretation needs to be combined with other learning strategies (majid, 2013). learning strategies cannot be separated from any use of methods, media, and use a variety of learning resources. this is expressed as ihsan (2008: 8) which has been described in the previous section. the same thing also expressed by sanjaya (2008: 3) who said learning strategy is a plan of action (sequence of activities), including the use of methods and utilization of various resources or strength in learning. both strategies designed to achieve certain goals. based on the description, and see the results of this research have been obtained, it can be explained that the interpretation of music learning, all teachers in classroom practice that is the subject of research instruments use the lecture method, imitation, practice (drill), and the method of demonstration. on implementation, the use of these methods collaborated with each other, so as to complement each other and learning objectives that have been determined to be achieved. the use of these methods as shown in the vocal class b. in the learning process, teachers usually give first examples demonstrating the capabilities and skills in singing, while the students’ attention to what is exemplified by the teacher. after that, students were asked to sing it with a technique that has been exemplified by the teacher. of the activity in the learning process, it appears that the teacher uses two methods simultaneously, the method of demonstration and imitation method, whereas the other method is a method of exercise (drill) is used when the teacher asks the students to repeatedly practice the techniques that are considered difficult, and the lecture method used by the teacher when explaining the techniques contained in the learned song material. similarly in saxophone class, teachers much more to use the lecture method and the method of imitation. based on the research results obtained, this is because the skill level of the students playing instruments is still low, and student motivation in participating in learning is also low. in fact, in practice, teachers have been trying to motivate students (as seen in the results of the interview), but there is no development. 15 ayu niza machfauzia. self-management strategies of music teacher lecture method used by the teacher in the saxophone class, xii class is to convey information about matters related to the interpretation of the music dimension of knowledge that includes frasering, breathing techniques, and reading notation and rhythm correctly. it is not much different from what teachers do in the vocals b classroom. furthermore, imitation method used by the teacher to give an example to students learned about playing music. in addition to the lecture method, the method of imitation, and methods of training (drill) that is used by teachers in teaching the interpretation of music, the teacher also uses an individualized approach (especially in grade cello, violin b, vocals a, and vocals b). with this approach, because the teacher wants to hold the approach and help students directly so that students can solve the problems it faces in the following study of music interpretation. this is seen in the violin class b, where teachers want to teach more detail in a music interpretation to the students, so in the learning process, the teacher in turn teaches students (individuals). similarly, in grade cello, and vocals b. in the interpretation of music teaching, some teachers (in the vocal class a, class saxophone, and cello classes) using instructional media such as a cd player, 14-inch tvs, and laptops. however, this medium is used only to accompany the student at the time played a piece of music is learned. the reason for using the media (especially in the vocal class a), due to the difficulty of finding students who took the piano to accompany, so that teachers using media such as a cd player and a 14 inch tv. in this case, yhn l. s (vocal teacher in class a) has a high motivation to advance their students to be able to practice to the fullest. it was said , because in the procurement of the media, teachers conduct self-financing basis. actually, this can be a concern the school to provide a better means of learning media such as audio or audio-visual form as a supporting practice learning a musical instrument especially interpretation learning. although the school has to provide a means of cd player. meanwhile, the use of media with the same purpose (just to accompany the students to play music), also conducted in-class saxophone and cello. if on the saxophone class using a player cd to accompany the students to play music, cello teacher in the classroom using a laptop for the same activity. this is unfortunate, because it is basically the use of these media can be utilized more maximal, especially in music interpretation learning. in this lesson, the teacher can listen to the music playing from professional musicians to students. by listen the music playing , teachers can develop students’ skills of music interpretation. it is as said by reid (2002: 107) “listening to good performance of others is the most effective means of developing interpretative skills”. reid expression reinforced by colwell (2010: 100) which states “most music teachers get a smattering of knowledge about style from their college courses, but this usually should be augmented by listening to authoritative performances for enhancing interpretation ability”. from these two expressions, it can be said that teaches students to listen to the music from professional musicians is important. said to be important because in presenting a piece of music (sloboda in reid, 2002: 107) first was needed the expertise analyzes of the power of listening developed from the type of piece of music being played, so it 16 ijcas: vol. 1, number 2 december 2014 can be attached multiple times and different intensities (ie dynamic) which makes a presentation of the music for the better, and then mimicking the musician playing. further sloboda (in reid, 2002) describes the expressive techniques passed from one musician to another musician with a demonstration. that is why great musicians (master) is almost always interested in and passionate musicians heard the music of other masters. thus, the importance of listening play of professional musicians (master). these activities can also foster the musical experience for students. therefore, the teacher can actually teach the interpretation of music, one of them by listening to playing of music of professional musicians (master). however, based on research results obtained, it is not done during teaching the interpretation of music in instruments practice learning. conclusion in teaching music interpretation, self-management strategies used by teachers including motivation, teaching methods, and monitoring performance. some teachers are motivated to use audio media only to accompany the students while singing or playing an instrument (in a vocal class, saxophone, and cello). the media is not being used to teach students to listen to music from professional musicians. in vocals class b , teachers of motivate themselves to accompany students to sing by playing the piano. meanwhile, in violin class a and viola class b, do not use the music for her students who play violin. in addition to motivation, the teacher uses multiple teaching methods combined with each other. the teaching methods used in the interpretation of music learning are the lecture method, the method of imitation, demonstration method, and drill method. some teachers also use an individual approach to teaching musical interpretation (cello class, and violin class b). related to monitoring performance, all teachers practice the instrument, constantly monitor the performance of the students in the form of instrument practice and practice singing (vocal class). from what has been described, it can be conclude that teachers use self-management strategies in teaching the interpretation of the music. the components of selfmanagement used by teachers are the motivation, methods of learning, and performance monitoring. based on this, the teacher needs to improve self-management skills (dembo, 2004) as the process self-manage of increasing academic behavior. it is hoped that teachers can control the factors that affect its learning. references colwell, r. j. (1970). the teaching of instrumental music. new jersey: prentice hall, inc.: 99. davie, c.t. (1996). musical structure and design. new york: pan american and international. dembo, h. m. (2004). motivation and learning strategies for college success: a selfmanagement approach. london: nw jersey. 17 ayu niza machfauzia. self-management strategies of music teacherhusen hendriyana, et. al.. meanings and symbols of dalima relief gerring, j. (2007). case study research: principles and practices. cambridge: cambridge university press. gillham, b. ( 2000). case study research method. london: tj. international, ltd. ihsan. (2008). pengembangan dan penerapan model pembelajaran berbasis kompetensi. jakarta: dikdasmen. kitelinger, s. ( 2010). musical performance for the instrumental conductor. makalah disajikan pada clinic from cmea. sbs conference 2010. majid, a. (2013). strategi pembelajaran. bandung: pt. remaja rosdakarya. matthay, t. (1913). musical interpretation. boston: stanbope press. reid, s. (2002). preparing for performance. in rink, j. (eds). musical performance a guide to understanding. new york: cambridge university press:103-110. sanjaya, w. (2008). strategi pembelajaran berorientasi standar proses pendidikan, jakarta, kencana. jakarta: media prenada. satori, dj. & komariah, a. (2011). metodologi penelitian kualitatif. bandung: alfabeta. surya, m. (2004). psikologi pembelajaran dan pengajaran. bandung: pustaka bani quraisy. white, j. c. (2009). teaching musical interpretation. nacwpi journal, summer 2009. wong, l. (2012). essential study skills, 6th edition boston: cengage learning publisher. online resource ford, m. (2011). marimba: an interpretation. access on january 20th 2012 from http:// www.innovativepercussion.com/docs/documents/405/marimbaaninterpretation. pdf. editorvol1no22014.pdf (p.2) npscn001(2).pdf (p.1) jurnal ijcas vol . 1 number 2 desember 2014.pdf (p.3-112) 53 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdom graphic design methods of a science museum exhibition for children kanpat kalumpahaiti doctor of philosophy program in design arts (international program), silpakorn university, thailand. email: kalumpahaiti_k@su.ac.th, kanpat@yahoo.com asst. prof. namfon laistrooglai, ph.d. (1st advisor), yodkwan sawatdee, d.f.a. (2nd co-advisor) abstract the graphic design is essential for the science museum exhibition affecting the perception and motivation of children to learn and discover a science experience. the research aims to study the graphic design methods of science museum exhibition for children, to propose the new approach of the graphic design which the most efficient expression to motivate learning of children from age 6 to 9 years old, and to design the graphics module within the temporary exhibition space. this article is the 1st phase to observe the graphic design methods of the science museum exhibition by using the fieldwork case study analysing of literature by selected 27 exhibits from the united kingdom, japan, and thailand to compare. also, interviews the 7 experts who are a stakeholder with the research. the result indicated that the graphic design approach of all exhibitions with the consistent. however, the mood and tone vary depending on the exhibit presented, and the role of graphics is different because of the socio-cultural context of each country. the conclusion can be drawn that the study result can be the guide or sources inspiration of further artistic creation and design that is attracting children the further stage of development. keywords: graphic design, science museum exhibition, children learning introduction a science museum exhibition is designed to give children the opportunity to learn and to discover a new science experience apart from learning within the school. graphics are essential for the exhibition affecting the perception and motivation of children. they are always used in the exhibition to communicate the visual to visitors by synthesising images and complex texts that visitors can quickly recognise, understand easily, and have also worked with other elements to draw child attention to focus on various objects in the exhibition. the case of an exhibition, the designer must consider both visual images and texts in the area that the visitor stood to watch. all elements which in the large area of the exhibition have affected recognition and reading whether models, vdo, diorama, distances of panels or graphics boards, movement of multimedia, lighting, etc. in the same way, the ability of the graphics has affected to the visitor recognition. for example, “eat and be eaten” the exhibition of liberty science center, the united states of america. the jury of society for experiential graphic design 54 editorialbook of reviewijcas: volume 5 number 2 december 2018 (segd, 2006) commented “a wonderful exhibit of live animals housed in hexagonal structures with large-scale interpretive graphics allows the visitors to engage fully with the animals and their habitats. visitors can navigate by the four different colors used within the signage and graphic displays. the use of largescale photography and up-close shots of the animals engages the visitor.” another example is “what is in sneeze?” the exhibition of science museum of minnesota, the united states of america. the graphic lures visitors to open a small door over the young girl’s face. when they do, a sound and a spritz cause them to jump back as they get sprayed. this an experiential, interactive graphic that is funny, surprising and causes a physical response (polly mckenna-cress and janet a. kamien, 2013: 96). figure 1. “eat and be eaten” exhibition of liberty science center, new jersey, usa. (source: https:// segd.org/content/eat-and-be-eaten downloaded 29 march 2015) figure 2. “what is in sneeze?” exhibition of science museum of minnesota, usa. (source: polly mckenna-cress and janet a. kamien. (2013). creating exhibition: collaboration in the planning, development, and design of innovative experiences. new jersey: wiley & sons, p 96.) when referring to the children visitors who are just starting to a school-age, they will have the opportunity to acquire knowledge and experience from the exhibition in the science museum. however, children are thinking and experience to recognize different from adults. even between young children and older children, their ideas are not the same. george e. hein (1998: 143) states that to classify all young visitors simply as “children,” meaning the glossing over vast developmental differences as jean piaget’s major stages of development all occur within the population labeled as “children.” obviously, the youngest visitors still unable to read are developmentally different than older, elementary school visitors. but these latter, in turn, are quite different from teenagers. 55 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdom also, pam locker (2011: 47, 121) suggested that children will require a hierarchy of information that is of interest to a range of age groups and learning abilities. their exhibitions will require specialist design decisions regarding height, size, colour, and use of materials. the age group will dictate their literacy levels and will influence how they engage intellectually. children require the use of appropriate language, font choices, and images, and tend to respond positively to interactive environments. similarly, the use of graphics in children’s exhibitions, including interactive and object labels, will need to consider literacy level, childfriendly typefaces, and content as well as engaging imagery. with the background and significance of the preceding, the researcher has the objective to study the graphic design that encapsulating the content to communicate the visitors to interact with space and also allow visitors to learn and experience something back. so, this study observes the graphic design methods of a science museum exhibition for children, serving as guide or sources inspiration of further artistic creation and design that attracting children further stage of development. methods the conceptual research framework involved three main issues, including graphic design, exhibition design, and children learning. this study divided into three phases. the first phase, exploring fieldwork case studies and interview the experts to study the concept design and themes. the second phase, experimental procedure and testing the samples to find the graphic design methods, and the last phase, design of the graphics module of the exhibition for children within a temporary exhibition space. this report describes the study on the first phase to observe directly to obtain accurate information and reliability. the researcher involved in some events and activities to test the presentation and explained certain behaviours manually, along with in-depth interviewed with experts who are the key informants and stakeholder in this research by using the interview schedule, documents, field notes, and taking photos. figure 3. diagram of the research methodology. 56 editorialbook of reviewijcas: volume 5 number 2 december 2018 1. criteria the selection criteria of the science museum exhibitions as follows: first, the researcher analysed to classify the categories of the science learning course for thai students in the elementary school grade one, two, and three according to the basic education core curriculum a.d. 2008 (bureau of academic affairs and educational standards, 2008). as a result, science learning is divided into five categories including animal & plant life, earth & environment, human life, science & technology, and space & universe. after that, the researcher used fieldwork case study analysing of literature by selected twenty-seven exhibitions from three countries in different regions and cultures include the united kingdom, japan, and thailand both a permanent exhibition and a temporary exhibition that are exhibited during the years 20152016. those are an exhibition for education about science and nature for children and people. the following is a list of science museum exhibitions: 1. natural history museum, london, the united kingdom; 4 exhibitions are as follows: 1) dinosaurs, 2) ecology, 3) human biology, and 4) sensational butterflies 2. science museum london, the united kingdom; 6 exhibitions are as follows: 1) atmosphere, 2) cravings: can your food control you?, 3) exploring space, 4) launchpad, 5) pattern pod, and 6) who am i? 3. national museum of nature and science (kahaku), tokyo, japan; 4 exhibitions are as follows: 1) compass, 2) investigation technology for the earth, 3) navigators on the history of earth, and 4) origins of biodiversity 4. national museum of emerging science and innovation (miraikan), tokyo, japan; 5 exhibitions are as follows: 1) curiosity field, 2) earth environment and me, 3) songs of anagura, 4) stories of one, everyone, and you, and 5) this is iss, go ahead 5. children’s discovery museum, bangkok, thailand; 4 exhibitions are as follows: 1) creative science, 2) dino detective, 3) incredible me, and 4) miracle of life 6. science center for education, bangkok, thailand; 4 exhibitions are as follows: 1) the blue planet, 2) inspired by astronomy, 3) kid city, and 4) the secret of life the selection of exhibitions is consistent with the categories of the science learning that used the selecting specific methods. the selected exhibition is designed for young visitors can visit and also be a popular exhibit for children. the information is provided by the curators and studying the documents. 2. analysis review of twenty-seven selected exhibitions into five science learning content categories classified as follows: 1. animal & plant life: 1) dinosaurs, 2) sensational butterflies, 3) pattern pod, 4) compass, 5) origins of biodiversity, 6) dino detective, 7) the secret of life 57 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdom 2. earth & environment: 8) ecology, 9) atmosphere, 10) navigators on the history of earth, 11) earth environment and me, 12) the blue planet, 13) kid city 3. human life: 14) human biology, 15) cravings: can your food control you?, 16) who am i?, 17) curiosity field, 18) stories of one, everyone, and you, 19) incredible me, 20) miracle of life 4. science & technology: 21) launchpad, 22) investigation technology for the earth, 23) songs of anagura, 24) creative science 5. space & universe: 25) exploring space, 26) this is iss, go ahead, and 27) inspired by astronomy figure 4. analysis of the selected exhibitions into five science learning content categories. the research was conducted by studying the graphic design principles and exhibition design approach to compare in eleven topics: 1) site and space 2) visual image 3) text 4) layout 5) colour 6) lighting 7) material 8) interactive 9) model 10) sensory perception and 11) mood and tone. the analysis methods have been clarified in the table, and descriptive summary already was given. 3. interview furthermore, the researcher interviews the experts in three fields namely science museum, exhibition production, and children learning. everyone is a stakeholder with this research. the total number of seven people from three organisations including the science center for education, children discovery museum, and national science museum, thailand. results the research results can be concluded as follows: 1. site and space the exhibition separated into three sizes, namely a small-size is less than 200 square metres, a medium-size is 201-500 square metres, and a large-size is more than 500 square metres. the exhibition spaces are in various forms. they are exhibited in rectangular area shape and may be constructed in different ways depending on the exhibits presented. in the same way, they used various devising 58 editorialbook of reviewijcas: volume 5 number 2 december 2018 paths, mostly the areas of affinity that allow visitors to make immediate visual connections between exhibits, compare them directly and follow a thread of exploration from one artefact to another, and secondary is star exhibits that visitors enliven the areas around them, and also tend to draw visitors through a gallery and create a sense of expectation throughout the journey. 2. visual image the stroke and style of visual images or illustrations; all exhibitions usually used an image representation, a silhouette and contour drawing comes as the second. however, a pictograph, exhibitions of the united kingdom and japan more used than thailand. experts agreed that a representation image should be applied to children while some experts thought different that a silhouette is suitable for children because it helps them to build imagination and creativity. moreover, mostly exhibitions used cartoons and diagrams to be the visual symbols, consistent with the opinion of experts that a cartoon will be able to attract children attention and a diagram should be the picture chart more than showing only text. the gestalt principle, mostly exhibitions used the similarity rule that meaning is a similar colour, shape, or size for grouping images. it is consistent with amy e. arntson (2007: 80-84) states that “when people see things that are similar, they naturally group them. grouping by similarity occurs when they see a similar shape, size, colour, spatial location (proximity), angle, or value. all things are in some respects and different in others. in a group of similar shapes and angles, they will notice a dissimilar shape or angle.” also, rudolf arnheim (2004: 79) cites that “the same sensible attitude prevails in perception. comparisons, connections, and separations will not be made between unrelated things, but only when the setup as a whole suggests a sufficient basis. the similarity is a prerequisite for the noticing of differences.” besides, the core of the image transformation of three countries is the cropping especially a photo. the difference between the british and thai exhibitions used the image exaggeration. in the japanese case, they did not use the same technique. 3. text the result of using text, all exhibitions used the sans-serif typeface with the english language. in the case that english is not the national language, they will use the bilingual both the national language and english. in the case of thailand, exhibitions mainly used thai language and the serif typeface with headlines and body texts. the experts agreed that friendly fonts to thai children should be serif typefaces. conventionally correct thai character writing is required have a head, and then children are familiar with the character’s head when they learned in the school. besides, the exhibition for children is popularity to use handwriting fonts for the title and section or zone that will make for young sense and casual. 59 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdom figure 5. the example of the correct thai character’s writing. types of character, all exhibitions used a regular and bold character, while some of them also used an extra bold character to highlight the distinct texts on the title label and section or group label. moreover, the british and japanese exhibitions mainly used one or two typefaces in the case of the thai exhibitions, and several typefaces are usage. the issue typeface structure, exhibitions mostly arranged horizontally, but the japanese exhibitions arranged their quote text vertically. 4. layout labels, panels, and signs; all exhibitions have installed the title label and mainly have had the introductory or orientation label and identification text. in the case that the exhibition separated the section or zone, the section or group label will be used. the difference is several thai exhibitions have installed prohibitive signs and some temporary prohibitive signs made by curators, while the other countries are quite less to appear. experts are the further opinion that thai children behaviours especially young children who visited with their parents. some handson objects in the exhibition were damaged quickly as the result of their parents did not provide them with cognitive before to play objects. so, it was the cause that museum stuck prohibitive signs at various points. it became to the echoes of some parents that the museum blocked their children’s learning. the observation of text levels referred to the principle of jacqueline tang (cited in barry lord and maria piacente, 2014: 317) explains that “in general, there are four levels of text a graphic designer considers in a hierarchy. the characteristics of each are project-specific, but here is how they used: level 1 is used for first levels exhibition content such as titles, headlines, quotations, and introductory text to the whole exhibition. level 2 is secondary to level 1 and is used for general overviews on introduction panels to specific themes or sections of the exhibition and primary introduction or information panels on a tertiary level. level 3 is used for most general exhibit content as well as primary text on labels and multimedia or interactive devices where necessary, and level 4 is used for the lowest level of exhibition content – label and caption text. it is detailed and explanatory and pertains to specific artefacts, works of art, or specimens, and to images reproduced in the exhibition.” 60 editorialbook of reviewijcas: volume 5 number 2 december 2018 the study found that exhibitions mainly used four levels of text hierarchically, and the exhibition for children used two levels of text. in spite of the thai exhibitions used four levels of text, but each level used many typefaces and font sizes. however, the exhibition that designed primarily for children still used two or three levels of text and did not be several fonts. the experts’ opinion is that the text for children should limit to two to three levels and should have it on title and section or group label only because children do not read any message. about the graphic layouts, alex w. white (2011: 81) states that the asymmetrical or informal, balance attracts attention and is dynamic. thus, all exhibitions usually used the asymmetry composition similarly because this method makes them look casual. also, the scale relationships between text and images on a label and a panel found that the proportional of images rather than text, but it depends on the amount of content. 5. colour the colour of the graphic elements namely a text, image, background, and pattern; the study found that the text in the exhibition was mainly in light or dark colour but images were in vivid colour. backgrounds were in light, dark, and vivid colour and they also were in contrast to the text. each exhibition used the different colour of patterns but rather less to appear. according to the experts’ opinion, a visual image is suitable for children should have with vivid colour. the exhibition needs the light text colour in dark or vivid background or reversal. 6. lighting all closed exhibition spaces installed lightings including the spotlight, wall-wash lighting, contour spotlight, and ambient lighting that to build an atmosphere and illuminated an object, label, and panel, some of them installed the coloured lighting. in contrast, open exhibition space is used a natural lighting. 7. material all exhibitions used the graphics on ink-jet printed to mount on panels and labels are made of the plastic, acrylic, plywood, and fibreboard. experts stated that due to the cost of ink-jet printed is the lowest other materials and can be easily adjusted, suitable especially for the temporary exhibition. in the thai case, permanent exhibitions mainly used the ink-jet printed mounted on plywoods or fibreboards but several damaged. the original idea exhibition is supported to be temporary because budget limited and new coming exhibition is not possible. and another one, the material qualities have a new coming because of the budget was the problems. the other one of the problem, material deteriorated. so exhibitions were necessary to extend the exhibit indefinitely became to be the permanent exhibition finally. it has defected because of the long term use. 8. interactive all exhibitions are a hands-on type; visitors could explore experience by touching and used the interactive media namely touch-screen computer, vdo, and electromechanical to interact with them. it is consistent with the experts’ opinion the 61 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdom exhibitions are designed for children mainly to encourage children the new experiment. and also they used the device function as the instruction media replacing the static text on panels because children need not read the message but those media will cause to gain knowledge and fun at the same time. 9. model touchable model is the most popular be usage in exhibitions, and the naturalistic model comes as the second. the current experts’ opinion is that a visitor can touch on explores the model closely, the old fashion of “please don’t touch” is outdated. this method is effective for children that can attract the attention of children as well because they like to touch objects. the significant, safety precaution for visitors must be considered whether the objects on display, experimental player, interactive media, interior design, and decoration, etc. these must be safe and do not any harm to visitors. 10. sensory perception the perceptions of visitors to the exhibition, the visual, hearing, and touching senses were usage, some case a visitor could use the smell sense to perceive but the taste sense did not be usage. also, the experts’ opinion is that the exhibition would avoid the exposure of children to taste because to the concern health problem possible impression. 11. mood and tone referring to the colour image scale theory of shigenobu kobayashi (1990: 2, 12) that “the classification of colours based on images is the key to understanding the way in which colour combinations are perceived, a common feeling runs through the images that people hold of colours. by research linking adjectives associated with these images and colour, he has developed the key word image scale. the keywords in the warm-soft area of the scale have an intimate feeling, and convey a casual image, while those in the warm-hard section have a dynamic character. the keywords in the cool-soft section have a clear feeling and suggest a good sense of colour, while those in the cool-hard section conveys an image of reliability and formality.” thus, this theory can be applied to classify overall mood and tone of the exhibition. the result found that each exhibition had been the different mood and tone depending on its content. the british exhibitions mainly have been warmsoft mood and tone to make an enjoyable casual image. the japanese exhibitions used several mood and tone such as warm-soft to make an enjoyable casual image, cool-soft to make a youthful cool-casual image, and cool-soft to make an artistic-tasteful chic image. while the thai exhibitions mainly have been warmhard to make a vigorous dynamic image, and warm-soft to make an enjoyable casual image comes as the second. in the case of the exhibitions were designed for children only found that the core of mood and tone have been warm-soft to make an enjoyable casual image corresponding all countries and according to the experts’ opinion as well. 62 editorialbook of reviewijcas: volume 5 number 2 december 2018 figure 6. analyse overall mood and tone of the exhibitions. discussion the researcher analysed more than some of the issues below: the role of graphics for the exhibition in the case of the united kingdom, graphics are served as the information to communicate the content of the object to display such as a history, a scientific principle, etc. on the other hand, in the case of japan, graphics are served as the narrative and the exhibition would have a story theme. graphics would be used as a media to visualise the story and to build the atmosphere which surrounded visitors. nonetheless, in the case of thailand, graphics are also served as the information, but they could not communicate well enough because of many contents on the panel. figure 7. the role of graphics for the exhibition. 63 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdom the experts’ opinion is that the contents of the exhibition would be defined by the scholar which to be many data usually that is consistent with the thai education culture. kritsada reungareerath (cited to arphawan sopontammarak, 2015) agreed that the thai education system forced many educational contents to children. moreover, thai children have lacked the freedom to learn because the education system has emphasized memorization rather than critical thinking and creativity. preecha methawasspark (cited to astv manager online, 2014) agreed that teaching of the thai education system nowadays, the courses focused on contents and theories rather than to apply knowledge to everyday life. thus, the thai exhibition presented has been full of educational materials likely due to the primary education of thailand highlighted with the knowledge memorization. the results of the study found the difference between british and japanese children that are freedom to learn more than thai children. the british education system is designed to support children learning freely such as a course has the homeroom class offered to them that need to learn anything. meanwhile, the japanese education system has focused on the creative learning such as a folding art is called “origami” to be a subject in the course that children required learning, it has pushed them can be analysed brilliantly, intelligent and creative. so, both the british and japanese exhibitions are designed to encourage children learning independently, and they have the learning media stimulate a child’s creativity. the issue of art and design culture, the united kingdom is a country with the concept of modern art. the exhibition designer focuses on design regard to the corporate identity. notice the use of typefaces in the exhibition is consistent with the organization’s logo. the mention of japan, a country with a highly nationalistic and also highly progress in science and technology. various designs have reflected the japanese style. they are proficient in creating that conscious about saving space. thus, the exhibition is organized mainly in a small-size and medium-size space used the creativity to present the content to quickly understanding in a short time and could maintain their japanese style as well which is evident from the japanese is the primary language in the presentation of the exhibition. the contrast, thailand has given the cultural influence of western countries and international cultural leaders of asia such as japan and korea. the graphic design of the exhibition usually uses a cute cartoon character and internationalization could appeal to children better. simultaneously, showing the national identity could be done because the thai language is the national language which thai people use essentially, so the exhibition is also required to present the contents in thai. in term of the exhibition for thai children should design such as a title label and section or group label with a few texts in large-size typeface and may show description with a cartoon character and picture diagram on the advice of experts. the study found that science museum exhibitions mainly have been focusing on the school-age target. however, their purposes allow children to experience by 64 editorialbook of reviewijcas: volume 5 number 2 december 2018 playing, while adults such as teacher and parent still need to read messages on the label and panel for suggesting children learn and know how to play. children are not interested in the detail of contents on the label and panel. they are only interested in playing everything which can be touch. the design concept of the exhibition for children is touching and safety. the exhibition should be installed with the object, mechanic, and interactive media that focus on the visitor’s experience and also be considered the safety. exhibition graphics served as the information and narrative. especially, the graphic design should make visitors perceive the sense of touch and safety feel such as use the bright and vivid colour visual to stimulate imagination and creativity, the rounded typeface to make the safety feel, etc. at the same time, graphics should be able to create a learning atmosphere with mood and tone to illustrate comfortable, informal, and colourful images to motivate imagination and creativity for children. conclusion the study results indicated that the graphic design of the exhibition in all countries with the consistent in several items such as illustration styles, visual symbols, gestalt, graphic layouts, character types, and graphics colours. among the various parameters discussed, the mood and tone vary depending on the exhibit presented, and the role of the graphic is different because of the sociocultural context of each country. moreover, graphics should be illustrated by the informal, enjoyable, and colourful to stimulate imagination and creativity to children. the good exhibition design that includes: the content is appropriate for the visitor’s learning ability. learning materials such as real model, simulated model, and interactive media for the visitor can learn from exposure experiments. beautiful graphics and engaging content to help viewers get to know and understand quickly. the text is a concise thematic material with the national language by the character and placement of the correct language. construction and decoration exhibition tones create an atmosphere for the material presented. the objects are positioning and devising paths viewers learn the content in its entirety and meet the objective of the presentation. inclusive lighting lit with a message on the panel and backlight to create an atmosphere to the place. the graphic design of an exhibition for children, the designer, needs to know what the different artistic style between children and adults, studies the physical and intellectual development of children, learning behaviour, and their satisfaction. the designer must act to transform these data into easily visual communication to make children understanding and motivating them to learn. 65 bayu widiantoro and ag. dicky prastomo. introducing the meaning of batikeliza o’donnell and nicole tse. materiality, making and meaningyusup sigit martyastiadi. the paradox of controlsineenart laedpriwan, et.al.. cross-cultural study in local-wisdom the conclusion could be drawn that the study result is serving as a guide or sources inspiration of further artistic creation and design that attracting children the further stage of development. finally, the further studies on the theme of children’s favourite will benefit to create a prototype of the graphic design for an exhibition that the most efficient. so, the next phase, the research will be the experimental procedure and test the samples to find the graphic design methods that suitable for children from age 6 to 9 years old. then, the researcher will design the graphics module in the temporary exhibition space in the final phase. references arnheim, rudolf. (2004). art and visual perception: a psychology of the creative eye. second edition, fiftieth anniversary printing edition (november 8, 2004). usa: university of california press. astv manager online. (23 april 2014). survey results indicate that children study hard in the world, but the truth is not use, have the special classes, need to reform. http:// www.manager.co.th/qol/viewnews.aspx?newsid=9570000045187 downloaded 21 november 2015. bureau of academic affairs and educational standards. the ministry of education thailand. (2008). the basic education core curriculum a.d. 2008. http://www. curriculum51.net/viewpage.php?t_id=95 downloaded 19 may 2015. e. arnston, amy. (2007). graphic design basics. fifth edition. usa: thomson wadsworth. hein, george e. (1998). learning in the museum. new york: routledge. hughes, philip. (2010). exhibition design. united kingdom: laurence king. kobayashi, shigenobu. (1990). color image scale. tokyo: kodansha international. locker, pam. (2011). basics interior design 2: exhibition design. switzerland: ava. mckenna-cress, polly and kamien, janet a. (2013). creating exhibition: collaboration in the planning, development, and design of innovative experiences. new jersey: wiley & sons. mgr online. (17 february 2016). 20 best education systems in the world: year 2015/16. http://www.manager.co.th/campus/viewnews.aspx?newsid=9590000017503 downloaded 20 march 2016. mooney, carol garhart. (2013). theories of childhood: an introduction to dewey, montessori, erickson, piaget, and vygotsky. second edition. usa: redleaf press. society for experiential graphic design (segd 2006). eat and be eaten. https://segd. org/content/eat-and-be-eaten downloaded 20 march 2015. sopontammarak, arphawan. (7 september 2015). support to solve problems the new learning of thai children. http://www.thaihealth.or.th/ downloaded 21 november 2015. poonpit amatyakul. century of the angklung journey and its establishment 61 century of the angklung journey and its establishment in thailand poonpit amatyakul college of music, mahidol university, salaya, nakon prathom 73170, thailand abstract both thai and javanese have been with lifelong cultural friendship for over 250 years. thai people enjoyed the panji storytelling since the late 1700’s and have been using panji as written thai poetic literature and for court theatre over 2 centuries. we shared the same brass knobbed gong culture with its pentatonic (slendro) and septatonic (pelog) equidistance scales. the angklung, bamboo shaking instrument, were brought as a gift to royal children by hm king rama the v to siam since 1871 but the ensemble were not set up until our great court musician named jangwang sorn silapa-banleng, took the instruments from sunda west java to bangkok in 1908, later, he established the very first thai angklung ensemble played several songs he composed in pentatonic scale same way he heard in the javanese islands. since then, the bamboo angklung were made with the thai native bamboo followed by the nationwide uses. this paper describes the angklung journey from west java to thailand showing the historic photographs of thai angklung music teachers, their houses of angklungs and the music they composed. today, thai angklung were used for children classroom music. dvd and musical disc of thai angklung will be demonstrated, bringing both music knowledge and enjoyment to show the cross cultural examples of the two nations. keywords: angkalung, angklung, calung, indonesia and thai cross cultural music studies introduction the sundanese angklung, the very well-known bamboo rattle idiophone music and an ensemble of indonesia, has been worldwide enjoyment music to all nations who heard and watched the group playing. it has been the most unique of great unity among players owned by the indonesian musical culture for centuries. since each member of the ensemble will play only one rattle bamboo frame of a single note. then, the song melody must be sounded in a very appropriated tonal contexture with perfect rhythmic of togetherness. since the java islands located in tropical area where bamboo can grow well and widely all over the land, thus the history and development of this bamboo music must be lasted for several centuries dated back with the history of the nation. kingdom of siam had good relationship with kingdom of java by trading and cultural exchanges for over 500 years. in the late 1700’s, the 60 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 https://www.businesswire.com/news/home/20170105006255/en/global-diytools-market-forecast-grow-usd wikipedia. do it yourself. https://en.wikipedia.org/wiki/do_it_yourself diy website and instagram acounts: http://thehousethatlarsbuilt.com/ @houselarsbuilt https://www.allthingsthrifty.com/ @allthingsthrifty @diyldeas @diy.id thanks to: head of design interior study program for data from interior design department alumnus of uns informant: mulyadi (45) as a lecturer in interior design department uns. 62 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 court of hm. king baron kote (1733-1758) of the ayudhya, enjoyed the panji story telling by the javanese ladies who worked with princesses of the inner. 1) panji’s story in siam has 2 versions, first called dalang (big panji or big ino), second called ino (small panji) court. later years the story were written into the poetic form for singing with several siamese traditional melodies as well as used for the siamese court theatre, it played by female royal court dancers, called the lakon nai. unfortunately in april 1767 siam was defeated by the burmese troops. a vigorous and extensive fire burned out lot of housing and written materials, followed with the great loss of artist lives. it took over 16 years for the recovery. it was hm. king rama i (1782-1809) who had renewed the composition of the dalang in form of a literature book and for the court plays, but it was not popular. the story of panji then re-written again by king rama ii (1810-1825) for court theater during with great success with the new name ino (e-naw). the story and plays were very well-known and loved by the thai for over 100 years. now thailand owned several versions of the panji books. 2) there are 5-6 versions of panji story books in thailand today. there are two play-writings by king rama i and rama ii, one drama writing by rama v, and two more books were the translation into thai language by hrh prince paribatra (1940) and the other thai plays named panji semirang by hsh princess chalerm ket mongol (1950). we can say that the panji story and tales has made thai and java in a close relationship for over 250 years. about the sundanese bamboo angklung, the story started in 1870 at time of the first visit of hm king chulalongkorn or rama the v to the city of batavia (jakarta). the king, at the age 17, enjoyed the local javanese music receptions which showed several types of the gamelan music as well as the amazing bamboo angklung group. this bamboo set of instrument, played the traditional javanese and the short european pop songs using two different musical scales. hm king chulalongkorn of siam (1853-1910) had made 3 visits to indonesia 1870, 1896, and 1901 on the second visit the set of 8 javanese angklung frames were bought and use as music toys for his royal children. poonpit amatyakul. century of the angklung journey and its establishment 63 hrh prince bhano-rangsri jawang sorn silapa-bunleng in 1896 king rama the v again had a re-visiting to the middle java area. there were several towns and royal residences he visits within this trip, such as the town karoot, surakarta, yogyakarta, and bandung. later, we learned from the king’s visiting report printed in 1972 (3) that: on june the 10th 1896, at the town karoot, he watched a sundanese angklung played with the 5 tones of the rattle angklung frames. each frame had two bamboo tubes rattling with a single note. the beautiful sound came from a group of players. the king brought the angklung instrument back to his palace in bangkok that year. they were placed in the children’s room at the inner court pavilion. 3) king rama 5th‘s written report of his second visit to java islands on 1896 was published in 1972, 2nd edition. hrh. princess hemavadi (1892-1971) the king’s youngest daughter told the writer that, she and her older siblings enjoyed those angklung for many years, unfortunately there was no one in the court could direct the royal children to played those angklung within the proper music way. later in the year 1908, the younger brother of king rama v, named hrh somdet krom-pra-ya bhanurangsri-sawangwong (1859-1828), had visit to yogyakarta, semarang, bandung, etc. 1896 rama v & queen sawapa of siam visit to the palace of king susuhunan of surakata 64 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 the prince brought with him his young musician named, jangwang sorn silapa-bunleng (1887-1954), that time the young man was only 27 years old but happened to be much interested in the sundanese angklung. he brought a set of 10 angklung frames back to siam and they were sounded for the first time in siam at the burapa palace in bangkok. that time jawang sorn used the 5 tones scale (slendro or pentatonic mode) with his several new songs he composed to the public. thus the original javanese angklung started its function here in siam since the late 1908. those songs he composed were among the new javanese overture (โหมโรงยะวาใหม), semarang (สะมารง), kadeeree (กะดร), bukan-tumoh ([บกน โมะ), etc. all of them are still used in thailand till to day. siam is also the country of tropical zone and we owned lot of bamboo but not the same species that are grown in java. our bamboo are rather thick and heavier than the originals. jawang sorn then ordered his man named mr. choom (นายชม) to make the thai angklung but they were rather heavy in weight. many thai traditional music houses tried to make their own angklung ensembles. there were several outstanding houses belonged to mr. earn dischey (เออน ดฐเชย) and mr. mo (ลงโม) who made the ankung same style like the sundanese with 2 bamboo tubes in one frame. since the thai traditional music can be both in 5 and 7 tone scales (same as the javanese slendro and pelog scale). it was mr. keang (นายเคยง) who made the first 7 tones thai angklung set since the late 1924’s. it was the first time to play the angklung with old thai traditional songs. later, they found bamboo forest near the prachinburi province, east of bangkok where lot of light weight bamboo tube were grown there. finally the bamboo plant was brought and planted in nonthaburi, the nearby city to bangkok. thus the thai angklung houses were established close to bangkok especially in nonthaburi province. those houses belonged to several master of thai music such as mr. plung premjai (ครปลง เปรมใจ นน บ ร). who was pioneer making the thai angklung with form of three bamboo tubes in one frame. they changed the way the late burapa palace in bangkok where the angklung music was first performed in 1908 by jangwang sorn silapa-bunleng poonpit amatyakul. century of the angklung journey and its establishment 65 of sounding technique from rattling to the one hands shaking with one frame. thus the thai playing style was changed from rattling to the shaking and they used 2 frames at a time, thus one player can shake 2 frames with 2 notes, each on one hand. before the second world war, thai angklung were very well used in local school children as music in classroom. this was quite good for unity practicing of group music and as well as its price was not that high. a thai angklung set of 10 to 14 frames cost only 200-300 baht. today, music education in school class for outdoor were very common with the larger angklung ensembles. sometime they used over 100 students. after the second world war, western popular music have been well loved by the young people, then the thai angklung were made in chromatic scale and they were used separately from the old set played with the original thai traditional tone scale. the royal thai military music department organized the big military angklung ensemble of 30-40 player conducted by captain sanom noileck. they played both thai traditional and pop songs with the western music arranging techniques of which it resulted in the most beautiful concert ever done in thailand. in music recording business, there were several thai pop recordings made by mr. saman kanjana-palin with the contemporary music mixing the thai angklung played alomg with the jazz big band. nowaday, musicians who play thai angklung also use the music notation. it can be the general western note or thai note as shown below. thai angklung with 3 tubes played by one hand shaking hrh princess sirindhorn used 2 tubes javanese angklung, 1984 64 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 the prince brought with him his young musician named, jangwang sorn silapa-bunleng (1887-1954), that time the young man was only 27 years old but happened to be much interested in the sundanese angklung. he brought a set of 10 angklung frames back to siam and they were sounded for the first time in siam at the burapa palace in bangkok. that time jawang sorn used the 5 tones scale (slendro or pentatonic mode) with his several new songs he composed to the public. thus the original javanese angklung started its function here in siam since the late 1908. those songs he composed were among the new javanese overture (โหมโรงยะวาใหม), semarang (สะมารง), kadeeree (กะดร), bukan-tumoh ([บกน โมะ), etc. all of them are still used in thailand till to day. siam is also the country of tropical zone and we owned lot of bamboo but not the same species that are grown in java. our bamboo are rather thick and heavier than the originals. jawang sorn then ordered his man named mr. choom (นายชม) to make the thai angklung but they were rather heavy in weight. many thai traditional music houses tried to make their own angklung ensembles. there were several outstanding houses belonged to mr. earn dischey (เออน ดฐเชย) and mr. mo (ลงโม) who made the ankung same style like the sundanese with 2 bamboo tubes in one frame. since the thai traditional music can be both in 5 and 7 tone scales (same as the javanese slendro and pelog scale). it was mr. keang (นายเคยง) who made the first 7 tones thai angklung set since the late 1924’s. it was the first time to play the angklung with old thai traditional songs. later, they found bamboo forest near the prachinburi province, east of bangkok where lot of light weight bamboo tube were grown there. finally the bamboo plant was brought and planted in nonthaburi, the nearby city to bangkok. thus the thai angklung houses were established close to bangkok especially in nonthaburi province. those houses belonged to several master of thai music such as mr. plung premjai (ครปลง เปรมใจ นน บ ร). who was pioneer making the thai angklung with form of three bamboo tubes in one frame. they changed the way the late burapa palace in bangkok where the angklung music was first performed in 1908 by jangwang sorn silapa-bunleng 66 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 there have been lot of thai traditional music teachers who teach and made thai angklung for living. they all used their home as a small factory and made angklung by hand. several have passed away such as mr. sakol kaew-pengard, mr.chalerm bua thang, mrs. angoon bua-eaim, and mr. nam poom-yu. one of the best known teacher that should be mentioned was mr. phol kit-khan of the nonthaburi province. the family of mr. phol was a durian fruit gardener who made lot of money each year selling the durian fruit. he also owned the thai traditional music ensembles, the angklung ensemble and the western brass band. he has been the outstanding music teacher of the middle school. he had the light weight bamboo plant that was quite difficult to find. his profession was to make angklung for school children so he decided to cut all of the good durian tree and replace them with the bamboo plants. jawang sorn’s thai notation for the javanese melody of a song named the buiten-zorg, a 5 note slendron scale. mr.phol kitkhan mrs. agnoon bua-eam outstanding angklung teachers and home factory owner poonpit amatyakul. century of the angklung journey and its establishment 67 at present, the thai angklung are made in the medium size home factory founded in middle thailand and they made a large frame of 10-18 hanging angklung frames that is able to play by one man alone. however this setting was not commonly used in school music class but were used at time of music recording since it is easily and well controlled by a single player himself. we must thank the original javanese angklung that came to thailand. they have been very useful, very good and very productive instruments for unity training of players and no matter they are young or old. moreover, they sound very beautiful by the nature of the bamboo themselves. the most important thing that one should remember when using the angklung is the original and traditional music scales of its ethnic origins. we should be very truly faithful to the national and natural musical modes of such an instrument and always. setting of 18 hanging angklung for one player kinderkarten angklung ensemble, thailand see 3 teachers in closed watching with hearted care. 66 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 there have been lot of thai traditional music teachers who teach and made thai angklung for living. they all used their home as a small factory and made angklung by hand. several have passed away such as mr. sakol kaew-pengard, mr.chalerm bua thang, mrs. angoon bua-eaim, and mr. nam poom-yu. one of the best known teacher that should be mentioned was mr. phol kit-khan of the nonthaburi province. the family of mr. phol was a durian fruit gardener who made lot of money each year selling the durian fruit. he also owned the thai traditional music ensembles, the angklung ensemble and the western brass band. he has been the outstanding music teacher of the middle school. he had the light weight bamboo plant that was quite difficult to find. his profession was to make angklung for school children so he decided to cut all of the good durian tree and replace them with the bamboo plants. jawang sorn’s thai notation for the javanese melody of a song named the buiten-zorg, a 5 note slendron scale. mr.phol kitkhan mrs. agnoon bua-eam outstanding angklung teachers and home factory owner 68 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 according to the large size bamboo angklung instruments, it should be stated that thailand never own the big bamboo idiophone which is bigger than the ranad thum xylophone we commonly used in the pipat ensemble. we are not lucky to own such a large size bamboo for making musical instruments like the country of indonesia. finally it may say that the journey of javanese angklung since the past century has become the permanent music style of thailand and they will last as long as the bamboo plants are still well grown in this area of the world. references amatyakul, p. 1985. thai angklung, history, tale, notes, home factory and 58 school training songs. chalam ms. 1984. story telling, tale of angklung. hm rama v. 1972. his records on the 2 months visit to indonesia in 1896. printed in thai. writer with thai angklung 150 cm high pangeran putra p.a. nasution1 mochammad wahyu ghani2. in the name of “like this” 33 in the name of “like this”: the appropriation of artwork in digital age pangeran putra perkasa alam nasution1; mochammad wahyu ghani2 anthropology, faculty of social and political sciences, university of malikussaleh, lhokseumawe-aceh1; indonesian institute of sciences, jakarta2 email: pangeran9688@gmail.com1; wayghani@gmail.com2 abstract the rapidly growing and massive information age in digital media platforms has created and introduced cultural ramifications on various aspects of human life. the ongoing era of globalization of the twentieth century has fuel the capability in digitizing and manipulating information during traffic. cultural growth in the new age includes: ―cultural preservation as the main ingredient of the ordinary‖; the proliferation of electronic visual images; and the construction of a multifaceted and the individual identity or social imaginary. the artwork currently is glorifying so many appropriations practices. all the art creations in the code of conduct are suitable for one aspiration, and that is the digital aesthetic market. it is now customary to gather on the variety of artistic creations from different cultures that are appropriated as new and authentic artwork. thus, this article discusses the appropriation for the artwork in the rise of the digital media platform era. this paper is an anthropological study that refers to the interpretivereflexive paradigm as the analysis of path-work. digital media is the unit of analysis in this study. keywords: digital information age, artwork creation, cultural appropriation introduction it has been a very long time since information and technology expert predicts that ―information explosion‖ is a necessity that will happen. information explosion is a phenomenon in the globalization era that is marked by information flows moving from around the world in various forms and content, rip off space and time limitation or bureaucracy. marshal mcluhan (1964) at the beginning of the 1960s in his book entitled ―understanding media: extension of a man‖ even had introduced the concept of global village. marshal analogizes the human being world as a universal village called the global village. the universal village is a 1 ph.d. candidate, anthropology, sciences of humanities, faculty of cultural sciences, gadjah mada university. 34 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 terminology phrase that reflects the development of internet-based communication and technology connecting human being from around the world. the people being connected with the others through the use of the internet and website world. through the internet communication network, a human being can communicate intensively and extensively without limited by space and time. an observer of information technology and communication development from canada, don tapscott (1996), in his book entitled the digital economy: promise and peril in the age of networked intelligence, stated that economic world development has shifted. tapscott (1996) states that the world economic mode moves from a manufacture-based industrial society into a new economic dynamic that is formed by information management. the management of the informationbased economy is involving the development of computer technology and internet communication network. prediction and analysis of alvin toffler (1980) states that the humanity era is divided into three main eras, namely the agrarian society era, industrial society, and current information society. it is common to be recognized that human being has lived in the information era. understanding and accessibility toward information massively place power as logical consequences. they who can access and control information have a chance to be world economic ruler group. the human being in this era is the human being who is up-to-date with information. the usage of modern technology influences all modern life fields. social and economic life becomes impossible without fast information, relevant, high quality and on time. information era pushes human being to be responsive and tough toward information development defining importance value in all life aspects (castells, 1996). the spreading of media technology has led to a new media culture in society. the culture is divided into two main flows: first, culture symptom that is marked by media consumption in functional meaning (utilitarian), entertainment and lifestyle; second, practicing new media for art purpose, artistic expression and critique toward technology and mainstream culture (see simanowski, 2016). no wonder if the art world also becomes one of life field that is hard to be neglected has been controlled by sophisticated information. reflexive method methodologically, the critical discourse approach appears in our chain of analysis based on the assumption that the relation of the artwork and digital media is always intertwined. then it will reveal the configuration of ―radical hermeneutics‖ interpretation can produce a review that is very different from the interpretation with a construct that tends to be stable (see barker, 2008). pangeran putra p.a. nasution1 mochammad wahyu ghani2. in the name of “like this” 35 result and discussion life and digital culture flow through human activities through network, platform, and digital devices such as a laptop, tablet, smartphone, and other digital tools that are connected to daily activities. we use a smartphone and other digital devices to catch and curate daily activities experience, filled with digital interaction (krajnovic, sikiric & bosna, 2016). digital space nowadays is a place where we spend a big part of our time, and curate life that is meditated digitally. as time goes by, life presenting us with too many options to hold, too many things to choose, and sometimes this thing started to feel great. an activity that must be easy, easy and fun and feel like being pumped to work fast when there are many things to be evaluated and decided (bennett, 2008; castells, 1996). technology somehow, imagination and inspiration in getting the daily decision as well as exploring new ideas. expression media and live interaction is curate digitally on the global stage. digital technology may the global condition that is changed. exceeding information value from free and open access toward the making and using of information. social media is one of widening media and network explosion of traditional word of mouth (fingers & dutta, 2014). words from mouth to mouth always be an effective and reliable way to spread information. with technology skills, everyone who has internet access and has argument can be a part of digital social media (simanowski, 2016). this culture shifting is a power that must be calculated in the digital era. the artwork and digital experiences digitalization is one way or process transferring conventional work into various styles and forms become electronic or digital works. this digital work can be created through transfer media which is by reproduction and scanning. digitalization process that is converted from hardcopy or manual into a digital form called the digital note. thus, digitalization is transferring process, without changing, decreasing and adding a form or physical thing and content of information from that note. while the main activity that is done in digitalization are defining purposes, deciding what should be digitalized, recommended technical specifications, choosing plan and management, preparing document, taking pictures, capturing metadata, quality control of storage and preservation from digital picture and metadata, access, and usage (roberts, 2008:408). every note that is written whether in picture form or chart that contains information about an object (main problem) and events, is made to help people‘s memory (barthos, 2012:1). digitalization is increasingly developed with the concept of diverting tacit knowledge, namely a personal knowledge, specific, and commonly is hard to be 36 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 formalized and communicated with other parties, become explicit knowledge which is the knowledge that has been formulated, served in writing form. explicit knowledge is manifested in documents that are managed well using the helping of technology, information, and communication. the knowledge that is documented is a process of information and knowledge transferring that is expected become learning material between the generations (bennett, 2008). shifting of cultural spaces from physical into virtual as information transfer also reaches out to a shift in real art space that has been transformed into a digital art space. art is delivered in various forms that can open the possibility that has not to happen before and change the way art is consumed. how digital technology influence art consumption? digitization and digitalization affect the shifting into widening accessibility and digital art distribution through the internet. in business directory (2013) is found a definition of digitization as follows: ―conversion of analog information in any form (text, photographs, voice, etc.) to digital form with suitable electronic devices (such as a scanner or specialized computer chips) so that the information can be processed, stored, and transmitted through digital circuits, equipment, and networks.‖ (business dictionary 2013). thus, art digitalization is a technology development that is used to convert real artwork into digitalization projection or other virtual forms. digitalization creates a digital art space that representing real art space. digitalization points out the usage of digital technology and digital media integration into art (collin, 2013). hence, art digitalization is the usage of digital-physical content in virtual reality that is more complex from real art reality. knowledge about how digital technology integration into art creation technology need involvement, participation, and different experience with real art object (see simon, 2013). the usage of facebook, twitter and other website application in organizing art enable to continue online creation process. consumption toward art is a communicative act that socially planted into mutual interaction (boorsma, 2006). mutual communication through social media increases the inclusivity of real and community that can facilitate collaboration between creator and public (padilla-meléndez & del águila-obra, 2013; dye, 2000; goldenberg, libai, and muller, 2001). art is currently grown through social media marketing that is defined as word-of-mouth electronic (kaplan & haenlein, 2011:254). thus, art is very possible to be promoted with a chance of exponential penetration through social media communication (martin & lueg, 2013). in the art world, ―internet link‖ becomes a feature of art performance which captured digitally and curate not only by the artist but also by everyone who can access it in the various platform of digital social media. our culture 36 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 formalized and communicated with other parties, become explicit knowledge which is the knowledge that has been formulated, served in writing form. explicit knowledge is manifested in documents that are managed well using the helping of technology, information, and communication. the knowledge that is documented is a process of information and knowledge transferring that is expected become learning material between the generations (bennett, 2008). shifting of cultural spaces from physical into virtual as information transfer also reaches out to a shift in real art space that has been transformed into a digital art space. art is delivered in various forms that can open the possibility that has not to happen before and change the way art is consumed. how digital technology influence art consumption? digitization and digitalization affect the shifting into widening accessibility and digital art distribution through the internet. in business directory (2013) is found a definition of digitization as follows: ―conversion of analog information in any form (text, photographs, voice, etc.) to digital form with suitable electronic devices (such as a scanner or specialized computer chips) so that the information can be processed, stored, and transmitted through digital circuits, equipment, and networks.‖ (business dictionary 2013). thus, art digitalization is a technology development that is used to convert real artwork into digitalization projection or other virtual forms. digitalization creates a digital art space that representing real art space. digitalization points out the usage of digital technology and digital media integration into art (collin, 2013). hence, art digitalization is the usage of digital-physical content in virtual reality that is more complex from real art reality. knowledge about how digital technology integration into art creation technology need involvement, participation, and different experience with real art object (see simon, 2013). the usage of facebook, twitter and other website application in organizing art enable to continue online creation process. consumption toward art is a communicative act that socially planted into mutual interaction (boorsma, 2006). mutual communication through social media increases the inclusivity of real and community that can facilitate collaboration between creator and public (padilla-meléndez & del águila-obra, 2013; dye, 2000; goldenberg, libai, and muller, 2001). art is currently grown through social media marketing that is defined as word-of-mouth electronic (kaplan & haenlein, 2011:254). thus, art is very possible to be promoted with a chance of exponential penetration through social media communication (martin & lueg, 2013). in the art world, ―internet link‖ becomes a feature of art performance which captured digitally and curate not only by the artist but also by everyone who can access it in the various platform of digital social media. our culture pangeran putra p.a. nasution1 mochammad wahyu ghani2. in the name of “like this” 37 becomes more visual. photo and video sum that we take every day have developed fast, pushed by the usage of smartphones, cheaper camera, better quality, picture-based social network, and better connection speed. work that expresses feeling and emotion is produced and served digitally seems in the intersection of art and information. through computer software as a creative tool shows the limitation of information and artistic expression is blurred. along with it, the improvement of artificial learning techniques that fast enables computer technology to read the human being world. picture whether in photo form, video or code is now can be defined and interpreted accurately. image introduction is now enabling new input information form for a computer that is arranged to release the service innovation wave. online art can be defined as the practice of internet usage as a participative platform to involve the public directly in creating visual artwork, musical, literature, even drama, with purpose showing the relationship between collective imagination and individual artistic sensitivity from the public. as stated by critics over the past two decades, contemporary art is continuously experiencing important shifting toward art object that has not been the main focus of artwork creation (beech, 2010:20). artwork appropriation in digital media artwork development enthusiasm through social media cannot be separated from mistakes that are portrayed through digital technology with different motivations (see padilla-meléndez & del águila-obra, 2013). consequently, critical voices lead to hesitation about real communication value of social media and symptom of appropriation toward artwork in digital media. the artwork in online digital media has created a participative artistic practice that tries to blur the limitation between artist and audience, producer and consumer, actor, and subject. this thing question or even challenge limitation of the basic prerogative right of contemporary art and participative art position. according to beech (2010), the emerging of participative art reflects cultural and social shifting in final capitalism and that is a response toward erosion that is felt from the social relationship, experience modification in the digital world. nowadays, the artist tends to work using participative art practice: activation (by stimulating the empowerment and individual and collective agents), authorship (or termination of authorship to make the artistic process more democratic and egalitarian), and the community (through the recovery of lost or weakened social ties). artwork now relies heavily on artistic contributions from an open collection of participants. this radical democratization of the artistic process is said to be contrary to the traditional way of creating art (bilton, 2011). 38 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 old opinion about art as an individual expression from one person‘s vision, and artistic sensitivity developed through social media. this ideology conflict has significant implications for the artist‘s role as well as the public‘s role. is the artist still the main author of artwork and become the artistic content creation? and are contributors— participant, collaborator, or artist itself artistic content producer? art for the sake of art seems to have faded. nowadays, the artist chooses the digital device to make art that is related to an internet network with the art public in digital media. visualization landscape of artwork that fills various digital sites has widened the artist's reach goes beyond various galleries to various digital displays. we see the world of art has developed with artists and their work that is growing exponentially. artist intertwines digital media and physical for installation and art show that is framed by social meaning that is delivered in digital sites. digital art has changed from traditional art simulation time-based with the socio-cultural expression that is shown in various digital sites such as facebook, youtube, twitter, blog, website, and others. various narrations that are spread in the media site transformed into interesting digital artwork. even so, art in the digital information era is now a frontier for the imperative will of digital art lovers. artwork that is disseminated in digital media to accelerate popularity is now at risk of being dragged into economic pragmatism. the up-to-date features that characterize the information era encourage behavior that is similar to the artwork recently. conditions like this encourage neglect of the content of a work of art. the main concern in this article is the meaning of art creation, especially as an index of the distinctiveness of humanity. focusing on comparisons between art creators and art connoisseurs, the interaction between parties of artwork in digital media has very different aspirations in showing the essence of the productivity of an artwork. the argumentation here is next in the two main points: first, a dichotomy between creators and art connoisseurs showed through indirect action and appropriative action, and this brings us into a perspective about the artwork as only an artistic technique collage. as an appropriative action, artwork creation is reduced become the mechanical work of a serving system under a certain technical setting that is controlled by media digital system and the logic of the accompanying update. the influence of art connoisseur in digital media that wants productive works of art that are up-to-date so that works of art are like commodities of commerce. besides the pragmatism tendency of art becomes a cultural product that only emphasizes art as a technical chain. the dominance of the art of the will of the end of the art is a symptom of appropriation which results like art as symbolic wealth now having two forms: namely the appearance of the meaning/value and appearance of commodities. 38 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 old opinion about art as an individual expression from one person‘s vision, and artistic sensitivity developed through social media. this ideology conflict has significant implications for the artist‘s role as well as the public‘s role. is the artist still the main author of artwork and become the artistic content creation? and are contributors— participant, collaborator, or artist itself artistic content producer? art for the sake of art seems to have faded. nowadays, the artist chooses the digital device to make art that is related to an internet network with the art public in digital media. visualization landscape of artwork that fills various digital sites has widened the artist's reach goes beyond various galleries to various digital displays. we see the world of art has developed with artists and their work that is growing exponentially. artist intertwines digital media and physical for installation and art show that is framed by social meaning that is delivered in digital sites. digital art has changed from traditional art simulation time-based with the socio-cultural expression that is shown in various digital sites such as facebook, youtube, twitter, blog, website, and others. various narrations that are spread in the media site transformed into interesting digital artwork. even so, art in the digital information era is now a frontier for the imperative will of digital art lovers. artwork that is disseminated in digital media to accelerate popularity is now at risk of being dragged into economic pragmatism. the up-to-date features that characterize the information era encourage behavior that is similar to the artwork recently. conditions like this encourage neglect of the content of a work of art. the main concern in this article is the meaning of art creation, especially as an index of the distinctiveness of humanity. focusing on comparisons between art creators and art connoisseurs, the interaction between parties of artwork in digital media has very different aspirations in showing the essence of the productivity of an artwork. the argumentation here is next in the two main points: first, a dichotomy between creators and art connoisseurs showed through indirect action and appropriative action, and this brings us into a perspective about the artwork as only an artistic technique collage. as an appropriative action, artwork creation is reduced become the mechanical work of a serving system under a certain technical setting that is controlled by media digital system and the logic of the accompanying update. the influence of art connoisseur in digital media that wants productive works of art that are up-to-date so that works of art are like commodities of commerce. besides the pragmatism tendency of art becomes a cultural product that only emphasizes art as a technical chain. the dominance of the art of the will of the end of the art is a symptom of appropriation which results like art as symbolic wealth now having two forms: namely the appearance of the meaning/value and appearance of commodities. pangeran putra p.a. nasution1 mochammad wahyu ghani2. in the name of “like this” 39 appropriation symptom place artwork in a liminal condition, namely artwork as a cultural product that abides by art connoisseur in digital media that expect updates; and artwork as a reaction toward artwork co modification of artwork that is more directed to symbolic appropriation. in the first condition, with update logic, the artwork is treated like trading stuff that prioritizes selling or appreciation of art connoisseur in digital media. that appreciation can be in the form of accumulation of ―thumb‖ (like this) that is found in digital social media application ―facebook‖, the sum of ―viewer‖ and ―subscriber‖ in youtube; and ―follower‖ in ―instagram‖. appreciation through emoticon that is deeply related to digital communication through smartphones and another digital device that is functioned as a new symbolic language. appreciation emoticon-based can be understood universally in delivering gestures, feelings, and emotions that increase the textual meaning. emoticon appreciation (hyper-mediated) is a part of the aestheticization of digital artwork. the innovative use of emoticon appreciation as a digital symbolic language shows that new modes of digital expression change the way we define art, and how art and information are closely related to the current wave of digital creativity. even so, art content in these conditions tends to be ignored. the tendency of institutionalizing art to become a cultural product cannot be separated from the co-modification of art (art as a commodity). the presence of works of art only intends to answer the market's will that defines the social image of the audience. imagery that builds the order of perception, appreciation, and the expression of the latest art without artistic content as symbolic appropriation. different from the art configuration as symbolic appropriation, in this case, the artwork is an effort of values recognition without self-interest and rejection toward market appropriation that expect short-term commercialization. symbolic appropriation expects the creation of art that thinks long-term in the framework of the accumulation of symbolic capital. this type of art creation is very concerned with the content of an artwork. appropriation (market) of art connoisseur with update logic toward artwork is the aspiration representation in consuming signs such as prestige, social status contemporary as a reflection of power. thus, appropriation of artwork can be understood as an effort to organize, manipulate, control, and determine the most economical, productive, up-to-date artwork. appropriation is manifested in the material (see robert, 2008: 105), namely through the art that is displayed and expresses attitudes and lifestyle choices. as stated in widagdo‘s opinion (2008) about the pre factum (creation concept) and post-factum (the form of his art), appropriation of artwork has happened in those two fields. the first field relies on aesthetic products such as 40 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 social context, culture, belief, environment, economy and another thing that becomes the base of artwork creation. in the post-factum field, the fulcrum is on art objects and their connection with the creator and the community. the existence of an artwork cannot be separated from the aspects that underlie its existence, namely the purpose of creating works of art that will underlie the choice of manifestation with various aspects of its dimensions. conclusion the existence of artwork can be considered as up-to-date when it is spread massively, and it happens in digital media. digital creativity center from artwork creation process between art creator and art connoisseur is the critical crossing that forms the objectivity of digital art. appropriation toward artwork that develops in digital media now can be said that has sued the authorities reflecting the experiences and feelings and thoughts of the art creators. artwork as a type of creation that is influenced by the factors that exist in the art creator, such as experience, the conditions of the surrounding environment, and the factors that influence his work, is now very determined by the tastes of the audience. an artist not only visualizes every moment that happens but how to catch a reality and put it into the work with the up-to-date demand. digital media reality becomes a creativity patron for artists. the reality with various expressions as well as various digital art connoisseur aspirations. thus, digital literacy skill in the information era is something important that should be understood; thus, there is no appropriation practice for the existence of artwork in digital media. digital literacy expected to equip the public with understanding skills, selecting, and getting back (to retrieve) information in the middle of the information overflow that happens (see kurnia and astuti, 2017). digital literacy directed to mediation between technologies with the public to practice the digital technology productively. the purpose of this digital literacy the same, even though the activities are various as follows: ―a digitally literate person: (1) possesses a variety of skills – technical and cognitive – required to find, understand, evaluate, create, and communicate digital information in a wide variety of formats; (2) is able to use diverse technologies appropriately and effectively to retrieve information, interpret results, and judge the quality of that information; (3) understands the relationship between technology, life-long learning, personal privacy, and stewardship of information; (4) uses these skills and the appropriate technology to communicate and collaborate with peers, colleagues, family, and on occasion, the general public; and (5) uses these skills to actively participate in civic society and contribute to a vibrant, informed, and engaged community.‖ (ala digital literacy taskforce, 2011). 40 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 social context, culture, belief, environment, economy and another thing that becomes the base of artwork creation. in the post-factum field, the fulcrum is on art objects and their connection with the creator and the community. the existence of an artwork cannot be separated from the aspects that underlie its existence, namely the purpose of creating works of art that will underlie the choice of manifestation with various aspects of its dimensions. conclusion the existence of artwork can be considered as up-to-date when it is spread massively, and it happens in digital media. digital creativity center from artwork creation process between art creator and art connoisseur is the critical crossing that forms the objectivity of digital art. appropriation toward artwork that develops in digital media now can be said that has sued the authorities reflecting the experiences and feelings and thoughts of the art creators. artwork as a type of creation that is influenced by the factors that exist in the art creator, such as experience, the conditions of the surrounding environment, and the factors that influence his work, is now very determined by the tastes of the audience. an artist not only visualizes every moment that happens but how to catch a reality and put it into the work with the up-to-date demand. digital media reality becomes a creativity patron for artists. the reality with various expressions as well as various digital art connoisseur aspirations. thus, digital literacy skill in the information era is something important that should be understood; thus, there is no appropriation practice for the existence of artwork in digital media. digital literacy expected to equip the public with understanding skills, selecting, and getting back (to retrieve) information in the middle of the information overflow that happens (see kurnia and astuti, 2017). digital literacy directed to mediation between technologies with the public to practice the digital technology productively. the purpose of this digital literacy the same, even though the activities are various as follows: ―a digitally literate person: (1) possesses a variety of skills – technical and cognitive – required to find, understand, evaluate, create, and communicate digital information in a wide variety of formats; (2) is able to use diverse technologies appropriately and effectively to retrieve information, interpret results, and judge the quality of that information; (3) understands the relationship between technology, life-long learning, personal privacy, and stewardship of information; (4) uses these skills and the appropriate technology to communicate and collaborate with peers, colleagues, family, and on occasion, the general public; and (5) uses these skills to actively participate in civic society and contribute to a vibrant, informed, and engaged community.‖ (ala digital literacy taskforce, 2011). pangeran putra p.a. nasution1 mochammad wahyu ghani2. in the name of “like this” 41 digital literacy skill is an absolute thing in using digital media. various appropriation practices are started from the messy management of information in digital media because there is a lack of digital literacy skills. the synergy of all parties in spreading digital literacy understanding is very needed to prevent appropriation practice that violates creation rules and the spreading of artwork in the digital era. appropriation as ―heuristic terminologies‖ is a symbolic device from everything materialistic, behavioral, and ideational. especially in the digital art context, appropriation reflects the relation between human beings and artwork with a background of interest of its digital media. appropriation translation digitally places his analysis spans the symptom of a change in the will of ―globallocal‖ art creation, along with a ―transitive-intransitive‖ network of appreciation. the appropriation of digital works is a feature of cultural reflection that has historical contingencies and is politically contested in up-to-date digital information. references apjii. 2017. infografis penetrasi dan perilaku pengguna internet di indonesia survey 2016. asosiasi penyelenggara jasa internet indonesia. ala digital literacy taskforce. 2011. accessed july 17, 2018. http://connect.ala.org/files/94226/what%20is%20digilit%20%282%29.pdf barker, chris. 2008 cultural studies: theory and practice (3rd edition). london: sage publications, ltd. barthos, b. 2012. manajemen kearsipan modern. jakarta: bumi aksara. beech, d. 2010. art and value: art’s economic exceptionalism in classical, neoclassical and marxist economics (historical materialism). haymarket books publisher. reprint edition. bennett, sue. 2008. the ‗digital natives‘ debate: a critical review of the evidence. british journal of educational technology, 39, 5, 775–786. bilton, c. 2011. management and creativity: from creative industries to creative management. oxford: wiley-blackwell. boorsma, m. 2006. a strategic logic for marketing. international journal of cultural policy. 12, 1, 73–92. retrieved july 17, 2018. http://www.tandfonline.com/doi/abs/10.1080/10286630600613333. business dictionary. 2013. accessed july 17, 2018. http://www.businessdictionary.com/definition/digitization.html. castells, m. 1996. the rise of the network society. cambridge: blackwell publishing. collin. 2013. ―collins dictionary.‖ accessed july 17, 2018. http://www.collinsdictionary.com/dictionary/english/digitalization#digitali zation_1. 42 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 dye, r. 2000. the buzz on buzz. harvard business review (nov/dec), 139–146. retrieved july 17, 2018. https://www.bzzagent.com/downloads/sales/buzzonbuzz.pdf. fingers, l., and soumitra dutta. 2014. ask, measure, learn: using social media analytics to understand and influence customer behavior. cambridge: o‘reilly media. goldenberg, j., libai, b. & muller, e. 2001. talk the network: a complex systems look at underlying process of word-of-mouth. marketing letters, 12, 3, 211–223. kaplan, a. m., and haenlein, m. 2010. two hearts in three-quarter time: how to waltz the social media/viral marketing dance. business horizons, 54, 3, 253–263. retrieved july 17, 2018. https://doi.org/10.1016/j.bushor.2011.01.006 krajnovic, a., sikirić d. & jurica bosna. digital marketing and behavioral economics. conference: 1st croatian direct marketing association conference. retrieved july 17, 2018. https://www.researchgate.net/publication/309490126_digital_marke ting_and_behavioral_economics. kurnia & astuti. 2017. peta gerakan literasi digital di indonesia: studi tentang pelaku, ragam kegiatan, kelompok sasaran dan mitra. retrieved july 17, 2018. https://journal.uny.ac.id/index.php/informasi/article/download/16079/pdf_ 1 martin, w. c., & lueg, j.e. 2013. modelling word of mouth usage. journal of business research, 66, 801–808. murray, m.c. & perez, j., 2014. unraveling the digital literacy paradox: how higher education fails at the fourth literacy. issues in informing science and technology, 11, 85–100. mcluhan, marshal. 1964. understanding media: the extensions of man. accessed july 17, 2018. http://robynbacken.com/text/nw_research.pdf padilla-meléndez, a., & del águila-obra, a.r. 2013. web and social media usage by museums: online value creation. international journal of information management, 33, 5, 892–898. retrieved july 17, 2018. http://linkinghub.elsevier.com/retrieve/pii/s026840121300090x. roberts, d. 2008. ―digitisation and imaging.‖ in jackie bettington., et al., keeping archives. 3rd edition. australia: australian society of archivist inc. simanowski, roberto. 2016. digital humanities and digital media: conversations on politics, culture, aesthetics and literacy. london: open humanities press. simon, n. 2013. ―the participatory museum.‖ the participatory museum—a book by nina simon. accessed july 17, 2018. http://www.participatorymuseum.org/chapter1/. pangeran putra p.a. nasution1 mochammad wahyu ghani2. in the name of “like this” 43 tapscott, don. 1996. the digital economy era: promise and peril in the age of networked intelligence. new york: mcgraw hill. toffler, a. 1980. the third wave. new york: morrow. widagdo. 2008. ―field art research‖. article presented in national conference of art research: mapping the pre factum and post factum research methodology as a form of actualization of research-based art campuses. bandung: puslitmas stsi bandung djohan1; fortunata tyasrinestu2, the role of active musical listening ... 1 the role of active musical listening to enhance the emotional health on early motherhood djohan music performance department of indonesia institute of the arts yogyakarta, indonesia email: djohan.djohan@yahoo.com fortunata tyasrinestu music education department of indonesia institute of the arts yogyakarta, indonesia email: tyasrin2@yahoo.com abstract the purpose of this study was to identified the role of active musical listening on emotional health and well-being in javanese early motherhood. listening to music will not only have a soothing and uplifting effects on someone but also a positive influence on the unborn baby. feeling emotional during pregnancy is common because of hormonal changes. and it‟s natural to feel more stressed or anxious than usualy. although it‟s normal to have periods of worry and stress when pregnancy and this can be a sign of something more serious such as depression, anxiety or bipolar disorder. emotional health is a state of wellbeing. an one way anova test with the pre-posttest scores as the control revealed that the changes by listening the gendhing gamelan were significantly decreased in the experimental group compared with the control group. a randomized experimental study design was developed and implemented. a hundred and twenty of first trimester pregnant women were randomly assigned to music listening (n=60) and control (n=60) groups (mean age=29.0; sd=5.0). the experiment group received 5 minutes of music intervention and the control group received only general prenatal care. psychological health was assessed using three self-report measures: state-trait anxiety inventory (stai) and beck-depression inventory (bdi). the result shows significant effect (p<0.05; f=5.340) of gendhing gamelan to reduce stress and enhance the emotional well-being in early motherhood thus the hypotheses is accepted. the findings can be used to encourage early motherhood to use this cost-effective method of listening music in their daily life to reduce their stress and enhance the emotional wellbeing. further research is needed to test the long-term benefits. keywords: emotional health; well-being; music listening; gendhing gamelan introduction in indonesia, the death rate of mother and infant stay at a high level every year even it has reached 4.000 deaths per year. various efforts has been applied by government, health center, hospital and posyandu (pos pelayanan terpadu: is a 2 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 kind of a free service center in indonesia that facilitated by a local government mostly in rural region for medical examination especially intended to an early motherhood, pregnancy, post-natal and new born till toddler) mainly to cope with the obstacles related to this case. perinatal mental health problems affect around 20% of women at some point during the perinatal period [1]. the mentioned services can be applied earlier from the early until late pregnancy even postnatal period. and over the last two decades, there has been significant research into the emotional health on pregnant mother as well as how it can be prevented. in the wider population, depression and well-being are separate constructs in the context of perinatal mental health and a positive perinatal experience is more than simply the inversion of negative mood. pregnancy period requires woman to have preparation physically and mentally due to physical and hormonal change that prone to generate anxiety. biologically, the increasing of progesterone and estrogen coupled with psychological state then result some women feel depressed of the change and try to neglect the fact of their pregnancy. most woman in pregnancy period experienced many distress mainly caused by the change of emotion, physic, and environment [2]. in particular, the third trimester of pregnancy has been identified as an important transition period involving adaptation to emotional and physical changes, leading to feelings of well-being often less pronounced than in the previous trimesters [3]. in light of this, there are a number of interventions that have been developed to try and support mental health in the prenatal period as a way of reducing postnatal mental health problems, in particular focusing on the third trimester as a point of intervention. there have been findings that support the application of cognitive-behavioural and interpersonal psychotherapy, suggesting that depression following childbirth could be prevented by brief interventions in the prenatal period [4]. another problem following pregnancy is libido issue that is need to be communicated between spouses. even though some physical reactions during pregnancy, such as breast enlargement, is something common, most anxiety in pregnancy is caused by the mixture of happy and sad feeling, hesitation and conviction, and morning sickness. that is why we can assume that most of pregnant women experience psychological changes. over the past two decades, there has been increasing research showing the effects of listening to music on mental health. a number of reviews have demonstrated the effects of regular music listening including in enhancing mental health in the general population, reducing distress in premature infants and reducing stress in adults [5]. unstable emotion is usually followed by mood changes such as being sensitive and overreacting with the result that the mental condition in vulnerable. this vulnerability might be caused by the gap between what is felt physically and what is understood mentally. thus, pregnant woman tent to depend djohan1; fortunata tyasrinestu2, the role of active musical listening ... 3 on other individual or being too demanding in this period. another way to handle the discomfort during pregnancy is through the external factor that is one of human potency: music. many attempts and research be done to help woman in facing pregnancy period showed significant decrease of stress and anxiety to a group of mother that received 30-minutes music session out of health program. in relation to well-being, music listening has been shown to be associated with better well-being not just in controlled interventions but also as a result of ordinary day-to-day listening. a swedish study involving 500 older adults found associations between music listening and well-being, even when controlling for potential confounding variables [6]. thus, this research aim to identify the role of listening gendhing gamelan to enhance the emotional health and well-being in pregnant women to discover its specific effects on psychological issue which are expected to support mental health in pregnant women that will implicate in fetus‟ mental health. we hypotheses (1) pregnant women be intervened by music will have more relax compare to control group, (2) pregnant women be intervened by music will have less stress compare to control group. in the perspective of anesthesia expert, music is claimed to be useful in csection to strengthen anesthesia effect that is mostly without narcotics to make sure the infant won‟t be depressed. this labor preparation involving physical manipulation is prone to generate discomfort in mother thus music is believed to be effective in reducing the discomfort. in early pregnancy, stress overreacting create a negative effect during pregnancy. most of the physiological stress is mediated by stress hormonal named catecholamine. in pregnant woman, level of stress can reduce uterine contraction effectiveness and over anxiety is associated to fetal death in third trimester [7]. music is able to control respiratory rate and reduce stress response thus music can help to shorten the labor process [8]. another research suggests that music reduce pain when it is heard [9]. studies tracking daily activities have linked music listening with enhanced well-being both in the workplace and in the wider context of people‟s lives [10]. studies tracking daily activities have linked music listening with enhanced wellbeing both in the workplace and in the wider context of people‟s lives. further, music has also been shown to contribute to creating supportive healthy environments, connecting individuals with their emotions and promoting wellbeing [11]. the environment of prenatal period is also has its own impact toward fetus. many physical stress and emotion during pregnancy will influence the abnormality in baby and inhibit the development of motoric function [12][13]. globally, teenage pregnancy remains a public health concern. worldwide, sixteen million girls give birth during adolescence annually with an estimated 2 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 kind of a free service center in indonesia that facilitated by a local government mostly in rural region for medical examination especially intended to an early motherhood, pregnancy, post-natal and new born till toddler) mainly to cope with the obstacles related to this case. perinatal mental health problems affect around 20% of women at some point during the perinatal period [1]. the mentioned services can be applied earlier from the early until late pregnancy even postnatal period. and over the last two decades, there has been significant research into the emotional health on pregnant mother as well as how it can be prevented. in the wider population, depression and well-being are separate constructs in the context of perinatal mental health and a positive perinatal experience is more than simply the inversion of negative mood. pregnancy period requires woman to have preparation physically and mentally due to physical and hormonal change that prone to generate anxiety. biologically, the increasing of progesterone and estrogen coupled with psychological state then result some women feel depressed of the change and try to neglect the fact of their pregnancy. most woman in pregnancy period experienced many distress mainly caused by the change of emotion, physic, and environment [2]. in particular, the third trimester of pregnancy has been identified as an important transition period involving adaptation to emotional and physical changes, leading to feelings of well-being often less pronounced than in the previous trimesters [3]. in light of this, there are a number of interventions that have been developed to try and support mental health in the prenatal period as a way of reducing postnatal mental health problems, in particular focusing on the third trimester as a point of intervention. there have been findings that support the application of cognitive-behavioural and interpersonal psychotherapy, suggesting that depression following childbirth could be prevented by brief interventions in the prenatal period [4]. another problem following pregnancy is libido issue that is need to be communicated between spouses. even though some physical reactions during pregnancy, such as breast enlargement, is something common, most anxiety in pregnancy is caused by the mixture of happy and sad feeling, hesitation and conviction, and morning sickness. that is why we can assume that most of pregnant women experience psychological changes. over the past two decades, there has been increasing research showing the effects of listening to music on mental health. a number of reviews have demonstrated the effects of regular music listening including in enhancing mental health in the general population, reducing distress in premature infants and reducing stress in adults [5]. unstable emotion is usually followed by mood changes such as being sensitive and overreacting with the result that the mental condition in vulnerable. this vulnerability might be caused by the gap between what is felt physically and what is understood mentally. thus, pregnant woman tent to depend 4 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 three million having unsafe abortions. most adolescent pregnancies occur in developing countries, and teenagers living in socio-economically disadvantaged settings in developed countries are at higher risk of teenage pregnancy as compared to the broader population [14]. further, listening to music is can improve learning ability [15], reduce bold pressure, improve the epilepsy symptoms, parkinson disease, and dementia [16][17]. theoretical framework theoretical studies have highlighted the role of music listening in enhancing affect, wellness and resources for recovery and quality of life. consequently, both directed music listening interventions and routine day-to-day music listening can affect levels of depression and well-being in a range of different populations [18][19]. likewise the exposure of noise during pregnancy, it can disturb the brain development in baby and harm the cognitive function [20]. to maintain the balance of chemical in pregnant woman, there are four main hormone that mostly works; endorphin, dopamine, serotonin, and oxytocin that are contributing in positive feeling as a dimension of happy feeling. dopamine and endorphin work as selfish chemical that is produced when someone is struggling to achieve something. endorphin works by manipulate pain through happiness of euphoria. it happens for example when someone win a competition. later, dopamine works by affecting the blood and generate a satisfaction. meanwhile, serotonin and oxytocin is more external chemical that is generate a proud feeling because of being loved by a group or relatives such as parents, spouse, or children. this study tracked a cohort of mothers in the early perinatal period in order to ascertain whether there was a relationship between music listening during pregnancy and the enhancement of mental health. however, this experiment did not look longitudinally and only involved the first trimester pregnant as an early motherhood. materials and methods the design used in this research in non-equivalent control group nonsynchronized as an attempt to discover the role of listening gendhing gamelan to the enhancement the emotional health and well-being. in this paper, we use the terms early motherhood for the subject as a young pregnance woman (mean=29 years old). all of the 60 young women who participated in this study were early motherhood at the time of their first pregnancy. djohan1; fortunata tyasrinestu2, the role of active musical listening ... 5 group pretest posttest pretest experiment posttest experiment ya1 x ya2 control yb1 yb2 x = music; ya1, yb1: stai and bdi; ya2, yb2: stai and bdi stai = state trait anxiety inventory; bdi = beck depression index; x = gending gamelan a. subjects the subject in this research was determined incidentally. it consists of 60 early motherhood (experiment = 30; control = 30; mean age = 29.0; sd = 5.0) in puskesmas (pusat kesehatan masyarakat: the health center for local society) at kotagede, yogyakarta. b. instruments 1) stai state trait anxiety inventory is a quick and short measurement of state and trait of anxiety to acquire high result for technical use [23]. state anxiety is a temporary condition of fear or anxiety mainly experience in a particular event. trait anxiety is a relatively stable tendency of a human to respond a stimuli in anxious way and prone to generate distress. those two aspect seems different yet interrelated to one another. the level of trait anxiety reflects the inclination to show anxiety and stress in human. stai consists of 40 items to measure the two types of anxiety in separable way. stai item is simple and descriptive consist of 20 state anxiety items measured on 4 intensity scale: “not at all”, “sometimes”, “kind of”, and “very anxious”. it also consist of 20 trait anxiety items measured on 4 intensity scale: “never”, “seldom”, “often”, and “always”. 2) bdi beck-depression inventory is a self-report rating inventory consisting of 21 items to measure characteristic attitude and symptoms of depression [24]. this instrument is used as a control to strengthen the first instrument, stai. not only anxiety, previous research reported prevalence of depression among pregnant women [26]. we assume high level of anxiety will lead into depression. thus, if the bdi index shows a decrease level, it might be assume that the anxiety level is also decrease. bdi consist of 21 items on scale of 0-3 indicating the symptoms of depression such as hopelessness and irritability, weight loss, appetite, interest in sex, fatigue, and even cognitive aspect such as guilt of feeling of being punished. each number consist of four statements of a topic in a different scale and respondent will answer the most suitable scale to define their condition. 4 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 three million having unsafe abortions. most adolescent pregnancies occur in developing countries, and teenagers living in socio-economically disadvantaged settings in developed countries are at higher risk of teenage pregnancy as compared to the broader population [14]. further, listening to music is can improve learning ability [15], reduce bold pressure, improve the epilepsy symptoms, parkinson disease, and dementia [16][17]. theoretical framework theoretical studies have highlighted the role of music listening in enhancing affect, wellness and resources for recovery and quality of life. consequently, both directed music listening interventions and routine day-to-day music listening can affect levels of depression and well-being in a range of different populations [18][19]. likewise the exposure of noise during pregnancy, it can disturb the brain development in baby and harm the cognitive function [20]. to maintain the balance of chemical in pregnant woman, there are four main hormone that mostly works; endorphin, dopamine, serotonin, and oxytocin that are contributing in positive feeling as a dimension of happy feeling. dopamine and endorphin work as selfish chemical that is produced when someone is struggling to achieve something. endorphin works by manipulate pain through happiness of euphoria. it happens for example when someone win a competition. later, dopamine works by affecting the blood and generate a satisfaction. meanwhile, serotonin and oxytocin is more external chemical that is generate a proud feeling because of being loved by a group or relatives such as parents, spouse, or children. this study tracked a cohort of mothers in the early perinatal period in order to ascertain whether there was a relationship between music listening during pregnancy and the enhancement of mental health. however, this experiment did not look longitudinally and only involved the first trimester pregnant as an early motherhood. materials and methods the design used in this research in non-equivalent control group nonsynchronized as an attempt to discover the role of listening gendhing gamelan to the enhancement the emotional health and well-being. in this paper, we use the terms early motherhood for the subject as a young pregnance woman (mean=29 years old). all of the 60 young women who participated in this study were early motherhood at the time of their first pregnancy. 6 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 c. auditory stimuli the audio stimuli of this research is 15 minutes gendhing gamelan in slendro sanga scale with title gadhung melati that is heard by the subject through a wireless headset in a medium volume (3-5) to make sure that the audio can be heard clearly but not too loud for the hearing. gendhing gamelan gadhung melati was chosen for a treatment to the experiment subject as an auditory stimuli because of its intrinsic characteristic that is calm and relaxing. it is also because not many research in this area uses gendhing gamelan as its main stimuli. d. procedure all of experiment subject are informed about the research and have consent to participate in this data collecting. after filling the pretest questionnaire, subjects are directed to the listening room. the experimenter need to make sure the subjects are relax and comfortable during listening section thus the subjects are allowed to sit or nap on their own choice. another instruction be given to respondents included (a) relax and put the most comfortable position, (b) allowance to close their eyes and (c) not to do unnecessary activity such as to operate cellphone. the headset is installed under the consent of the subject considering their comfort. after listening the music for 15 minutes, we asked the subjects to fill the post test questionnaire. while the control subject just have a routine monthly medical check in a different room. results before go to further analysis of the experiment, we present the comparison data of both control and experiment group in pre and posttest. the table above shows the minimum score of control group is 3 with maximum score 62, meanwhile experiment group‟s minimum score is 3 with maximum score 64. mean value of control group is 26.83 and mean value of experiment is 26.77. here we can see the higher mean of experiment group 0.06. to examine if both groups are similar to each other we applied a t-test. variable control group experimental group pretest score posttest score pretest score posttest score n 30 30 30 30 minimum 3 5 3 3 maximum 62 55 64 97 mean 26.83 27.33 26.77 37.80 djohan1; fortunata tyasrinestu2, the role of active musical listening ... 7 based on the t-test, both groups are considered homogenous if the significance coefficient > 0.05. in contrast, if the significance < 0.05 the sample of both group is not homogenous. the result of t-test on equal variances assumed column showed significance as big as 0.987. thus, both subject in control and experiment groups are homogenous and have similar stress level before the experiment. on posttest data the minimal score of control group is 5 and the maximum score is 55. meanwhile experiment group have minimal score of 3 and maximum score of 97. the mean value of control group is 27.33 and mean value of experiment group is 37.80. the comparison above shows that experiment groups that listening to gendhing gamelan have better performance in reducing anxiety. this can be seen from the mean value increasing. the control group‟s mean increase 0.5 from 26.83 to 27.33 meanwhile the experiment group‟s mean increase 11.03 from 26.77 to 73.80. to do a different test using independent sample t-test, we need prerequisite test that are normality and homogeneity test. normality test is needed to ascertain data distribution, whether it is normal or it isn‟t. homogeneity test is needed to ascertain data homogeneity. normality test is done with shapiro-wilk test on spss. the data is normally distributed if the significance coefficient > 0.05. kolmogorov-smirnov result showed that the posttest score of control group sign. 0.166 meanwhile experiment group sig. 0.200. both significance coefficient is > 0.05 thus can be assumed that data in both group is distributed normally. homogeneity test is done by levene statistic test. the data is claimed to be homogeny if sig. > 0.05. the result of homogeneity test with spss showed sig. value 0.378 > 0.05 thus the posttest data is homogenous. independent sample t-test is used to ascribe the different on anxiety level between control and experiment group. these two group is considered different f the sig t-test for equality of means < 0.05. in contrast, if the value of sig. t-test for equality of means > 0.05, both groups are assumed to be similar. based on the result, t-test for equality of means on df 58 sig. 0.024 < 0.05. it can be considered that there is different level of anxiety of control and experiment group. the experiment group have lower anxiety level than control group. here we can conclude that gamelan is enable to reduce anxiety and no depression in pregnant woman. further, to ascribe the effect of gamelan in reducing anxiety level in pregnant woman, we use one way anova. through this analysis, we will examine the effect of independent variable, gamelan, in reducing anxiety as the dependent variable. in this analysis, independent variable is considered to take effect on dependent variable if it fulfilled two criteria: (1) f is bigger than f table and (2) sig. value < 0.05 6 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 c. auditory stimuli the audio stimuli of this research is 15 minutes gendhing gamelan in slendro sanga scale with title gadhung melati that is heard by the subject through a wireless headset in a medium volume (3-5) to make sure that the audio can be heard clearly but not too loud for the hearing. gendhing gamelan gadhung melati was chosen for a treatment to the experiment subject as an auditory stimuli because of its intrinsic characteristic that is calm and relaxing. it is also because not many research in this area uses gendhing gamelan as its main stimuli. d. procedure all of experiment subject are informed about the research and have consent to participate in this data collecting. after filling the pretest questionnaire, subjects are directed to the listening room. the experimenter need to make sure the subjects are relax and comfortable during listening section thus the subjects are allowed to sit or nap on their own choice. another instruction be given to respondents included (a) relax and put the most comfortable position, (b) allowance to close their eyes and (c) not to do unnecessary activity such as to operate cellphone. the headset is installed under the consent of the subject considering their comfort. after listening the music for 15 minutes, we asked the subjects to fill the post test questionnaire. while the control subject just have a routine monthly medical check in a different room. results before go to further analysis of the experiment, we present the comparison data of both control and experiment group in pre and posttest. the table above shows the minimum score of control group is 3 with maximum score 62, meanwhile experiment group‟s minimum score is 3 with maximum score 64. mean value of control group is 26.83 and mean value of experiment is 26.77. here we can see the higher mean of experiment group 0.06. to examine if both groups are similar to each other we applied a t-test. variable control group experimental group pretest score posttest score pretest score posttest score n 30 30 30 30 minimum 3 5 3 3 maximum 62 55 64 97 mean 26.83 27.33 26.77 37.80 8 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 the one way anova result can be seen in table below: posttest psychologically anxiety dan psychiatry sum of squares df mean square f sig. between groups 1643.267 1 1643.267 5.340 .024 within groups 17847.467 58 307.715 total 19490.733 59 the table above showed f 12.404 with sig. 0.001. in f table with df 58 sig. 0.05 we get f table 4.01. the value of f 5.340 is bigger than f table 4.01. moreover, the significance 0.024 < 0.05. thus, we can conclude there is significant role of listening to gendhing gamelan to reduce the anxiety and enhance the emotional well-being in pregnant woman. however, motherhood also brought some mixed feelings and experiences. pregnancy at any age can be physically exhausting and for young women who are often „alone‟ or with little support which physiologically and emotionally still developing, pregnancy can be challenging and bring feelings of joy to these early motherhood. discussion motherhood, however, also brought some mixed feelings and experiences. pregnancy at any age can be physically exhausting and for young women who are often „alone‟ or with little support, and physiologically and emotionally still developing, pregnancy can be challenging. statistical analysis above showed the relation of listening to gadhung melati and anxiety reduction in pregnant women. the result of homogeneity test showed that subject in experiment group tent to receive same effect from listening gendhing gamelan. based on what happened in the data collection process, we found some respondent in experiment group that was not really focus and pay attention during music listening. some of them broke the procedure of listening by playing their cellphone for a minute or two during the listening session. another respondent came with their children and tent to less focus compared to the respondent without children because they had need to pay attention to their children. some respondent seemed less enthusiast in answering posttest questionnaire and tent to answer fast without really try to make it sure. when the statistical analysis stated the homogeneity in experimental group in terms of listening and its ability to reduce anxiety, we need to discuss this result under the consideration of respondent different intention in doing the task. djohan1; fortunata tyasrinestu2, the role of active musical listening ... 9 if in fact music listening need a proper focus and attention to gain the benefit, then what define the less focus respondents should be a rationale in criticize the instrument used to measure the anxiety or to reconsider whether selfreport is proper enough to prevent random answer put by respondent in order to show difference before and after listening without really fell the difference in real. in other side, if the instrument can be confirmed effective to be used in this research design, we need to identify on how different listening attitude could lead into homogeny result. statistically, there was a decrease in anxiety levels and by the results of interviews and expressions shown mostly of subject‟s behavior showed that they felt more comfortable and pleasant. there was a question on how we conclude that the effect acquired in posttest was mainly because of the music as an auditory stimuli yet it is possible that the respondent acquire the effect from their other sense. we could not totally guarantee that the effects is mainly cause by the music, but since we did an experiment comparing the one who listened to music and the one who didn‟t under approximately similar situation therefore we can conclude that music has its role in providing the effect they acquired. from the results of unstructured interviews indicate that the subject feels more familiar with the gendhing that is played because it is part of the culture in their everyday life. thus it can be assumed that music from the same cultural background with the subject also has a role in supporting comfort when pregnant and automatically enhancing the feeling of well-being. therefore all efforts that succeed in reducing anxiety and stress by themselves will increase emotions that are comfortable and healthy. references [1] khalifeh h, brauer r, toulmin h, et al. perinatal mental health: what every neonatologist should know. early hum dev 2015;91:649–53. 10.1016/j.earlhumdev.2015.08.010 [pubmed] [2] kompas 13 juni 2017. kesejahteraan keluarga: setiap tahun 4.000-5.000 ibu meninggal saat bersalin. [3] leifer m. psychological effects of motherhood: a study of first pregnancy / myra leifer. new york: praeger, 1980. [google scholar] [4] elliott sa, leverton tj, sanjack m, et al. promoting mental health after childbirth: a controlled trial of primary prevention of postnatal depression. br j clin psychol 2000; 39(pt 3): 223–41. 10.1348/014466500163248 [pubmed] [crossref] [google scholar] [5] chan mf, wong zy, thayala nv. the effectiveness of music listening in reducing depressive symptoms in adults: a systematic review. complement 8 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 the one way anova result can be seen in table below: posttest psychologically anxiety dan psychiatry sum of squares df mean square f sig. between groups 1643.267 1 1643.267 5.340 .024 within groups 17847.467 58 307.715 total 19490.733 59 the table above showed f 12.404 with sig. 0.001. in f table with df 58 sig. 0.05 we get f table 4.01. the value of f 5.340 is bigger than f table 4.01. moreover, the significance 0.024 < 0.05. thus, we can conclude there is significant role of listening to gendhing gamelan to reduce the anxiety and enhance the emotional well-being in pregnant woman. however, motherhood also brought some mixed feelings and experiences. pregnancy at any age can be physically exhausting and for young women who are often „alone‟ or with little support which physiologically and emotionally still developing, pregnancy can be challenging and bring feelings of joy to these early motherhood. discussion motherhood, however, also brought some mixed feelings and experiences. pregnancy at any age can be physically exhausting and for young women who are often „alone‟ or with little support, and physiologically and emotionally still developing, pregnancy can be challenging. statistical analysis above showed the relation of listening to gadhung melati and anxiety reduction in pregnant women. the result of homogeneity test showed that subject in experiment group tent to receive same effect from listening gendhing gamelan. based on what happened in the data collection process, we found some respondent in experiment group that was not really focus and pay attention during music listening. some of them broke the procedure of listening by playing their cellphone for a minute or two during the listening session. another respondent came with their children and tent to less focus compared to the respondent without children because they had need to pay attention to their children. some respondent seemed less enthusiast in answering posttest questionnaire and tent to answer fast without really try to make it sure. when the statistical analysis stated the homogeneity in experimental group in terms of listening and its ability to reduce anxiety, we need to discuss this result under the consideration of respondent different intention in doing the task. 10 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 ther med 2011; 19:332–48. 10.1016/j.ctim.2011.08.003 [pubmed] [crossref] [google scholar] [6] laukka p. uses of music and psychological well-being among the elderly. j happiness stud 2007; 8:215–41. 10.1007/s10902-006-9024-3 [crossref] [google scholar] [7] shin, hye & kim, ju. 2011. music therapy on anxiety, stress and maternalfetal attachment in pregnant women during transvaginal ultrasound. asian nursing research asian nurs res. 5. 19-27. 10.1016/s19761317(11)60010-8. simkin, p.t. 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[14] gyesaw nyk, ankomah a. experiences of pregnancy and motherhood among teenage mothers in a suburb of accra, ghana: a qualitative study. int j women‟s health. 2013;5:773–80. [pmc free article] [pubmed] [google scholar] [15] abbott a. 2002. music, maestro, please! nature. 416:12–14. [16] zatorre r, mcgill j. 2005. music, the food of neuroscience? nature. 434:312–315. [17] rauscher fh, robinson kd, jens jj. 1998. improved maze learning through early music exposure in rats. neurol res. 20:427–432. [18] batt-rawden kb, denora t, ruud e. music listening and empowerment in health promotion: a study of the role and significance of music in everyday life of the long-term ill. nordic journal of music therapy 2005;14:120–36. 10.1080/08098130509478134 [crossref] [google scholar] [19] skånland ms. everyday music listening and affect regulation: the role of mp3 players. int j qual stud health well-being 2013;8:20595 10.3402/qhw.v8i0.20595 [pmc free article] [pubmed] [crossref] [google scholar] [20] secoli sr, teixeira na. 1998. chronic prenatal stress affects development and behavioral depression in rats. stress. 2:273–280. djohan1; fortunata tyasrinestu2, the role of active musical listening ... 11 [21] drago f, di leo f, giardina l. 1999. prenatal stress induces body weight deficit and behavioural alterations in rats: the effect of diazepam. eur neuropsychopharmacol. 9:239–245. 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[25] zahra bm, elham r. 2014. the prevalence of depression in pregnant women with sleep disorder. j psychiatry 17:157. doi: 10.4172/psychiatry.1000157 10 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 ther med 2011; 19:332–48. 10.1016/j.ctim.2011.08.003 [pubmed] [crossref] [google scholar] [6] laukka p. uses of music and psychological well-being among the elderly. j happiness stud 2007; 8:215–41. 10.1007/s10902-006-9024-3 [crossref] [google scholar] [7] shin, hye & kim, ju. 2011. music therapy on anxiety, stress and maternalfetal attachment in pregnant women during transvaginal ultrasound. asian nursing research asian nurs res. 5. 19-27. 10.1016/s19761317(11)60010-8. simkin, p.t. (1986). stress, pain, and catecholamines in labor: part 1. a review. birth13(4), 227-233. [8] simkin, p.t. 1986. stress, pain, and catecholamines in labor: part 1. a review. birth 13(4), 227-233. [9] myers, r. e. & myers, s. e. 1979. use of sedative, analgesic, and anesthetic drugs during labor and delivery: bane or boon? american journal of obstetrics gynecology.133: 83-104. [10] haake ab. individual music listening in workplace settings an exploratory survey of offices in the uk. music sci 2011;15:107–29. [google scholar] [11] mccaffrey r. music listening: its effects in creating a healing environment. j psychosoc nurs ment health serv 2008;46:39–44. [pubmed] [google scholar] [12] hanser, s. b., larson, s. c., & o‟connell, a. s. 1983. the effect of music on relaxation of expectant mothers during labor. journal of music therapy, 20(2), 50-58. [13] salk, l. 1973. the role of the heart in the relations between mother and infant. scientific american, 228 (5), 24-29. [14] gyesaw nyk, ankomah a. experiences of pregnancy and motherhood among teenage mothers in a suburb of accra, ghana: a qualitative study. int j women‟s health. 2013;5:773–80. [pmc free article] [pubmed] [google scholar] [15] abbott a. 2002. music, maestro, please! nature. 416:12–14. [16] zatorre r, mcgill j. 2005. music, the food of neuroscience? nature. 434:312–315. [17] rauscher fh, robinson kd, jens jj. 1998. improved maze learning through early music exposure in rats. neurol res. 20:427–432. [18] batt-rawden kb, denora t, ruud e. music listening and empowerment in health promotion: a study of the role and significance of music in everyday life of the long-term ill. nordic journal of music therapy 2005;14:120–36. 10.1080/08098130509478134 [crossref] [google scholar] [19] skånland ms. everyday music listening and affect regulation: the role of mp3 players. int j qual stud health well-being 2013;8:20595 10.3402/qhw.v8i0.20595 [pmc free article] [pubmed] [crossref] [google scholar] [20] secoli sr, teixeira na. 1998. chronic prenatal stress affects development and behavioral depression in rats. stress. 2:273–280. 157 practice-based research in digital arts: a case study of wat phumin, nan province, thailand tawipas pichaichanarong suan sunandha international school of arts, suan sunandha rajabhat university, nakhon pathom campus, thailand e-mail: tawipas.pi@ssru.ac.th abstract thai mural paintings have played a significant role in thai society since the sukhothai kingdom period (1238-1438 ad) until the present. wattana boonjub (2009) points out that mural painting was used for teaching the thai people in the past. throughout history, temples have become a crucial part of thai' lives; for example, wat phumin in nan province. wat phumin has exceptional architecture, beautiful visual presentations of buddhist storytelling on the walls which depict scenes from the buddhist jataka tales, and scenes of everyday life in nan. these unique characteristics have attracted many visitors to this temple over the years. also, when those interested visit wat phumin, they experience this temple as a museum. loïc tallon et al. (2008) suggests that the museum experience provides an appropriate situation for learning history in an unconventional setting. as a result, previous research titled “visual research practices on thai lanna mural painting: a case study of wat phumin, nan province” was presented at the 4th international conference for asia pacific arts studies (icapas 2016). the results indicated that the information concerning the lanna mural paintings inside the temples was overwhelming. however, no directions are facilitating thai and foreign visitors in viewing and understanding at the first episode of storytelling on lanna mural paintings inside wat phumin. therefore, this research is the result of finding a solution to facilitating visitors in viewing buddhist jataka tales through digital arts and digital technology (such as responsive web design, qr codes, etc.) with practice-based design research. keywords: responsive web design, qr codes, wat phumin, practice-based design research abstrak lukisan mural thailand telah memainkan peran penting dalam masyarakat thailand sejak periode kerajaan sukhothai (1238-1438 m) hingga saat ini. wattana boonjub (2009) menunjukkan bahwa lukisan mural digunakan untuk mengajar orang-orang thailand di masa lalu. sepanjang sejarah, kuil telah menjadi bagian penting dari kehidupan thailand; misalnya, wat phumin di provinsi nan. wat phumin memiliki arsitektur yang luar biasa, presentasi visual yang indah dari cerita buddha di dinding yang menggambarkan adegan dari kisah buddha jataka, dan adegan kehidupan sehari-hari di nan. karakteristik unik ini telah menarik banyak pengunjung ke kuil ini selama bertahun-tahun. juga, ketika mereka yang tertarik mengunjungi wat phumin, mereka merasakan candi ini sebagai museum. loïc tallon et al. (2008) menunjukkan bahwa pengalaman museum memberikan situasi yang tepat untuk belajar sejarah dalam lingkungan yang tidak konvensional. sebagai hasilnya, penelitian sebelumnya yang berjudul tawipas pichaichanarong, practice-based research in digital arts: ... 158 “praktik penelitian visual pada lukisan mural lanna thailand: studi kasus wat phumin, provinsi nan” dipresentasikan pada konferensi internasional ke-4 untuk studi seni asia pasifik (icapas 2016). hasilnya menunjukkan bahwa informasi mengenai lukisan mural lanna di dalam kuil sangat banyak. namun, tidak ada arahan yang memfasilitasi pengunjung thailand dan wisatawan asing dalam melihat dan memahami episode pertama pada cerita tentang lukisan mural lanna di dalam wat phumin. oleh karena itu, penelitian ini adalah hasil dari menemukan solusi untuk memfasilitasi pengunjung dalam melihat cerita buddha jataka melalui seni digital dan teknologi digital (seperti desain web responsif, kode qr, dll.) dengan penelitian desain berbasis praktik. kata kunci: desain web responsif, kode qr, wat phumin, riset desain berbasis praktik introduction the results from the author’s previous research titled “visual methods in social research on lanna mural painting: a case study of wat phumin, nan province” presented at the 4th international conference for asia pacific arts studies (icapas 2016) indicated that information regarding the lanna mural painting inside the temple is overwhelming. this is because there are no directions facilitating thai and foreign visitors in where to first begin in terms of the episodes of the storytelling inside the targeted site. therefore, this paper results from attempts to find an apt solutions through practice-based research methodology. literature review identifying a solution to facilitate the comprehension thai and foreign visitors of thai lanna mural paintings is not an easy task. this research has adopted practice-based research methodology through practice in its attempt to do so. practice-based research practice-based research is an authentic investigation to garner new insights from a variety of practices and the outcomes of those practices. according to laurene vaughan (2017), the author describes practice–based research as the collection of knowledge through creativity resultings in the scheme of designs, music, digital media, performances and exhibitions (p.56). this research was designed to explore an example solution to facilitate the visitors’ viewing experience of lanna mural paintings at wat phumin, nan province using different approaches. ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 159 wat phumin as a museum figure 1. drawing of wat phumin, nan province by assist. prof. fua haripitak (image accessed 27 may 2020 from https://www.silpa-mag.com/news/article_8542) wat phumin in nan province as figure 1, presents a dazzling visual presentation of buddhist storytelling on the walls (t. pichaichanarong, 2016). in this research, the setting at wat phumin has been treated as a museum. ana maria theresa labradorpp (2018) points out that museums can be sites for investigation (p.78). therefore, treating lanna mural paintings as museums would suffice as mentioned. objectives 1. analyzing difference approaches to develop a solution through practice-based research. 2. develop tools to facilitate thai and foreign visitors who attend wat phumin in nan province. 3. use digital technology, such as responsive web design, qr codes to be examples for solutions in this research. definition of terms responsive web design this research chose a website to act as the channel to facilitate thai and foreign visitors’ experience of thai lanna mural paintings at wat phumin, nan province because since the invention of the internet by tim berners-lee 1989,it has become a widely used means of communication. according to jason a. clarke, (2015) there was a change in web development from 2010 to present. web development has expanded to mobile platforms with mobile computing which includes browsing the web, watching movies, typing on word processors, etc. responsive web design is a set of know-how tools for creating web sites that work on various devices and screens (p.2). tawipas pichaichanarong, practice-based research in digital arts: ... 160 qr code qr code is a readable code comprising a batch of black and white strips, used for linking urls reading by a camera on a smartphone, as derived from the japanese industry in 1994 (retrieved from the internet on february 27th,2016). the qr code was introduced to this research with responsive web design for connecting to videos on the youtube channel. indeed, video is itself another means of facilitating visitors. methodology practice-based research design the first step in practice-based practice in this research starts with the inspiration from assistant professor fua haripitak (1910–1993) who studied in india during 1940–1946, at visva bharati university, santiniketan, india. he saw how the indian government has copied drawing samples of mural paintings from various ancient sites in order to preserve india’s heritage. after assistant professor fua haripitak returned to thailand, he decided to copy drawing samples from various thai temples in thailand. figure 2. assist. prof. fua haripitak, thai national artist (image accessed 27 may 2020 from https://www.the101.world/fua-haripitak/) figure 3. assist. prof. fua haripitak studied mural paintings before he copied the samples (image accessed 27 may 2020 from https://www.greatstarsartshow.com/art/1268) ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 161 figure 4. assist. prof. fua haripitak copied drawing samples from mural painting in order to preserve thailand’s national heritage (image accessed 27 may 2020 from https://www.bloggang.com/viewdiary.php?id=haiku&group=2&month=05-2010&date=11) as a result, this research adopted the copy drawing sample technique for the thai lanna mural paintings at wat phumin, nan province. in order to copy the entire drawing sample technique, this project required the entire photograph of thai lanna mural painting at the temple. also, those photographs are in digital files, and they can refer as “digital arts” in this research. figure 5. thai lanna mural painting at wat phumin, nan province (north) tawipas pichaichanarong, practice-based research in digital arts: ... 162 figure 6. copy drawing of thai lanna mural painting at wat phumin, nan province (north) the author’s previous research (2016) identified three major categories for storytelling on lanna mural paintings at wat phumin as follows: (i) ‘the story of the buddha’; second, (ii) ‘the previous life stories of the buddha’, and third ‘ordinary life of the local people. this research selected ‘previous life stories of the buddha’ as the focus of practice-based research. to understand the storytelling in ‘previous life stories of the buddha’, the researcher studied the relevant books and interviewed those with the knowledge and expertise. first, to understand thai mural paintings in general, it is tradition when people visit the thai temple, they first come from the direction of the north of the temple, then follow clockwise to the east, south, and west as shown below (figure7). ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 163 figure 7. direction of wat phumin, nan province (image from: the 7th reginonal office of fine arts, nan province) the second step of the practice-based practice research adopted the archaeological mapping and universal transverse mercator (utm) coordinate for the thai lanna mural paintings at wat phumin. as shown below (figure 8 and figure 9). figure 8. archaeological mapping (image accessed 27 may 2020 from https://coastalarchaeology.wordpress.com/2012/07/19/archaeological-mapping-with-idraw/) tawipas pichaichanarong, practice-based research in digital arts: ... 164 figure 9. universal transverse mercator (utm) coordinate system (image accessed 27 may 2020 from http://www.georeference.org/doc/universal_transverse_mercator_utm_.htm) thai lanna mural paintings at wat phumin used the same idea from both examples on the grid system. the researcher divided the image of thai lanna mural paintings at wat phumin, nan province as shown in figure10. figure 10. divided image of thai lanna mural paintings at wat phumin third, the researcher used copy drawing samples of the thai lanna mural painting at wat phumin to identify the direction of storytelling on ‘previous life stories of the buddha’. the content on the ‘previous life stories of the buddha’ ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 165 derives from various sources. after confirming the narrative for ‘previous life stories of the buddha’ to be in the correct order, the direction of the storytelling starts with the north, followed by east, south, and west at wat phumin, as shown in figure 11. figure 11. order of narrative storytelling on ‘previous life stories of the buddha’ as a result, there are numbers of coordination for the storytelling on ‘previous life stories of the buddha’ upon the four sides of the wall at wat phumin. next, this research adopted a qr code by placing them into the given positions of storytelling on ‘previous life stories of the buddha’ starting with episode 1 at the coordinate of point b9, and with the qr code image as given in figure 12 placed with the other coordinates respectively. figure 12. an example of a qr code links to the video content uploaded to youtube (episode 1) https://www.youtube.com/watch?v=k6dn8baurso) all of the qr codes on the images of thai lanna mural paintings linked to 2d moving images for the storytelling of panya-jataka at wat phumin uploaded to youtube. tawipas pichaichanarong, practice-based research in digital arts: ... 166 in fact, the video contents on youtube comprises 2d moving images for the storytelling of panya-jataka for wat phumin, which the researcher received funds from the office of contemporary art and culture (ocac) ministry of culture, thailand in 2017. the 2d moving images for storytelling of panya-jataka at wat phumin, nan province totaled amounts of thirteen videos. after that, the researcher has completed the placement 13 qr codes into 13 positions in the images of thai lanna mural paintings at wat phumin, as shown in figure 13. figure 13. qr codes placed on the coordination of storytelling on ‘previous life stories of the buddha’ next, the researcher deleted the lines on the images as shown in figure 14. figure 14. final image of storytelling on ‘previous life stories of the buddha’ in the north ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 167 responsive web design what is rwd? according to jason a. clarke (2015), the author of the book “responsive web design in practice”, the idea of building web sites that work on multiple devices and screens in order to serve the new era of digital technology with limitless power. the responsive web design was used in this research because of its ability to work on multiple devices and screens. the researcher suggests rwd can facilitate thai and foreign visitors to wat phumin, in their experience of thai lanna mural paintings at wat phumin in nan province. google sites for the first version of rwd, the researcher used google sites as a tool. google sites is one of the products from google first released in 2008. google sites was created for anyone who wants to create a personal website. the new version of google sites has the responsive web ability to open its website on various platforms. in addition, tatpuje and ganbote (2015) point out google platform contains with number of tools and apps, use of videos, online tools, interaction through google community. in thailand, there is the collaboration between google and thai universities called “google for education” in order to help the students improve their learning and innovation (retrieved from https://edu.google.com on feburary 28th, 2019). the researcher used google site from silpakorn university, thailand for the first version of rwd as shown in figure 15. figure 15. google sites version tawipas pichaichanarong, practice-based research in digital arts: ... 168 rwd frameworks for the second version of rwd, the researcher used the rwd frameworks to create a responsive web as a tool. a framework is a collection of files-scripts, html, css, and so forth. in addition, priyanka panchal (2017) explains that the quality of this web properties will calibrate from mobile screen to full desktop resolution continuously.this research selected the “bootstrap” framework (http://getbootstrap.com/). bootstrap is the most popular of the three frameworks widely used globally presented in figure 16. figure 16. rwd frameworks version discussion a result from both version of google sites and rwd frameworks is an example of the solution in order to facilitate thai and foreign visitors at wat phumin through digital technology. it is illustrated in figure 17. ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 169 figure 17. a diagram of a solution to facilitate visitors at wat phumin through digital technology in this research data analysis this research used a practice-based research design in every steps of producing the final outcome to answer the objectives of this research. indeed, the researcher followed all the practice-based approaches in the framework as given in figure 18. tawipas pichaichanarong, practice-based research in digital arts: ... 170 figure 18. practice-based research design this research focuses only on the storytelling on ‘previous life stories of the buddha’, with khattana kumara jataka on the northern wall, the eastern wall, the south wall and the nimi jataka on the western wall as illustrated in figure 19. figure 19. khattana kumara jataka (left), nimi jataka (right) conclusions in conclusion, this study has achieved all the objectives as set. however, the idea of this study derived from the creativity related to the literature review and in-depth interviews from field trips. in addition, the researcher added digital technologies in this study as well, and expects new knowledge to be derived from this experiment. from the results from my research, i can conclude that new digital technologies can influence the ways in which individuals and institutes act as a ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 171 museum. susana smith bautista (2014), author of “museums in the digital age: changing meanings of place, community, and culture” asserts that museums (for example, wat phumin in nan province) today can integrate both traditional elements and the context of the digital age to embrace the legacy of place, locality, culture, and community (p.xxi). this can then reach a modern younger generation. acknowledgements i am very grateful to the 4th international conference for asia pacific arts studies (icapas 2016) committee, and the 1st international conference on intermedia arts and creative technology (creativearts 2019), both held in yogyakarta, indonesia for allowing me to begin my academic journey with icapas in 2016, and other episodes with creativearts in 2019. in addition, i would like to express my gratitude to suan sunandha international school of arts, suan sunandha rajabhat university, nakhon pathom campus, silpakorn university and the office of contemporary art and culture (ocac) ministry of culture, thailand for their supports. lastly, i would like to express thanks and gratitude to my loving mother, who has supported me in every way. references bautista, s. s. (2014). museums in the digital age: changing meanings of place, community, and culture. md: altamira press. clark, j. a. (2015). responsive web design in practice (library technology essentials). md: rowman & littlefield. dalferro, a. (2018). museum now! articles from talks presented at academic conferences. bangkok: national discovery museum institute. history of qr code how was the qr code created? how has it come to be used so widely? and what is its future? (n.d.). retrieved february 26, 2019, from https://www.qrcode.com/en/history/ panchal, p. (2017). responsive web design and web development using bootstrap frond-end framework. international journal of advance research in science and engineering, 6 (7), 1-8. retrieved may 15, 2019, from https://ijarse.com/images/fullpdf/149873599_goa_1005_ijarse.pdf. pichaichanarong, t. (2017). visual methods in social research on lanna mural painting: a case study of wat phumin, nan province. international journal of creative and arts studies, 3(2), 25. doi:10.24821/ijcas.v3i2.1842 tawipas pichaichanarong, practice-based research in digital arts: ... 172 tatpuje, d. u., & ganbote, a. (2015). study of skills development among the youths with google integrated entrepreneurial training. researchgate.net. retrieved may 15, 2019, from https://www.researchgate.net/publication/331890031_study_of_skills_de velopment_among_the_youths_with_google_integrated_entrepreneurial _training. vaughan, l. (2017). practice-based design research. london: bloomsbury academic an imprint of bloomsbury publishing plc. luca pietrosanti. the gamelan in the catholic liturgy in yogyakarta 23 the gamelan in the catholic liturgy in yogyakarta luca pietrosanti via ischia 21, nettuno, 00048 roma, italy email: nanaqui2013@hotmail.com abstract this paper is a brief overview of the use of the gamelan together with the polyphonic choir in the roman rite of holy mass. through the examination of repertoires, interviews and active participation in rehearsals and masses, this work illustrates the types of compositions of liturgical music for gamelan as well as the way these compositions are used. particular attention is addressed to some key-concepts of traditional gamelan music, such as gending, benthuk, laras, pathet, garap. it will be apparent that these concepts are adapted, firstly to integrate the gamelan with a vocal element, the choir (which is based on a western tradition) and secondly, to meet the needs of the rite of holy mass. although indirectly, this paper also represents a paradigm of “inculturation”, which describes a process distinct from “enculturation”. the term “inculturation” must be intended as “the incarnation of the gospel in native cultures and also the introduction of these cultures into the life of the church”, so defined by the pope john paul ii in the encyclical slavorum apostoli, 2nd june 1985, vi-21. instead, with the term “enculturation” we intend the process by which an individual learns the traditional content of a culture and assimilates its practices and values. thus, the two words represent two different processes of assimilation of culture. keywords: gamelan, polyphonic choir, chatolic liturgy, liturgical songs, inculturation introduction the history of the liturgical songs in yogyakarta can be traced back to the first attempts of c. harjåsoebråtå to compose songs in pélog scale following the models of the gregorian chants at the end of the 1920s. in the mid-1950s, the various experiments of introducing traditional javanese music into the liturgy became an early inculturation program,1 thanks to the archbishop of semarang a. sugyåpranåtå and his working group. at that time, no arrangements for two or more voices were made yet. after the vatican council ii (1962-1965), a new european and javanese committee was created, led by father karl edmund prier, 24 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 who is also the current director of the pusat musik liturgi yogyakarta (pml). the work of the committee consisted of the creation of a liturgical repertoire that would integrate as much as possible the different musical cultures of indonesia: not only from java but also sumatra, kalimantan, sumba (ntt – nusa tenggara timur), flores, sulawesi, maluku, and papua; an extensive work culminated in the publication in 1980 of the first book of liturgical songs in indonesian language, the madah bakti. regarding the traditional music of central java, the work of the committee ended with the publication in 1984 of the kidung adi – buku umat (book for assembly), a book of liturgical songs in javanese, in which the main melodies are written in cipher notation, and it is intended to be sung by the assembly. thus, two different repertories are used in yogyakarta, the kidung adi, when the mass is in javanese, and the madah bakti when the mass is in indonesian. later, the pml published several complimentary books for the use of the choir or the gamelan players, in which we can find the arrangements for the choir and the notation for gamelan. the kidung adi and the madah bakti are the references for all the modern liturgical tradition in yogyakarta, both vocal and instrumental. the only exception is the church of the sacred heart of jesus in ganjuran, a special place of worship, which has developed its repertoire of liturgical songs. materials and methods this work is focused on two main aspects of the liturgical songs, vocal and instrumental. the observations about the vocal aspect are the result of research on the liturgical repertories i carried out at the center of liturgical music (pmlpusat musik liturgi) of yogyakarta. there, i also had the opportunity to interview the director of the pml, father karl-edmund prier, regarding the development of the liturgical music for gamelan. furthermore, father prier created a lot of the vocal arrangements for the liturgical songs and is therefore an essential referent for understanding the vocals in the liturgical composition for gamelan. the observations on the gamelan in the liturgy as well as its relation with the choir come from more than two years of direct experience as player in liturgical cerimonies at the parish of st. james and the church of the sacred heart of jesus in ganjuran, both in the district of bantul, yogyakarta. i am specially indebted to my karawitan teacher, bapak didik supriyantara, professional musician and devout catholic, who introduced me to the world of the liturgical compositions in yogyakarta. luca pietrosanti. the gamelan in the catholic liturgy in yogyakarta 25 the analysis of the repertories combined with the experience in a practical application within the liturgical context represent the core of all the observations and issues addressed in this work. results in order to understand the phenomenon of the liturgical songs from a strictly musical point of view, the first step that needs to be discussed concerns the scales of the gamelan music. scales have a very important practical repercussions on the vocal aspect. gamelan music uses two scales called pélog and sléndro; the first one has seven sounds in non-equidistant intervals; the second has five sounds in equidistant intervals. in the repertoire of liturgical gamelan music the majority of the songs are in pélog scale. there are also songs in sléndro scale, but they are far fewer in the repertoire: in the kidung adi there are 246 compositions in pélog scale and 43 in sléndro scale. this fact can be related to the first attempts to sing the gregorian chants using the pélog scale, and which has become common now. all the churches i have visited have gamelan sets in pélog scale. the only church in yogyakarta that also has a gamelan sléndro is the church of the holy heart of jesus in ganjuran. however, the gamelan sléndro is only played at the holy friday mass. moreover, sléndro songs on this occasion are in a special modality (pathet), called sléndro sångå tlutur. in this modality, the vocal ornaments are executed in non-equidistant intervals, thus generating a “minor effect”. javanese people confer a character of intimacy, sadness or meditation to songs in sléndro tlutur, a character that probably suits the particular moment of the passion of christ celebrated in the holy friday mass. it seems that the non-equidistant intervals of the gamelan pélog on one hand and the songs in sléndro sångå tlutur on the other, are someway considered appropriated to the atmosphere of solemnity of the liturgy. songs in pélog scale are mostly played in two modalities: pathet nem and pathet barang. both the gamelan music and the choir use the cipher notation, but they do not refer to the same notes. the cipher notation used in the vocal repertoire is actually a transcription of the pitches of the do major scale (1 corresponds to “do”, 2 to “re”, and so forth). siswanto (2015, pp. 5-7) gives us the key to read the two pélog scales through solmization. the choir tunes the “do” on the note “6” when a song is in pélog nem, and on the note “3” when the song is in pélog barang. at the header of the songs in the repertoires, beside the pélog scale and the pathet, we also find the corresponding note in tempered scale and the metre. indeed, a liturgical song for gamelan can be played with or without the gamelan, a cappella or accompanied by the organ (as it is usually done in yogyakarta). this aspect of 24 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 who is also the current director of the pusat musik liturgi yogyakarta (pml). the work of the committee consisted of the creation of a liturgical repertoire that would integrate as much as possible the different musical cultures of indonesia: not only from java but also sumatra, kalimantan, sumba (ntt – nusa tenggara timur), flores, sulawesi, maluku, and papua; an extensive work culminated in the publication in 1980 of the first book of liturgical songs in indonesian language, the madah bakti. regarding the traditional music of central java, the work of the committee ended with the publication in 1984 of the kidung adi – buku umat (book for assembly), a book of liturgical songs in javanese, in which the main melodies are written in cipher notation, and it is intended to be sung by the assembly. thus, two different repertories are used in yogyakarta, the kidung adi, when the mass is in javanese, and the madah bakti when the mass is in indonesian. later, the pml published several complimentary books for the use of the choir or the gamelan players, in which we can find the arrangements for the choir and the notation for gamelan. the kidung adi and the madah bakti are the references for all the modern liturgical tradition in yogyakarta, both vocal and instrumental. the only exception is the church of the sacred heart of jesus in ganjuran, a special place of worship, which has developed its repertoire of liturgical songs. materials and methods this work is focused on two main aspects of the liturgical songs, vocal and instrumental. the observations about the vocal aspect are the result of research on the liturgical repertories i carried out at the center of liturgical music (pmlpusat musik liturgi) of yogyakarta. there, i also had the opportunity to interview the director of the pml, father karl-edmund prier, regarding the development of the liturgical music for gamelan. furthermore, father prier created a lot of the vocal arrangements for the liturgical songs and is therefore an essential referent for understanding the vocals in the liturgical composition for gamelan. the observations on the gamelan in the liturgy as well as its relation with the choir come from more than two years of direct experience as player in liturgical cerimonies at the parish of st. james and the church of the sacred heart of jesus in ganjuran, both in the district of bantul, yogyakarta. i am specially indebted to my karawitan teacher, bapak didik supriyantara, professional musician and devout catholic, who introduced me to the world of the liturgical compositions in yogyakarta. 26 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 the liturgical songs influences their rendition when sung together with the gamelan in terms of pitch, since the choirs are much more used to singing songs together with the organ or a cappella, rather than together with the gamelan. indeed, despite the fact that the churches in yogyakarta are provided with a gamelan set, the masses accompanied with the gamelan are events that occur at specific moments of the year. during the rehearsals for a solemn mass, matching the pitch of the choir to the pitch of the gamelan is a recurring issue. although this issue can be considered just an “aesthetic” appendix, it is one of the core questions that constantly occurs in the milieu of the liturgical songs, and the pml has been carefully observing it. for what concerns the vocal aspect, the implementation of the polyphonic choir is the result of the innovation of the post-conciliar church and was largely due to the work of the pml during the mid-1960s. many javanese musicians composed the melodies of the liturgical songs, but nearly the entirety of the arrangements for choir were created by father karl edmund prier and paul widyawan, the director of the choir vocalista sonora (pml yogyakarta) from 1964 until now. actually, there have been attempts by traditional gamelan musicians to create polyphonic arrangements, however they have not been introduced in the official repertoires, due to a sort of top-down controlled process done by the pml. despite the wide openness to the contribution of javanese composers for the realization of liturgical songs, there is still a western “aesthetic” judgment on the works of the javanese musicians in terms of polyphonic arrangements. however, in this sort of “one-way” approach based on the western vocal tradition and its aesthetic, some aspects of the traditional music of central java were incorporated to create the arrangements, as father prier reports in an interview he granted for this research: «[…] inculturation means this [father prier takes two papers and overlaps them partially – n/a]: here there is the west and here the east, here the liturgy, here the javanese culture. we made experiments and elaborations by focusing on the western tradition, because there are soprano, alto, tenor and bass. the traditional gamelan music includes the use of different instruments […] and this is the richness of this tradition [...]: when the rebab plays together with the sindhen they create a dialogue, they do not play in unison, but as a question and answer. we have taken this type of relationship from javanese culture in order to create neither chords, neither homophony, but „polyphony‟ intended in this way». while mostly related to the european vocal tradition, the vocal arrangements also take some elements from the javanese tradition. this is primarily the use of pentatonic scales built on the different pathet of the pélog luca pietrosanti. the gamelan in the catholic liturgy in yogyakarta 27 scale. secondly, they try to recreate a kind of heterophony, which in the gamelan tradition originates from the overlap of the independent melodic lines of instruments and voices. the counterpoint of the vocal arrangements is mostly imitative: the melodies of the different vocal registers repeat or present a variation on the main melody (the one assigned to the assembly) and then develop independently. the convergence of different melodies does not seem to be aimed towards the realization of chords, at least not intentionally. the imitative canon is also frequent, as well as a note against note counterpoint. not all the songs in the kidung adi and the madah bakti have been the object of polyphonic vocal arrangements. there are still songs only for one voice that are frequently sung in the mass and it is not rare to listen to homophonic choirs. indeed, we should not forget that the liturgical songs are intended to let the assembly participate in the mass, which is one of the main aims of the postconciliar church. this perspective also affects the choir themselves. each choir consists of a group of volunteers who are periodically asked to sing for an important mass. thus, the members of a choir are not professionally trained musicians, instead they are active members of the community who carry out a service. moving towards the instrumental aspect of the liturgical songs, we must say that implementation of the gamelan in the liturgy also occurred after the vatican council ii. the work of the pml in the second half of the last century has given birth to a complete repertoire of songs that can be played with the gamelan, and the churches i visited are all provided of a gamelan set. however, the policy of the pml has been to let each church chose when using the gamelan for a celebration. the gamelan is usually played during solemn celebrations, such as at christmas, easter, or for important events in a certain church or parish; we can also mention baptisms, consecrations and commemorations, which can occur in private places. this sort of freedom in the use of the gamelan can be explained considering two main factors: 1) liturgical songs can be played both tuning to the pitches of the tempered scale (a cappella or accompanied with the organ) or accompanied with the gamelan; 2) not always there are gamelan players within the community of a parish, especially those who are skilled enough to play instruments such as kendhang, gendher, rebab, or gambang. when a solemn mass needs to be prepared, gamelan players are chosen without considering the parish they belong to, or even without mind about their religion. during the period before a solemn mass, the gamelan group and the choir have independent rehearsals. they usually meet to practice together one or two weeks before the mass. the fact that the liturgical songs can be accompanied with 28 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 the organ or sung a cappella makes it possible. however, this process causes issues regarding pitch and tempo: the gamelan notes are not in the same pitch of the tempered scale; in the absence of rhythmic instruments, the tempo of the choir is generally slower that the one set by the gamelan. the impression is that the choir and gamelan are not totally blended together, rather they proceed in parallel. this is probably one of the aspects of the “slight overlapping” between the javanese and western musical tradition intended by father prier. the only exception to this praxis in yogyakarta is the parish of pugeran, where the gamelan is played every sunday mass at 8.00 a.m. this parish has created a complete schedule where four gamelan groups and choirs animate one mass in a month each. although the use of gamelan is not strictly necessary, what i consider relevant is that it is a must in the most important religious celebrations. this fact connects the use of the gamelan as it is in its tradition to the context of the solemn catholic masses, thus emphasizing its ritual function. from a technical point of view, the gamelan music still keeps typical elements of its own tradition, such as musical forms (benthuk), idiosyncratic elaborations of the instruments, as well as the most common types of renditions of a song (garap). de facto, a musician who plays a liturgical song for gamelan finds himself in a familiar context. however, due to the characteristics of the liturgy, part of the gamelan tradition is not implemented. thus, the various types of gamelan compositions (gendhing) are an adaptation of the traditional gamelan music within the liturgical context. the traditional musical forms commonly used in the liturgy are the three so-called “short musical forms” (gendhing alit): lancaran, ketawang, ladrang. during the liturgy is also frequently used one proto-gamelan form, the monggang, especially for a highly symbolic moment of the liturgy (for example, during the consecration of the bread and the wine) or processions in the place of worship. other musical forms, that is slepeg, ayak-ayak or palaran, are present in the official repertoire, but they are not commonly used. there are intuitive reasons for the choice of short musical forms: a short form lasts only a few minutes (even seconds), respecting the timing in the liturgy. moreover, each of these forms has a distinctive character that suits the atmosphere of each moment in the liturgy. we have already mentioned the case of the monggang, which has a high ceremonial value even in the gamelan tradition itself “the gamelan monggang in the yogyakarta kraton […] used to be played exclusively on very solemn or festive occasions; for instance, to celebrate the sultan‟s coronation or to accompany the sultan‟s departure from the palace to attend important ceremonies.” luca pietrosanti. the gamelan in the catholic liturgy in yogyakarta 29 lancaran compositions have a fast tempo and a lively character. they are usually played as an opening (pambukå), a closing (penutup) or during the offertory (pisungsung). even compositions in ketawang and ladrang form can be used as an opening. the lancaran form is also used for musical psalm settings (kidung panglimbang – mazmur). in these cases the compositions are set in a slow tempo (irama ii), which is considered more appropriate for accompaning the singing of the psalms. in these songs, the lancaran is alternated with a recitation of the verse (ayat-ayat) accompanied only by the gendèr. ketawang compositions have a slow tempo and a meditative character: they are the most used form in the mass, especially in question/answer parts between the celebrant (or the lector) and the assembly, such as psalms and alleluia. in these cases, the composition in ketawang form has only one gong cycle (gongan); the closing directly follows the opening without any repetition. in the repertorie we can find ketawang compositions for every moment of the mass. this musical form seems to suit the liturgy tout court, maybe because of its tempo and duration. most of the liturgical songs in yogyakarta are set in a slow tempo. perhaps in javanese culture there is a connection between a slow tempo and the concept of sacred, religious. finally, compositions in ladrang form (which is the longest form) are usually played during long periods of the liturgy, such as the communion, or during the introduction to the mass. compositions in ladrang form can also be elaborated upon in various ways and present a rich and wide variety of arrangements. beside the traditional musical forms, in the repertoire we can also find frequently used songs that introduce new elements or variants to the traditional models, such as compositions that use elements of other regional musical traditions or irregular musical forms. looking at the arrangements, while the one for the choir strictly refer to the repertoires, those for gamelan present more variations. professional musicians usually prepare a list of songs dedicated to a mass, and it is common to vary the composition according to the taste of the specific musician. there are simply interpretative variations, such as using a slightly different tempo or a different order of the parts within a composition; but there may also be find significant variations, such as the changing of groups of notes or additional ornamentation. regarding the instruments‟ playing techniques, there is a huge range of possibilities, but only those that suit the specific liturgical moment are selected. the case of the kendhang (double-headed drum) is exemplary, because this instrument influences both the types of playing techniques of the other instruments and the resulting rendition of the composition. during the mass, there is the opportunity to play all the three types of kendhang, but it depends on the 28 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 the organ or sung a cappella makes it possible. however, this process causes issues regarding pitch and tempo: the gamelan notes are not in the same pitch of the tempered scale; in the absence of rhythmic instruments, the tempo of the choir is generally slower that the one set by the gamelan. the impression is that the choir and gamelan are not totally blended together, rather they proceed in parallel. this is probably one of the aspects of the “slight overlapping” between the javanese and western musical tradition intended by father prier. the only exception to this praxis in yogyakarta is the parish of pugeran, where the gamelan is played every sunday mass at 8.00 a.m. this parish has created a complete schedule where four gamelan groups and choirs animate one mass in a month each. although the use of gamelan is not strictly necessary, what i consider relevant is that it is a must in the most important religious celebrations. this fact connects the use of the gamelan as it is in its tradition to the context of the solemn catholic masses, thus emphasizing its ritual function. from a technical point of view, the gamelan music still keeps typical elements of its own tradition, such as musical forms (benthuk), idiosyncratic elaborations of the instruments, as well as the most common types of renditions of a song (garap). de facto, a musician who plays a liturgical song for gamelan finds himself in a familiar context. however, due to the characteristics of the liturgy, part of the gamelan tradition is not implemented. thus, the various types of gamelan compositions (gendhing) are an adaptation of the traditional gamelan music within the liturgical context. the traditional musical forms commonly used in the liturgy are the three so-called “short musical forms” (gendhing alit): lancaran, ketawang, ladrang. during the liturgy is also frequently used one proto-gamelan form, the monggang, especially for a highly symbolic moment of the liturgy (for example, during the consecration of the bread and the wine) or processions in the place of worship. other musical forms, that is slepeg, ayak-ayak or palaran, are present in the official repertoire, but they are not commonly used. there are intuitive reasons for the choice of short musical forms: a short form lasts only a few minutes (even seconds), respecting the timing in the liturgy. moreover, each of these forms has a distinctive character that suits the atmosphere of each moment in the liturgy. we have already mentioned the case of the monggang, which has a high ceremonial value even in the gamelan tradition itself “the gamelan monggang in the yogyakarta kraton […] used to be played exclusively on very solemn or festive occasions; for instance, to celebrate the sultan‟s coronation or to accompany the sultan‟s departure from the palace to attend important ceremonies.” 30 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 specific moment of the liturgy. the opening, the closing, the offertory and the communion are appropriate moments to play the kendhang batangan (the medium sized drum). the kendang kalih (the combination of the smallest and the biggest sized drum) is preferred for the other moments, such as for psalms or alleluia. discussion liturgical songs for gamelan and choir are a good example of the convergence of very different cultures, and an interesting phenomenon from the point of view of the ethnomusicologist. we must remember, indeed, that ethnomusicology consists not only of the study of popular or tribal music, but also includes the study of the syncretic dynamics between different musical cultures. despite its actual limits, the process of inculturation has created a lively environment and opened new perspectives to gamelan traditional music. even if the implementation of the choir on top of pre-existing traditional structures still represents something far from the javanese traditional culture, it has been received positively. the western musical tradition has also inspired the creation of new types of compositions that still keep the spirit of the gamelan tradition. in combination, these elements do not compromise the javanese musical culture, rather they somehow show the strengthening of a musical tradition capable of reinventing itself and preserving its own distinctive characteristics. references costitution on the sacred liturgy sacrosantum concilium, 4th december 1963. costitution on the sacred liturgy sacrosantum concilium, chapter ii, 48. harsi & sunarto, mengenal sosok c. harjasoebrata, indie book corner, 2014. pearlman marc, the term karawitan, in balungan, vol. 5 n. 1 winter/spring 1991. pml, madah bakti – buku doa dan nyanyikan, edited by pml yogyakarta, pml yogyakarta press, 1980. pml, kidung adi – buku umat, edited by pml yogyakarta, pml yogyakarta press, 1984. pml, kidung adi – buku kor, jilid i-iv, edited by pml yogyakarta pml yogyakarta press, 2013 (8th ed.). pml, kidung adi – buku balungan, jilid i-iii, edited by pml yogyakarta, pml yogyakarta press, 2013 (8th ed.). pml, madah bakti – buku kor campur dengan iringan gamelan, edited by pml yogyakarta, pml yogyakarta press, 2013 (8th ed.). pml, madah bakti – buku iringan gamelan, edited by pml yogyakarta, pml yogyakarta press, 2013 (8th ed.). pml, madah bakti – buku iringan gamelan, edited by pml yogyakarta, pml yogyakarta press, 2013 (8th ed.). pope john paul ii, encyclical slavorum apostoli, 2nd june 1985. luca pietrosanti. the gamelan in the catholic liturgy in yogyakarta 31 prier k. e., perjalanan musik gareja katolik indonesia tahun 1957-2007, pml, yogyakarta press, 2008. saridal chris, kidungan katur tyas dalem sri yesus ingkang mahasuci – kanthi iringan gendhing, gareja tyas dalem ganjuran, sumbermulya, bambangglipuro, bantul, daerah istimewa yogyakarta, 2000. saridal chris, kidungan jemuah adi – gendhing-gendhing jawi slendro 9, kacawisaken dening, seksi pendidikan & kebudayaan kangge kabetahan liturgi. siswanto m., tutnunan karawitan ii, pml yogyakarta press, 2015. soedarsono r. m., ritual performing arts in the court of yogyakarta past and present, in urban culture research vol. 1, university of gadja mada yogyakarta, 2003. supanggah rahayu, gatra: a basic concept of traditional javanese gending, in balungan voll. 9-10, 2005. 30 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 specific moment of the liturgy. the opening, the closing, the offertory and the communion are appropriate moments to play the kendhang batangan (the medium sized drum). the kendang kalih (the combination of the smallest and the biggest sized drum) is preferred for the other moments, such as for psalms or alleluia. discussion liturgical songs for gamelan and choir are a good example of the convergence of very different cultures, and an interesting phenomenon from the point of view of the ethnomusicologist. we must remember, indeed, that ethnomusicology consists not only of the study of popular or tribal music, but also includes the study of the syncretic dynamics between different musical cultures. despite its actual limits, the process of inculturation has created a lively environment and opened new perspectives to gamelan traditional music. even if the implementation of the choir on top of pre-existing traditional structures still represents something far from the javanese traditional culture, it has been received positively. the western musical tradition has also inspired the creation of new types of compositions that still keep the spirit of the gamelan tradition. in combination, these elements do not compromise the javanese musical culture, rather they somehow show the strengthening of a musical tradition capable of reinventing itself and preserving its own distinctive characteristics. references costitution on the sacred liturgy sacrosantum concilium, 4th december 1963. costitution on the sacred liturgy sacrosantum concilium, chapter ii, 48. harsi & sunarto, mengenal sosok c. harjasoebrata, indie book corner, 2014. pearlman marc, the term karawitan, in balungan, vol. 5 n. 1 winter/spring 1991. pml, madah bakti – buku doa dan nyanyikan, edited by pml yogyakarta, pml yogyakarta press, 1980. pml, kidung adi – buku umat, edited by pml yogyakarta, pml yogyakarta press, 1984. pml, kidung adi – buku kor, jilid i-iv, edited by pml yogyakarta pml yogyakarta press, 2013 (8th ed.). pml, kidung adi – buku balungan, jilid i-iii, edited by pml yogyakarta, pml yogyakarta press, 2013 (8th ed.). pml, madah bakti – buku kor campur dengan iringan gamelan, edited by pml yogyakarta, pml yogyakarta press, 2013 (8th ed.). pml, madah bakti – buku iringan gamelan, edited by pml yogyakarta, pml yogyakarta press, 2013 (8th ed.). pml, madah bakti – buku iringan gamelan, edited by pml yogyakarta, pml yogyakarta press, 2013 (8th ed.). pope john paul ii, encyclical slavorum apostoli, 2nd june 1985. 77 the creation of nyanyian layonsari opera i gusti ngurah wiryawan budhiana insitut seni indonesia yogyakarta e-mail: budingurah@yahoo.com abstract the creation of nyanyian layonsari was started with the writer's anxiety as a musician. in his journey as a cellist and conductor, he plays many works originating from western classical composers. in concerts, he rarely plays works originating from indonesian composers; even it can be said to have never played them. from that experience, the writer wants to make a composition which has a characteristic. nyanyian layonsari is inspired by geguritan jayaprana which comes from north bali. this work tells the story of the love tragedy between jayaprana and layonsari. the drama begins when raja kalianget falls in love with layonsari, jayaprana's wife, and wants to marry her. the story in this opera ends tragically when all are killed and all destroyed. the uniqueness of the story is on the atmosphere of sadness in the beginning when an outbreak of disease occurs, and it ends with the sadness too when all is destroyed. the jayaprana and layonsari stories are full of moral messages. in the creating process of nyanyian layonsari, the idioms of balinese music were used, namely, kotekan, beetle sound effect “ngisep”, and “kajar” sound effect. in addition to balinese musical idioms, nine-note synthetic scales were also used which were based on and inspired by the pelog and slendro harmony. the elements of music were processed based on the understanding of western music theories. through this staging opera, it is expected to convey the messages contained in the story and can be understood by the audiences. besides, the creation of nyanyian layonsari opera can bring a distinctive musical style and can be used as a development in the field of music composition in indonesia, and can be raised in international forums. keywords: music composition, geguritan jayaprana, national music style penciptaan opera nyanyian layonsari abstrak penciptaan nyanyian layonsari dimulai dari kegelisahan penulis sebagai musisi. dalam perjalanannya sebagai pemain cello dan kondakter, banyak memainkan karya-karya yang berasal dari komponis klasik barat. dalam konser-konser jarang sekali memainkan bahkan bisa dikatakan tidak pernah memainkan karya yang berasal dari komponis indonesia. dari pengalaman itu penulis ingin membuat komposisi yang memiliki ciri yang khas. nyanyian layonsari bersumber dari geguritan jayaprana yang berasal dari bali utara. karya ini mengisahkan tentang tragedi cinta antara jayaprana dan layonsari. tragedi dimulai ketika raja kalianget jatuh cinta kepada layonsari, istri jayaprana dan ingin memilikinya. kisah dalam opera ini berakhir tragis ketika semua saling bunuh dan semua musnah. keunikan dari cerita ini adalah, diawali dengan suasana kesedihan, katika terjadi wabah penyakit dan berakhir dengan kesedihan pula, ketika semua musnah. kisah jayaprana dan layonsari sarat mengandung pesan-pesan moral. dalam penggarapan nyanyian layonsari digunakan idiom-idiom musik bali yaitu, kotekan, efek suara kumbang ngisep, dan efek suara kajar. selain idiom musik bali, digunakan juga tangga-nada sintetis sembilan-nada yang bersumber dan terinspirasi dari laras pelog dan laras slendro. unsurunsur musik diolah berdasarkan pemahaman teori musik barat. melalui pementasan opera ini diharapkan dapat menyampaikan pesan yang terkandung di dalam cerita dan bisa dimengerti oleh audiens. selain itu penciptaan opera nyanyian layonsari ini dapat memunculkan gaya musikal yang khas dan dapat digunakan sebagai pengembangan bidang komposisi musik di indonesia dan dapat dimunculkan di forum internasional. kata kunci: komposisi musik, geguritan jayaprana, gaya musik nasional i gusti ngurah wiryawan budhiana, the creation of nyanyian layonsari opera 78 introduction as a cellist, both in the orchestra and soloist, the writer has played many works of classical music that are recognized as masterpieces from western classical composers, such as the works for solo cellos, cellos with piano accompaniment, string ensembles and mixed ensembles, and the music works for orchestras. through these experiences, the writer brings insight into his understanding of the types of repertoire and masterpieces and becomes more familiar with various musical styles. in addition to having experiences in the orchestra world, questions aroused that caused anxiety, why the orchestra performance always plays classical western music. there was a feeling of curiosity and dissatisfaction, and hoped to make music composition which is patterned and based on traditional musical idioms, and have a national style of indonesian music. in 1990, the writer had the opportunity to explore the techniques of orchestral conducting and opera at dartington international summer school, england. in examining the method of conducting, the writer was mentored by the maestro, diego mason. as a conductor, the writer has experiences in leading the ensembles, from the chamber music concerts to the complete orchestras, accompanying solos and also becoming a conducting teacher. through this experience, the writer has gained knowledge of things that are very closely related to the musical aspects; among others are musical communication, methods in the process of forming an artistic work, a technique of leading the correct orchestra, and musical expression. the repertoires used for the concert also come from western music. in terms of musical expression, as a conductor, the writer feels that in leading a concert or show requires a musical expression that is more complex, more thorough, and more total. from this experience, curiosity is getting stronger and emerging musical ideas which until now is continuing to emerge and develop, it and must be realized into the composition of music. this curiosity and anxiety made an impression and gave a powerful enthusiasm to make a composition which has an indonesian style. anxiety and curiosity consistently emerged and continued. the questions arose; why is that so? are there no works of musical compositions made by indonesian composers? is it possible that indonesian composers compose the piece of orchestral music? even though indonesia has traditional musical elements that are unique and rich in musical idioms. the features of traditional music can be used as ideas for making musical compositions which have characteristics. the questions above always arouse and cause anxiety; it seemed like there was a feeling against him to get out of this problem and needed an answer. these questions, anxiety, as well as curiosity, gave him a firm encouragement to compose music. through the experiences of becoming a musician, the writer also studied the theories of western classical music in depth. by having the curiosity which always ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 79 emerged, the writer began to go into the “world” of music creation. the writer started to look for ideas which brought up plans to make musical compositions. the search for purposes was centred on the elements found in the tradition around the writer's place. the writer's meeting with the story of jayaprana and layonsari started around the 1980s. at that time, the writer read a novelette entitled pengantin kalianget written by elok satiti susrama. after reading the story of pengantin kalianget, the writer dissolved in the story and had a deep impression, and felt sadly touched by the story. any various feelings arouse; compassion for the character who became the victim, and feeling of anger, resentment towards an event that should not have happened, and also a desire to defend the oppressed people. from these feelings, a compelling question arouse, why should it all have to happen? the writer was very interested in the characters in the story and wanted to know what circumstances might cause them to take specific actions. the writer admired the character of layonsari, who was very loyal to her husband, jayaprana. the highlight of the writer's admiration was the event when layonsari rejected the king's request to possess her as his own. layonsari defended her “self-esteem” which could not be played by anyone else and must be respected as a woman. when layonsari committed suicide, the writer was amazed at her action, but he was also horrified, so it was like a mixed feeling of terrible admiration. out of that feeling, there was surged emotion, and it became the source of the idea of creating a musical work. and through music, the writer wanted to convey the message contained in this story to others. to understand the story, the writer explored the story. the writer searched for the original story of the jayaprana and layonsari and found that the story of pengantin kalianget was based on the legend of jayaprana and layonsari, which was written on geguritan jayaprana. it is known that geguritan jayaprana was originated from north bali, which had full of moral, ethical, and moral values. the messages contained in the story of geguritan jayaprana are still relevant to be and as a mirror of life, and can be used as an example by today's society. the ideas of composition would then be raised and manifested into musical works, in which there were stories formed into artistic elements. stories which were first initiated in the form of text or writing, then, were interpreted. and through musical composition techniques, they were made into musical arrangements. the expressions contained in the texts were enhanced by the use of musical elements and musical composition techniques. i gusti ngurah wiryawan budhiana, the creation of nyanyian layonsari opera 80 the creation method in the creative process and to be able to produce the music creation of this opera, there were several stages to carry out as follows: a. literature study. it was aimed to study theories to strengthen the concept of creation. literature studies included theories related to stories, music, and supported theories. b. making a reinterpretation of the manuscript of geguritan jayaprana. through this reinterpretation, a libretto was formed, which was used as a storyline. c. analyzing and studying the works of previous composers, and it became a comparison of works. d. experimentation was done through the study of literature, and by experimenting with the elements of music, and by using the techniques of musical composition. in addition to studying literature, this experimentation was also based on the writer's experiences in composing music. the purpose of experimentation was to achieve the form of work under the concept of creation. e. presentation. it was a presentation in the form of a performance or a concert resulting from the process of creating music. this music staging would be performed in a concert hall which meets the requirements for an acoustic music concert. the primary purpose of performance would be the achievement of delivering the messages contained in the story to the audiences. scheme: reflection on the atmosphere of the story from the beginning, the middle, and the end. the beginning of sadness and ending sadness. summary of the story. the legend of jayaprana and layonsari are full of moral messages which are very important to convey and are useful for self-reflection of the present and future circumstances. an understanding of these moral messages was obtained through the analysis of stories based on the manuscript of geguritan (the story of arjuna's success when he was imprisoned and seduced by seven angels who disguised themselves as his wives.) jayaprana (1977) and the novelette entitled pengantin happines s sadness sadness ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 81 kalianget (geguritan jayaprana is rewritten in the form of a novelette by elok satiti susrama under the title pengantin kalianget in 1979 and published in the mutiara tabloid in six parts.). the summary of the story of geguritan jayaprana. once upon a time, an epidemic struck kalianget, this resulted in many deaths. when the king's bodyguards were helping the victims and helping those who were still alive, they found a boy who had been left dead by his entire family. soon he was taken to the kalianget palace. the child was named jayaprana and grew up in the kalianget palace. the king loved jayaprana very much, as his son. the king had the pleasure of hearing jayaprana singing kakawin arjuna wiwaha (the story of arjuna's success when he is imprisoned and seduced by seven angels who disguised themselves as his wives.). one day the king ordered jayaprana to choose one of the ladies in the palace or girls outside the palace to be his wife. jayaprana refused his command, arguing that he was still a child. but because he was forced by the king, jayaprana finally complied. he walked to the market near the palace to see the girls passing by the market. suddenly, he saw a charming girl. the girl named layonsari, a daughter of jero bendesa came from banjar sekar. seeing the beautiful girl, jayaprana was deeply captivated and his eyes continued trailing the girl to the market. on the other hand, layonsari looked at a handsome young man who was watching him. after the girl sneaked behind the people in the market, jayaprana quickly returned to the palace reporting his founding to the king. the king received jayaprana's report, and then he wrote a letter. jayaprana was ordered to bring it to jero bendesa (head of the customary village in bali, a call for respected people). he respectfully handed in the letter he brought to jero bendesa who immediately read it. soon after that, jero bendesa strongly agreed that his daughter ni layonsari was married to jayaprana. by the time of jayaprana and layonsari's marriage, the king sat on the throne accompanied by employees and servants. then the two brides came out and down from the palanquin, then worshipped before the king. with respect, king saw layonsari's face, the king admired layonsari's beauty. soon afterwards, the king said to the perbekel that he wanted layonsari, and if layonsari could not be married by him, the king would die because of sadness. hearing that, saunggaling came forward and proposed “one” consideration, to get rid of jayaprana. jayaprana and his entourage were assigned to the terima bay, to eradicate pirates inhabiting there. during the journey to the terima bay, jayaprana often got a bad feeling. finally, they arrived at the terima bay forest. saunggaling said to jayaprana that he had brought a letter from the king that had to be delivered when they arrived at the bay. with a feeling of wonder and palpitations, jayaprana received the letter from saunggaling and read it immediately. the letter said: i gusti ngurah wiryawan budhiana, the creation of nyanyian layonsari opera 82 hi thou jayaprana i do not need you to look after you die sincerely i told to kill you your sin is very big you surpass the king you shouldn't have layonsari i take her as a wife give up your soul don't fight after jayaprana read the letter, he was sad while lamenting. because of your command, i cannot refuse it. since i was a small servant, i was cared for and cared for by the king, but now you want to take my life, i'm ready. i am willing to be killed for your sake, even though i have not sinned. so he wept while shedding tears. afterwards, jayaprana asked saunggaling to carry out his duty to kill him immediately. saunggaling carried out his duty, and he stuck his weapon to jayaprana's left hull. the blood sprayed with the smell of the fragrance, and many beetles came over to smell it, the rumble of thunder continuously sounded, the sparkling was visible in the sky, the heavy rain was pouring, teja guling and rainbow, the circle surrounded the sun, as all signs of respect to jayaprana. jayaprana died and was buried in the area around the forest of terima bay. after jayaprana's corpse was buried, the soldiers returned home feeling very sad. in the middle of the journey going home, they had an obstacle which brought death. among them, many soldiers died because they were pounced on by balinese tigers (the balinese tiger is now extinct), snakebitten them, and so on. news about jayaprana's murder had been heard by layonsari. the king insisted layonsari to be his wife, but layonsari drew her weapon and stabbed her. the king was angry and rampaged, and they killed each other and were all destroyed. discussion the review of musical aspects of nyanyian layonsari consist of fifteen parts and start from the elements of the musical forms (the musical form is used as a place guide to see musical activities that occur so that it is easily seen and understood) and its small parts, the atmosphere of the story, instrumentation, musical instruments used, game techniques, musical idioms, musical textures and other elements. in this case part, five is used: layonsari's dream. part 5: layonsari's dream one night, while sleeping, layonsari dreamed. in her dream, layonsari saw a great flood that violently struck her house, and carried away everything. she was ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 83 scared and looked for jayaprana. he did not meet jayaprana, he cried in fear, and he was carried away. where are you jayaprana? where are you? layonsari shouted sadly. layonsari's dream consists of the introduction, a, b, c, d, insertions, and coda. no. birama 1-2 3-27 28-54 55-79 80--100 101-108 109-114 form intro a b c d insertion coda diagram 1. form of musical song of mimpi layonsari in the introduction section, measure 1-2 with a 4/4 time signature, glockenspiel and vibraphone play a minor chord dynamic p in a slow tempo with a fermata, this sound effect is quiet and calm, the atmosphere of the night. notation 1. introduction, glockenspiel and vibraphone, measure 1-2 part a, measure 3-26, fast tempo with a time signature of 7/4. time signature 7/4 is used to avoid regular and even knocking, and avoid symmetrical tendencies. this section is an aria which is sung by layonsari with a string section accompaniment using sordino. layonsari sings the long note, while the string section accompanies with a repetitive rhythm pattern. combining the long note and the rhythmic patterns of the arpeggio with the tune of eighth has the effect of “floating”. it is because the pressure count is not clear. occasionally, marimba and vibraphone play the sound effect of the “beetle sucking” with a short interval. notation 2. an excerpt part a, aria sopran with the long note, measure 10-12 i gusti ngurah wiryawan budhiana, the creation of nyanyian layonsari opera 84 notation 3. an excerpt of part a, a string section accompaniment with a rhythm pattern repeated, measure 10-12 part b, measure 27-54, illustrates when layonsari is looking for jayaprana who cannot be found. layonsari sings the long note, with a string accompaniment with repeated rhythmic patterns, and the woodwind instruments add the colour of the sound and strengthen the soprano melody. notation 4. an excerpt, oboe and flute strengthen and colour the sound of soprano, measure 27-29. part c, measure 55-78, the lyrics of i'm afraid is played with a long note and is reinforced by an oboe, while the flute plays an arpeggio pattern which is previously played by the string section. this pattern is used for unity purposes and adds sound colour variations. marimba strengthens the rhythm played by violin 2. vibraphone plays the effect of the “sucking” beetle. notation 5. an excerpt of part c, oboe strengthen sopran, and the flute plays arpeggio pattern, measure 54-55.\ part d, measure 80-100, the lyrics of ah is the part when layonsari feels disappointed not to be able to meet jayaprana. she can only take cover by the shadows of jayaprana, layonsari still looks for jayaprana, but cannot find him. in this part, the soprano sings in long notes, the string section plays the arpeggio ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 85 pattern, and the woodwind section stands out more by playing the arpeggio pattern decorating the soprano melody, as being played by the string section. notation 6. an excerpt of part d, woodwind section more appears playing the arpeggio pattern, measure 80-83. the transition part, measure 101-108, is only played by musical instruments without any soprano sound. this part is anti-climax, the atmosphere is decreased, and quiet, and there is no prominent melody. the long notes are played by the woodwind section, violin i, viola and cello, while marimba and contrabass play pizz strengthening the beats, vibraphone plays sound effects like a “sucking” beetle. notation 7. an excerpt of the transition part, a woodwind section with the long notes, measure 104-107 notation 8. an excerpt of the transition part, vibraphone plays the sound effect of the “sucking” beetle, measure 104-107. i gusti ngurah wiryawan budhiana, the creation of nyanyian layonsari opera 86 notation 9. an excerpt of transition part, string section, measure 104-107. the coda section, measure 109-114, is an affirmation of layonsari's search for jayaprana which ultimately cannot be found. sopran reappears with the lyrics “where you are” with a note moving up towards the central note f. the movement of the rising note shows the anxiety that cannot be resolved. the notes on the accompaniment go up to the high notes, this reinforces an unfinished feeling. the sign of molto ritardando strengthens the sense of completion and ends with a high note by glockenspiel and vibraphone; it strengthens the feeling of the silence of the night. notation 10. an excerpt of coda part, the notes move up with the dynamic is getting softer, measure 111-114. ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 87 notation 11. an excerpt, final part of a2, string section plays the main motive without sordino, measure 28-33. conclusion in the creation and embodiment music work of the nyanyian layonsari, some conclusions can be formulated as follows: the work of nyanyian layonsari is sourced from geguritan jayaprana. through the analysis of the story, it can be concluded that the story contained in geguritan jayaprana is about the love tragedy with sadness nuance. the uniqueness of the story about jayaprana begins with a sad atmosphere and ends with a sad atmosphere too, unlike other stories that usually end with a happy ending. the manuscript of geguritan jayaprana was reinterpreted by using psychoanalysis and narratives, and then a new text was made in the form of the libretto. with the ‘new’ perception and with the creativity of musical composition techniques, the work of layonsari song was composed. the whole part of this work is sixteen songs, which are arranged based on the events that occur in the story. in nyanyian layonsari, the idioms of balinese music are used, namely sound effects such as kotekan, the ‘sucking’ sound effect of beetle, and kajar. the idiom of balinese music is expressed using western music. by using balinese music idioms, this work is nuanced like balinese music. in every part, from the beginning to end, the balinese music nuances always appear and are always maintained. nyanyian layonsari can bring a distinctive sound perspective, and display a specific style of music, namely the nationalist form of music. the ‘message’ contained in this work is found in the lyrics which are arranged in a simple, short, and concise manner. the lyrics are used in an often repeated way; it adds to the strength of the message. the lyrics are formed into music which is strengthened by the musical elements. it also adds to the power of expression contained in the lyrics. the i gusti ngurah wiryawan budhiana, the creation of nyanyian layonsari opera 88 message contained in nyanyian layonsari can be conveyed to the audiences. the conclusion is to maintain unity between the idea of creation and the work. references ali, matius. (2011). estetika, pengantar filsafat seni. jakarta: sanggar luxor. freud, sigmund. (2009). pengantar umum psikoanalisis, original title a general introcuction to psychoanalysis by sigmund freud, with a preface by erich fromm and epilog by julia segal et.al. translator & editor: haris setiowati. yogyakarta: pustaka pelajar. hill, philip. (2002). lacan untuk pemula. yogyakarta: penerbit kanisisus. inayat khan, hazrat. (2002). dimensi mistik musik dan bunyi. yogyakarta: pustaka sufi. made sukerta, pande. (1998). ensiklopedi mini karawitan bali, sastranayamasyarakat seni pertunjukan indonesia (mspi). bandung. nakagawa, shin. (2000). musik dan kosmos, sebuah pengantar etnomusikologi. jakarta: yayasan obor indonesia. ricoeur, paul. teori interpretasi, memahami teks, penafsiran, dan metodologinya. yogyakarta: ircisod. sumarsam. (2003). gamelan, interaksi budaya, dan perkembangan musikal di jawa. yogyakarta: pustaka pelajar. sunardi, d. m. (1993). arjuna wiwaha. jakarta: balai pustaka. suseno, franz magnis. (1987). etika dasar, masalah-masalah pokok filsafat moral. yogyakarta: penerbit kanisius. strinati, dominic. (2010). popular culture, pengantar menuju teori budaya populer. yogyakarta: ar-ruzz media. takwin, bagus. (2007). psikologi naratif, membaca manusia sebagai kisah. yogyakarta: jalasutra. widodo, rh. (2009). saussure untuk sastra, sebuah metode kritik sastra strukturalis. yogyakarta: jalasutra. stephanus e. indrawan1 et. al.. reparameterizing tectonics perception 69 reparameterizing tectonics perception on planar material-design stephanus evert indrawan1, gervasius herry purwoko2, tri noviyanto p. utomo3 interior architecture department, ciputra university uc town-citraland surabaya1,2,3 email: sindrawan@ciputra.ac.id1; gpurwoko@ciputra.ac.id2; tommy@ciputra.ac.id3 abstract indonesia is known as a country rich in types of building materials and technologies inherited from generation to generation. along with the passage of time appears the computer as a human tools. however during the materials processing this computational approach is still separated. computers are still used as tools for drawing and not used as design tools in the design thinking process. computational design has an ability to integrating the design focus from the material side, structure, and formation associated with digital fabrication. this paper focuses to divide concepts of tectonics as general and relate them to the understanding of digital perception. this paper also presents the results of a study that has involved digital perception in the study of planar materials and waffle structure systems from the early stages to the model of construction. plywood is the only material used, made with milling machines and built by students. this process introduces students to different experience of the design process. computational design makes possibilities to integrating the design focus from the material side, structure, and formation associated with digital fabrication. keywords: computational design, digital fabrication, digital perception, design tools introduction architects are actively involved to design a better living environment. it still cannot be avoided, modern production demands for effectiveness and efficiency. this situation have divided the architectural process into two major domains: ―design‖ which represents ideas and ―constructs‖ that represent jobs field (armand, 2014). architectural process cannot be separated from tectonics skills and perception. based on historical references. tectonics word or tekton originally from greek word that means carpenter or builder. tectonics is a concept that defines the relationship between architectural design and its structures and materials. the variety of the tectonics of nusantara skill are highly influent the history of indonesian architecture. the skill of builders that inherited from generations who skillfully carve, sculpts, and build an architecture. the first 70 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 element of tectonics is material. tectonics cannot be separated from material that being used. the architecture of nusantara generally was made from wood, stone, and bricks. during the colonial era and industrial revolution era, concrete become the main material for modern and colonial buildings. on the other hand, indonesia is world-known country that has many kind of material resources and technology. from this explanation can be seen there are tectonics of nusantara before colonialism era and modern tectonics during and after colonialism era. modern tectonics itself is divided from before the digital era and the digital era. according to oxman, the relationship between architecture and structure changes over time influenced by periods. nowadays, computer are becoming tools for architect during drawing production process but during conceptual stage most of designer still rely on pencil and paper. fabrication and production process are separate from the process of design. this research proposes alternative to designer to explore larger design possibilities to achieve design result. 1. design domain and cad support the complexity of design and design problem requires designer to produce many design alternatives. most of this activity happens during initial stage, pencil and paper become the most important tools that chosen by most of designers. during this stage, most of commitments have been decided and remarkable improvements cannot be made. there are some logical explanation that prevent involving cad in initial stage of design. 1. the development of design. in the creative process, the design exploration stage depends on the results of previous exploration. creative design is based on reflection, reaction, criticism, and inspiration taken from the process itself. the exploration of the designer relies heavily on understanding the problem and potential solutions to the problem. oxman defines ‗conceptual emergence‘ as a search for ‗visual fit‘ images stored in the designer‘s mental image memory and the way the designer maps of these images into a formal-configurational schema. designer imagination is needed to identify design solutions by departing from abstract things. 2. the importance of sketch. sketching has an ability to stimulate creative process in concept development process and helping to generate it. 3. the nature of design process is chaos and unstructured. there are some requirement that need to meet for cad to support designers during conceptual stages: 1) minimum requirements and disturbance on designs process; 2) operational flexibility for designer; 3) be able to manage chaotic design stages; 4) stimulating designers creativity; 5) efficiency to translate design content to detailed designs phase. stephanus e. indrawan1 et. al.. reparameterizing tectonics perception 71 2. the evolution of tectonics tectonics word or tekton derived from greek word that means carpenter or builder. tectonics is a concept that defines the relationship between architectural design and its structures and materials. the relationship between architectures and structures was changing from time to time influenced by its periods (r.oxman, 2010). there are concept of tectonics that defines its relation to informed tectonics. 1. vernacular tectonics was the origin of tectonics expression. vernacular design always expressing the essence of material technology. in the vernacular, traditional material technologies evolve to become buildings system. the system are strongly related to material origin and construction process. the expression of vernacular tradition are an implicit ―poetics‖ or explicative theory. the traditional house of japan is a good example of vernacular tectonics, providing an essential expression of construction potentials of material. 2. tectonic as culture: prioritizing building and construction, since the 19th century and through modern periods can be seen that the theory of tectonic evolve through the nature of design. according to frampton ―the poetry of constructions‖ is the foundation of modern architecture and shape, structures and materials still interpretated separately. this condition brings a closer exploration of tectonics to contemporary definition in which fabrication and manufacturing are viewed as parametric systems. 3. digital tectonics as virtual and physical materiality. there are various different approaches of digital tectonics in the last decade: 1) digital tectonics as virtual materiality, a virtual computational space is an accommodation of material representation. 2) digital tectonics as physical materiality, digital tectonics was related to dynamic factors of motion, information, generation and fabrication. 3) digital tectonics as fabricated materiality. 4) digital tectonics as structured materiality, digital technologies make technological possibilities more affordable 5) digital tectonics as digital form-finding and morphogenetic processes, related to form-finding processes and in-nature. 6) digital tectonics as adaptive materiality, adaptive building required an adaptive material by system performance of material. (oxman, 2012) 72 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 3. research frameworks: generative design and digital fabrications from previous explanation can be identified that the usage of digital tools should not hinder the creative freedom. the work flow should be designers oriented in order to see how the design result fit in design problem. the following explanation we present the theoretical description of generative design along with digital fabrication implementation. generative design and digital fabrication method are implemented for pavilion that made from planar material. generative design here is designer driven, parametrically constrained design exploration process. generative design can be applicable to both parametric and procedural design. vernacular traditional tectonics tectonics as culture parametric design approach figure 1. scheme of vernacular tectonic to informed tectonics concept figure 2. generative design process stephanus e. indrawan1 et. al.. reparameterizing tectonics perception 73 the aim of generative design according to shea: ―generative design systems are aimed at creating new design processes that produce spatially novel yet efficient and buildable designs through exploitation of current computing and manufacturing capabilities‖. the process of generative design consist of this following components: 1. the diagram of design. 2. a medium to create alternatives or design possibilities. 3. a medium to select considered outcomes. the process of generative design can be described into configuration variation, performance metric, and decision making response. the generative design method built by seven components: 1. genotype—is composed of a generic parametric cad model, list of design parameters and their initial value and initial exploration envelope. 2. phenotype—generated cad files (that may include build history, built-in relationships, and built-in equations). 3. exploration envelope—a list of minimum and maximum values of the driving parameters, specifying the limits of the design space to be explored. 4. design table—a data table that stores the driving design parameters, their initial values and limits. 5. design generation software—a spreadsheet function, a macro or a cad plug-in that operates on the design table. it generates random variations of the driving design parameters within limits set by the exploration envelope. cad system—is a parametric cad engine with a transparent and editable build history, preferably with a 3d geometric kernel with capabilities to manage geometric relationships, engineering equations and connect to external design tables. performance filters—a pass/fail software filter, that is able to evaluate the performance of generated designs based on preset performance criteria. the performance may be evaluated directly from the design table or by the cad‘s inbuilt evaluation tools or by the use of external analytical software associated with the cad package. beside generative design method, digital production also narrows the gap between representation ideas and forming. digital fabrication has a capability to document the architecture process through digital design and innovative constructive projects. there are five categories of digital fabrication method that mentioned by iwamoto, there are: 1. sectioning, it is a part of constructions history. this method was a usually being used to construct the surface of airplane and shipbuilding industry. the 74 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 shape of airplane and shipbuilding were firstly defined sectionally as a series of construction elements. 2. tessellation is a collected form that applied on a form or surface. tessellation are known during ancient rome and those byzantine empire to the screen wall of islamic architecture to filter the lights, define space or convey symbolic meanings. tessellation are strongly related to handcraft culture and digital fabrication gives a different point of view for producing the work of tiling. 3. folding is a powerful techniques to turn flat surfaces into three dimensional form. folding structure has an ability for self-support and wide span structure. folding principles has been embraced by architects for more than fifteen years. 4. contouring is method to stack flat surfaces to construct 3d objects. digital fabrication enables this method to transcend the idea of handcrafting in unorthodox practices. 5. forming is a mass production method that applicated into architectural projects. 4. design implementation cartesian coordinate system can be evolved into uv mapping. uvw coordinates has a different concept compares to xyz. the uv mapping process involves applying pixels in the image to surface mappings on the polygon. this process normally done ―programmatically‖ by pasting material onto triangular surface (mullen, 2009). uv only maps material onto texture space rather than geometrical space of objects. parametric design approach using the principles of uv mapping to apply geometry onto surface (murdock, 2008). designer can produce a digital sketch that represented by surface through parametrical design approach. it is a concept of modeling definition that can be controlled and modified by user. after the surface being modeled, it can be figure 3. surface figure 4. volume stephanus e. indrawan1 et. al.. reparameterizing tectonics perception 75 extruded to achieve certain volume. the model volume was created through association, definition and variety solving method. the behavior of design is associative, it can be managed by user and modified associatively related to objects. the input-output mapping and mathematical expression are described as mathematical expression which describes the generative process. definition is a concept that shows that objects that have definitions can be processed by a computer by determining input parameters to outputs, either numerically, in objects or visually. definitions are often considered as methods for updating, but are sometimes hidden from the user through input interpretation automatically. definitions can be defined by the user through packing object logic on a new object ("feature building" in gc, "clustering" in grasshopper), with scripting or programming. figure 5. section figure 6. joinery figure 7. section figure 8. section 74 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 shape of airplane and shipbuilding were firstly defined sectionally as a series of construction elements. 2. tessellation is a collected form that applied on a form or surface. tessellation are known during ancient rome and those byzantine empire to the screen wall of islamic architecture to filter the lights, define space or convey symbolic meanings. tessellation are strongly related to handcraft culture and digital fabrication gives a different point of view for producing the work of tiling. 3. folding is a powerful techniques to turn flat surfaces into three dimensional form. folding structure has an ability for self-support and wide span structure. folding principles has been embraced by architects for more than fifteen years. 4. contouring is method to stack flat surfaces to construct 3d objects. digital fabrication enables this method to transcend the idea of handcrafting in unorthodox practices. 5. forming is a mass production method that applicated into architectural projects. 4. design implementation cartesian coordinate system can be evolved into uv mapping. uvw coordinates has a different concept compares to xyz. the uv mapping process involves applying pixels in the image to surface mappings on the polygon. this process normally done ―programmatically‖ by pasting material onto triangular surface (mullen, 2009). uv only maps material onto texture space rather than geometrical space of objects. parametric design approach using the principles of uv mapping to apply geometry onto surface (murdock, 2008). designer can produce a digital sketch that represented by surface through parametrical design approach. it is a concept of modeling definition that can be controlled and modified by user. after the surface being modeled, it can be figure 3. surface figure 4. volume 76 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 the sectioning method that explained by iwamoto was chosen to make pavilion. this research selects planar material to be the main material for pavilion, because planar material is the common form that found in indonesian market. the whole process through cnc machine. students were involved from initial stage to assembling process. figure 9. definition from model figure 10. assembling process figure 11. joinery checking figure 12. rear elevation figure 13. front elevation stephanus e. indrawan1 et. al.. reparameterizing tectonics perception 77 result and conclusion from explanation and design implementation can be identified that digital tools should followed by digital methods to achieve sketching quality. digital tools should provide possibilities for designer to work creativily. generative design manage the unstructured flow of conceptual design process. the evolution of tectonics explain interrelation between tectonics skill, material knowledge to architecture or design objects. this relation was change from time to time and highly influenced by efficiency, effectiveness and preservation purposes. digital fabrications generally explain the structure relation between conceptual stage to fabrication process and it narrow the gap between design to realization stages. references iwamoto, lisa. 2010. architecture briefs. digital fabrications: architectural and material techniques. http://www.papress.com/html/ book.details.page.tpl?cart=125777262860796& isbn=9781568987903. krish, sivam. 2011. ―a practical generative design method‖. cad computer aided design 43(1): 88–100. http://dx.doi.org/10.1016/j.cad.2010.09.009. mullen, t. 2009. masteringblender. 1st ed. indiana: wiley publishing. murdock, k l. 2008. 3ds max 2009 bible. 1st ed. indiana: wiley publishing. oxman, rivka. 2012. ―informed tectonics in material-based design‖. design studies 33(5): 427–55. 76 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 the sectioning method that explained by iwamoto was chosen to make pavilion. this research selects planar material to be the main material for pavilion, because planar material is the common form that found in indonesian market. the whole process through cnc machine. students were involved from initial stage to assembling process. figure 9. definition from model figure 10. assembling process figure 11. joinery checking figure 12. rear elevation figure 13. front elevation 69 volume 9 nomor 1, june 2022 p-issn 2339-191x | e-issn 2406-9760 p 69 – 74 digital platform usage among young graphic designer as a shortcut to the fame: a case study on visual communication design students in yogyakarta petrus gogor bangsa1, edi jatmiko2, dwisanto sayogo3 1,2institut seni indonesia yogyakarta, jl. parangtritis km 6,5, panggungharjo, kec. sewon, kabupaten bantul, daerah istimewa yogyakarta 55188 3stsrd visi yogyakarta, jl. taman siswa, wirogunan, kec. mergangsan, kota yogyakarta, daerah istimewa yogyakarta 55151 e-mail corresponding author: gogorbangsa@gmail.com abstract the internet technology has triggered many transformations, including the emergence of digital platforms for graphic design. the rise of digital platforms is hailed as a driver of economic processes and technological innovation. everyone can benefit greatly from this transformation as it empowers them to build a business online without relying on “offline” intermediaries, whether state or an established corporate without complicated regulations and unnecessary costs. as newcomers to the graphic design business, young graphic designers benefit greatly from this digital platform. they have a great opportunity to independently exhibit and sell their work to clients around the world, something that never happened in the days before the advent of internet technology. this research aims to show that technological determination can have a very positive impact on those who master it. as a study material, this research uses josé van dijck's platform society theory. this research was conducted in early 2021 on several subjects consisting of visual communication design students in yogyakarta who run an online graphic design business. the conclusion of this research is that young graphic designers who utilize digital platforms become more visible, high exposure on their work, and zero dependence on intermediaries. this remote working method has now also proven effective as a solution in the midst of difficult circumstances due to the covid-19 pandemic. keywords: digital platform, young graphic designer, shortcut, visual communication design student penggunaan platform digital di antara perancang grafis muda sebagai jalan pintas menuju populer: studi kasus pada mahasiswa desain komunikasi visual di yogyakarta abstrak teknologi internet memicu banyak transformasi, termasuk memunculkan platform digital untuk desain grafis. kemunculan platform digital digadang-gadang sebagai pendorong proses perekonomian dan inovasi teknologi. setiap orang bisa mendapatkan keuntungan besar dari transformasi ini karena memberdayakan mereka untuk membangun bisnis secara daring tanpa bergantung pada perantara “offline”, baik itu negara atau perusahaan yang mapan tanpa regulasi yang rumit dan biaya yang tidak perlu. desainer grafis muda sebagai pendatang baru di dunia bisnis desain grafis mendapatkan keuntungan yang luar biasa dengan adanya platform digital ini. mereka mempunyai kesempatan besar untuk memamerkan dan menjual karya mereka kepada klien di seluruh dunia secara mandiri, sebuah hal yang tidak pernah terjadi pada masa sebelum kehadiran 70 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 teknologi internet. penelitian ini bertujuan untuk menunjukkan bahwa determinasi teknologi dapat berdampak sangat positif bagi mereka yang mampu menguasainya. sebagai bahan kajian, penelitian ini memakai teori dari josé van dijck tentang masyarakat platform. penelitian ini dilakukan pada awal tahun 2021 terhadap beberapa subjek yang terdiri dari para mahasiswa desain komunikasi visual di yogyakarta yang menjalankan bisnis desain grafis secara daring. kesimpulan penelitian ini adalah bahwa desainer grafis muda yang memanfaatkan platform digital menjadi lebih terlihat karyanya, tingkat eksposur terhadap karya yang tinggi, dan ketergantungan pada pihak lain nol (zero dependence on intermediaries). cara kerja jarak jauh tersebut kini juga terbukti efektif sebagai salah satu solusi di tengah sulitnya keadaan akibat pandemik covid-19. kata kunci: platform digital, perancang grafis muda, jalan pintas, mahasiswa desain komunikasi visual introduction this paper wants to show that using digital platforms can bring student’s work to fame in an easier and faster way than without using it or like in the predigital era. the presence of internet technology brings many opportunities, conveniences, and changes in all fields, including graphic design. the internet also opens up opportunities for a kind of perfect meritocracy that removes boundaries such as origin, race, gender, age, and qualifications leaving only the quality of the work itself (howe, 2006). this happens to students who are undergoing a formal education process and have not yet passed the stages of the hierarchy of authority. however, digital platformization has led to the death of expertise (nichols, 2017); anyone who masters digital technology can become an expert. nichols (2017:170) says that it doesn't take an expert to be an expert; it doesn't take a long road to become famous. the emergence of this digital platform is predicted to be a driver of economic growth by providing equal opportunities for everyone. method and literature review this research was conducted in the mid-2021 period in yogyakarta. the subjects of this research are visual communication design students who display their work on instagram accounts. social media is a form of digital platform. instagram is the social media chosen because its high popularity among students. instagram can be categorized as a type of portfolio platform. the research sample was selected by the snowball sampling method. this method was chosen because students use pseudonyms on social media, so they can only be identified by tracing from people who know them. then the samples found are sorted based on the reputation they already have, for example clients 71 petrus gogor bangsa, edi jatmiko, dwisanto sayogo, digital platform usage among young graphic designer … who have ordered their work. from the sample sorting, three accounts were determined, namely: @astro.ruby, @mariaadnda, and @theo.fredika. this study does not include other media that are also used by the owner of the account to support the publication of his work. secondary data is collected from various documents, from books, other previous relevant research results, journals, printed and electronic articles, as well as other documents, both printed and audio-visual. research on the use of digital platforms as a shortcut to fame for students has not been done much. another similar study, only examines the factors of the study program providing visual communication design education, such as the research conducted by agus setiawan and akhmad akrom entitled “the achievement of digital media in cultivating the character of a leading study program (case study of the visual communication study program at dian nuswantoro university).” the discussion on the use of digital platforms has also been studied by sinfield d. with the title “graphic design in digital world: enhancing digital teaching through digital technologies”. this research focuses more on the issue of using digital technology as a graphic design educational tool. meanwhile, research that discusses the use of digital platforms as a medium to show off student work was carried out by noor hasyim and abi senoprabowo with the title “designing digital showrooms in virtual reality media as an effort to provide an interactive showroom.” the rise of digital platform among the students digital platforms promise services that can be personalized and contribute to innovation and economic growth, and have shortcut capabilities without relying on powerful organizations, complicated regulations, and unnecessary costs (van dijck, 2018:1). the existence of digital platforms allows individual communities or consumers to self-manage through online networks, so that they are no longer dependent on existing institutions or companies. van dijck (2018) says that this internet-based market allows individuals to offer their products or services "directly" without going through intermediaries as in "offline" transactions, be it companies or countries. the advantage of this online social network is that it allows connectivity while taking shortcuts to existing social institutions. if you follow this line of argument, connectivity will naturally lead to collectively and connectedness (van dijck, 2018: 2). the existence of this shortcut provides an opportunity for students who do not yet have a network to expose themselves to a wider level. students as a digital native generation are easier to adapt to the latest digital technology, so they can easily master this technology. anyone who is digitally savvy can get involved in 72 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 the digital industry. in the case of the subject of this study, the students used the digital platform instagram as a medium for displaying their work. the 'promise' of the digital platform is deliberately made and according to rosalind gill (2011: 249 – 262), becomes one of the hallmarks of the digital industry, that they like their activities and are emotionally attached and involved in it. the freedom to do whatever they want, anytime, and anywhere encourages them to work freely (gill, 2011) because the boundaries of workspace and time are very fluid. a relaxed and light work atmosphere makes this kind of digital work have a playful ethos (gill, 2011) adding to this encouragement. digital platform as a shortcut to fame from the sample of selected accounts, it will be shown how the use of digital platforms can bring fame to students who use them. the first is the @astro.ruby account, which has more than 35 thousand followers and displays several works ordered from several large clients, such as google, koran tempo, and tempo magazine, as well as sorting works into seven highlights. the @astro.ruby account states that it accepts work orders as listed in the instagram bio. next up is the @mariaadnda account with 1,100 followers and displaying some of the works for the competition. the @mariaadnda account also states that it has received work orders in bio. meanwhile, the @theo.fredika account has 769 followers and does not explicitly include a statement accepting work orders. with a large number of followers, these accounts already have a shortcut opportunity to popularize their work. this large number of followers is inseparable from their strategy to get it by consistently uploading their work. however, popularity is not only due to the number of followers, but the exposure that arises from the media algorithm also allows their works to be seen by more people. tabel 1. each account data account posts follower highlight clients @astro.ruby 712 35.3k 7 google koran tempo gramedia pustaka utama majalah tempo @mariaadnda 41 1.100 3 good day (kompetisi) mister potato (kompetisi) pt kai (kompetisi) @theo.fredika 41 769 1 buku basic english 73 petrus gogor bangsa, edi jatmiko, dwisanto sayogo, digital platform usage among young graphic designer … figure 1 and 2. the work of @astro.ruby for the cover of koran tempo (left) and tempo magazine (right) figure 3. the work of @astro.ruby for the google landing page for chrisye's 70th birthday edition september 16, 2019 74 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 conclusion young graphic designers who utilize digital platforms become more visible, high exposure on their work, and zero dependence on intermediaries. online technology provides equal opportunities for anyone to get involved in the digital industry, including students who do not have much experience. online technology removes qualification barriers and reliance on powerful organizations, complex regulations, and unnecessary costs. the technology on the digital platform allows anyone to self-manage through an online network, so they are no longer dependent on existing institutions or companies. references gill, rosalind. (2011). “life is a pitch”: managing the self in new media work in managing media work, ed. mark deuze. london: sage. howe, jeff. (2009). crowdsourcing: why the power of the crowd is driving the future of business, new york: crown publishing. nichols, tom. (2017). the death of expertise – the campaign against established knowledge and why it matter, new york: oxford university press. van dijck; josé; poell, thomas, & de waal; martijn. (2018). the platform society public values in a connective world, new york: oxford university press. figures 4 and 5. the work of @mariaadnda (left) for the good day brand competition. @theo.fredika's work for the book let's learn basic english with billy (right) 25 volume 8 nomor 1, june 2021 p-issn 2339-191x | e-issn 2406-9760 p 25 – 33 aesthetics of virtual: the development opportunities of virtual museums in indonesia ayu soraya1, yusup sigit martyastiadi2 1visual communication design, universitas potensi utama; jl. kl yos sudarso km 6,5 no 3a, tanjung mulia, medan deli, medan city, north sumatra 20241 1doctoral program, graduate school of indonesia institute of the arts yogyakarta 2interaction design, faculty of art & design, universitas multimedia nusantara; j l. scientia boulevard, gading, kec. serpong, tangerang, banten 15227 email: 1ayusoraya@potensi-utama.ac.id; 2yusup.martyastiadi@umn.ac.id abstract the covid-19 pandemic requires us to carry out physical and social distancing. it is undeniable, this also has an impact on government policy to close tourist destinations, including museums. currently, sophisticated 3d visualization technology provides the potential for the development of virtual museums. the virtual museums were developed for giving the experience of the visiting museum in the digital world as a distance learning. this application can provide immersion through interactivity while exploring virtual museums. basically, this article explains the aesthetic investigations in some virtual museums. the researchers describe the aesthetic of each sampled virtual museums projects. the literature synthesis of several virtual museums projects is expected to be able to give an idea of the potential development of virtual museums in indonesia. the aesthetics of virtual elements could be used as a recommendation for museum conservator for the development of prospective indonesian virtual museums. furthermore, the aesthetics of virtual in digital museums provide opportunities to present virtual museums exploration experiences. keywords: virtual museums, aesthetics of virtual, indonesian museum, virtual experiences estetika virtual: peluang perkembangan museum virtual di indonesia abstrak pandemi covid-19 mengharuskan kita melakukan jarak fisik dan sosial. tak bisa dipungkiri, hal ini juga berdampak pada kebijakan pemerintah untuk menutup destinasi wisata, termasuk museum. saat ini, teknologi visualisasi 3d yang canggih memberikan potensi untuk pengembangan museum virtual. museum virtual dikembangkan untuk memberikan pengalaman mengunjungi museum di dunia digital sebagai pembelajaran jarak jauh. aplikasi ini dapat memberikan immersion melalui interaktivitas sambil menjelajahi museum virtual. pada dasarnya, artikel ini menjelaskan investigasi estetika di beberapa museum virtual. para peneliti mendeskripsikan estetika dari setiap proyek museum virtual yang dijadikan contoh. sintesis literatur dari beberapa proyek museum virtual diharapkan dapat memberikan gambaran tentang potensi perkembangan museum virtual di indonesia. estetika unsur virtual dapat dijadikan sebagai rekomendasi bagi konservator museum untuk pengembangan museum virtual indonesia yang akan datang. selain itu, estetika virtual dalam museum digital memberikan peluang untuk menghadirkan pengalaman eksplorasi museum virtual. kata kunci: museum virtual, estetika virtual, museum indonesia, pengalaman virtual 26 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 introduction indonesia has a variety of historical and cultural heritage to be proud of. a means is needed to store historical or cultural heritage so that the nation's future generations can inherit it. the museum is one of the tourist objects to add insight and knowledge in which there are objects of the cultural heritage of the past. the museum's function is collecting, recording, maintaining, and exhibiting collections to develop insight, knowledge, education, and research sources for the public (direktorat museum, 2009). conventional museums require visitors to come directly to the museum in order to explore cultural relics of the past. the presence of visitors is a critical point to feel the aesthetics when exploring the museum to bring memories of the past. the outbreak of the covid-19 outbreak in indonesia has brought many changes to people's behaviour. previously, the community was free to carry out activities outside the home. however, with this pandemic, people are in a condition of physical distancing following recommendations from the government. this has become a new life activity in the community by getting used to doing online activities. in addition, the covid-19 pandemic resulted in the closure of tourist attractions in indonesia by the government, including museums. of course, this is a challenge for museum management to overcome this problem if this pandemic runs for a long time. one of the most relevant solutions is to utilize technology to enjoy museum exploration still even though they are in their respective homes. technological developments through increasingly sophisticated 3d visualization provide the potential for the development of virtual museums, especially in indonesia. in foreign countries, many virtual museums have been developed. the objectives of developing virtual museums vary according to the needs of the museum. one museum in germany that has developed a virtual museum is the imperial cathedral in königslutter. this museum creates virtual reality using 3600 3d visualizations with the concept of panoramic photography to provide deeper interactivity facilities for users to explore real spaces in the virtual world (walmsley & kersten, 2020). based on some literature, the development of virtual museums abroad focuses on artefacts and the museum's integrity both in terms of visitor experience and exhibitions. previtali (2019) shows one example of a virtual museums development that focuses on artefacts, namely the san clemente site in albenga (italy). the virtual museums developed by the museum manager aims to increase awareness of the vulnerability of archaeological sites. the concept used by this museum is the development of virtual notebooks, which experts and tourists can use to access virtual site information. in an art museum, the development of the digital world can change artists' perspective to express their art forms through exhibitions in new ways by the 27 ayu soraya; sigit martyastiadi, aesthetics of virtual: the development opportunities of ... development of the digital world. some museums have designed virtual exhibits to make visitor reach wider and more accessible. by leveraging technology, works of art are starting to take advantage of artificial intelligence (ai) is facing new challenges in the future by presenting new ways to view art (giannini & bowen, 2019). virtual museums can overcome the limitations of physical space in exhibiting museum objects. empler (2018) said that virtual museums could present exhibition spaces with deeper routes, content and approaches through virtual spaces that have been designed. virtual museums, in their application, can take advantage of augmented reality technology. augmented reality is used to create an augmented heritage designed in the form of a video that is applied to classical performance spaces. this concept brings back cultural heritage that is considered classic, using technology to attract the younger generation's attention (maniello, 2016). this design aims to explore the potential for debate between space, technology, and narrative structure. the visual structure supports sound and vice versa, where "a plurality of technological and communication devices is available". augmented reality presents a new experience for users to enjoy museum objects still even though they do not have direct contact. this can generate immersion for each visitor to present a new meaning for each individual. technology can make it easier for the next generation to obtain information and enhance cultural experiences regarding past objects that become cultural heritage. one of the basics of developing virtual museums is the physical limitations in accessing information about objects. the presence of virtual museums using the concept of virtual reality can provide users with real experiences regarding the historical experience they want to see. this concept invites visitors to enter a virtual world and create their own interactive stories. hereniko (2018) emphasizes that the focus of virtual museums is not on the object but instead on the creation of memories, feelings, and emotions. the development of virtual museums does not mean eliminating physical museums because basically the presence of virtual museums is not a competitor for physical museums. however, their presence can complement each other; things that cannot be realized in a physical museum could be exhibited in virtual museums and vice versa (gutowski, 2019). some museums design virtual museums to attract visitors. the need for information on historical artefacts cannot be fulfilled in a physical museum. with virtual museums, information about historical artefacts can be described in more detail to meet the information needs needed by visitors. the interaction made by visitors will leave a profound experience of the museum. 28 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 materials and method this study employs kinds of literature review, and existing projects interpretation uses the mda approach (hunicke et al., 2004; leblanc, 2004). according to the mda approach, the authors will describe each component, such as mechanics, dynamics, and aesthetics for existing projects. the mechanics describe tool requirement (hardware and software). the dynamics explains interaction and play experiences. the last, the aesthetics depict sensation that users felt by their sensory and kinesthetic trigger. by observing the existing virtual museum projects, the authors list the mda approach for each project. in the following step, the authors conduct a synthesis to investigate potential opportunities for virtual museums development in indonesia. results there are five virtual museums (vms) projects that used for interpretation. those projects were developed in germany, italy, netherlands, and england. table 1. below indicates the mda approach through five vms projects. table 1. mda approach of existing virtual museums projects no. name of project mechanics dynamics aesthetics 1. the imperial cathedral in königslutter, (walmsley & kersten, 2020) 360o panoramic images generator (ptgui) riegl vz-400, zoller + fröhlich imager 5006 laser scanner autocad, autodesk maya, ue4 game engine htc vive pro (vr headset) interactivity environment, switching between digitized environment and captured real environment freedom to make exploration scenario: explore the cathedral https://www.koenigslutterkaiserdom.de/ virtuelletour/ tour.html realistic 3d visualization free to move feel inside the cathedral 2. the san clemente site in albenga (italy), (previtali, 2019) 360o panoramic images generator tls and uav equipment webgl, opengl oculus rift, htc vive various combinations of photographs and 3d visualization with informative contents scenario: explore the site archaeologists and practitioners  interactivity in web (desktop) tourists and citizens  interactivity in web (mobile) realistic 3d visualization get historical information 3 batavia 1627 in virtual reality (westfries museum vr headset 3d blender software the narrative is linear scenario: explore the surrounding environment realistic 3d visualization feel flying 29 ayu soraya; sigit martyastiadi, aesthetics of virtual: the development opportunities of ... the five vms projects are listed in table 1., mostly digitized archaeological sites and reconstructed the life environment of historical events. mechanically, all vms use manufactured product of head-mounted displays (hmd) or handmade hmd, cardboard for instance (as shown in figure 1.), and including android os based. the five projects were conducted using 3d software, and some add 3600 panoramic photographs/images as supplements. moreover, two projects engage laser scanner for generating 3d assets. figure 1. vr cardboard headset of viking vr source: schofield et al., 2018 netherlands, https://wfm.nl/b atavia-1627vr) of batavia in 1627 (sergeant, 2020) intersections between pedagogy, art, and technology and influences socially and politically interactivity using vr headset 4. viking vr, (schofield et al., 2018) android smartphone with handmade vr cardboard, including plastic lenses 3d blender software scenario: designing a vr experience to form part of viking’s life engaging with a particular historical event in torksey realistic 3d visualization capturing the harshness of the climate, its effect on the culture and lifestyle of the period 5. geguti palace in kutaisi, georgia, (ferrari & medici, 2017) geomax zoom 300, nctech istar 360, samsung wb690 x-pad office fusion by geomax, 360o panoramic images generator portable hmd android smartphone with handmade vr cardboard, including plastic lenses affinity software the narrative is linear scenario: explore the site 360° navigable realistic 360o 3d visualization get historical information (ui & text) specification due to its high uptake and the fact that it works with a large number of devices. its open specification also meant that a wide choice of headsets was available to use and we could even fabricate our own using google’s dimensions. one of the drawbacks of using a phone-based vr system was the lack of available computing power for complex lighting and material effects. in fact, the complexity of the scenes meant that no real time lighting could be used. rather than use unity’s own lighting system, 3rd party renderer mental ray was used in 3dsmax to ‘bake’ lighting information into each scene. this workflow, although complex and time-consuming, allowed far greater photometric control of lighting in the finished scenes. upon completion, each vignette was exported as an android application for installation on the vr devices. hardware design in order to adapt our design process to the peculiarities of technical platforms it was important to decide upon the hardware we would use early on. none of the commercially available hmds we were able to find seemed likely to be robust enough to survive 6 months of constant use. moreover, all of them had absorbent foam or fabric padding or straps, which had been identified as a health risk. the lack of cabling also raised the problem of power usage. running vr applications typically drains mobile phone batteries quickly and, with the museum’s limited staffing, it would be difficult to recharge phones during the museum’s opening hours. sound would also have to be taken into account as the piece was to feature high quality audio and period dialog. conventional headphones would be difficult to use due to health risks and robustness. figure 3: components within the headset these requirements suggested that the best approach might be a simple custom casing containing phone, integral headphones and a battery pack to extend the phone’s working life. samsung galaxy s6 phones were selected as a good compromise between performance and economy (these were the next-to-latest generation of product at the time). these were housed in a laser-cut plywood casing along with cardboard specification plastic lenses and headphone speakers. a large usb battery pack was also contained in the headset to extend the phone’s battery life (see figure 3). with this addition and through developing a simple script that turned off the phone’s screen when not in use, we were able to extend the headsets’ battery to over 6 hours of continuous use. the headset was designed to only be opened for charging access at the end of each day. given that the museum was usually quiet at the beginning and end of the day we predicted this extended life would be enough to cover the museum’s 10am-5pm opening hours. we designed the headsets to be held up to the face for use, rather than being strapped to the head. we realized that by eliminating straps altogether we could not only solve the problems of health and safety and robustness discussed above but we could also encourage a different, less isolating experience. we reasoned that this headset could be easily passed from visitor to visitor, encouraging discussion and the sharing of experiences. figure 4: a finished headset we based the appearance of the casing on a viking bone mount that was used extensively in the branding of the exhibition (see figure 4). the shape of the headset also referenced seaside tourist binoculars. it was vital to place the experience firmly in the visual context of the exhibition, to ease visitors’ transition into the experience while also suggesting the affordances of the hmd. it was also important to disassociate the headsets from potentially intimidating consumer vr technology. installation viking vr was installed in a small room leading off one of the main exhibition spaces in the yorkshire museum. in order to prime the visitor for the type of experience they were about to have, the space was populated with props that were real-life versions of those visitors would encounter in vr. a four-channel surround-sound ambient soundscape consisting of wind noise, birdsong and other sounds from the camp was played at low volume through speakers hidden in the space. elements of the audio source materials for this soundscape were selected from each of the vr scenes, to key visitors into what they were about to specification due to its high uptake and the fact that it works with a large number of devices. its open specification also meant that a wide choice of headsets was available to use and we could even fabricate our own using google’s dimensions. one of the drawbacks of using a phone-based vr system was the lack of available computing power for complex lighting and material effects. in fact, the complexity of the scenes meant that no real time lighting could be used. rather than use unity’s own lighting system, 3rd party renderer mental ray was used in 3dsmax to ‘bake’ lighting information into each scene. this workflow, although complex and time-consuming, allowed far greater photometric control of lighting in the finished scenes. upon completion, each vignette was exported as an android application for installation on the vr devices. hardware design in order to adapt our design process to the peculiarities of technical platforms it was important to decide upon the hardware we would use early on. none of the commercially available hmds we were able to find seemed likely to be robust enough to survive 6 months of constant use. moreover, all of them had absorbent foam or fabric padding or straps, which had been identified as a health risk. the lack of cabling also raised the problem of power usage. running vr applications typically drains mobile phone batteries quickly and, with the museum’s limited staffing, it would be difficult to recharge phones during the museum’s opening hours. sound would also have to be taken into account as the piece was to feature high quality audio and period dialog. conventional headphones would be difficult to use due to health risks and robustness. figure 3: components within the headset these requirements suggested that the best approach might be a simple custom casing containing phone, integral headphones and a battery pack to extend the phone’s working life. samsung galaxy s6 phones were selected as a good compromise between performance and economy (these were the next-to-latest generation of product at the time). these were housed in a laser-cut plywood casing along with cardboard specification plastic lenses and headphone speakers. a large usb battery pack was also contained in the headset to extend the phone’s battery life (see figure 3). with this addition and through developing a simple script that turned off the phone’s screen when not in use, we were able to extend the headsets’ battery to over 6 hours of continuous use. the headset was designed to only be opened for charging access at the end of each day. given that the museum was usually quiet at the beginning and end of the day we predicted this extended life would be enough to cover the museum’s 10am-5pm opening hours. we designed the headsets to be held up to the face for use, rather than being strapped to the head. we realized that by eliminating straps altogether we could not only solve the problems of health and safety and robustness discussed above but we could also encourage a different, less isolating experience. we reasoned that this headset could be easily passed from visitor to visitor, encouraging discussion and the sharing of experiences. figure 4: a finished headset we based the appearance of the casing on a viking bone mount that was used extensively in the branding of the exhibition (see figure 4). the shape of the headset also referenced seaside tourist binoculars. it was vital to place the experience firmly in the visual context of the exhibition, to ease visitors’ transition into the experience while also suggesting the affordances of the hmd. it was also important to disassociate the headsets from potentially intimidating consumer vr technology. installation viking vr was installed in a small room leading off one of the main exhibition spaces in the yorkshire museum. in order to prime the visitor for the type of experience they were about to have, the space was populated with props that were real-life versions of those visitors would encounter in vr. a four-channel surround-sound ambient soundscape consisting of wind noise, birdsong and other sounds from the camp was played at low volume through speakers hidden in the space. elements of the audio source materials for this soundscape were selected from each of the vr scenes, to key visitors into what they were about to 30 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 as a dynamics approach, half of the projects employ linear narrative and interaction, batavia 1627 in virtual reality and geguti palace in kutaisi. the rest more dynamics interaction, such as the projects of the imperial cathedral in königslutter, the san clemente site in albenga, and viking vr. according to table 1., generally, all projects are exploring the archaeological site. in addition, batavia 1627 in virtual reality and viking vr has given the experience of the living environment of a particular historical event. the last approach, the aesthetics, are shown by the sense of 3d realistic visualization. the 3d environment is developed to resemble estimates of original conditions in the past—the interpretation based on visual references and the ruins of historical buildings. as a result, most of the projects present the condition of immersion. the users feel that they inside the virtual archaeological building. on the other hand, the batavia 1627 project given the sensation of flying due to the camera perspective of bird eyes (as shown in figure 2.). despite the visual sensation that the user felt, there is also historical information about the archaeological site in the 2d text user interface. figure 2. trailer of batavia 1627 vr source: westfries museum, 2020 https://www.youtube.com/watch?v=egqiyhrnj7o discussion in the digital era, kaun & uldam (2018) state that artistic performing changes as artists consider the changing environment. they offer alternative ways to understanding the aesthetics of artwork and cultural artefacts. in the digital world, everyone interacts with the artwork and is included in the artwork's discussion, especially in visiting virtual museums. bowen & giannini (2014) emphasize that the reality of digital life now has no boundaries; real and virtual overlap each other where everyone is connected to the internet technology and the interface of several applications. this technological development provides an advantage to develop a virtual museum. sylaiou et al. (2005) add that the emerging tools and technologies help museum curators conduct digital exhibitions. the benefits of the virtual exhibition 31 ayu soraya; sigit martyastiadi, aesthetics of virtual: the development opportunities of ... are innovative, cost-effective, and interested for prospective visitors, especially from the far way from the museum itself. virtual museum visitors can interact with museum artefacts without any acts of vandalism. in other words, they can virtually touch historical works of art. visitors can also explore the virtual museum conveniently and get information visually, auditory, and text when interacting with these artefacts. the virtual museums' visitors experience the past concerning artefacts and historical events. they are immersed in the scenarios developed by virtual museums conservators. this interaction can be done inside the museum (provided with equipment to try out the virtual museums) or online from each visitor's home. however, online virtual museums have the consequence that there is a change in behaviour in visiting museums. according to the mda approach of five existing projects as shown in table 1. above, some points can be used to recommend vms development in indonesia. table 2. describes the recommendation for vms development in indonesia. table 2. recommendation for vms development in indonesia no. item recommendation 1. technology manufactured product of hmd (ex. oculus rift, htc vive) vr glasses with a smartphone (ex. samsung vr gear) handmade cardboard vr with smartphone 2. deployment inside the museum (onsite vms) online vms (webgl, application) 3. content historical artefacts exhibition reconstruction of a historical event 4. scenario linear (nodal plot) (tomaszewski, 2005) dynamics (modulated & open plot) (tomaszewski, 2005) 5. artists 3d visualization 360o panoramic photographs interactive sound design information: user interface and text 6. interaction immersive site exploration depth & detail of artefact information 7. object open museum (ex. borobudur temple) historical architecture/ building (ex. fatahilah building) cultural heritages (ex. bena village, flores) art artefacts this recommendation supports the museum curators/conservators to get preelementary information to develop vms concepts. they, as concepts, can cooperate with programmers and artists to develop vms. 32 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 virtual museums can be produced by providing gamification so that they are more attractive to users. this means that it is beneficial for learning and disseminating historical information and fun in exploring the virtual museums. doukianou et al. (2020) state that the serious game is a game genre that can be adapted to develop a virtual museum, both as a medium of learning and the spreading of historical information. conclusion virtual museums in indonesia can be developed, mainly because of the country's geography, an archipelago. this opens up opportunities to visit virtual museums remotely. in addition, virtual museums can respond to visitor needs in various ways, for example, using vr and webgl (website-based interactive 3d visualization). these virtual museums provide an entertaining and educational experience, especially with indonesian cultural and historical contents. in addition, the virtual museums enrich the museum exploration experience by allowing intuitive interactions with artefacts, especially for indonesians who live on remote islands without coming to the museum. current technological developments in indonesia (although not evenly distributed across regions) have accommodated the development of virtual museums. the infrastructure of the internet in indonesia has been developed in the most remote area. some universities and creative industries pay attention to developing educational learning interactive media, such as virtual museums. it means indonesia has human resources that can support the development of virtual museums. they need to collaborate across disciplines between the museum curator and other related parties to produce a virtual museum. references bowen, j. p., & giannini, t. (2014, july 1). digitalism: the new realism? https://doi.org/10.14236/ewic/eva2014.76 direktorat museum. (2009). ayo kita mengenal museum. departemen kebudayaan dan pariwisata. doukianou, s., daylamani-zad, d., & paraskevopoulos, i. (2020). beyond virtual museums: adopting serious games and extended reality (xr) for usercentred cultural experiences (pp. 283–299). https://doi.org/10.1007/9783-030-37191-3_15 empler, t. (2018). traditional museums, virtual museums. dissemination role of icts. disegnarecon, 11(21). ferrari, f., & medici, m. (2017). the virtual experience for cultural heritage: methods and tools comparison for geguti palace in kutaisi, georgia. 33 ayu soraya; sigit martyastiadi, aesthetics of virtual: the development opportunities of ... proceedings, 1(10), 932. https://doi.org/10.3390/proceedings1090932 giannini, t., & bowen, j. p. (2019, july 1). art and activism at museums in a postdigital world. https://doi.org/10.14236/ewic/eva2019.4 gutowski, p. (2019). development of virtual museums in poland. studia periegetica : tourism and recreation in the socio-economic and spatial development of cities, 28(3(27)), 119–138. https://doi.org/10.26349/st.per.0027.07 hereniko, v. (2018). virtual museums and new directions? in curatopia. manchester university press. https://doi.org/10.7765/9781526118202.00031 hunicke, r., leblanc, m., & zubek, r. (2004). mda: a formal approach to game design and game research. aaai workshop technical report, ws-04-04, 1–5. kaun, a., & uldam, j. (2018). digital activism: after the hype. new media & society, 20(6), 2099–2106. https://doi.org/10.1177/1461444817731924 leblanc, m. (2004). mechanics, dynamics, aesthetics: a formal approach to game design. lecture at northwestern university. maniello, d. (2016). augmented heritage for enhancing the cultural assets: lights and sounds for the nijmegen’s königorgel. disegnarecon, 9(17), 11.111.10. previtali, m. (2019). a virtual logbook for the documentation of a continuously changing archaeological site: the san clemente site in albenga (italy). virtual archaeology review, 10(21), 56. https://doi.org/10.4995/var.2019.11916 schofield, g., beale, g., beale, n., fell, m., hadley, d., hook, j., murphy, d., richards, j., & thresh, l. (2018). viking vr. proceedings of the 2018 designing interactive systems conference, 805–815. https://doi.org/10.1145/3196709.3196714 sergeant, a. (2020). “batavia”: an analysis on the pedagogical possibilities and limitations of virtual reality art. journal of integrative research & reflection, 3, 47–57. https://doi.org/10.15353/jirr.v3.1683 sylaiou, s., liarokapis, f., sechidis, l., patias, p., & georgoula, o. (2005). virtual museums : first results of a survey on methods and tools. proceedings of the cipa and the isprs conference, torino, italy, 1138–1143. tomaszewski, z. (2005). foundations of interactive narrative. http://zach.tomaszewski.name/uh/ics699/intnarr.html walmsley, a. p., & kersten, t. p. (2020). the imperial cathedral in königslutter (germany) as an immersive experience in virtual reality with integrated 360° panoramic photography. applied sciences, 10(4), 1517. https://doi.org/10.3390/app10041517 westfries museum. (2020). batavia 1627 in virtual reality. https://wfm.nl/batavia1627vr 13 volume 8 nomor 1, june 2021 p-issn 2339-191x | e-issn 2406-9760 p 13 – 23 site visit vs mental visualization on lanna architecture: a study on working memory in young adult tawipas pichaichanarong college of communication arts, suan sunandha rajabhat university, nakhon pathom campus, thailand e-mail: tawipas.pi@ssru.ac.th abstract the rise of modern architecture styles has strongly impacted the younger generation globally in the current century. this research is designed to study the performance of working memory on understanding lanna architecture with young adults at a large university in northern thailand, that of mae fah luang university in chiang rai province, thailand. in this study, the research focuses on studying the effectiveness of young adults’ working memory to discern lanna architecture through site visits and mental visualization. the outcomes of this research can help improve architecture pedagogy in the future. for the methodology, questionnaires were used by collecting data from 412 university students from a university in northern thailand. the data then were analyzed using mean, standard deviation, and p-value. this study concludes that the performance of working memory on the comprehension of lanna architecture through site visits and mental visualization for young adults was positive. keywords: working memory, lanna architecture, site visit, mental visualization kunjungan situs vs visualisasi mental pada arsitektur lanna: studi tentang memori kerja pada anak muda abstrak kemunculan gaya arsitektur modern memberi pengaruh kuat pada generasi muda di penjuru duina pada abad ini. penelitian ini dirancang untuk mempelajari kinerja memori kerja saat memahami arsitektur lanna di kalangan anak muda pada sebuah universitas besar di thailand utara, yaitu universitas mae fah luang di provinsi chiang rai, thailand. dalam studi ini, penelitian berfokus pada bagaimana mempelajari efektivitas memori kerja anak muda untuk membedakan arsitektur lanna melalui kunjungan situs dan visualisasi mental. hasil dari penelitian ini dapat membantu meningkatkan pedagogi arsitektur di masa depan. untuk metodologinya, kuesioner dikumpulkan dari 412 mahasiswa dari sebuah universitas di thailand utara. data kemudian dianalisis melalui rata-rata, standar deviasi, dan p-value. penelitian ini menyimpulkan bahwa kinerja memori kerja pada pemahaman arsitektur lanna melalui kunjungan situs dan visualisasi mental pada anak muda memberi hasil yang positif. kata kunci: memori kerja, arsitektur lanna, kunjungan situs, visualisasi mental introduction the rise of modern architectural styles has had a strong impact upon the younger generation globally in the current century, especially young adults born since 2001. hamed niroumand et al. (2012) asserts that modern architectural styles emerged all over the world from the end of the second world war, based on functional designs 14 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 rather than historical designs. as a result, young adults worldwide have been mainly familiar with modern architectural styles since they grew up. this research presented working memory performance on young adults at a large university in northern thailand, mae fah luang university in chiang rai province, thailand, as the focus setting for this research. literature review working memory gathercole, s.e. & alloway, t.p. (2008) pointout that working memory is important in the late teens. the range of age for young adults falls in between nineteen years old and the early twenties. gathercole, s.e. & alloway, t.p.(2008) also highlight that working memory consists of three subcomponents of working memory, namely, verbal short-term memory, visuospatial short-term memory, and the control executive. they describe working memory as a system of interconnected memory factors that are situated in different elements of the brain. more specifically, verbal short-term memory involves spoken language in numbers, words and sentences, visuospatial short-term memory handles images, pictures and data about places, and central executive facilitates with other subcomponents of working memory as a result, the age of young adults plays an important role in this study. this study predicts that collaboration between working memory and the age of young adults can achieve the ability to identify lanna architecture through different settings, site visits and mental visualization. therefore, the age of young adults will provide proof regarding their ability to identify their understanding of lanna architecture through words, images, sounds, etc. in addition, freitas, m. i. d’ávila et al. (2007) assert that the three subcomponents of working memory have a significant role in controlling attention and coordinating activity in young adults. moreover, this current study involves different activities set out to test the ability of young adults as concerns their knowledge of lanna architecture. central executive figure 1. a model summarising the main components of working memory by gathercole, s.e. and alloway, t. p. (2008) 15 tawipas pichaichanarong, site visit vs mental visualization on lanna architecture ... young adult a young adult or a late adolescent is defined as a person who is in his or her late teenage years or early twenties, which is 18 24 years old. (teipel, k., 2013). lanna culture current evidence suggests that nearly a thousand years ago, the first thai descendants appeared in the far north of present-day thailand. some of them settled on fertile valleys along rivers that flowed through the rugged, misty mountains, forming small principalities, which slowly grew in both population and power. by the mid 13th century, there were enough principalities to unite under an ambitious ruler known as mangrai who formed the kingdom known as lanna, which extended to laos and the shan states of burma with chiang mai as its capital city. the royal family with its own traditions was more or less sealed off by a range of lofty mountains that prevented easy access by outsiders (amranand, p. & warren, w., 2000). therefore, lanna culture persists in everyday life of people in the north of thailand. lanna architecture lan thong chaloem phra kiat vihara at mae fah luang university in chiang rai province in thailand is shown in figure 2. it is the lanna architecture style used in this study, with the vihara form having been built according to the lanna architectural style. it resembles an open temple. designed in the style of vihara at the viharn of wat pong yang khok in hang chat district, shown in figure 3, viharn, wat lai hin in koh kha district shown in figure 4, and wat phra that lampang luang in lampang province in figure 5. also, the form of wat xieng thong, luang prabang in figure 6 was a prototype in construction. figure 2. lan thong chaloem phra kiat vihara mae fah luang university, chiang rai, thailand 16 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 site visit site visits are an important part of architecture and civil engineering pedagogy. faculty of engineering, university of strathclyde (2021) defines "site visit" as visiting an actual construction enterprise or design firms to let students flourish knowledge on design and construction's theory into a real experience. figure 3. wat pong yang khok, hang chat district, lampang, thailand (retrieved from https://www.chiangmainews.co.th/p age/archives/783941/ on december 16, 2020) figure 4. wat lai hin, koh kha district lampang, thailand (retrieved from https://travel.thaiza.com/guide/177 634/ on december 16, 2020) figure 5. wat phra that lampang luang, lampang,thailand (retrieved from http://thailandforvisitors.com/north /lampang/luang/index.html on december 16, 2020) figure 6. wat xieng thong, luang prabang, laos (retrieved from https://iloveasiatour.com/luangprabang-pagodas/ on december 16, 2020) 17 tawipas pichaichanarong, site visit vs mental visualization on lanna architecture ... mental visualization the stanford encyclopedia of philosophy (sep) (2014) explains that the term mental visualization derives from mental imagery which means "seeing in the mind's eye", "hearing in the head", "imaging the feel of", among others. indeed, the images appear in one's head. this phenomenon is a quasi-perceptual experience. that is, it contains perceptual experience, but sometimes it happens without any external stimuli. this experience causes the human brain to project the images or something in the mind, soul, or brain. mental visualization is also called mental imagery. mental rehearsal is explained as a memory that resembles perceptual memories but can occur in the lack of the right stimuli for the specific perception. in addition, dörnyei, z. and kubanyiova, m. (2014) refer to shakespeare’s articulate term in hamlet to depict the mental visualization as seeing in the mind's eye. social learning theory people learn through observing others’ behaviours, attitudes, and the outcomes of those behaviours. according to bandura, “most human behaviour is learned observationally through modelling: from observing others, one forms an idea of how new behaviours are performed, and on later occasions, this coded information serves as a guide for action.” (bandura, 1997). social learning theory explains human behavior in terms of continuous reciprocal interaction between cognitive, behavioral, and environmental influences. tool of measurement the participant’s responses were measured by scales adapted from bucholtz and smith (1991). the nine-point differential scale asks participants to rate whether lanna architecture and lanna culture categories are closer to one or the other of two bipolar attributes. our measurements included twelve attributes using a likert scale ranging from 1 (very disagree) to 9 (very agree). in addition, twelve attributes were put into three categories which are aesthetics, architecture and apprehension. procedures to test the hypothesis, information was gathered by questionnaire with the approval of the student. to ensure instrument reliability and to prevent respondent sensitization, respondents were instructed to answer the questionnaire with conditions of lanna culture and lanna architecture in a site visit and mental visualization. 18 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 a model of wat phra that lampang luang, lampang province made from wood and other materials (retrieved from https://www.indraoutlet.com/lampangmost-attractions/ on december 16, 2020) a model of wat phra that lampang luang, lampang province made from 3d visualization (image by faculty of architecture, silpakorn university, thailand, excerpted from architecture of lanna by nithi sthapitanonda, p.65) methodology participants: subjects were recruited from various undergraduate level classes at a large university in the northern province of thailand. they were given extra credits for participation. the instructor told the students that this was a study analyzing people's working memory in various settings, particularly lanna architecture. for site visits, the researcher invited the buddhist monk, phra danai thawaro, who is a specialist in lanna temples to address the university students while they visited lan thong chaloem phra kiat vihara situated at mae fah luang university. for mental visualization concerning lanna architecture this deals with the individual perception of visualizing the image of lanna architecture to answer the questionnaire. there are examples of images of lanna architecture that are similar to lan thong chaloem phra kiat vihara. the first image is a 3d model of wat phra that lampang luang made from wood and other materials. the second image is a 3d visualization of wat phra that lampang luang, lampang province, which was created by the faculty of architecture at silpakorn university in thailand. figure 7. site visit (buddhist monk, phra danai thawaro gave a lecture to mae fah luang university students) figure 8. mental visualization in 3d 19 tawipas pichaichanarong, site visit vs mental visualization on lanna architecture ... results participants and measurements: 412 students participated in the study. of which, 39.5 percent were male and 60.5 percent were female. the average age was 21.22 years old. in terms of academic year, 57.6 percent were freshmen, and 20.1 percent sophomores, 13.3 percent juniors, 6.3 percent seniors and 1.9 percent master students. business-chinese majors made up the highest number of students at 34.6 percent. hypotheses h-0: all three classes of adjectives between the site visit and mental visualization were related in the working memory of the young adults from mae fah luang university related. h-1: all three classes of adjectives between site visit and mental visualization were not related in the working memory of the young adults from mae fah luang university related. h-0 = μ0 = μ1 h-1 = μ0 ≠ μ1 to test h-0, p-values were computed between: 1) the paired t-test on the class of aesthetics adjectives with a site visit and mental visualization. 2) the paired t-test on the class of architecture adjectives with a site visit and mental visualization. 3) the paired t-test on the class of apprehension adjectives with a site visit and mental visualization. test of hypothesis to test the hypothesis, p-value analyses were used to estimate the relationships between the comprehension of lanna architecture and culture among young adults at a large university in the north of thailand. this study tests the comprehension of lanna architecture and culture among young adults by comparing site visit and mental visualization through the three classes of adjectives of aesthetics, architecture, and apprehension. the class of aesthetic adjectives  beautiful  attractive  noble  appreciative 20 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 table 1. aesthetics paired t-test m std confidence level 95% site visit 7.9125 0.4608 t df p-value lower upper mental visualization 7.7650 0.0915 0.6013 3 0.5900 -0.6332 0.9282 a paired-samples t-test was conducted to compare site visit and mental visualization on the class of aesthetics adjectives. there was a significant difference in the scores for site visits (m=7.9125, sd=0.4608) and on mental visualization (m=7.7650, sd=0.0915), condition (t(0.6013), p=(0.5900). p-values less than 0.05 are statistically significant. in this study, young adults from mae fah luang university answered the question on the class of aesthetics adjectives, with the pvalue at 0.5900, which is not statistically significant. therefore, the p-value rejects h-0. the class of architecture adjectives  lanna architecture  lanna culture  siam architecture  original table 2. architecture paired t-test m std confidence level 95% site visit 7.7100 0.3832 t df p-value lower upper mental visualization 7.4225 0.3285 7.1735 3 0.0056 0.1600 0.4150 a paired-samples t-test was conducted to compare site visit and mental visualization on the class of architecture adjectives. there was a significant difference in the scores for site visit (m=7.71, sd=0.3832) and on mental visualization (m=7.4225, sd=0.3285), condition (t(7.1735), p=(0.0056). according to the p-value being less than 0.05, this is statistically significant. in this study, young adults from mae fah luang university answered the question on the class of architecture adjectives, with the p-value at 0.0056, which is statistically significant. therefore, the p-value accepts h-0. 21 tawipas pichaichanarong, site visit vs mental visualization on lanna architecture ... the class of apprehension adjectives  believable  likeable  persuasive  trustworthy table 3. apprehension paired t-test m std confidence level 95% site visit 7.2600 0.8650 t df p-value lower upper mental visualization 7.1100 0.4609 0.5952 3 0.5936 -0.6521 0.9521 a paired-samples t-test was conducted to compare site visit and mental visualization on the class of apprehension adjectives. there was a significant difference in the scores for site visit (m=7.260, sd=0.865) and on mental visualization (m=7.1100, sd=0.4609), condition (t(0.5952), p=(0.5936). according to the p-value being less than 0.05, this is statistically significant. in this study, young adults from mae fah luang university answered the question on the class of apprehension adjectives, with the p-value at 0.5936, which is not statistically significant. therefore, the p-value rejects h-0. discussion the result supports the mentioned hypothesis. this study concludes that the comprehension of lanna architecture and culture among young adults at a large university in the north of thailand is positive. this especially relates to their positive perception of lanna architecture. bandura’s social learning theory (1977) suggests that pertaining representations, sometimes referred to as visual imagery, involves drawing a mental picture of the observed act and storing that picture in the memory. visual imagery is, of course, quite a common process. we have a “picture in our heads” of people we know or have known; of experiences, sad and happy; of beautiful vacation scenes; and so on. likewise, a person who has seen lanna architecture on a site visit and with mental visualization representations can recall 22 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 positive images of the objects and develop positive attitudes towards lanna culture and architecture in general. in addition, the working memory towards the perception of these three classes of adjectives, for aesthetics adjectives and apprehension adjectives, did not affect the site visit and mental visualization. this means young adults did not agree to both methods in the aesthetics and apprehension’s context. in contrast, the results reported that our respondents agreed that architecture adjectives affect the site visit and mental visualization, which means young adults agreed to both methods in architecture’s context significantly. in conclusion, this study confirms that site visits and mental visualization are significantly effective approaches to understand lanna architecture via the working memory in young adults at a large university in the north of thailand. in addition, the working memory does not only involve visual imagery but also words, among others. furthermore, the selected ages of the subjects in this study are between nineteen and the early twenties, representative of the age of most university students in thailand in general. as a result, with the results from our research, we also can integrate the findings with further study in the area of architecture pedagogy at the university level, not limited solely to lanna architecture as in this study. references amranand, p. & warren, w. (2000). art & design of northern thailand lanna style. sivatana interprint public co.,ltd. bandura, a. (1997). social learning theory. new york: general learning press. bandura, a. (2020). social learning theory. obtained from: https://www.simplypsychology.org/bandura.html accessed on december 18, 2020. bucholz, l. m. & smith, r.e. (1991). the role of consumer involvement in determining cognitive response to broadcast advertising. journal of advertising, 20(1), 4-17. dörnyei, z. & kubanyiova, m. (2014). motivating learners, motivating teachers: building vision in the language classroom. cambridge: cambridge university press. faculty of engineering,university of strathclyde. (2021). site visit. obtained from: https://www.strath.ac.uk/engineering/civilenvironmentalengineering/studyw ithus/undergraduate/sitevisits/ accessed on march 17, 2021. freitas, m. i. d’ávila, ribeiro, a. f., radanovic, m., & mansur, l. l. (2007). working memory: differences between young adults and the aged in listening tasks. dementia & neuropsychologia, 1(2), 147–153. https://doi.org/10.1590/s1980-57642008dn10200006 https://www.simplypsychology.org/bandura.html https://doi.org/10.1590/s1980-57642008dn10200006 23 tawipas pichaichanarong, site visit vs mental visualization on lanna architecture ... gathercole, s. e., & alloway, t. p. (2008). working memory and learning: a practical guide for teachers. los angeles: sage. sirbu, d. (2016). revisualizing visual culture. london: routledge. teipel, k. (2013). understanding adolescence: seeing through a developmental lens. konopka institute, university of minnesota: state adolescent health resource center. the stanford encyclopedia of philosophy (sep). (2014). mental imagery. (2014, september 12). obtained from: https://plato.stanford.edu/entries/mental imagery/ accessed on march 19, 2021. https://plato.stanford.edu/entries/mental-imagery/ https://plato.stanford.edu/entries/mental-imagery/ 137 volume xx nomor xx june/december xxxx p-issn 2339-191x | e-issn 2406-9760 volume 7 nomor 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 art and artist movement in banten edi bonetski x pengpeng gisela anindita new media program, school of design, binus university e-mail: gisellaaninditaa@gmail.com/gisela.putri@binus.ac.id abstract banten is one of the provinces in indonesia. it is located in the westernmost of java. art movement in banten is not as famous as jakarta, yogyakarta, nor bali. being an artist is not the most famous, not even an option for banten's job or career. being an artist in banten is because the people are not familiar with the art, especially contemporary art. so being an artist in banten means also being an educator for social change. edi bonetski and pengpeng, both are banten born and raised artist, are trying to make an art movement in banten. they are doing what i called "terror" in the two cities of banten. serang and tangerang, through their artistic collaboration. the aim is to habituate people in banten for seeing art. the more they make, the more people will get used to appreciate and live with art. they also made their artistic collaboration in the crowd area, so people can watch how art makes. this "terror" might be something common in jakarta or yogyakarta, but not in banten. they change people's minds about art through their process demo and collaborate with anybody in the process. this practice is to engage people to learn art by doing an art activity. keywords: art movement, banten, social change, artist pergerakan seni dan seniman di banten studi kasus: edi bonetski x pengpeng abstrak banten adalah salah satu provinsi di indonesia ysng terletak di paling barat pulau jawa. gerakan seni rupa di banten memang tidak terlalu terkenal dibanding jakarta, yogyakarta, atau bali. menjadi seniman bukanlah yang populerl, bahkan tidak menjadi pilihan pekerjaan atau karir di banten. perjuangan menjadi seniman di banten disebabkan oleh masyarakat yang belum mengenal seni khususnya seni kontemporer. menjadi seniman di banten berarti juga sekaligus menjadi pendidik untuk perubahan sosial. edi bonetski dan pengpeng, merupakan dua seniman yang lahir dan besar di banten, yang mencoba membuat gerakan seni di banten. mereka melakukan apa yang saya sebut dengan "teror" di dua kota banten. yakni serang dan tangerang, melalui kolaborasi seni mereka. tujuannya adalah untuk membiasakan masyarakat banten untuk melihat kesenian. semakin banyak mereka membuat, semakin banyak orang yang terbiasa untuk mengapresiasi dan hidup dengan seni. mereka juga berkolaborasi di area keramaian, sehingga masyarakat bisa menyaksikan bagaimana proses pembuatannya. "teror" ini mungkin sudah biasa di jakarta atau yogyakarta, tapi tidak di banten. bagaimana mereka mengubah pikiran orang tentang seni melalui demo proses mereka, dan kolaborasi dengan siapa pun dalam prosesnya. latihan ini mengajak masyarakat untuk belajar seni dengan melakukan aktivitas seni. kata kunci: gerakan seni, banten, perubahan sosial, seniman mailto:gisellaaninditaa@gmail.com mailto:gisela.putri@binus.ac.id 138 gisela anindita, art and artist movement in ... introduction howard becker classified artist into four categories. one of the categories is high street artist born and raised their art reputation not through a gallery, but from any other artist. most high street artists might have a lower price than emerging artist, but their reputation is equal. edi bonetski was categorized as high street artist based on his characteristic. he started his art activity since he was a teenager as a musician. he was born and raised in tangerang city, banten. as the record, banten has a relatively small number of artists, compared to another province in indonesia. edi bonetski’s movement itself was started in the neighborhood where he lives. in a neighborhood community called karang taruna (youth group), he teaches art through activities and managed the youth to make social activities, like collecting the garbage and recycle it into a musical instrument and fashion show with clothes made from used goods. in 2003, edi founded rumah belajar anak langit at cisadane river's side, a school for street children. they teach lessons in formal school through art. after sanggar anak langit being evicted by the government, edi and his partner build an art center in tangerang, named semanggi (semangat berbagi/spirit of sharing). now, semanggi is a home for street artists, newcomer artists, or anyone who wants to learn and share art. edi himself becoming a father of the youth and street artist in banten. recently, edi making music, performances art, and painting as his art activity and movement. sebastianus advent, known as pengpeng, was born and raised in serang, the capital city of banten. he started his art activity at sanggar embun, an art community in serang. he comes up as a photographer. his main concern is about humans as the center of cultural transformation and humans as itself. he graduated from institut seni indonesia yogyakarta and returned to serang to create a new atmosphere for art, artist, and society in his hometown. he wants to re-build a spirit of art in serang through art activity. recently, he learns and experiments with printmaking as a method for presenting his art. in banten, printmaking is not a standard art method; therefore, he wants to educate and introduce artists and people in banten to any other art method besides painting, photography, and sculpt. edi bonetski and pengpeng have the same spirit of educating people through art. in 2020, during the pandemic, they decide to have an art activity collaboration. they made three artworks in 3 different public spaces. their collaboration aims to release their creativity during lockdown and engage any other artist, especially in banten, to keep being productive during the pandemic. pengpeng uses his face-up method to present his collage artwork about human and television influence into 2 x 1,5 m. edi responds to pengpeng artwork with an impressive sketch painting above pengpeng's face up. their collaboration artworks 139 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 have a "terrorizing" impression for the viewer because, in serang, this is the first art that used face-up as a method. the gigantic size of the human picture also builds up the "terrorizing" impression. while in banten, especially in serang, the familiar artworks are painting, photograph, and sculpture about local culture, edi and pengpeng propose a whole new art method and issue in serang. this is a challenge to break an old art culture in serang and the culture of serang city social itself. materials and method in my research about high street artist, i focus on what they are doing. i following edi and pengpeng for a couple of months to observe how they involve in their society. their social is quite different compare to emerging/superstar artist. they mostly have friendships with the marginalized such as street children, street punk, street performer, etc. those particular things that make a difference for high street artist, besides living as an artist, are also an educator for their surroundings because they choose and have the privilege to living and giving their knowledge for the society. as long as i research, this characteristic of high street artist would not be found in any other artist categories based on howard s. becker. i choose edi and pengpeng for a reason. they both lived in banten, and they were already struggling to educate, persuade, and at once making artwork. it is seen by how they produce their artwork by always being close to society. they use a material that anyone can obtain every day; they do not always use the same material in each artwork. they select public space as their presentation. they research their content issue and then visualized it into their artwork. in making artwork, they are always surrounded by people who passers-by in the public space or street. figure 1. edi with sanggar anak langit source: https://kompasiana.com/ figure 2. edi with sanggar anak langit source: gisela anindita’s documentation, 2020 140 gisela anindita, art and artist movement in ... results table 1. high street artist movement source: gisela anindita’s documentation, 2020 141 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 departs from high street artist theory, i focus on their role as a community educator. edi bonetski and pengpeng movement in banten, the province that unfamiliar with contemporary art activities. edi and pengpeng have two different roles as artists, making artwork and educating the public about art. they both doing those two roles in one activity. they involved the community in making artwork while the community is learning about the art. when they do art activities continuously, the community will get used to seeing, living, and appreciating art in their daily aesthetic. figure 3. edi and pengpeng artwork (1) source: gisela anindita’s documentation, 2020 figure 4. edi and pengpeng artwork (2) source: gisela anindita’s documentation, 2020 142 gisela anindita, art and artist movement in ... discussion the activities carried out by the two artists are literal practices from howard s. becker's theory of art activity and collectivism. there are some points to do an art activity, such as continuity to educating people on how to see art. through continuous artistic activity, people will exercise and become familiar with the art, then add to their aesthetic experience. continuity is only possible if there is stability. becker's mean about stability is about providing space for an art activity, legal law, and support from society and government (becker, 1982). secondly, recently, not so many artists are committed to educating. social problems are just exploitable content for the artwork. if social problems are resolved, then it seems as if there is nothing left to exploit in works of art. accordingly, art as an activity is one of the most challenging jobs to committed. the artist should get close to social problems without exploiting them. conclusion high street artist have a different context with others artist categories. they do their art activity based on social and friendship. their success indicators are not galleries, collectors, or high artwork price. they have a different definition of success. for them, successful art means being beneficial to the surrounding. art can be delivered through anything. one example that is done most often is through children's education. however, like any category of artists, consistency is a must-have. people need consistency to change. furthermore, as educators, the artist needs to doing art activities continuously. in the beginning, they might say a movement for their work. however, after they are doing it continuously, it becomes an art activity that happened every day and their ordinary activities. educating is no longer looked like something heavy, but it has already become part of the daily life activities. in banten, a province that unfamiliar with contemporary art, this is a challenge for this movement. however, that will bring forth any other movement from high street artist. edi and pengpeng are one among many high street artist in banten that starting the movement. references becker, h. s. (1982). art worlds. united state: university of california press. bruno fredrik resch, m. (2011). management of art galleries – business model. university of st. gallen. sunardi, s. (2016). pertukaran nilai-nilai dalam pasar seni sebuah sketsa awal. retorik | jurnal ilmu humaniora, 4(2). 143 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 zolberg, v. . (1990). constructing a sociology of the arts. https://doi.org/https://doi.org/10.1017/cbo9780511557712 interview with edi bonetski and pengpeng (2020). . 89 volume 7 nomor 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 teaching film in new normal era at film department, universitas multimedia nusantara annita universitas multimedia nusantara, jl. scientia boulevard, gading serpong, tangerang, banten15811 indonesia e-mail: annita@umn.ac.id abstract covid-19 has forced many people to adjust to the new situation. the indonesian education system has been changed drastically because of this pandemic. although online learning differs from traditional class meetings, most academic institutions switch directly to online without necessary adjustments. as a result, many students experience zoom fatigue. the same thing also happened in the writer's university. thus, adjustment toward the teaching-learning strategies is needed to avoid this exhaustion. in this research, the writer applied asynchronous learning in one of the film courses. the asynchronous was applied in ten meetings uploaded on the university's online platform. at the end of the semester, a survey was conducted to evaluate the method. this research is aimed to explore other possible methods in teaching film. it is necessary because teaching film requires a lot of physical and social interaction, which is impossible during this era. keywords: adjustment, teaching film, asynchronous pengajaran film pada era kenormalan baru di prodi film universitas multimedia nusantara abstrak covid-19 telah membuat sistem pendidikan indonesia berubah secara drastis. sebagian besar institusi akademik beralih langsung ke pembelajaran daring, tanpa membuat penyesuaian dengan media daring yang memiliki karakteristik sangat berbeda dari pembelajaran tatap muka di kelas. akibatnya, banyak siswa yang mengalami kelelahan karena tatap muka daring. hal yang sama juga terjadi di universitas penulis. oleh karena itu, penyesuaian terhadap strategi belajarmengajar diperlukan untuk menghindari kelelahan ini. dalam penelitian ini penulis menerapkan pembelajaran asinkron di salah satu mata kuliah film. pembelajaran asinkron diterapkan pada sepuluh pertemuan yang diunggah ke media daring milik universitas. pada akhir semester dilakukan survei untuk mengevaluasi metode tersebut. penelitian ini bertujuan untuk mengeksplorasi metode lain yang mungkin digunakan dalam pengajaran film. hal ini diperlukan karena pengajaran film membutuhkan banyak interaksi fisik dan sosial, yang tidak mungkin dilakukan pada era ini. kata kunci: adaptasi, pengajaran film, pembelajaran asinkron introduction since the covid-19 outbreaks in january 2020, people worldwide have been forced to adapt to a new way of living. this virus has impacted every aspect of the human being, including education. schools and universities are closed and migrate from 90 annita, teaching film in new normal era at film... traditional face-to-face learning to online learning (bao, 2020; rajhans et al., 2020; unesco, 2020). for institutions that have integrated online learning in their system, this change may not have sudden impacts. however, for the majority of schools in indonesia, the conversion has shaken the pedagogical framework. many teachers are not prepared and equipped with facilities, skills, and knowledge in online teaching (moralista and oducado, 2020; the conversation 2020). online teaching is not just about altering the medium. it is also about course design (anggrainingsih et al. 2018; noorulhasan et al. 2017), technical skill to use learning management system/lms (el-gawad and woollard, 2019), and understanding of how learners learn in an online environment (alqahtani and rajkhan, 2020; bani-salameh and fakher, 2015; martin et al., 2019). instructors in online learning need to change their roles in teaching from “teacher-centered to student-centered, low-interactor to high-interactor, and low-initiator to highinitiator” (beck and ferdig, 2008). martin et al. summarize the roles and responsibility of online instructors into five parts as follow: 1. facilitator: supports the learners during their online session. for example: consistently checking in with students, communicate both in synchronous and asynchronous, and encourage students to participate and complete the tasks. 2. course designer: focuses on the connection between learning results, assessments, and teaching activities. s/he must make sure the relationship between those elements is aligned with the content and delivery approach. depending on the institution's support, this role may be done by a collaborative team and prepared earlier before the course begins. 3. course manager: concentrates on dealing with content and assessing students’ learning. 4. subject matter expert: substantiates expertise on content. 5. mentor: advises students’ academic and professional development (martin et al., 2019). online learning has two types: synchronous and asynchronous. in synchronous, teachers and students are involved in real-time online learning. whereas in asynchronous, online learning does not happen in real-time (hafner and ellis, 2004; jasim mohammed et al., 2018; young et al., 2014; alqahtani and rajkhan, 2020; van der molen, 2016). 91 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 chaeruman et al., give examples of activities for each category above as follow (chaeruman et al., 2018): table 1. example of learning activities (chaeruman et al., 2018) no types activities 1. live synchronous lecture, group discussion, lab practice, etc. 2. virtual synchronous audio and/or video conference. 3. collaborative asynchronous discussion forum, online assignment, etc. 4. self-directed asynchronous learning objects in the form of text, audio-visual, simulation, etc. this paper aims to explore other possible methods in teaching film during the university’s lockdown due to covid-19. the adjustment is applied in ff561 image and sound concept at the film department, universitas multimedia nusantara. in this course, students have to formulate images and sound concepts for their films. this film is going to be their final project as a requirement to graduate from the university. the writer collaborates with the e-learning team of universitas multimedia nusantara to create asynchronous materials for the course. asynchronous teaching is chosen to reduce students’ fatigue toward online figure 1. quadrant of blended learning setting source: chaeruman et al., 2018 92 annita, teaching film in new normal era at film... synchronous teaching. this is a trial project since it is applied in a course that combines both theory and practice. similar asynchronous projects have been applied in theory-based courses. the research is aimed to create alternative teaching methods, especially for practice-based courses during online learning. materials and method the preparation for this research had been done since january 2020. the teaching team collaborated with the e-learning team to prepare online materials for the course, ff561 image and sound concept. the roles of both parties follow martin et al., description of online instructors. the teaching team acted as facilitator, course manager, subject matter expert, and mentor. at the same time, the e-learning team acted as a course designer. the teaching team prepared video materials, slides, quizzes, discussion topics, and assignments. the e-learning team was in charge of editing videos, applying interactive tools, uploading to the lms, and duplicating other parallel classes. there were five classes with a total of 162 students. the materials were divided into four categories: slide, teaching video, quiz, forum, and assignment. table 2. designed materials for ff561 no. categories description 1. slide teaching materials in the form of pdf. 2. video each video is 8-10 minutes in length. for each meeting, it may have 1 to 3 videos depending on the complexity of the topic. 3. quiz the quiz usually consists of 10-15 true-false or multiple-choice questions. 4. forum it is a discussion forum. students and the lecturer discuss questions/issues related to the topic. 5. assignment it is a project (paper, student video presentation, etc.) submitted in one or two weeks after the task is given. these descriptions follow the blended learning scheme of pedati (chaeruman 2017), which consists of: 1. pelajari (learn): through slides and videos 2. dalami (comprehend): through an online discussion forum 3. terapkan (apply): through an assignment 4. evaluasi (evaluate): through a quiz the research was conducted from the third week of february to may 2020. initially, the course was designed with four face-to-face meetings and ten blended learning 93 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 activities. however, in march, the university was closed due to covid-19 outbreaks. thus, some adjustment was made to fit the scenario. the face-to-face meeting, group discussion, and student-teacher consultation were replaced with online meetings using zoom. at the end of the semester, students were asked to fill in a survey to evaluate the course. the items asked were as follow: 1. 5-point likert scale questions about lecturer’s teaching competencies, including clarity in teaching, the pace of delivering materials, interactivity, time for discussion, assistance to help students, and fairness in grading. 2. 5-point likert scale questions about materials given during online sessions, which include relevance to course objectives and syllabus, preparation of materials, balance of course assignment to course credit, appropriateness of class activities to course objectives, and students’ participation in-class activities. 3. yes/no/other-response type question about whether the shifting from offline to online worked well. 4. multiple choice questions about the choice of learning during university’s closure: synchronous (online meeting) or blended learning(4 online meetings + 10 asynchronous activities). 5. an open-ended question about students’ suggestions toward the course. results among 162 students who enrolled in the course, only 53 students participated in the questionnaire. the result of the questionnaire is as follow: 1. lecturer’s teaching competences a. clarity in teaching sixteen students strongly agreed that the lecturer delivered the materials clearly in synchronous and asynchronous meetings. twenty-three students agreed that the lecturer delivered the materials. seven students answered neutrally. four students disagreed, and three students strongly disagreed with the statement that the lecturer delivered the materials clearly in synchronous and asynchronous meetings. b. the pace of delivering materials fifteen students strongly agreed that the lecturer taught at an appropriate pace in synchronous and asynchronous settings. twenty-two students agreed to the idea. fourteen students were neutral. none disagreed, and two students strongly disagreed that the lecturer taught with appropriate pace in synchronous and asynchronous settings. 94 annita, teaching film in new normal era at film... c. interactivity fourteen students strongly agreed that the lecturer taught the course interactively, both in synchronous and asynchronous sessions. twenty-three students agreed the lecturer taught interactively. eleven were neutral. three students disagreed, and two students strongly disagreed with the idea that the lecturer taught the course interactively. d. time for discussion seventeen students strongly agreed that the lecturer gave them enough time for discussion. there were twenty-three who agreed to the statement. ten students were neutral. none disagreed, and three strongly disagreed that the lecturer gave them enough time for discussion. e. assistance to help students twelve students strongly agreed that lecturer helped students when they were confused or had questions. twenty-one students agreed to the statement. twelve were neutral. five disagreed, and three students strongly disagreed that the lecturer helped them when they were confused or had questions. f. fairness in grading eleven students strongly agreed that the lecturer gave fair and clear grading. twenty-five students agreed to the statement. eleven students neither agreed nor disagreed. three students disagreed, and three other students strongly disagreed that the lecturer gave fair and clear grading. 2. materials gave during the online session a. relevance to course objectives and syllabus fifteen students strongly agreed, and twenty-seven students agreed that the materials given were relevant to the course objectives and syllabus. nine students were neutral. one student disagreed and strongly disagreed that the materials given were relevant to the course objectives and syllabus. b. preparation of materials seventeen students strongly agreed that online materials were well prepared. twenty-six students agreed to the statement as well. eight students neither agreed nor disagreed. one student disagreed, and one strongly disagreed that the online materials were well prepared. c. balance of course assignment to course credit fifteen students strongly agreed, and twenty-three agreed that a load, of course, assignment fitted the course credit. nine students were neutral. five disagreed, and one strongly disagreed that a load of course assignment fitted the course credit. d. appropriateness class activities to course objectives 95 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 thirteen students strongly agreed that the class activities were designed to meet course objectives. twenty-four students agreed to the statement. eleven students were neutral. the remaining five disagreed with the statement. e. students’ participation in-class activities twelve students strongly agreed, and 24 agreed that the activities were designed to participate in every exercise actively. twelve students neither agreed nor disagreed with the statement. four disagreed, and one strongly disagreed that the activities were designed to make students participate actively. 3. the shifting from offline to online in this question, students were asked whether the shifting from offline to online went well. forty-two students answered yes. five students answered no. four students mentioned that they did not find any significant difference because they were accustomed to asynchronous learning. two students mentioned that the portions between synchronous and asynchronous were not balanced. 4. the choice of learning during the university’s closure. in this question, students were asked whether they prefer synchronous or asynchronous learning. forty-one students prefer asynchronous learning, whereas the remaining twelve prefer synchronous learning. 5. students’ suggestions toward the course there were several suggestions for this course. some students suggested making the grading and attendance systems more lenient since the attendance required completing all assignments for each meeting. some preferred to get more reminders about the upcoming assignments. others suggested that the lecturer give comments to their work faster and involve more in the discussions. discussion ff561 image and sound concept is designed as a course that prepares students before their final project. in this course, students prepared the film concept they would make in the following semester—the course combined theory, group work, and discussion to formulate ideas into visible projects. the course was originally designed for a traditional face-to-face meeting. since the university encouraged all departments to integrate more blended learning, this course was later offered as an experiment by the film department. this decision turned out to be a blessing in disguise because the covid-19 outbreaks later forced the university to close and migrate all learning activities online. the course was first designed to have four face-to-face meetings and ten blended learning, which combined videos, quizzes, assignments, and online discussions. two face-to-face meetings were in the first and second meetings, and 96 annita, teaching film in new normal era at film... the remaining two were in the last two meetings. each blended learning was designed to start with the slides of materials that students had to read. after that, students must watch lecturing videos (1-3 videos depending on the topic's complexity), followed by a quiz. finished with the quiz, students must participate in an online discussion forum. they must give opinions, ask questions, or respond to their peers’ comments related to the topic discussed. in the end, students had to submit an assignment. it might be in the form of a progress report of their project, analysis of similar reference films, etc., which they had to submit within a week. once the students completed all blended learning activities, the lms would record the students’ attendance for the particular session. figure 2. example of the video in ff561 image and sound concept source: https://elearning.umn.ac.id/1920/course/view.php?id=3855, aug 15, 2020 figure 3. the example of blended learning in ff561 image and sound concept source: https://elearning.umn.ac.id/1920/course/view.php?id=3855, aug 15, 2020 97 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 the activity scheme follows the example of learning activities from chaeruman, et al.: collaborative and self-directed asynchronous in the form of lecture video, online assignment, and quiz (chaeruman et al. 2018). live synchronous was applied in the last two meetings as a replacement for the class meeting due to the university its lockdown. based on the questionnaire’s result, 90.5% of students mentioned that shifting from offline to online went well. the elearning system and well supported the migration from offline to online. this confirms moralista and oducado that to migrate smoothly, the schools and teachers must be equipped with facilities, skills, and online teaching knowledge (moralista and oducado 2020). from the questionnaire at the end of the semester, it may be concluded that the majority of students seem to be adjusting well to the online scheme. students can still get the knowledge, although they have to switch to an online setting. in general, students can cope with the deliverance of materials, clarity of the subjects, assignments to be completed, and access to the lecturer. on the other hand, there are issues related to the lack of human interaction (physical group work, discussion with the lecturer, etc.) and limited exercises students can get to make a film. the e-learning team supports the integration of blended learning in this course. this division provides technical guidance, rules, and strict supervision for every material the teaching team delivers. the e-learning team makes sure that the blended learning produced to follow the guidelines from pedati (chaeruman 2017). as mentioned by martin et al., this division has been a great help in technical matters; thus, lecturers may concentrate on the content as subject matter experts. in terms of content, adjustment toward online learning is quite challenging. this is because of the nature of the film education itself. film education at universitas multimedia nusantara requires both theory and practice to produce films. students can not learn just from literature or watching films. to be a filmmaker, they have to make films. although it uses an online setting in a normal situation, students can still gather and shoot their films. however, this is quite hard in the new normal era because of social and physical distancing. the adjustments that are made in ff561 image and sound concept to answer this problem are: 1. postpone all the social activities until it is “safe” to do the shooting. this provides more time for students to prepare their projects. the course serves as a means to guarantee the quality of students’ concept for their film and prepare the production so the shooting, later on, can be done effectively. however, the postponement may delay students to graduate on time. 2. collaborate with animation students to create the film. instead of making a full live-action film, students may use animation to visualize their ideas. 98 annita, teaching film in new normal era at film... this might take a long time since the timeline for animation production is longer than live-action shooting. 3. adjust the concept of the film to the new normal setting. this enables students to experiment with creative ideas like vertical-video film or collaborative online shooting. an example of this experiment is a short film entitled “cerita tentang jendela” produced by studio antelope. this film collaborated shots gathered from their followers and created them into a story. the shots are about various perspectives of the lockdown situation from people’s windows. conclusion the new normal era is a very challenging time for all people around the world. social and physical distancing makes it hard to do whatever that we usually do in a normal setting. however, changes should be made to survive this period. in education, migration to online learning needs to be done. blended learning can be an option. integrating learning videos, texts, quizzes, and assignments in an lms provides students with a learning solution. students can access and learn the course anytime, anywhere. covid-19 may be a challenge for education, but it may prompt educators to develop creative ideas to cope with this problematic situation. examples mentioned above are the emergence of vertical videos and the collaborative shots woven to create a film. for further research, blended learning effectiveness in practice-based courses can be analyzed since many research available nowadays focus more on theory-based courses. another topic that can be explored is new creative ways of teaching and learning. physical distancing may cause people to be socially secluded. however, enhanced virtual appearance like a 3d-moving hologram might create the existence and proximity that is lacked today. references journal alqahtani, a. y., & rajkhan, a. a. (2020). e-learning critical success factors during the covid-19 pandemic: a comprehensive analysis of e-learning managerial perspectives. education sciences, 10(9), 1–16. https://doi.org/10.3390/educsci10090216 anggrainingsih, r., umam, m. z., & setiadi, h. (2018). determining e-learning success factor in higher education based on user perspective using fuzzy ahp. matec web of conferences, 154, 0–5. https://doi.org/10.1051/matecconf/201815403011 bani-salameh, h., & fakher, s. a. (2015). e-learning critical success factors 99 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 model: empirical investigation. acm international conference proceeding series, 23-25-november-2015(november 2015). https://doi.org/10.1145/2816839.2816870 bao, w. (2020). covid ‐19 and online teaching in higher education: a case study of peking university. human behavior and emerging technologies, 2(2), 113–115. https://doi.org/10.1002/hbe2.191 beck, d., & ferdig, r. e. (2008). evolving roles of online and face-to-face instructors in a lecture/lab hybrid course. in the turkish online journal of educational technology (vol. 7). http://www.websters-onlinedictionary.org/definition/initiate chaeruman, u., wibawa, b., & syahrial, z. (2018). determining the appropriate blend of blended learning: a formative research in the context of spadaindonesia. american journal of educational research, 6(3), 188–195. https://doi.org/10.12691/education-6-3-5 el-gawad, t. a., & woollard, j. (2013). critical success factors for implementing e-learning systems in the egyptian higher education. computers and education, december 2019. hafner, w., & ellis, t. j. (2004). asynchronous collaborative learning using project-based assignments. proceedings frontiers in education conference, fie, 2. https://doi.org/10.1109/fie.2004.1408607 martin, f., budhrani, k., kumar, s., & ritzhaupt, a. (2019). award-winning faculty online teaching practices: roles and competencies. online learning journal, 23(1), 184–205. https://doi.org/10.24059/olj.v23i1.1329 mohammed, h. j., kasim, m. m., & shaharanee, i. n. m. (2018). evaluation of elearning approaches using ahp-topsis technique multi-criteria decision making (mcdm) model view project data crawling for entrepreneurial view project evaluation of e-learning approaches using ahp-topsis technique. https://www.researchgate.net/publication/325390877 moralista, r., & oducado, r. m. f. (2020). faculty perception toward online education in higher education during the coronavirus disease 19 (covid-19) pandemic. universal journal of educational research, 8(10), 4736–4742. https://doi.org/10.31219/osf.io/nhr7b noorulhasan, q., muhammad, a., sanober, s., rafik, m., & shah, a. (2017). a mixed-method study for investigating critical success factors (csfs) of e-learning in saudi arabian universities. international journal of advanced computer science and applications, 8(5). https://doi.org/10.14569/ijacsa.2017.080522 rajhans, v., memon, u., patil, v., & goyal, a. (2020). impact of covid-19 on academic activities and way forward in indian optometry. journal of optometry, 13(4), 216–226. https://doi.org/10.1016/j.optom.2020.06.002 van der molen, j. (2016). synchronous learning in an asynchronous learning environment. https://www.researchgate.net/publication/299631079 young, t. p., bailey, c. j., guptill, m., thorp, a. w., & thomas, t. l. (2014). the flipped classroom: a modality for mixed asynchronous and asynchronous learning in a residency program. western journal of emergency medicine, 100 annita, teaching film in new normal era at film... 15(7), 938–944. https://doi.org/10.5811/westjem.2014.10.23515 book chaeruman, u. a. (2017). pedati model desain sistem pembelajaran blended. website / webtography the conversation. riset dampak covid-19: potret gap akses online ‘belajar dari rumah’ dari 4 provinsi. 2020, https://theconversation.com/risetdampak-covid-19-potret-gap-akses-online-belajar-dari-rumah-dari-4provinsi-136534. unesco. education: from disruption to recovery. 2020, https://en.unesco.org/covid19/educationresponse. nurhayatu nufut alimin. diy as interior design education 45 diy as interior design education “everybody can be designer” nurhayatu nufut alimin faculty of art and design, sebelas maret university email: nurhayatunufutalimin@gmail.com/nurhayaunufut@staff.uns.ac.id abstract diy (do-it-yourself) for home decor is an activity of decorating or repairing the house or making things for home independently rather than paying someone else to do it. diy gains its popularity nowadays, particularly on the internet. the phenomena of diy probably will make interior designer lost their job because diy seems can give a straightforward solution for people by self-study. the present study aimed to reveal what is really going on in the field of interior design today. the researcher would like to analyze the difference between an interior designer job and diy content sharing. the researcher collected the data from some popular diy accounts (diy; all things thrifty; and the house lars built), some practitioner‘s responses, and interview with the lecturer of the interior design department. the researcher attempted to answer the question using phenomenological approach consisting of four steps namely epoche, reduction, variation of imagination, and synthesis of meaning and essence. this phenomenon arises since we begin to enter the fourth industrial revolution where internet handles everything and provides accessibility. one of the positive impacts of this phenomena is that people gain more understanding related to interior design. in other words, this phenomenon makes everybody can be a designer through diy. keywords: diy, home decor, interior designer, phenomenology, education introduction do-it-yourself (diy) holds many contents, and it is not only about decoration. diy initially arises as a life hack. diy is aimed at establishing a new culture of daily life. diy gains its popularity for its easy-to-learn nature and attractive appearance. accordingly, many people are interested in creating things on their own attempt. we can find plenty of diy contents in social media, especially the one related to home decor such as interior designer like an interior designer job. thus, it is predicted that people do not need a professional designer. people may learn and manage it individually, or organize it by collaborating with their own team. thus, by diy, people can get a job and make a living only through the internet. they even do not make reparation or decoration for clients. instead, they only share some interesting contents to netizen (internet users). 46 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 nowadays, education is in a transition period, a period where traditional education begins to be replaced by internet education or usually known as online learning. online learning emerges as a new system of education. this allows students and teacher not to meet directly to perform learning activity. this change occurs due to some activities in learning process considered ineffective and irrelevant to today‘s era. for instance, the main point of a learning process is the students‘ understanding toward the material the teacher delivers, unfortunately, the fact shows that the students‘ attendance in classroom does not guarantee that they will understand the material. whereas, through online learning, the students obtain the same material with the material they get in class without attending the classroom. furthermore, it possibly reduce their reluctance during discussion or asking questions to the lecturer/teacher by utilizing chatting feature. accordingly, it is expected that the students will gain better understanding on the material being learned. the most important thing is the effectiveness of the lectures and how well material delivery is. besides, students also can learn from other universities. diy phenomenon acts as a trigger and evidence of transformation in education. it shows us that whenever and whatever we want to learn, we could learn it in a simple and a fun way. internet emerges as an integral aspect of today's life, and this makes learning activity more fun. everyone can be everything they want due to easy access. for the field of art and design, this phenomenon brings a significant impact. people always want to share their life to gain appreciation from other people. since sharing in social media has become a trend, people always try to bring out artistic contents to get many social media ―likes‖. research question 1. what is diy? 2. what is the competence difference between diyers and interior designer? 3. why is diy popular? 4. is it possible to apply diy as a learning method in future education? nurhayatu nufut alimin. diy as interior design education 47 method the present study is categorized as a qualitative study. the researcher collects the data from diy account social media with plenty of followers. with regard to interior designer education perspective, the researcher gathered the data from the alumnus of interior design program of sebelas maret university. regarding the data analysis, this study employed four stages of phenomenological approaches namely epoche, reduction, variation of imagination, and synthesis. phenomenological approach is a qualitative study that originated from philosophy and psychology focusing on human life experience (sociology). phenomenological approach is similar to hermeneutics approach that employing life experience as a tool to gain a better understanding of the socio-cultural, political, or historical context of an experience. the present study discussed the object of the study by understanding the essential experience of a phenomenon. the researcher will conduct an in-depth examination on the main issues and structure of the object of the study and being neutral toward the subject of the study. this phenomenological study consisted of four steps: 1. epoche: this step is related to searching and receiving opinions from various related sources. 2. reduction: in this step, the gathered opinion is reduced and selected. 3. variation of imagination: this refers to the use of various references from diverse perspective and trying to drawing a conclusion. 4. synthesis, in this step, attempts are made to reveal the core of the problem, a matter in which without it, the phenomenon will not emerge. results 1. epoche, searching for diy phenomenon, the content, the method. the researcher used the data from some popular diy accounts. the researcher also gathered responses from interior design alumnus and conducted interviews with some lecturers of the department of interior design. in this study, the researcher focused on contents related to decoration in diy home decor. there are three popular accounts on home decor, the house that lars built, all things thrifty, and diy. 46 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 nowadays, education is in a transition period, a period where traditional education begins to be replaced by internet education or usually known as online learning. online learning emerges as a new system of education. this allows students and teacher not to meet directly to perform learning activity. this change occurs due to some activities in learning process considered ineffective and irrelevant to today‘s era. for instance, the main point of a learning process is the students‘ understanding toward the material the teacher delivers, unfortunately, the fact shows that the students‘ attendance in classroom does not guarantee that they will understand the material. whereas, through online learning, the students obtain the same material with the material they get in class without attending the classroom. furthermore, it possibly reduce their reluctance during discussion or asking questions to the lecturer/teacher by utilizing chatting feature. accordingly, it is expected that the students will gain better understanding on the material being learned. the most important thing is the effectiveness of the lectures and how well material delivery is. besides, students also can learn from other universities. diy phenomenon acts as a trigger and evidence of transformation in education. it shows us that whenever and whatever we want to learn, we could learn it in a simple and a fun way. internet emerges as an integral aspect of today's life, and this makes learning activity more fun. everyone can be everything they want due to easy access. for the field of art and design, this phenomenon brings a significant impact. people always want to share their life to gain appreciation from other people. since sharing in social media has become a trend, people always try to bring out artistic contents to get many social media ―likes‖. research question 1. what is diy? 2. what is the competence difference between diyers and interior designer? 3. why is diy popular? 4. is it possible to apply diy as a learning method in future education? nurhayatu nufut alimin. diy as interior design education 49 figure 3. diy content #1 b. all things thrifty (https://www.allthingsthrifty.com/) figure 4. diy website #2 figure 3. diy content #2 this website provides many contents such as craft, diy, food, interiors, and life. in the front page of the website, we can see their current project, along with its story and epic photograph. on the right upper corner of the website, there 48 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 figure 1. diy popular accounts in instagram 2018 a. the house that lars built (http://thehousethatlarsbuilt.com/) figure 2. diy popular website #1 this website provides many contents such as project, design, style, food, party, life, and shop. in its front page, we could see their current project they share along with its story and stunning photograph. they tell a story about what they like, it is similar to writing a diary, but everyone can see it. on the right upper corner of the website, there are social media links. it could be seen that they have twitter, facebook, pinterest, and instagram account. in this website, they write using easy-to-understand language; it makes their website visitors enjoy their story. one notable thing in their story is that they always write about the sponsors behind the story. then, we can see in the design menu, there are several contents in the website such as room decoration, decoration process, furniture detail, and the price of the interior. nurhayatu nufut alimin. diy as interior design education 49 figure 3. diy content #1 b. all things thrifty (https://www.allthingsthrifty.com/) figure 4. diy website #2 figure 3. diy content #2 this website provides many contents such as craft, diy, food, interiors, and life. in the front page of the website, we can see their current project, along with its story and epic photograph. on the right upper corner of the website, there 50 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 are social media links. it could be seen that they have twitter, facebook, pinterest, and instagram account. they make a tutorial about the project along with picture and video; they also share the material they utilized, every project, and detailed story related to the problem and conclusion. they also share the image of ―before and after‖ of the room they decorate. in this website, we can also see people‘s comments on the project they watch. thus, netizen‘s feedback is regarded. we can see excellent communication between netizen and diyers. c. diy this is another account with many followers, this account provides a basic tutorial on many things, particularly regarding decoration by utilizing recycled items. thus, the material is easy to find, and people can turn it into something new. figure 5. diy accounts on instagram figure 6. indonesian diy content #3 furthermore, the researcher also found another diy account namely indonesian diy. this account provides a tutorial on creating something. we could also discover other diy accounts when we type using hashtag about #diyhomedecor; there will be many contents shown. after observing numerous nurhayatu nufut alimin. diy as interior design education 51 diy tutorial, the researcher concludes that diy consists of simple, quick, and informative steps. through diy, people watch amazing visuals, right photo angle, and exciting caption. 2. reduction: in this step, the gathered opinion is reduced and selected. the opinions were gathered from interior designer alumnus and lecturer‘s perspective. there are questions about the job from 125 alumnus of interior design, sebelas maret university since 1992 until 2017. there are the things found in the field about interior design job and prospect to the contents to study. figure 7. diagram percentage of alumnus interior design jobs from the description above, it is quite difficult for interior designer graduates to get a job as they want without getting the test. it is difficult to work in a large company. thus, it is possible for these graduates to do diy and begin their own business. most of them work on private company, creative entrepreneur industry, and others. the next question t is related to the competencies needed to enter today's workforce. 52 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 figure 8. percentage of competencies that needed in interior designers from alumnus interior design students out of 125 respondents, 95 respondents stated that idea and creativity is the most needed competence in the world of interior design, 79 respondents said that it is computer soft skill, 74 people said it is project management, 87 people said it is knowledge related to materials and processes, 76 people said it is presentation skill. as an expert in the interior design field, interior design department alumnus share some suggestion related to the competencies needed to be a professional interior designer. table 1. suggested competencies by the alumnus interior design students. suggested competence communication computer budget plan entrepreneurship creativity design nowadays communication interactions primarily related to marketing products on social media. sketch up and cad applications, mood board, color scheme, and board material. the cost of production of a project whether furniture or interior production costs as a whole. ―entrepreneurship‖ or ―business management‖, presentation, & marketing techniques. skill, idea, creativity, feeling technique, communication, confidence, and passion with the profession. being more active in following the development of design, nurhayatu nufut alimin. diy as interior design education 53 mulyadi, a lecturer of interior design department of sebelas maret university, said that diy is a linear composition design linear where practical aspects are prioritized. it is related to how to turn a crowded space into a spacious one. although diy is currently different from interior designer, in the future, diy possess an opportunity to get into the field of interior design deeper along with the technology advancement. diy covers the technical section, not the interior as a whole, but rather a room decorator, which decorates an existing room. interior design is more than that; it includes good space design: there is room it can be moved in its entirety, circulation, etc. considering the current condition, it seems inevitable that diy may reach the deepest part of the interior if it holds programs and classes which are premium, synchronous, interactive online, and if it could involve the pedagogical element which provides an opportunity for feedbacks and online learning tool. in the university, interior design involves the competence of design, technical knowledge, and management. whereas diy content is more technical (applied design), its content is not related to the learning aspect or transfer of knowledge. with internet media, there is a transferred aesthetic aspect (an empty wall) diy exploration. thus, it is not enough to achieve all competencies only through diy. we cannot directly transfer the essence of knowledge only through diy, for it may lead to a bias of understanding. people who perform diy can be categorized into two types of person, (1) person from lower middle financial class, and (2) person who intend to channel his/her artistic hobby. 3. variation of imagination: using various references and different perspectives, attract intuition. why is diy popular? when we see the history of diy, we could see that diy is an activity to create, organize, and hack something to be simple and valuable for human. diy begin since at least 1912 primarily in the domain of home improvement and maintenance activities, the phrase ―do it yourself‖ had come into common usage (in standard english) by the 1950s in reference to the emergence of a trend of people undertaking home improvement and various other small craft and construction projects as both a creative-recreational and cost-saving activity. it is now famous as home decor on the internet. in 1970, diy started to spread to another field; it is characterized by the launching of diy home improvement books burgeoned as the first-created collection of magazine articles. since the 1990s, diy has exploded on the web through thousands of sites created by an expert author. in 1970 when the home video (vcrs) was found, diy becomes potential for demonstrating processes through the audio-visual method. in 1999, diy appeared in cable tv with a nurhayatu nufut alimin. diy as interior design education 55 revenue and emerging market trends. technavio predicts that by 2021, diy will grow more extensive than before; it may become a new job opportunity for people in the future. mark frauenfelder is the editor-in-chief of do-it-yourself magazine ―make‖ diy maker comes from all walks of life rich, poor, young, old, male, female, religious, atheist, liberal, conservative. they are as varied as the things; there is no limit to their aspirations. moreover, while no two diyers are alike, in general, they are an upbeat and friendly group that shares a special trait: the courage to screw up. like marks says, ―from my own diy experiences and from researching the lives of other diyers, i‘ve discovered five benefits you gain from having the courage to screw up: (1) a deeper connection to the things that keep us alive and well; (2) an appreciation for the things you have and the systems that make it possible; (3) an opportunity to use your hands and your brain; (4) a connection to other people; (5) a path to freedom. several diyers i have met have succeeded in turning their passion for making things from a hobby into a business‖. currently, offline promotion is no longer the mainstay; the internet is a means that will continue to be used for the future. the number of internet users is increasing every year, according to internet live stats in 2014 internet users have reached 42,258,824, and indonesia is ranked 12th of internet users in the world. social media is a ―cyber‖ world of communication media that forms a vibrant communication network with limitless space and time. it is found that modern social media is characterized by transparency; possibility of making a dialog and communication, and influence to the audience; multi opinion; multi forms; strength of online promotion. these features do not automatically lead to business advantages. however, it can be ascertained that organization and individual will gain benefit significantly. the effect of the internet is significant in social networks; someone could be easily influenced when their friends tell their experiences related to a product or a brand. this is also used as a reference for people to choose a product or brand (sulianta, 2015: 7). the composition of three advertising charges with three main elements, namely: (p. 20): (1) entertain (entertain); (2) inform (informative); (3) educate (educate). the things in diy cover these three aspects, making it easier for diy to continue to grow in the network of internet users. 54 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 popular program such as house repair. the scope of home improvement diy continues to grow online where most mainstream media outlets now have great diy-focused informative websites. the growth of independent online diy resources is also spiking. several homeowners blogging their experiences continue to grow, along with diy websites from smaller organizations. yaron ben shaul as ceo of hometalk (the world‘s largest diy community), says it their mission to get people to diy more. and ―do it‖ they are, with people creating hundreds of products every day. some diy videos have quite amazing view counts, such as this one that shows how a couple turned inexpensive bookshelves into an impressive wall unit. it is interesting that diy lacks attention while it continues to expand globally and penetrate new markets and continents. that means there is an excellent opportunity for those interested in entering this market. hometalk and the diy space as a whole are growing fast with no signs of slowing down. people like to build, and diy facilitates that need while embracing creativity, mutual encouragement and the celebration of successful diy-ing. we can see the prediction of diy development in technavio research. diy ethic and maker culture. the diy world is exploding, and according to technavio is expected to be worth north of $13.9 billion by 2021. people are diy-ing more than ever before, but industry leaders say we have not even begun to scratch the surface. figure 9. percentage of diy global market global diy tools market is expected to grow at a cagr of more than 3% during the forecast period of 2017-2021. a research report titled ‗global diy tools market 2017-2021‘ provides an in-depth analysis of the market in terms of nurhayatu nufut alimin. diy as interior design education 55 revenue and emerging market trends. technavio predicts that by 2021, diy will grow more extensive than before; it may become a new job opportunity for people in the future. mark frauenfelder is the editor-in-chief of do-it-yourself magazine ―make‖ diy maker comes from all walks of life rich, poor, young, old, male, female, religious, atheist, liberal, conservative. they are as varied as the things; there is no limit to their aspirations. moreover, while no two diyers are alike, in general, they are an upbeat and friendly group that shares a special trait: the courage to screw up. like marks says, ―from my own diy experiences and from researching the lives of other diyers, i‘ve discovered five benefits you gain from having the courage to screw up: (1) a deeper connection to the things that keep us alive and well; (2) an appreciation for the things you have and the systems that make it possible; (3) an opportunity to use your hands and your brain; (4) a connection to other people; (5) a path to freedom. several diyers i have met have succeeded in turning their passion for making things from a hobby into a business‖. currently, offline promotion is no longer the mainstay; the internet is a means that will continue to be used for the future. the number of internet users is increasing every year, according to internet live stats in 2014 internet users have reached 42,258,824, and indonesia is ranked 12th of internet users in the world. social media is a ―cyber‖ world of communication media that forms a vibrant communication network with limitless space and time. it is found that modern social media is characterized by transparency; possibility of making a dialog and communication, and influence to the audience; multi opinion; multi forms; strength of online promotion. these features do not automatically lead to business advantages. however, it can be ascertained that organization and individual will gain benefit significantly. the effect of the internet is significant in social networks; someone could be easily influenced when their friends tell their experiences related to a product or a brand. this is also used as a reference for people to choose a product or brand (sulianta, 2015: 7). the composition of three advertising charges with three main elements, namely: (p. 20): (1) entertain (entertain); (2) inform (informative); (3) educate (educate). the things in diy cover these three aspects, making it easier for diy to continue to grow in the network of internet users. 56 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 4. synthesis, find the core, without which this phenomenon will not occur. if it is possible to employ diy as a learning method, what is the impact of diy on interior design in school/university? based on the data above, the difference between designers and diyers are: table 2. difference between designers and diyers designers diyers drawing skill in 2 d &3d (include render) marketing in social media original idea storytelling (writing skill) problem solving use persuasive/interesting words unique/identity photography philosophy video maker (tutorial/organize) function/valuable editing/graphic drawing skill for the wealthy and upper class for everybody (all classes) designers become diyers when they can wisely apply methods of using social media, then diyers become designers if they can interact with followers or students. if a person is capable of mastering designer‘s and diyers ability simultaneously, then he/she can be both designer and diyer. nowadays, people need relax time for their life for it has been significantly increased. thus, they could have time to think about another thing once the primary needs are obtained. nowadays, people have more time to think about how to improve their lives. diy contents are fun, they can share and write everything, all positive things about their lives, and give happiness to others lives. the principle of yolo (you only live once) is a recent trend, where the principle is that people only live once, so enjoy life. people tend to have a simple way of thinking and can benefit others. nowadays, people tend to try to make other people happy. everything can be viral, and when something is viral, it affects many people; thus, actually, to be viral makes people more creative. then, there could be a meme for that trend/viral things. after it gains popularity for a year, it can be the trend of the year. after that, people are easy to feel bored. when they are bored, people tend to create new ideas, and that new ideas become new trends. this pattern always occurs. people now live more on social media than in real life. social media is more impactful than social in real life to people today; we cannot run away from them, because we are part of this era. as a human, we realize that we consume what the factory produces. regarding this, it can be said that diy is anti-consumerism movement. our consumption always leaves new trash. accordingly, we need to recycle the stuff instead of only use and throw it away. today‘s phenomena are related to being nurhayatu nufut alimin. diy as interior design education 57 active in public, the ability to do something independently, when we are willing to do something, we can do it ourselves. based on this phenomenon, perspective on interior design slowly changes to people‘ needs. interior design is not only a profit-oriented file but also not-forprofit hobby. it is no longer satisfy the riches‘ need only. interior design is expected to reach the people from middle lower class. thus, the purpose of interior design shifts into an attempt of helping, providing values, and meaning for other people. the positive impact about social media in diy home decor is that it can change people perspective about art and life. it should be realized that they need art in their life to turn their life into more positive and healthier. regardless of the size of their house, people need to study about what they will do to make their house more comfortable and friendly. interior designer and diy share the same purpose. they want people to organize, clean and pay attention to their life and environment so that they can optimize their time in their home. since people spend much time in their house, it can be said that ―what is in your room is you‖. every room possesses and identity, namely ―atmosphere‖. is it possible to apply diy as learning method in future education? we are now entering a transition era of education. we cannot force someone to learn a certain thing since everyone now can choose what they want to learn through the internet. they can learn everywhere they want; there will be unlimited access to learning. people will learn what they want to learn; they will not waste their time for learning something they do not like. although learning about diy is more enjoyable, not all field of knowledge can be transferred online. accordingly, there is still a difference from people who study it directly. when people study directly, it is possible to transfer attitude while learning the main topic, and knowledge can transfer into depth and specific. it cannot be achieved by learning online. in fact, during lecturing time, students who do not understand the topic usually search for more information on the internet by finding out tutorials related to the topic presented by the lecturer. this condition implies that classroom learning activity has not been optimum since the students still need outside help to understand the lesson. lecturer acts as a guide for students until they can find it on the internet. since everything is on the internet, there are too many contents, and if the students do not know the required keywords, they will be confused. in university, facility and guide are provided so that students can master what is relevant with their future profession. we are now entering the fourth industrial revolution where the internet becomes the primary needs in life. professor klaus schwab, the famous german nurhayatu nufut alimin. diy as interior design education 59 diy becomes one of the useful releases of time that makes people very productive wherever they are. diy acts as a trigger for people to be a success; there is no limit to be able to achieve dreams. everyone can do anything and can by anyone. doubtlessly, in the future, there can be more learning that utilizes diy methods. everyone can know anything through diy, can do anything by learning together, by searching for keywords then they will find the figure/product they link with that. the reality is that the interior design is made for rich people who do not have time to make it by themselves, but most people who live in this world are not rich. then, no one will beautify their house but they. sharing is very beneficial. it is a great thing when people can take positive values. from that perspective, it can be seen that the presence of internet users influences people‘ lives. conclusion this phenomenon arises since we begin to enter the fourth industrial revolution where internet handles everything. therefore, interior designers have much homework to do in order to compete with phenomenon. they need to possess creativity, good communication skill, and expertise in internet contents. they need to learn photography, social media marketing strategy, and create more valuable things for people. one of the positive impacts of this phenomena is that people from lower or middle class can gain more understanding related to interior design and thus, pay more attention to their home. in other words, this phenomenon makes everybody can be a designer through diy. as adrian cheok said. ―no media replace other media. diy does not make designers losing their job. instead, it encourages creativity. references berger, jonah. 2013. contagious. jakarta: gramedia pustaka utama. kuswarno, engkus. 2009. fenomenology. bandung: widya padjajaran. sulianta, feri. 2015. rahasia berbisnis ala sosial media. andi offset. suyanto, m. 2004. aplikasi desain grafis untuk periklanan. andi offeet. ejournal and internet source, accessed on july 2018: comm, joel. 2017. why the huge do-it-yourself market is just getting started https://www.inc.com/joel-comm/why-the-huge-do-it-yourself-market-is-justgetting-started.html daniel, anna. 2016. the history of diy – from punk to everyday culture. https://isaconf.confex.com/isaconf/forum2016/webprogram/paper81922.html mark frauenfelder. 2011. the courage to screw up: why diy is good for you. https://www.huffpost.com/entry/home-diy-the-courage-to-s_b_589371 tecnavio.com. 2016. global diy tools market is forecast to grow to usd 13.9 billion by 2021: technavio. 58 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 economist, wrote in his book ‗the fourth industrial revolution‘, the concept of 4.0 has changed human life and work. accordingly, we need to change strategy to educating students, what they need for the next future life if they want to stand their existence. teachers need to be selective about contents they want to give; they can make it more manageable and fun to understand. otherwise, the internet can do the thing will beat them. university or school have a purpose of transferring knowledge, its different with diy which only gives the knowledge and tends not to make people understand. in university or school, teachers are responsible for making students understand and be influenced by the knowledge so that they may utilize the knowledge for their life wisely. however, it is undeniable that sometimes, diy emerges as an alternative educational method to transfer the knowledge. can diy make everyone a designer? in a basic level, such as beautifying room and house, making something tidy, or making a plan to change a house, the answer to the question above is yes. however, in professional level such as making a full plan of designing comfortable room, creating a particular atmosphere, calculating the cost, selecting a proper material, the answer to the question above is no. nevertheless, if people start to involve in some interactive online learning activities such as participating in online q&a, participating in more profound guidance, it is possible for them to be a professional. diy is the part of interior design, unlike interior design which possesses specific scope, detailed work, and professional, diy can be considered as the surface of interior design. however someone can be a professional through continuous practice. although interior design holds a depth of knowledge, it may be less free to do the work since it should be following the clients. diy gain more freedom in doing works since it is used as an educational tool for basic knowledge of interior design. diy has managed to make interior design better known by all circles —both upper and lower classes, who previously did not know about interior design work. interior design work does not sound strange anymore to people from all walks of life. diy-related contents should be studied in the study of interior design. for instance, advertisement, social media promotion, are proven to be needed in the interior design. diy is a new learning tool, all of which are from the internet age. so that people's patterns also change. nowadays, people prefer to spend their time on the internet rather than in the real world. they need anything that can make them happy. there is visual which can impact the eyes, without realizing that people always need the excellent visualization, and are consumed continuously, so that nurhayatu nufut alimin. diy as interior design education 59 diy becomes one of the useful releases of time that makes people very productive wherever they are. diy acts as a trigger for people to be a success; there is no limit to be able to achieve dreams. everyone can do anything and can by anyone. doubtlessly, in the future, there can be more learning that utilizes diy methods. everyone can know anything through diy, can do anything by learning together, by searching for keywords then they will find the figure/product they link with that. the reality is that the interior design is made for rich people who do not have time to make it by themselves, but most people who live in this world are not rich. then, no one will beautify their house but they. sharing is very beneficial. it is a great thing when people can take positive values. from that perspective, it can be seen that the presence of internet users influences people‘ lives. conclusion this phenomenon arises since we begin to enter the fourth industrial revolution where internet handles everything. therefore, interior designers have much homework to do in order to compete with phenomenon. they need to possess creativity, good communication skill, and expertise in internet contents. they need to learn photography, social media marketing strategy, and create more valuable things for people. one of the positive impacts of this phenomena is that people from lower or middle class can gain more understanding related to interior design and thus, pay more attention to their home. in other words, this phenomenon makes everybody can be a designer through diy. as adrian cheok said. ―no media replace other media. diy does not make designers losing their job. instead, it encourages creativity. references berger, jonah. 2013. contagious. jakarta: gramedia pustaka utama. kuswarno, engkus. 2009. fenomenology. bandung: widya padjajaran. sulianta, feri. 2015. rahasia berbisnis ala sosial media. andi offset. suyanto, m. 2004. aplikasi desain grafis untuk periklanan. andi offeet. ejournal and internet source, accessed on july 2018: comm, joel. 2017. why the huge do-it-yourself market is just getting started https://www.inc.com/joel-comm/why-the-huge-do-it-yourself-market-is-justgetting-started.html daniel, anna. 2016. the history of diy – from punk to everyday culture. https://isaconf.confex.com/isaconf/forum2016/webprogram/paper81922.html mark frauenfelder. 2011. the courage to screw up: why diy is good for you. https://www.huffpost.com/entry/home-diy-the-courage-to-s_b_589371 tecnavio.com. 2016. global diy tools market is forecast to grow to usd 13.9 billion by 2021: technavio. 60 volume 6 number 1, june 2019 | p-issn 2339-191x, e-issn 2406-9760 https://www.businesswire.com/news/home/20170105006255/en/global-diytools-market-forecast-grow-usd wikipedia. do it yourself. https://en.wikipedia.org/wiki/do_it_yourself diy website and instagram acounts: http://thehousethatlarsbuilt.com/ @houselarsbuilt https://www.allthingsthrifty.com/ @allthingsthrifty @diyldeas @diy.id thanks to: head of design interior study program for data from interior design department alumnus of uns informant: mulyadi (45) as a lecturer in interior design department uns. 133 volume 8 nomor 2, december 2021 p-issn 2339-191x | e-issn 2406-9760 p 133 – 143 art, the ancient spirit of ‘gotong royong’, and the global pandemic village salima hakim universitas multimedia nusantara, jl. boulevard, gading serpong, tangerang, banten, indonesia-15810 e-mail: salima.hakim@umn.ac.id abstract according to the world giving index, a study done by the charities aid foundation that provides insights into the global trends of generosity, indonesia has taken top position of the chart and was named 2020’s most charitable country in the world. the notion of communality, consensus and collectivity, also known in javanese as gotong royong or mutual assistance, a prominent characteristic associated with the traditional village life, appeared to also transpire within the global village. as we are universally connected through the digital world and are collectively experiencing a global pandemic where all art activities came to a halt, it is important to look further into how art adapted to these sudden changes and limitations of circumstances. using a cultural studies approach and virtual ethnography data collecting, this paper will seek to examine how several online art initiatives tries to embody the spirit of collectivity, using artworks as a tool of activism to help others survive the pandemic, and at the same time re-imagining the notion of gotong royong that can persist in the digital village that function as a form of collectively belonging to the concept of a nation. keywords: global village, collectivity, art activism, pandemic aktivitas seni sebagai medium gotong royong di era pandemi abstrak menurut world giving index, sebuah studi yang dilakukan oleh the charities aid foundation yang memberikan wawasan tentang tren global kedermawanan, indonesia menempati posisi teratas dan dinobatkan sebagai negara paling dermawan tahun 2020 di dunia. gagasan komunalitas, konsensus dan kolektivitas, yang juga dikenal dalam bahasa jawa sebagai gotong royong, karakteristik yang diasosiasikan dengan tradisi dan kehidupan wilayah desa, tampak juga terjadi di dalam desa virtual. karena kita terhubung secara universal melalui dunia digital dan secara kolektif sedang mengalami pandemi global di mana semua kegiatan seni terhenti, penting untuk melihat lebih jauh bagaimana seni beradaptasi dengan perubahan dan keterbatasan keadaan yang terjadi. dengan menggunakan pendekatan kajian budaya dan pengumpulan data etnografi virtual, makalah ini akan mencoba mengkaji bagaimana beberapa inisiatif seni daring mencoba untuk mewujudkan semangat kolektivitas, menggunakan karya seni sebagai alat aktivisme yang dapat membantu orang lain dalam kondisi pandemi, dan di saat yang sama kembali membayangkan gagasan gotong royong di desa digital sebagai usaha untuk menjadi bagian dari konsep sebuah bangsa. kata kunci: desa global, kolektivitas, aktivisme seni, pandemi 134 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 introduction the global pandemic due to covid 19 that began in the first quarter of 2020 has had a tremendously profound impact on every aspect of human life, including all forms and activities relating to the art world. movie theatres and museums were forced to close, art performances and theatre plays postponed, music concerts and art exhibitions around the world were cancelled, and everything came to a halt. the pandemic has devastated the financial and economic aspects of the entire art world. more importantly, isolation abolished the fundamental connection that humans get from collectively experiencing any art forms. as humans are navigating through these unprecedented times of isolation and confinement, art is of critical importance now more than ever on multiple levels. changes and transformations in the context of art production, consumption and distribution are inevitable and necessary to adapt to the sudden changes and limitations of circumstances. as humans are confined within the safety of our homes, we depend solely on virtual connections through the internet, online platforms and applications, online education and entertainment, trying to collectively manoeuvre through the pandemic as what mcluhan (1962) referred to as the global village (georgiadou, 2015). we are forced to substitute music concerts with online home concerts and virtual collaborations, social events with web seminars and podcasts, the movie theatre with online streaming platforms and art events with virtual museums and exhibitions. communities worldwide appear to come together and offer mutual assistance to others in getting through the pandemic. interestingly, during the pandemic, indonesia was named the most charitable country in the world for two years in a row. according to the world giving index published in 2021, a study done by the charities aid foundation provides insights into the global trends of generosity. more than eight in ten indonesians donated money in 2020, and the rate of volunteering is three times higher than the global average of any other country (heslop, 2021). the title of the most generous country perhaps can be justified by exploring the concept of gotong royong, familiar to all indonesians. gotong royong is a javanese word that can be translated into mutual assistance or working together, which previously had a close association with the lives of traditional indonesian rural areas or villages. the notion of gotong royong centred on collectivity, consensus and cooperation as an ideological base that governs daily societal activities and is constructed to be an integral part of indonesian culture and philosophy of life (bowen, 1986). the historical background of gotong royong has had its share of political interference from its origins to gather extra help for the peak of the harvest season in villages located in the rural area. it has been used as a hegemonic power play between the king and his servants in pre-colonial times. it 135 salima hakim, art, the ancient spirit of ‘gotong royong’, and the global pandemic village further developed into an extension of state power in the old and new order government regime (bowen,1986). tracing back to its hegemonic origins, the concept of gotong royong has since developed and understood as a distinctive characteristic of indonesia as a nation. referring to what anderson (1991) said about imagined communities, that a nation is a community socially constructed and imagined by the people who perceive themselves as part of a group (anderson, 2006), gotong royong serves as one of the key elements that strengthen the image of becoming a part of indonesia as a nation. thus, the understanding of serving out of free will, voluntarily and free labour for the good of the community are ingrained as a consciousness, an awareness of all indonesians, because these values provide the idea of belonging to an indonesian framework. the concept of zakat might also have contributed to the title given to indonesia as the most generous country for two consecutive years in a row. being one of the highest muslim populated countries globally, indonesia is accustomed to practising an act of charity known as zakat or alms. people donate money and gather proceeds to distribute it to the people in need. according to the world giving index report, research about islamic philanthropy suggested that in response to the pandemic in 2020, indonesia's zakat payments were high in numbers (heslop, 2021). some reports stated that people were called to pay zakat by indonesian religious authorities as a way of collectively helping carry the economic burden of those who were hit the hardest by the pandemic. after nearly two years into the pandemic, many initiatives offer various ways to donate to help each other get through any hardships. art initiatives can also be observed as one form of embodiment of the spirit of gotong royong, where artists and art workers offer services or sell works to then donate the proceeds to those deemed in need. this paper will further observe, discuss, and analyze how art is used as a form of mutual assistance to survive collectively and cope with all the struggles caused by the pandemic. method this research is qualitative research that uses a cultural studies paradigm with virtual ethnographic methods for data collection. according to hine (2000), virtual ethnography can be defined as ethnography in, about and through virtual space (carter, 2018). in practice, conventional ethnography is generally carried out with several stages such as participation, observation and interviews, which are also extended in the practice of virtual ethnography (uzun & aydin, 2012). in this study, observations were made virtually to collect art activities initiated by artists and art workers in indonesia during the pandemic from mid-2020 to 2021. art activities 136 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 that were closely observed were initiatives that offer custom made artworks for purchases and donate the proceeds to individuals, groups or any other specific communities in need. the first phase of data collection began by doing online participatory observations of several visual artists and art workers' instagram accounts, who published art initiatives within the pandemic period, which happens to be in close proximity and are connected to similar social circles with the author. furthermore, data regarding forms of art initiatives are also collected by opening hashtags with keywords such as #opendonation #illustrasidonasi #artforcovid19 #opendonationcovid19 #arttodonate #artforpandemic #projectsenidonasi #opencomissiondonation and several other hashtag keywords to collect data of other art initiatives outside the author's familiar social circle. after identifying and collecting data of several art initiative forms that emerged during the pandemic on instagram, the study further observed these findings of art initiatives and activities as text and analyzed its relation to the underlying value of gotong royong that appear to be a necessity or even mandatory as a part of collectively belonging to the idea of a nation in a turmoil of the pandemic. results virtual observations reveal various social and artistic initiatives that help people impacted by the pandemic, which carries along with the spirit of collectivity. since early 2020, there have been forms of initiatives that have emerged in social media. for example, instagram feeds posts or stories that invite (through images and or illustrations) people to donate directly to a specific institution or crowdfunding platforms. another example is lending a hand to distribute information (repost information) of specific individuals or communities who needed assistance. other acts include giving free promotions to homemade merchandise or products, creative workers who offered free promotional services such as free photography, logo design and product branding to help increase the commercial value of home industry products. the research finds several creative workers, visual artists, and art collectives that contribute by selling original or making custom artworks to donate the proceeds for necessary causes, which will focus on this paper. one example is the open donation art project initiated by ika vantiani, a female visual artist, curator, feminist, activist and creative worker from jakarta. ika is a collage artist and has been intertwining her creative endeavours with activism, specifically focusing on women's rights and gender equality. using twitter and instagram as distribution platforms, she initiated an art project responding to puan bantu puan's pandemic, translating into women helping women. the project started 137 salima hakim, art, the ancient spirit of ‘gotong royong’, and the global pandemic village around march of 2020 and offered several options for people to help transgender communities experiencing economic difficulties due to the limitation of income sources caused by the pandemic. one activity was to help promote home-cooked food products made by transgender friends and communities and post them online. in the puan bantu puan project, almsgiver can contribute by ordering ika's collage artwork, tailor-made for each individual. people can send prints of their chosen photographs to then be turned into handmade and customized collage artwork, as shown in figure 1. there were a total of four batches of the puan bantu puan art donation project, stretching from march to november 2020, with each batch limited to a total of five collage pieces due to the fact that it is a custom handmade artwork that requires a lot of time and craftsmanship to produce. the puan bantu puan project donated 85% of each artwork to sanggar seroja, a creative space for transgender communities and groups to channel their artistic talents, located in kampung duri, jakarta, formed in 2016 (irham, 2018) and also to several other transgender communities in yogyakarta. the study also found other examples of art initiative projects that emerged within the context of the covid 19 pandemic, for example, the open donation project initiated by irene riyanto, a graphic designer, illustrator and videographer based in tangerang. in march 2020, using instagram as a distribution platform, she initiated an open commission for donation project to help provide masks, hygiene kits and protective gears for health workers working in the frontline of the pandemic, which was given the title ilustrasi donasi (illustration for donation). irene offered to make custom illustrations from photos selected and sent by the almsgiver and opened the figure 1. custom made collage artwork from puan bantu puan art initiative (source: ika vantiani’s instagram page https://www.instagram.com/p/bqctdcjnef/?utm_medium=copy_link) 138 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 first batch to receive orders for ten illustrations. she illustrates by giving outlines of the figures from the photographs and leaving the faces blank. this visual style presents quite an interesting approach that can be related to the concept of donation and anonymity. the artworks for ilustrasi donasi can be seen here in figure 2. all proceeds from the commissioned work was donated through kitabisa.com, an indonesian online fundraising platform to help provide protective gears for frontline health workers. irene then reported back to the almsgiver in an instagram post detailing the amount of donation as well as the receipt from kitabisa.com, shown here in figure 3. figure 2. custom illustration from ilustrasi donasi art initiative (source: irene riyanto’s instagram page https://www.instagram.com/p/cq5juysq9xav-18udry1z9_vntaeuerggkssk0/?utm_medium=copy_link) figure 3. donation receipt from ilustrasi donasi for almsgiver. (source: irene riyanto’s instagram page https://www.instagram.com/p/cq5juysq9xav-18udry1z9_vntaeuerggkssk0/?utm_medium=copy_link) 139 salima hakim, art, the ancient spirit of ‘gotong royong’, and the global pandemic village in juli 2021, irene published the second batch of ilustrasi donasi as a response to the second surge of the covid-19 pandemic in indonesia. the overall procedure of open commission is similar to the first batch, but used a slightly different visual approach, style and content of illustration from the initial form. in the second batch, irene still invites people to donate by ordering illustration works based on photographs, which can also be accompanied by a written message to send to friends, family, health workers or anyone who needs encouragement and moral support. the second spike of the pandemic in indonesia, which occurred in june to july 2021, with death cases reaching more than 1000 people per day, certainly had a very big impact on the mental condition of everyone in the country. this second batch of ilustrasi donasi invites people to donate by giving money and emotional support by sending messages of kindness and encouragement attached to the artwork, as shown in figure 4.. the observation also came across an art charity initiative organized by forum sudut pandang, a non-profit organization managed by interdisciplinary arts activists based in the city of palu, central sulawesi. forum sudut pandang programs revolved around workshops, exhibitions, film screenings, music performances and alternative markets that centers on contextual social issues and actively assembled recovery programs for communities affected by the tsunami that stroked palu back in 2018. forum sudut pandang has various kinds of social activity: an open commission art project titled kongsi gambar serrupa was released in august 2021 to solidarity through commissioned artworks that involved several visual artists residing in palu. other regions outside java and bali also experienced a high spike in the second quarter of 2021 and central sulawesi is one of the areas with the highest number of infections recorded from july to august. as a response to these circumstance which were also heighten by the collapsing health system in figure 4. second batch of ilustrasi donasi announced in july 2021 (source: irene riyanto’s instagram page https://www.instagram.com/p/cq5juysq9xav-18udry1z9_vntaeuerggkssk0/?utm_medium=copy_link) 140 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 palu, they initiated a the kongsi gambar serrupa as way to contribute in helping those affected by the situation. there are nine artists involved and almsgiver can commission an artwork, drawing or illustrations based on their requested image or photographs, as shown in figure 5. the proceeds from the gambar kongsi serrupa project is then used for cross-subsidies where 50% of the income is donated to aid medicine and vitamins for covid-19 survivors and the other 50% is given to artists as a financial support during the pandemic. discussion the existence of social media has had a major influence on civil rights movements, activists, and non-governmental organizations to question and attempt to challenge traditional power structures in various regions of southeast asia (corpuz, 2021). it has significantly transformed how social movements are activated and the magnitude of how a movement can impact people globally. in the midst of the pandemic since 2020, more people seem to be paying attention and getting involved in activism to support a social or political cause in specific regions such as indonesia, philippines, malaysia, thailand, and myanmar (corpuz, 2021). in indonesia specifically, visual artists, musicians, performance artists and other creative workers are also taking part in generating social movement and activism by utilizing both the social media platforms and their artistic competence as a response to the pandemic. due to several proposed reasons, art as a medium of activism became a significant option in the pandemic era. the first reason proposed in this paper acknowledges that as we are globally linked through the internet, social media and online streaming platforms as a figure 5. the second batch of ilustrasi donasi was announced in july 2021 (source: forum sudut pandang’s instagram page https://www.instagram.com/p/cslu5uwnr8o/?utm_medium=copy_link forum sudut pandang) 141 salima hakim, art, the ancient spirit of ‘gotong royong’, and the global pandemic village gargantuous global village, the compression of the world and the intensification of consciousness of the world as a whole became logical consequences that arises out of this interconnectedness (o’byrne & hensby, 2011). in reference to anderson (1991) as nation-states are imagined communities rather than solid and substantial, we imagine as being a part of a community and therefore construct collective identity through the screen of social media. gotong royong or mutual assistance, a constructed value shared by most members of the society, appears to be ingrained as a collective identity of being indonesians. the act of collectively serving and helping carry the burden of others, can be understood as a consciousness that motivates artists and creative workers to use their artistic abilities and art as tools of activism to help others survive through the global pandemic, for this value provide an image or an idea of belonging to an indonesian framework. in relation to all social restrictions and limitations due to the pandemic, the idea of belonging and sharing collective experiences becomes of great importance and serves as an important means of survival. the notion of gotong royong then conjointly moves along with the rising awareness and enthusiasm of public engagement towards social and political activities that flourished within the global crisis. amnesty international recorded similarities of the method of nonviolent action, mostly done by youth that emerged during the global pandemic in several regions of southeast asian countries such as indonesia, malaysia and thailand (corpuz, 2021). by assembling art charity activities, visual artists and creative workers utilize the concept of mutual assistance or gotong royong as an extension of youth power that is imbued with political awareness for social purposes. another possibility that might also play a significant role in the emergence of these art charity initiatives is perhaps the lack of or even the absence of the state in managing the crisis of the pandemic in indonesia. the relation between the lack of state’s involvement in providing economic assistance with these art charity initiatives have not been investigated thoroughly in this paper and requires further research to identify any possible connections. art charity initiatives that emerge as a response to pandemics can also be analyzed by revisiting the core essence of art itself and how it functions for both collective and individual spheres, particularly in a nation dealing with a global pandemic. the pandemic has devastated the financial and economic aspects of the entire art world. more importantly, isolating the fundamental connection that humans get from collectively experiencing any art form. as humans are trying to navigate through these unprecedented times of isolation and confinement, art on multiple levels is of critical importance for it offers solace, keeping humans collectively connected and helping to stay in touch with thoughts and feelings perhaps necessary in hardship and times of struggle. 142 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 conclusion in conclusion, this study points out the fact that the global digital village, as advanced as it appears to be at its core, is a village. traditional values are inherited and constructed as an image of being indonesian; specifically, the notion of collectivity through the act of mutual assistance or gotong royong, is prevalent and predominant in the ‘instagram village’. gotong royong becomes even more significant in the pandemic, which serves as an underlying ideology for many art initiatives that emerge on social platforms, binding the artist, the recipient, and the almsgiver within the imagery of being a part of a community. the notion of gotong royong is also expanding further from its origin and initial form, in sync with the rising awareness and enthusiasm of public engagement towards social and political activities of indonesian youth. the use of art as a tool of helping others in difficult times becomes important not only for the recipient but also for the almsgiver as well as the artist for it sustained the idea of belonging which is essential in humanity, maintained the social connection with people and at the same time sharing a collective experience as a mean of surviving uncertain circumstances in a global pandemic village. references anderson, b. (2006). imagined communities: reflection on the origin and spread of nationalism. in london: verso (pp. 152–200). https://doi.org/10.2307/j.ctvgs0c0q.10 carter, p. (2018). virtual ethnography. in social memory and heritage tourism methodologies. https://doi.org/10.4324/9781315797915-4 corpuz, j. c. g. (2021). covid-19 and the rise of social activism in southeast asia: a public health concern. journal of public health (oxford, england), 43(2), e364–e365. https://doi.org/10.1093/pubmed/fdab063 de saint-laurent, c., obradović, s., & carriere, k. r. (2018). introduction: what may the future hold? in imagining collective futures. https://doi.org/10.1007/978-3-319-76051-3_1 fiantis, d. (1967). no title no title no title. angewandte chemie international edition, 6(11), 951–952., 2001, 5–24. georgiadou, e. (2015). marshall mcluhan ’ s ‘ global village ’ and the internet elisabeth georgiadou marshall mcluhan ’ s ‘ global village ’ and the internet master thesis ( master of arts in image studies ), university of kent at canterbury , faculty of humanities , 1995 . august 1995. https://doi.org/10.13140/rg.2.1.1490.1282 heslop, n. (2021). caf world giving index 2021. june, 1–42. honours independent research project by kitso seti degree programme : bsocsci ( hons ) politics supervisor : professor thiven reddy honours research project ( pol4007h ). (2018). no title (n.d.). irham, 2018. https://independen.id/read/khusus/726/sanggar-waria-seroja/ 143 salima hakim, art, the ancient spirit of ‘gotong royong’, and the global pandemic village philanthropy indonesia. 2021. the most generous country in the world. https://www.sdgphilanthropy.org/indonesia-the-most-generous-country-in-theworld. o’byrne, d. j., & hensby, a. (2011). theorizing global studies. theorizing global studies, july. https://doi.org/10.1007/978-0-230-34506-5 sidaway, j. d. (2003). imagined regional communitie; integration and sovereignity in the global south. in london : taylor & francis e-library. tom boellstorff, bonnie nardi, celia pearce, t. l. taylor, g. e. m. (n.d.). ethnography and virtual worlds (vol. 148). uzun, k., & aydin, c. h. (2012). the use of virtual ethnography in distance education research. turkish online journal of distance education, 13(2), 212–225. https://doi.org/10.17718/tojde.13232 walker, j. a. (2006). at a distance: precursors to art and activism on the internet. in the art book (vol. 13, issue 1). https://doi.org/10.1111/j.14678357.2006.00649.x (anderson, 2006; carter, 2018; corpuz, 2021; de saint-laurent et al., 2018; fiantis, 1967; georgiadou, 2015; heslop, 2021; honours independent research project by kitso seti degree programme : bsocsci ( hons ) politics supervisor : professor thiven reddy honours research project ( pol4007h ), 2018; no title, n.d.; o’byrne & hensby, 2011; sidaway, 2003; tom boellstorff, bonnie nardi, celia pearce, t. l. taylor, n.d.; uzun & aydin, 2012; walker, 2006) 117 volume 9 nomor 2, december 2022 p-issn 2339-191x | e-issn 2406-9760 p 117 – 131 museums in ghana: visitor education, experiences and satisfaction kwasi amoako-hene1, samuel nortey2, edwin bodjawah3 1koforidua technical university, koforidua, ghana 2faculty of art, kwame nkrumah university of science and technology, kumasi, ghana correspondence e-mail: sammynort@gmail.com abstract this study looked at visitor experience and satisfaction on museum education in ghana. visiting and studying nine museums under the ghana museums and monument board (gmmb) and using both qualitative and quantitative approaches, the study revealed that visitor experiences, satisfaction, and education within museums under gmmb are unsatisfactory. there are issues with teaching methods, the state of exhibits and exhibition styles and a challenge of low possibility for visitor revisit. there is the need to commit resources to strengthen museums and the introduction of activities which would serve as grounds for museum learning. a strong engagement of visitor education in a positive, socio-cultural, and conducive learning atmosphere is very much expedient. the paper recommended a framework of diversity and inclusion that would support the creation of meaningful visitor experiences and enhance museum education in ghana. keywords: museum education, ghana, visitor experience, satisfaction museum di ghana: pendidikan, pengalaman, dan kepuasan pengunjung abstrak studi ini melihat pengalaman dan kepuasan pengunjung terhadap pendidikan museum di ghana. mengunjungi dan mempelajari sembilan museum di bawah dewan museum dan monumen ghana (gmmb) dan menggunakan pendekatan kualitatif dan kuantitatif, studi ini mengungkapkan bahwa pengalaman pengunjung, kepuasan dan pendidikan di dalam museum di bawah gmmb tidak memuaskan. ada masalah dengan metode pengajaran, keadaan pameran dan gaya pameran dan tantangan kemungkinan rendah untuk kunjungan kembali pengunjung. ada kebutuhan untuk menyediakan sumber daya untuk memperkuat museum dan pengenalan kegiatan yang akan berfungsi sebagai landasan untuk pembelajaran museum. keterlibatan yang kuat dari pendidikan pengunjung dalam suasana belajar yang positif, sosial budaya dan kondusif sangat diperlukan. artikel ini merekomendasikan kerangka keragaman dan inklusi yang akan mendukung terciptanya pengalaman pengunjung yang bermakna dan meningkatkan edukasi museum di ghana. kata kunci: edukasi museum, ghana, pengalaman pengunjung, kepuasan introduction the museum visitor is a reason for the existence of museums and hence a museum without visitors is dead. therefore, essentially, museums need to exert a lot of effort in trying to attract physical and virtual visitors, considering happenings in the globe. many museum visitors are repeat visitors; they know that their visits are rewarding and nourishing in terms of personal pleasures, knowledge acquired, 118 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 and insightful reflection. these visitors enjoy their experience and are engaged in what falk and dierking (2000) refer to as “free-choice learning”. new generations of visitors are required to interact with the exhibits and be part of the exhibition. the museum has become an educational service centre that offers a wide range of activities for both young people and adults. however, museums are in competition with many other types of leisure and entertainment activities, such as cinema, sporting events, theatres and increasingly, visitors look for a global experience that includes leisure, education, and social interaction (aalst van & boogaarts, 2004). thus, the role of policy makers is increasingly important, especially for business-oriented museums and heritage organizations (gilmore & rentschler, 2002). visitors’ experience becomes an opportunity to further expand the visitors’ understanding and learning (colbert, 2003). this point is also valid for the provision of museum services. considering the definitions of service quality proposed by parasuraman et al. (1988), museum service quality can be disentangled into ten main dimensions: tangible items (e.g. adequate buildings, artefacts, equipment, staff uniforms); reliability to deliver the expected service; responsiveness of staff to help in an effective way; competence of staff in executing the service; courtesy exhibited by staff; credibility on the overall museum service; security; access to the museum (e.g. road information; transport facilities); communication of the services provided (e.g. use of different languages; customers’ information centre); understanding customers and their preferences, characteristics and needs (agbor, 2011). as far as the last dimension is concerned, it is important to analyze visitors’ experience, behaviour, and their commitment to the cultural site also in the future, bearing in mind that each segment of demand carries different expectations from the services offered at site (chan, 2009). due to the obvious importance of museums to society, museums ought to have good educational strategies to fulfil their obligation and be well managed to the benefit of the government and society. the directors, curators, and docents, through documentations, exhibition design and exhibits educate their visitors. they employ educational strategies essential for visitors to acquire much knowledge during their visits. advanced museums have developed various models to facilitate education in the museums. it can be argued that though the educators’ time with their learners is short-lived, there is evidence that the interactions are memorable, thus that increased attention to the strengths and weaknesses of educational practices of museum educators is valuable. an efficient museum may be described as a collection of instructive labels each illustrated by a well selected specimen (anderson et al., 2010). educational strategies employed by these advanced museum staff are always specially designed to give satisfaction to the visitor. the smithsonian 119 kwasi amoako-hene1, samuel nortey2, edwin bodjawah3, museums in ghana: visitor education, … museum of african art for instance, has among its strategies, a special one for people living with dementia. these special groups of people could not be categorized among adult visitors in general, hence, a multi–sensory method is used to discuss and connect with collections to leave a memorable experience. children of all ages are as well engaged with motor skills and sensory of items known by use as well as symbolic thinking language and egocentric thinking. within the context of ghana, evidence abounds since independence how governments appreciate the relevance of museums in nation building. the kwame nkrumah government appreciated the expediency to restore and conserve the past and therefore passed the ghana museums and monuments board ordinance 1957 (no.20) which established the ghana museums and monuments board (gmmb). this organization is solely responsible for the protection, conservation and management of forts, castles and old merchant houses located within the coastal belt, traditional buildings and ancient mosques and historic town walls located in the northern belt of the country. due to the diverse and wide range of audience the museum receives, and their short stay in the museum, it is expedient to assess the experience and satisfaction level of visitors to inform policies. the experiences visitors gain are always useful ways of helping the individual bounce into the developmental mood as they come face to face with the realities of the preconceived perceptions. this paper therefore looks at visitor experiences and satisfaction of museum education in ghana. methods the study used quantitative and qualitative research approaches to gather data. first, we were interested in studying what museums offer in terms of education and subsequently visitor experiences and satisfaction. the authors travelled to study museum education in us museums such as smithsonian museum, crystal bridges in arkansas, the crocker museum in california and museums in ghana. the study used interviews, observations, and a survey to gather visitors’ understanding of exhibits and how their experience could be assessed. all visitors were made aware of the study including a formal approval from gmmb to satisfy ethical issues. the population for the study comprised all the museums under the management of gmmb. namely, ghana national museum, museum of science and technology, heads of state museum all in the greater accra region, cape coast castle museum and elmina castle museum all in the central region, bolga museum, ho museum in the volta region, fort appolonia in the western region and wa museum. the qualitative approach gathered subjective information, such as museum education vis a vis satisfaction, feelings, experiences or opinions on the 120 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 phenomena. visitors to the museums were asked to voluntarily share their experiences through interactions and answering of a survey. in all, 722 museum visitors were randomly sampled for the study. responses from survey, interviews, and observations were recorded and inputted using spss. in order to assess the satisfaction level of the visitors, closedended questions were asked. themes were drawn from the data that were assembled and grouped according to similar and repetitive themes. the use of descriptive statistics contributed to the understanding of the association between the various variables. results and discussion museums of ghana museum and monument board (gmmb) and collections the national museum in accra was the first to be established in 1957 soon after ghana’s independence. in 1963, the museum of science and technology in accra was created to advance museum education in science and technology. it took almost ten years to establish the third museum and the first in the upper west region in 1972. followed by the volta regional museum in ho in 1973 and cape coast castle museum in the central region in 1974. bolgatanga museum was founded in 1991 and elmina castle museum was instituted in 1997. in 2010, the fort appolonia museum of nzema culture and history was established, and the heads of state museum in the osu christiansburg castle was inaugurated in 2017. the national museum building in dome shape has primary collection groupings of archaeology, ethnography, and art with narratives about ghana’s cultural history. the main gallery is divided into three sections and these deal with ghana’s past; traditions; and country’s arts and culture respectively. the galleries exhibit prehistoric african objects. at the museum of science and technology in accra, the collections are basically antique technological machinery such as a slide projector (1950), sony lcd project (1973) gramophone (hmv 102e) (1954), vinyl recorder and cover (1968), recorded highlife in 1957, kerosene lantern (1853), petromax lamp (1910), telephone receiver (1892). underground copper cable, morse key, sounder, polarised telegragh relay, telecommunication (1881), concave mirror and paintings. the volta regional museum collections of the chair of the last colonial german governor of the volta region, local paintings, woodcraft, and pottery, ‘kente’ cloth designs, masks, chiefs’ stools, swords, and displays on asante traditional religious shrines. the cape coast castle museum, which educates its audience about the advent of europeans to africa and their interactions with the local communities, also hosts the building of history museum. interesting sights include castle’s dungeons, the condemned cells and the “door of no return”. st. george elmina castle museum has the mandate to educate the public on the history 121 kwasi amoako-hene1, samuel nortey2, edwin bodjawah3, museums in ghana: visitor education, … figure 1: rusted exhibits of gong-gong and sticks source: kwasi amoako-hene, 2021 of st. george’s castle as well as to preserve the cultural heritage of the central region. the museum is sited in the former portuguese church and an important aspect in the historic preservation of forts and castles which are a component of the natural resource conservation. the upper east regional museum is mainly an eco-museum and aims to preserve the material culture of the upper east region. the museum’s collections are focused on the artefacts of everyday life of the indigenous people of the upper east; mainly the ‘grunies’, also known as the ‘frafras’. in the area of educating visitors on presidential leaders and high-level personalities in ghana, the heads of state museum started with the collection of various photographs of past heads of state as well as renowned ghanaian personalities. these included panels with narrations of events of the nation’s independence. there are salvaged archaeological work that was conducted at the beachfront of the christiansburg castle which reveals material remains of early osu people, as well as the trans atlantic slave trade and colonial exchanges that occurred on the osu coastal shores in the 15th century. the state of museum education by gmmb museum in ghana use exhibition style and gallery tours to educate visitors. there is presentation of texts and panel narrations as subservient to the understanding of the text. customarily during a gallery tour, the visitor is caught engaged by the appearance of the display of the exhibits and the textual presentation and audio visuals which keep the visitor in an enthusiastic mood and brings a lasting memory. even though good exhibition practices play an important role in museum education, poor maintenance and improper presentation affects visitor education and satisfaction as seen on figure 1 in fort apollonia museum in axim. 122 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 within the various museums under gmmb, visitor education is done using mainly guided and self-guided gallery tours. however, once in a long while, some museums gather resources from various sources to come up with new programmes. these periodic programmes vary from museum to museum. there may be outreach programmes to schools or the museums could host an art exhibition or organize seminars and art talks. guided and unguided tours as form of museum education visitors are either guided or view exhibits without any guide. they create their own meanings by viewing and reading the provenances that have been passed or mounted closer to the work (figure 2). figure 2: self-guided and unguided tours at elmina castle museum source: kwasi amoako-hene, 2021 figure 3: a panel providing education source: kwasi amoako-hene, 2021 123 kwasi amoako-hene1, samuel nortey2, edwin bodjawah3, museums in ghana: visitor education, … sometimes due to the large number of visitors at a particular time, especially on statutory holidays, the visitors enjoy their visit in groups and have discussions on their own. in the occasion where individuals and smaller group visitors come around, they spend more time reading the panels and relate the text with their experiences to make meanings. in a few cases, the exhibitions are well curated to give a clear message to the visitor. the text is a narrative of the photograph, cultural description and artistic appreciation all contribute to the education of the visitors. panels and textual presentations provide a great deal of education to the self-guided visitor. the texts beside or under a particular exhibit provide understanding devoid of any curator or educator’s narrative as seen on figure 3. museum education: children outreach programmes another form of educational activity undertaken by museums under gmmb is outreach programmes. some museums undertake some outreach programmes to various basic schools in the accra metropolis to take children through various activities to enable them to discover their own identity and appreciate more cultural experiences and understand historical involvements of their forefathers in past historical events such as the slave trade. the programme is designed to introduce the children to museum education. they are encouraged to leisurely visit museums and hearten their parents to send them over for sightseeing and pleasure. the educators, through storytelling narrate the slave trade and its effects on the community. they acted the enslaved trade where some acted as the colonial masters and others as chiefs selling slaves over to the foreigners in exchange of gunpowder, salt, whisky and the likes. this was when they had heard the narration by the educator, and they were guided to give a drama illustration of the happenings (figures 4 & 5). the outcomes of these programmes promote cultural identification and historical discoveries that encourage the children to learn, practice and appreciate more cultural experiences. another outreach programme is the celebration of world story telling day which is honoured globally on the 20th of march each year. on this day, as many relevant institutions tell and listen to stories in as many languages at different venues. participants share and tell cultural stories and historical events. the upper east regional museum in bolgatanga hosts a programme dubbed ‘bolga tells’ each year to educate the visitors on their culture through cultural displays by pupils as seen in figure 6. 124 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 exhibitions as museum education in ghana the museums organize special exhibitions occasionally. this complements the gallery exhibitions and gives special focus on subject matter. an example is the architectural heritage of ghana from january to march 2019 organized by national museum in accra. such exhibitions provide a sense of identity and figure 4: drawings of castles by the children. source: samuel nortey, 2021 figure 5: drama by the children source: samuel nortey, 2021 figure 6: cultural group of zuarungu senior high school source: kwasi amoako-hene 125 kwasi amoako-hene1, samuel nortey2, edwin bodjawah3, museums in ghana: visitor education, … continuity in the fast-changing built environment. we are losing touch with the socio-cultural values of buildings and stories of their make-up which are either unknown or unexplored. it advanced the acknowledgement of architectural landscape as part of our narratives and the need to preserve them for posterity. the knust faculty of art partners the museum to hold exhibitions yearly. through these art exhibitions, visitors understand cultural and social disparities through marginalized voices from history to the forefront often through alternatives to traditional museum didactics such as personal narratives, and oral storytelling (trofanenko, 2006). gmmb museum visitor experience and satisfaction to address the second objective of assessing the museum visitor experience and satisfaction, the study sampled 722 respondents. 603 representing 83.5% were female museum visitors and 119 (16.5%) were male museum visitors. accounting for age, it was classified into young adults (18-40 years) and 41 years and above. 144 (19.9%) fell within the 18-40years age bracket and 578 were within the above 41years age bracket. most of the museum visitors had tertiary education (87.5%) and 12.5% representing non-tertiary education. all respondents had visited at least one museum under the gmmb. cape coast castle museum recorded the highest number of visits and experiences (89.8) under gmmb. perhaps, its aim of educating the visitors on the coming of the europeans to africa and especially ghana and the interactions that existed between the colonial masters and communities appear to be a factor influencing frequent visits. notwithstanding, there are other captivating sections such as ‘dungeons’ ‘the condemned cells’ and the ‘door of no return’ put their visits and experiences into the reality of slavery and colonialism. museum visits in ghana are largely by excursions organized by schools and other institutions. further probing showed that they do not visit on their own volition but are triggered by activities which happen once in a long while such as art exhibitions. are museums therefore tilting towards a place of entertainment more than education? clearly, that is where we are going as results show that many do come to visit simply because it was an organized excursion for fun. though we may not agree, it is expedient to note that these can be used as bait to get visitors to understand that the museum is a place for gathering information and not necessarily for fun but supporting the role in human education. information gathered from various visitors enables the curators and educators to know the nature of programmes and activities that best suit a particular group. this finding is key to the development of the framework to enhance museum education in ghana. it is very clear that most visitors do come because of external factors and not during their leisure time or own volition. unremarkably, it was 126 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 disheartening to record that the reasons for their museum visits were largely for leisure and by chance rather than education. most of the visitors do find the place as platform to relax and not fascinated about learning something new or enhancing knowledge. museums are supposed to provide support to learning and meaningful experiences to the visitor and if this is not seen by the visitor, museums will gradually lose their role of educating to entertainment. we can tap into these organized excursions and make museum visits a good educational one for all. significantly, on table ii, the majority of the museum visitors were females (83.5%) and confirms the findings of falk and dierking (2013) that females visit art museums more than their male’s counterparts. museums in ghana under the gmmb are more of art and historical settings. again, the results from table ii indicate that museum visitation is significantly more towards adults than young adults. people above 41years (80.1%) tend to visit the museum more frequently than those below that classified age. according to giroux (2010), the decision by visitors to visit the museums is a conscious decision for most adults unlike in the case of school children who visit museums as part of organized school field trips and have little or no choice in their participation. this study observed that both young and old adults do come with their social groups. children do come when there is an excursion organized by their schools or institutions. though in line with other empirical studies (falk & dierking, 2013; mujtaba et al., 2018) . the disparity in the attendance is too wide in its present state. this clearly shows that museum education in ghana is low and not impacting on children and visitors learning. the potential of castle and forts museums are good platforms to enhance the learning of science and art. this obviously supports the study’s philosophy of developing a framework that can contribute to total museum education. results also showed that museum visit in ghana is influenced by level of education (table 2). individuals who have had tertiary education tend to visit the museums more than those educated up to senior high level. this could only be explained by the level of appreciation and how visitors place importance on museums. comments such as these were recorded: ...we never grew up knowing about the existence of museums in the country. we remember a bit of going to the library but not that of museums and how it can support our learning…(non-tertiary) most also remarked; …i understood the importance of museum as a place that serves as an archive of social commentary and learning during my university studies. without the museums such as the cape coast castle museum my historical understanding of slavery and colonialism would not have been complete (tertiary visitor) 127 kwasi amoako-hene1, samuel nortey2, edwin bodjawah3, museums in ghana: visitor education, … museum visitors’ satisfaction in order to assess museum education in ghana, we examined the visitor experience and level of satisfaction to understand the gap and the intricate challenges of museum education in ghana. in all, museum visitors were very unsatisfied with their experiences. a significant majority, constituting 81.9%, were not satisfied with their visit and teaching method. however, reporting on the guided tour, it was interesting to note that the gap between satisfaction and not satisfied in terms of the reception given by the museum educator was very minimal. though 338 (53.7%) respondents were unsatisfied, there were indications that reception was encouraging, comparatively. table 1 shows activities characteristics stratified by proportion of satisfaction. visitors were very much unsatisfied with the exhibition styles in the museums (99.2%). a similar value was recorded for the state of the artworks and other collections. this finding calls for the involvement of professionals such as artists and curators to assist in art installations, exhibitions, critiques, and provision of provenances that can attract museum visitors and assist in educating the populace. currently, few of the museums are collaborating with contemporary art project spaces in ghana. clearly, with this level of satisfaction, the study was interested in finding out whether these museum visitors would visit again. largely, the answer was not in the affirmative. 77.7% indicated that they would not come again. table 1. museum activities characteristics stratified by proportion of satisfaction variable total percentage teaching methods satisfied not satisfied 131 591 18.1 81.9 reception satisfied not satisfied 334 388 46.3 53.7 exhibition style satisfied not satisfied 6 716 0.8 99.2 state of exhibits satisfied not satisfied 3 719 0.3 99.6 revisit yes no 161 561 22.3 77.7 we need to improve on all aspects of museum activities. in order to assess the significance of the variance and their relationships, the study examined the satisfaction level of museum visitors using logit regression. in the model, the satisfaction level of the teaching methods was used against gender, age, educational 128 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 level, means by which they visit, activities within the museum and whether they would visit again. the model is presented as: y (satisfactory level of teaching methods) =bo +b1(gender=male) +b2(age=18-40) +b3(education=j.h. s-second cycle) +b4(means=excursion) +b4(reason=education) +b5(activities=guided gallery) +b6(tour=yes) +b7(educated=to large/an extent) +b8(visit=yes) from table 2, gender is statistically insignificant in determining the level of satisfaction in the ghanaian museum education. males were less satisfied with the method of teaching as compared to their female counterpart (or=0.003, p value <0.008). what this means is that looking at the percentage of visitors to the museum as recorded in this study, the satisfaction level of visitors to the museum is very low. both males and females largely are not satisfied with the level of museum education. though there is a level of teaching, visitors’ response shows they receive low education when they do visit. yuan et al. (2015) proposed the use of dialogic teaching as a valuable pedagogical principle for museum education. the model again found out that the level of satisfaction in terms of age was indifferent. age was statistically insignificant in determining the level of satisfaction in the method of teaching (p value (0.428) > 0.05). however, people between the ages of 18-40 did express a high level of satisfaction in teaching methods as compared to 41+. education was insignificant in determining the level of satisfaction in the method of teaching with (p value (0.307) > 0.05). however, people who have completed junior and senior high schools had a lesser level of satisfaction as compared to those who are in tertiary institutions. 129 kwasi amoako-hene1, samuel nortey2, edwin bodjawah3, museums in ghana: visitor education, … table 2. parameter estimates for satisfaction level of museum visitors variable coefficient std. error 95% ci exp(b) 95% ci interval for exp(b) lower upper p val. exp (coefficient) upper lower upper intercept 3.499 2.1459 .493 2218.836 .103 33.076 .493 2218.836 male -5.720 2.1453 4.893e-5 .220 .008 .003 2218.836 4.893e-5 .220 female 0a . . . . 1 .220 . . age=18-40 1.883 2.3750 .063 690.543 .428 6.570 . .063 690.543 age=41+ 0a . . . . 1 690.543 . . non-tertiary -1.867 1.8296 .004 5.577 .307 .155 . .004 5.577 tertiary 0a . . . . 1 5.577 . . excursion -9.735 2.8356 2.282e-7 .015 .001 5.916e-5 . 2.282e-7 .015 others 0a . . . . 1 .015 . . education -.550 1.5450 .028 11.916 .722 .577 . .028 11.916 fun/others 0a . . . . 1 11.916 . . guided tour -1.304 2.2218 .003 21.134 .557 .271 . .003 21.134 unguided 0a . . . . 1 21.134 . . guided tour 3.819 2.3908 .420 4940.786 .110 45.574 . .420 4940.786 unguided 0a . . . . 1 4940.786 . . edu.tertiary 12.369 2.5576 1566.392 3.539e7 .000 2.355e5 . 1566.392 3.539e7 no nontertiary 0a . . . . 1 3.539e7 . . revisit-yes -4.720 1.7913 .000 .298 .008 .009 . .000 .298 no 0a . . 1 .298 . . dependent variable: how satisfactory was the museum education? model: (intercept), gender, age, level of education, means, reason, activities, tour, museum education, revisit accounting for the reasons for visiting, the model revealed that visitors who do come because of excursions had less satisfaction than those who came purposely to gather information (or=5.916*10^-5, p value<0.001). interestingly, those who visited to educate themselves also expressed lower satisfaction as compared to those who visited on leisure. this could be interpreted as visitors who came purposely for education could not find satisfaction because they were expecting more to what they already knew. many remarked that” they were disappointed in not seeing some of the historic artefacts and artworks”. most of them were disappointed that many of the artworks and exhibits are in museums elsewhere attracting visitors when the country of origin is experiencing lower museum visits and publicity. tour was also found to be insignificant in determining the level of satisfaction for method of teaching (p value (0.110) > 0.05). however, those who 130 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 went to tour on a theme expressed a very high level of satisfaction in teaching methods as compared to those who went without a theme. education is statistically significant in determining the level of satisfaction of the museum’s teaching method. from the table, people who said they were educated enough or to an extent after visit to the museum were highly satisfied with the method of teaching as compared to their counterpart who claimed they did not meet their expectation and those who rated teaching method as satisfactory (or=2.355*10^5, p value<0.000). from the table, people who said they would visit another time were less satisfied with the method of teaching as compared to their counterpart who said no (or=0.009, p value<0.008). falk and dierking (2000) opined that museum visitors are repeat visitors; they know that there is payoff to their visit in terms of personal pleasures, knowledge acquired, and insightful reflection. conclusions and recommendations museums are places where visitors can make meaning out of their interactions with exhibits. museums under gmmb provide experiences to their visitors, however, these experiences are stratified by less visitor satisfaction. the museums in ghana are facing challenges of maintaining their exhibits, lower activities, and unsatisfactory museum education. there is the need to introduce innovative educational and entertaining activities to strengthen museum education in ghana and more resources to renovate and develop museum infrastructure. a strong engagement of visitor education in a positive, socio-cultural, and conducive learning atmosphere is very much expedient. the study recommends the development of a framework that would enhance museum education in ghana. the framework should consider rebranding of the museums through social media and guided virtual tours, regular organization of art talks and workshops, exhibitions, performances, conferences, and community engagement to improve relations between museums and visitors. references aalst van, i., & boogaarts, i. 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(2015). museums as alternative settings for initial teacher education: implications of and beyond the “take one picture” program for primary art education. visual arts research, 41(1), 27–42. https://doi.org/https://doi.org/10.5406/visuartsrese.41.1.0027 1 volume 8 nomor 1, june 2021 p-issn 2339-191x | e-issn 2406-9760 p 1 – 12 the art form of wedha’s pop art portrait (wpap) angga kusuma dawami1, martinus dwi marianto2, suwarno wisetrotomo3 1doctoral student, graduate school of isi yogyakarta, indonesia 1universitas indraprasta pgri, jakarta, indonesia 2,3indonesia institute of the arts yogyakarta, indonesia e-mail: 1akdawami@gmail.com abstract wedha's pop art portrait (wpap) has become one of the most popular visual arts in indonesia since wedha abdul rasyid decided on this style in 2010. a decade later, wpap became part of visual arts in indonesia, used by many millennial designers, sheltered by the chapter community in regions; jakarta chapter, jogjakarta chapter, surabaya chapter, etc. visual arts based on faces are a strong characteristic of wpap. only a few have achieved the wpap form in accordance with the art form that wedha first brought up. economic motives became the biggest influence on the change in orientation from wpap art to commodity. therefore, the art form in wpap tends to follow market trends. this paper tries to define the existing art in wpap, with the formulation of the problem: what is the art form in wpap in indonesia? the formal approach to art is an important part of knowing art in wpap. through descriptiveanalytic, an explanation of the art form in wpap according to the wedha’s experience is presented in this paper. the analysis is using an analysis of interactions between members of the wpap community in several chapters which already have a "chapter" community. the art form in wpap has almost the same characteristics as wedha's work in the early appearance of wpap. wedha had a past that grapples with art work; making illustrations, making magazine covers, making comics, and so on. the makers of wpap in the wpap community also have an art form in wpap that is the same in pattern, because it is based on wpap that was initiated by wedha at the beginning of its appearance. the art form in wpap has characteristics in color and line drawing. keywords: art form, wedha’s pop art portrait, community, visual art bentuk seni dari wedha’s pop art portrait (wpap) abstrak wedha's pop art portrait (wpap) menjadi salah satu seni visual yang banyak digemari sejak wedha abdul rasyid memutuskan gaya ini pada tahun 2010. satu dekade berikutnya, wpap menjadi bagian dari seni visual di indonesia, digunakan oleh banyak desainer milenial, dinaungi oleh komunitas chapter yang ada di wilayah-wilayah; chapter jakarta, chapter jogjakarta, chapter surabaya, dll. seni visual berbasis pada wajah, menjadi ciri khas yang kuat pada wpap. hanya sedikit yang mencapai bentuk wpap yang sesuai dengan bentuk seni yang wedha munculkan pertama kali. motif ekonomi menjadi pengaruh terbesar pada perubahan orientasi dari seni wpap menjadi komoditi. sehingga bentuk seni dalam wpap cenderung untuk mengikuti tren pasar. tulisan ini mencoba untuk mendefinisikan seni yang ada dalam wpap, dengan rumusan masalah: bagaimana bentuk seni dalam wpap menurut komunitasnya di indonesia?pendekatan formal seni menjadi bagian penting untuk mengetahui seni dalam wpap. melalui diskriptif-analitik, penjelasan tentang bentuk seni dalam wpap menurut komunitasnya disajikan dalam tulisan ini. analisis yang digunakan adalah analisis interaksi antar anggota komunitas wpap di beberapa chapter yang telah memiliki komunitas “chapter”. bentuk seni dalam wpap memiliki ciri khas yang hampir sama dengan karya wedha pada awal-awal kemunculan wpap pertama kali. mailto:akdawami@gmail.com 2 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 wedha memiliki masa lalu yang bergulat dengan pekerjaan seni; membuat ilustrasi, membuat cover majalah, membuat komik, dan lain sebagainya. pembuat wpap di komunitas wpap juga memiliki bentuk seni dalam wpap yang sama secara pola, karena memang berbasis pada wpap yang dicetuskan oleh wedha pada awal kemunculannya. bentuk seni dalam wpap memiliki ciri khas dalam warna, tarikan garis, pemilihan pallet, konstruksi wajah. kata kunci: bentuk seni, wedha’s pop art portrait, komunitas, seni visual introduction this paper is a sub-part of a major research which is being carried out in a dissertation research. the approach in this paper is based on the research of the dissertation research plan in the form of a formal approach that emphasizes the form of the artwork, the structure in it, and the visual elements which appear in the artwork. the big topic that was raised was wedha's pop art portrait. the existence of modern art institutions museums, galleries, art books are part of the cultural tradition of art history, related to individual ideas and creativity (tanner: 12). wedha's pop art portrait (which is later called using the abbreviation wpap), one of the most popular visual arts since wedha abdul rasyid decided to introduce this style in 1990’s when he worked in hai magazine and become historical in indonesia visual art. a decade later, wpap became part of visual arts in indonesia, used by many millennial designers, were shaded by communities that have chapter titles, where they were located in regions in indonesia; the jakarta chapter, the jogjakarta chapter, the surabaya chapter, etc. for decades, art history had been concerned with aesthetic issues. wpap was not against any kind of art, nor did it react to contemporary art when it existed in its era, but it was the industrial ideology that was firmly held when wpap appeared. on the way wpap goes forward, as in wedha's works it only displays portrait images, it has become a major identity to shape this style into one of the popular mass arts. starting from illustration, where illustration is the beginning of wedha's work in cultivating wpap to find fmb techniques (techniques before wpap), these early wpap works by wedha first have artistic value in form and meaning. in the following decade, on wpap works by wedha followers, it has a different ideology and development motivation, the art that appears in their work is also different from the art in wpap by wedha. in general, the ideas for wpap which exist in indonesia, like american pop art, which uses famous people to become part of their visual style, are still used as the main identity. the most important thing about wpap is how wpap displays portraits at the creation of the first wpap by wedha, then by the community it becomes very diverse, and becomes a style outside of the portrait form. 3 angga kusuma dawami, the art form of wedha’s pop art portrait (wpap) the wpap community in these various chapters are the core of wpap to be able to develop and continue the style which new digital visual artists are put their love and concern. wedha's desire, who continues to want to contribute to art in indonesia, is another part of wpap's motivation to be thrown to the supporting community. communities which developing wpap style have different militancy by wedha’s art forms, especially fine art, which existed in indonesia in the 2010s, after the wpap was 'official' by wedha through in solo exhibition. the wpap communities have independent financing, as well as activities carried out by the wpap community. it make the wpap still exist to maintain its style in the wider community and create authority over the wpap itself. this authority can be owned by individuals or by groups or by a particular institution (rondhi: 122). the community makes its own artistic authority as a standard which is agreed upon indirectly by its members. wpap visual art claimed become art who was born in first time and raised from indonesia. wedha’s thinking on his discourse as an art that resembles japanese-manga, wpap-indonesia is wedha's big vision for his idea of becoming a separate style and genre. there are a pride which is brought as part of art life in indonesia. visual art based on faces is a strong feature of wpap. just only a few have achieved a wpap form that is compatible with the art form that wedha first appeared in 1990’s. the economic motive become the biggest influence on the change of orientation from the art of wpap to commodity oriented, through community authorities, is growing rapidly. now, the art form in wpap tends to follow market trends, where many artists have the motivation to sell their work compared to making art works which embody ideas from within the artist. a fundamental question arises, about this wpap form in its art form origins. this paper tries answer the research question: what is the art form in wpap in indonesia? materials and method this paper takes data using snowball techniques through virtual, which goes from one chapter to another, and has only explored the three major chapters that still exist today; solo chapter, semarang chapter, and jakarta chapter. snowball sampling is a useful methodology in exploratory, qualitative and descriptive research, especially in those studies that respondents are few in number or a high degree of trust is required to initiate the contact; hard to reach/hard to involve a population (baltar and brunet: 60). the activities carried out are monitoring chapter activities in the virtual area; ig, facebook, and the chapter's community social media accounts; then confirm it with an open interview. online languages are 4 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 embedded in and therefore can prove the 'local knowledge' of visible virtual communities (mann and stewart: 207). the formal approach to art is an important part of knowing art in wpap. the formalist theory of art asserts that we should focus only on the formal properties of art — the "form" (noël carroll: 48). those formal properties include, for the visual arts, color, shape, and line. through the descriptive-analytic method, an explanation of the art form in wpap according to wedha is presented in this paper. the analysis used is the analysis of interactions between members of the wpap community in several chapters that already have a “chapter” community. due to the active consideration of the members and the construction of the community who are still working on behalf of the community, this research is expected to be able to provide a representation that can contribute to broad knowledge about wpap itself, and indonesian visual arts in general. at the big research stage, it is hoped that it can examine all wpap chapters in indonesia. results wedha likes spatial measurement (stereometry) since junior high school. starting from this measurement science, wedha imagines the human face as a collection of flat (geometric) areas formed by imaginary lines. the early works of the concept of a human face consisting of geometric planes by wedha were in the form of free strokes and used crayon medium. this is what ultimately makes wedha, unconsciously, choose to use works with straight lines, rather than curved lines (interview with wedha abdul rasyid, 28 october 2015). the credo that was brought when the wpap appeared was to create a strike field, had a hard line that was formed. it will give a strong and solid impression (interview with wedha abdul rasyid, march 8, 2021) during high school, wedha attended the lebah (lembaga budaya angkatan hijau), a studio which concentrated in the arts, especially fine arts. after high school, wedha get study architecture in university of indonesia, at which time his family was in a bad economic condition (interview with wedha abdul rasyid, 28 october 2015). according wedha, architecture is a combination of exact science and art. seeing and demonstrating diagonal lines, technicalities in exact science that initially had to be known to know many things, gradually became less and more dominated by art. experience with what wedha likes until the university stage, is still the same and consistent with a straight line; likes straight lines, and outlined planes. wedha can be seen as someone who really likes lines which also affects the way he triggers the wpap, by using lots of straight lines, and ultimately forming imaginary lines. (interview with wedha abdul rasyid, 15 april 2016). 5 angga kusuma dawami, the art form of wedha’s pop art portrait (wpap) wedha gave an example when making a foto marak berkotak (fmb) which according to her taste was according to her taste, then when it was published it did not get a "understand" response from the reader. so, there wedha felt the need to get rid of the work, then wedha stated that, "people understand what i expect, i am happy. hopefully you enjoy it in your own way. because the way to enjoy it is different. but the main thing is who he understands who the character is, ". there is an inner urge to strengthen the line elements, according to the completeness of a composition, there are lines, there are planes. the underlying intuition is still the same. with the medium of poster color, i applied these strong lines when i painted the face of david foster, who at that time visited our magazine, and also for bob geldof. but then, i felt that the look of the lines didn't blend with the colors. and when it comes to coloring, it feels the appearance of the line is exaggerated. colors that are already different, when juxtaposed, will automatically form their own dividing line, even though the dividing line is imaginary (rasyid: 28). in that position, wedha finally explained the importance of understanding the 'who' figure in a wpap work, this was also strengthened in the wpap semarang community statement, which should follow what wedha said as clear rules of the wpap (in the wpap discussion) wpap chapter solo x wpap chapter semarang (19 july 2020) this should be explored by everyone who studies wpap as an art like wedha giving wpap to the wider community. in wpap, the lines that appear are imaginary lines, occur from the effect of colliding colors and have areas of firm lines. the colors used are also in accordance figure 1. (form left of the art) freedy mercury; jack nicholson, whoopie golberg. fmb by wedha abdul rasyid source: repro photo on wedha & wpap (2009:29-31) 6 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 with the direction of the incident light. bright colors for the parts that are exposed to light and dark colors for the parts that form shadows so that it gives a 'life' impression in a portrait image. the difference in color that is different from one another according to wedha is to create dimensions, so that a wedha's work on the wpap considers yellow as the front color (maarif: 75). wpap requires the makers to follow wedha as the founding father of wpap. although in the application, there is wpap anomaly, which is a wpap that does not use a portrait, or human face as its object, and wedha does allow this as a future wpap development. the wpap art form defined by wedha can be seen from (1) the line, which is influenced by the way the lines are drawn; (2) color selection, will later form the desired facial dimensions. discussion wedha tried his best in explaining about wpap, about what he raised and how the thought process was. a little bit, wedha's past about the birth of wpap gave a lot of role to his work when it was created. in the previous chapter, it was discussed how wedha finally proceeded from foto marak berkotak (fmb) to wedha's pop art portrait (wpap). pleasure towards straight fields, triggers, building design, makes wedha pay full attention to the origin, wpap. wpap by wedha, made according to what wedha wants, techniques, colors and "different shades." the tool used is a computerized technology tool, which is rampant in the 20th century. applications on canvas, or in any media are possible for wedha or other wpap artists. wedha's thinking shows that wpap is indeed different from other styles of art. gusti hamdan firmanta (in an interview 26 june 2019), stated that the wpap visual style is very different from the cubism visual style or the visual style of andy warhol. in wpap, the lines that appear are imaginary lines, which occur from the figure 2. step to creating wpap source: www.wpapcommunity.com accessed on 17 june 2018 17:36 7 angga kusuma dawami, the art form of wedha’s pop art portrait (wpap) effect of colliding colors and have a plane of firm lines. the colors used are also in accordance with the direction of the incident light. the color for the parts that are affected by light and dark colors for the parts that form the shadows so that the impression is 'alive' in a portrait image. the problem of coloring, wedha (69) said that he had left the grip of human skin color, also with free strokes at the start of fmb. the presentation of works using the popular wpap painting style follows wedha's intuition when observing someone's face (usually famous figures in their respective fields, as contained in the characteristics of pop art), through the original photos. wedha tried his best to capture the expressions of the figures faced through several photos to get the right portrait in making fmb's work on the wpap embryo. in color processing, wedha does a unique thing in executing his work, namely replacing the color in the dark and light of the photo, with another color that has the same color strength. suppose that the bright color in the sun is replaced by a light pink color, a slightly darker color is replaced by a purple color. the forms of wpap that have been presented in the previous findings subchapter provide an overview of how wpap has its artistic pattern from wedha, and has become part of the developing visual arts in indonesia. the economic impact and strength of the community are things that make wpap widely known and its development is in great demand by people in indonesia. wpap development at the community level made wpap art develop, but it did not come out of the idea initiated by wedha. wedha's work forms have provided examples of the wpap art form that should be used by the community in any chapter in indonesia or in the international community. wedha's idea in making political figures and community figures is a representation of wedha's experience of the figures he makes. each character displayed by wedha has its own background in the making, faceting and color selection. this theme was taken by wedha as a form of expression of his ideas in wpap to present something that needs to be a reminder for the next generation, for wedha. the wpap at this level has the same quality elements as the wpap regulations that have been thought out by wedha. the integrity of the elements of form, composed of lines, colors, textures, planes, and balance. colors in political themes look dominant among bright colors, such as red, orange, green, purple, and dark colors which are not too dominant. 8 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 all colors are mixed in the drawing space, forming the portrait of the popular figures in the 2000s and influential people before. the colors used by wedha in describing figures with political themes have their own characteristics, such as barack obama, georg w. bush, j. f. kennedy, soekarno, osama bin laden, and indira gandhi. the color choices in the characters are filled in according to the character's character. even though the color used is not human skin color, figure 3. wpap of community leaders and politicians by wedha abdul rasyid (source: wedha’s art document, 2016) 9 angga kusuma dawami, the art form of wedha’s pop art portrait (wpap) with the wpap color rules, the character of each character is clearly visible on the wpap wedha. soekarno's portrait, with a dominant red and white color to form the impression that soekarno really came from indonesia, this color depicts soekarno's nationalism in fighting for indonesia. this can be seen from how soekarno's expression shows his fighting spirit in giving speeches, supported by a red and white background, the symbol of the republic of indonesia. wedha's pride in soekarno is clearly seen in this wpap work; this is also reflected in wedha's vision to grant the wpap technique as an initiated technique from and for indonesia. the background area that is formed shows how soekarno was screaming to encourage those who saw it in his original style. portrait of george w. bush, known as the president who made many wars in the world. wedha gives dominant red, black, and hot colors to bush's portrait. this image gives off an impression of anger, dislike, and deserves a red report card. this idea is in line with bush's past which caused chaos in the world in the early 20th century. the attack on oil-producing countries, made bush's figure described by wedha as a cruel, cruel gaze. not deserving of world attention for his services to hurt many countries, with the dividing line in the middle of his face and the expression on bush's face that does not smile. indira gandhi’s portrait, this portrait is also not very well known by many people. the colors used are bright colors, reflected in his face, such as: yellow, green, blue, and a little brown as a shadow in the image. prime minister of meteri in the land of hindustan, india. a steel-hearted woman who leads her people to fight without violence, with a determination to what is believed in her struggle. wedha presents the figure of gandhi as a warrior with a smile which indicates wedha's satisfaction with what gandhi has done to his community. portrait of osama bin laden, using colorful colors. a positive aura radiates on this wpap. the predominantly bright colors like a rainbow. osama is depicted by wedha with many colors, depicting a calm facial expression but many colors that represent osama, full of meaning. osama's character is really shown through his distinctive face with a long beard. osama's spirit of struggle can be seen clearly in the look on his face how osama remains calm, even though his enemy, america, continues to be hostile to him and his group through the media. barack obama's portrait, uses the dominant colors orange and brown, with more colors with heavy intensity than light ones. obama's upward look shows his seriousness in fighting for america. his speech-like style illustrates that obama deserves to be president of america, who at that time became the first black person to become president of america. fields like the screams in the comics show that he has a big vision. the eyes that look forward also support this. obama was described 10 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 by wedha when he was going to the american presidential election in 2008. it is obvious how wedha shows his concern for changes in america. the unity of the five portraits drawn using the wpap technique by wedha, all of them, are supported by the expressions of each face depicted. the impression that arises is anger, hatred, enthusiasm, sincerity, reflected in the political theme made by wedha using wpap. wedha wants to communicate with the audience about how exactly, each character is depicted, there are many messages to remember as the next generation. wedha have a love for lines without curves, and it can be seen from the works of the wpap that were sparked at the wedha exhibition at bentara budaya jakarta. this is also supported by (rasyid: 31-40) in his book discussing the structure of the wpap. wpap is referred to as wpap, if: 1. field, a field in the wpap by the anatomical proportions of the portrait created. 2. imaginary lines, lines that are formed not from the outline of the formed plane, but from the collision of two or more colors. the lines present are straight lines, where everyone can see the firmness in wpap, simple, but can capture the character. 3. colors, the colors used in the wpap are colors that match the color concept determined by wedha, where the light color is the area that is more famous for light than the dark color is the area that becomes a shadow in the dark a portrait. table 1. use of color and draw a line by wedha source: personal documentation, 2017 wedha’s artwork in community leaders and politicians color in art form definition the form the colors in this politicians-themed work tend to be varied in order to get impressions in accordance with the character of a politician who is strong, firm, and has character. ts: very bright t: bright at: low bright ag: little dark g: dark gs: very dark 11 angga kusuma dawami, the art form of wedha’s pop art portrait (wpap) as a repertoire of what's happening in the world. it can be seen from the repertoire of figures that the community described by wedha as part of their own experiences, draws a line firmly, with colors that match the character's character, character and idealism. there is a line drawing and color selection section in the wpap as the most important part of the wpap construction itself. so, it can be drawn that core are; first, from drawing facial lines that will give a different impression from one another; second, from choosing a color that matches the character that will give dimension in the wpap work. conclusion there are not many people who understand wpap as an important part of life. the wpap art form can be seen from the line and color draws, both of which are benchmarks for the current developing wpap art. the form of facets continues to evolve from every thought that follows wpap, making various lines of diversity that make wpap more diverse and creating new clusters in the wpap itself in its development. wedha abdul rasyid has provided knowledge about art styles that various groups in indonesia can use. to this day, wpap is used for artists and designers interested in constructing the wpap thought itself. in addition, there are experiences about the characters who have to participate in the wpap made. the art form in wpap has characteristics that should be the same as wedha's work in the early days of wpap's appearance. wedha has past wrestling with artwork; make illustrations, make magazine covers, make comics, etc. wpap makers in the wpap community also have an art form in wpap, which is the same pattern because it is based on the wpap, which wedha coined at the beginning of its appearance. the art form in wpap is characterized by color and line drawing and an understanding of the portrait that will be used as an imitated object. as a science, wpap also requires wisdom in its thinking. pop art has become an art genre that does carry rebellious values in society in general, but this does not happen to wpap. the rebellion that occurred at wpap was in the technical way of making it. at first, it was wedha's difficulty in making realistic images according to human skin tones, but it became various colors, like pop art colors. the concepts raised also provide a complete picture of people's lives, to remember something popular in their day, in general. 12 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 references 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(2012). “social research 2.0: virtual snowball sampling method using facebook.” internet research, vol. 22, no. 1, jan. 2012, pp. 57–74, doi:10.1108/10662241211199960. maarif, yosi samsul. (2017). “kreativitas wedha ’ s pop art portrait.” pantun, no. 52, 2017, pp. 68–77, https://jurnal.isbi.ac.id/index.php/pantun/article/view/753. mann, contributors chris, and fiona stewart. (2000). “internet communication and qualitative research power issues in internet research power issues in internet research.” internet communication and qualitative research, 2000, p. 203. noël carroll. (1999). philosophy of art: a contemporary introduction. rasyid, wedha abdul. (2011). wedha & wpap, pop art asli indonesia. 1st ed. elex media komputindo. rondhi, mohammad. (2014). “fungsi seni bagi kehidupan manusia : kajian teoretik.” jurnal imajinasi, vol. viii, no. 2, 2014, pp. 115–28, https://journal.unnes.ac.id/nju/index.php/imajinasi/article/view/8872. tanner, jeremy. (2004). “sociology of art: a reader.” sociology of art: a reader, 2004, doi:10.4324/9780203633649. informants / resources wedha abdul rasyid, 74, (2021) founder wedha’s pop art portrait. kembangan, jakarta barat, dki jakarta. gusti hamdan firmanta, 33 (2019), sociopreuner and wpap enthusiast. surabaya, jawa timur. 79 habitus creativity of elementary teacher education department students in creating "batik cap" probosiwi campus 5 of universitas ahmad dahlan yogyakarta jl. ki ageng pemanahan number 19, sorosutan, umbulharjo, yogyakarta 55162 e-mail: probosiwi@pgsd.uad.ac.id abstract the purposes of this research are finding out the behaviour and creativity patterns of students in making “batik cap”. subjects of this research were students of the primary school teacher education department at universitas ahmad dahlan yogyakarta who took the art and skills education course in the even semester of the academic year 2018/2019. the stages of the process analyzed include making batik designs, creating “batik cap” masters, “batik cap” artworks, and finishing the artworks. the research method is qualitative research. data collection techniques are done by interview, observation, and document review. the data analysis technique used is narration. the results showed that 4p concept contains habitus as a system of practical production schemes, systems of perception, and appreciation practically related to aesthetics that allow for non-aesthetic responses within an object, differently defined in terms of philosophical logic. students did the practices they had followed the procedure of creative thinking quite well. keywords: habitus, creativity, "batik cap" abstrak tujuan dari penelitian ini adalah untuk mengetahui pola perilaku dan kreativitas siswa dalam pembuatan “batik cap”. subjek penelitian ini adalah mahasiswa program studi pendidikan guru sekolah dasar di universitas ahmad dahlan yogyakarta yang mengambil mata kuliah pendidikan seni dan keterampilan pada semester genap tahun akademik 2018/2019. tahapan proses yang dianalisis meliputi pembuatan desain, master "batik cap", karya seni "batik cap", dan menyelesaikan karya seni. metode penelitian adalah kualitatif. teknik pengumpulan data dilakukan dengan wawancara, observasi, dan tinjauan dokumen. teknik analisis data yang digunakan adalah narasi. hasil penelitian menunjukkan bahwa konsep 4p berisi habitus sebagai sistem skema produksi praktis, sistem persepsi, dan penghargaan yang secara praktis terkait dengan estetika yang memungkinkan respons non-estetika dalam suatu objek, berbeda didefinisikan dalam hal logika filosofis. mahasiswa melakukan praktik cukup baik dengan mengikuti prosedur berpikir kreatif. kata kunci: habitus, kreatif, "batik cap" ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 80 introduction indonesia has many cultural artifacts which spread over several islands like traditional dance, regional weapons, language, custom clothes, culinary, tourism, and crafts. craft items include materials from wood, leaf, fabric, stone, clay, roots, fiberglass and so on. in this paper, the author took one of the item of crafts that is fabric called “batik”. one of the very famous and important textile products from indonesia is “batik”. “batik” was made by people in java, as one of the traditions and cultural heritage in indonesia. “batik” has a very long historical path. the word batik comes from the javanese language, “mbatik” (“mbat” and “tik”), the word “mbat” is also known as “ngembat” which means the word is lifted or discarded and the meaning of the word “tick” is a dot. so, based on the meaning of two words, the meaning of batik is to throw a point several times on the fabric. batik is produced by dipping fabric into a dye solution (susanty, 2015). dots were obtained from hot wax drops on the fabric surface. the hot wax is solid “malam” which dissolves in the pan using hot coals. during the “malam” dissolving on the coal fire, it must remain lit and the craftsman must be careful in dropping it from the hand. “batik” is one of the indonesian nation's wealth. “batik” is a piece of cloth applied by means of a dye-resist technique using “batik-wax” as the resisting medium. indonesian batik process has designated by unesco as a masterpiece of oral and intangible heritage of humanity. as part of the acknowledgment, unesco insisted that indonesia has been preserved their heritage. this fact should be grateful and responded with efforts to develop and preserve indonesian batik. one effort to develop and preserve indonesian batik is to adopt green energy technologies in the production process (syahputra, 2017). “batik” is one of the creative industries that have potential as part of a city branding. “batik” industry can also be categorized as highly creative one because it is processed and developed by artistic ideas through a variety of distinctive and original motif. so, “batik” is able to contribute significantly to the income of the nation, known also as a creative economy. furthermore, “batik” is an eco-art industry which puts the concept of environmentally friendly industries (widiaty, 2015). according to those descriptions, “batik” learning for elementary students did not have been taught. there are many function “batik” for industry and mass product. based on core competencies (ki) and basic competencies (kd) for elementary students on grade 5 wrote 3.4 understanding regional art and 4.4 making regional art, making “batik” is one of the alternative options to representation both. because “batik” is one of the cultural richness in indonesia, so students must been known and participate to preserving. the ways to help it can do “batik” learning in course. for strengthen the author argument, hestiasari rante wrote, “batik” as one of indonesian cultural heritage is brought into this study and probosiwi, habitus creativity of elementary teacher ... 81 is introduced to children in a different platform (rante, 2014). mastery of material about “batik” needs to be done by students. this is supporting their basic understanding of “batik”, so they have a lot of information and apply to make “batik” with certain techniques. besides the technique, students need insight into the basic elements of visual arts as a method of compiling motifs and visualizing “batik”. visual arts students learn to generate a meaningful and aesthetic symbol for an evident topic by using such design elements and principles as color, line, form, shape, space, texture, balance, proportion, perspective, movement, pattern, emphasis, repetition, rhythm, variety, harmony, and unity (ulger, 2018). the style of "batik" is dominated by the fine art elements in the form of lines and dots have found in motifs such as kawung, banji, parang, ceplok, lurik, and others. aesthetic symbol like line, dot, color were contained in “batik” motifs and there are combining with composition, balancing, repetition, and so on. so, the craftsman was considered pattern of “batik” according to the aesthetic symbols. in addition the various of “batik” motifs also have a type classification including “batik tulis”, “batik jumputan”, “batik cap” and so on. there was explained by wulandari in her book entitled batik nusantara: makna filosofis, cara pembuatan & industri batik that kind of “batik” in indonesia has various types that are influenced by classical to modern and hereditary traditions, namely since the majapahit kingdom. in addition, the types of “batik” are also caused by the interaction of the indonesian people with foreign nations, both in fraternal relations, international marriage, trade, diplomatic relations, and colonialism by western nations. the types of "batik" referred to include chinatown “batik”, dutch “batik”, javanese hokokai “batik”, rifa'iyah “batik”, keraton “batik”, sudagaran “batik”, “jawa baru batik”, jlamprang, terang bulan, “cap kombinasi tuli”, “tiga negeri pekalongan”, sogan pekalongan, tribusana, pangan/ “batik petani”, coletan, kemodelan, osdekan, modern, contemporer, “batik cap”, “batik tulis”, and “batik tulis” (wulandari, 211: 84-101). the author focused on one of the type of “batik” is “batik cap” because it was learned to the subjects of this research. “batik cap” is a type of batik that is produced by being stamped on the surface of a cloth with certain motifs made of energy or wood. this type of batik is made by dipping or stamped first into a hot night and then pressed on the fabric surface. this process is carried out continuously so that a series of batik patterns or patterns will be formed on one sheet of cloth (supriono, 2016:145). from another article said “batik cap” is a technique of wax-resist dyeing applied to a cloth made by printing the fabric with a copper stamp called a “cap” acting as mold (sutari, 2015). although “batik cap” was made with stamp tools but it also using wax-resist to reveals small parts. this technique usually calls “canthing” was used hot wax ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 82 and pan did by the craftsman. “batik cap” can defined as “batik” stamp tools because making process need “cap” master which made from copper. anugraha writes that “batik” stamp is one batik type that is produced by using specific stamp tool. one process need to be improved in “batik” stamp production process was the making of stamp tool. during the making of stamp tool, there is a process called scraping in which the surface of stamp tool is trimmed (anugraha, 2015). about in the 1920s, we know another type, which is “batik cap”. this type is a response to consumer demand for “batik” in a mass production. in this context, “batik” was begun to be industrialized (widiaty, 2015). “batik cap” become economic income which has selling opportunity faster because the amount of production that can be made in large quantities in just one time. production cost can be minimalized but the quantity get lots. while the “canting” has been a part of the hand-drawn batik process for centuries, the “cap” is considered a “modern” development. based on ancient wood blocks, the copper “cap” came into use around 1850. by stamping the cloth with the “cap”, thus creating the intricately detailed “batik” motifs immediately, a cloth which might take three months to “batik” with the canting could be finished in a day (kaun, 2001). based on the estimate time making “batik tulis” which using relatively long time, then learning “batik” can be done making alternative “batik cap” using simpler materials. the stamp materials can get by students easily like from paper (malaga/ duplek or food box wrapped paper). the mastery of knowledge of making “batik” can be seen from the ability of students to master knowledge related to the understanding “batik”, the knowledge of tools and materials used in making “batik”, the types of “batik” motifs, and the steps of making “batik”. after learning about making “batik”, it is expected to have knowledge about making “batik”. mastery of knowledge in making “batik” is very important, because it can form mutual tolerance with each other and improve the skills of students in the process of making “batik”. (sovia: 2016) the author who is a lecture in the class of elementary teacher education department was invited students making “batik cap” that starting with drawing up a design motif, stamps master, stamping a stamp master on the fabric. for getting good artworks, students need creativity. creativity is the ability to think of things in new and unusual ways and give birth to a unique solution to the problems faced. creativity is a way of thinking and acting or creating something original and valuable / useful for that person and others. in line with what was stated by gallagher revealed that creativity is related to the ability to create, create, discover a new form and or to produce something through imaginative skills, this means that creativity is related to the experience of expressing and actualizing individual identities in the form integrated in relationships with oneself, with nature and others (sit, 2016:1). creativity seems to probosiwi, habitus creativity of elementary teacher ... 83 originate from a transformation of different thought processes, intuitive, and logical reasoning (savoie, 2015). creative thinking is seen as being critical in facing various challenges in people's lives. educators and policymakers around the world have called for more opportunities in the classroom for students to develop their creative abilities for example, asian education reform has recently "incorporated" creative elements into regular classrooms, resulting in improvements in attitudes, conceptions, abilities, and student behavior in creative development. the big picture in creativity consists of 4p (people, processes, products and press), or it can be said that creativity is formed due to environmental influences (daly: 2016). learning about the “creative process” helps students when they carry out creativity activities with discipline. instructions on how to make a work or an object enable them to be involved in various pedagogical approaches in all disciplines. the results of this analysis document the quality of the learning experience in university classrooms during the teaching of the creative process. suggested pedagogical improvements include building a repertoire of successful works in a field, and self-reflection about the creative process (daly, 2016). the description of the results of this study has continuity with the practice of making “batik cap” for elementary teacher education department’s students which focuses on effective and efficient learning experiences. creative steps certainly become their foundation in the process of making “batik cap”. all steps will be done of students need method to reveals their creativity. learning interactive methods is a non-traditional approach as a new form of creative teaching, where young people are simultaneously involved to feel and understand the original and the concepts of core content areas in education such as science, technology, and mathematics from outside perspective. this article is an attempt to answer questions about how to keep children able to live life creatively. the analysis focuses on fine arts and their interrelationships with interactivity and creativity, and art exploration shapes new ways for children to improve their practices and interactions in the environment. in the aspect of fine arts, the nontraditional approach is found in their creative process in creating skill-based artwork by solving problems encountered both in terms of tools and materials (stavridi, 2015). the description of this research has relevance to the research conducted by the author, because elementary teacher education department’s students have a tendency to imitate or adapt existing work, because the learning styles of elementary school students are more striking with the presence of more concrete objects. so, creativity on making “batik cap” is basic analyze for looking at student habitus. michael grenfell and cheryl hardy (2007:28) write that the basic concept of pierre bourdieu's thinking lies in habitus and arena. both are interpreted as ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 84 subjective and objective dimensions of scientific epistemology. understanding and use is developing in various works and studies of practical contexts. bourdieu used habitus in his earliest research, in his analysis of bachelor farmers in béarn to describe aspects of their physical appearance and their speech characteristics. more formally he defined it as habitus is a system of practice production schemes and practical systems of perception and appreciation. bourdieu further emphasizes his opinion related to aesthetics that allows the existence of non-aesthetic responses within an object, different as defined in terms of philosophical logic (grenfell & hardy:41). furthermore, bourdieu defines habitus as a set of social agents (individuals, groups, or agencies) consisting of things that are structured and regulate an order. things that have been structured in the past and the structure that exists in the present, such as the experience of family care and education and educational experience (grenfell, 2008:51). habitus conceptualizes the relationship between purpose and subjectivity or “outside” and “inside” by describing how these social facts become internalized. bourdieu states that habitus is “socialized subjectivity” and “social form”. in other words, the structure that is internalized, the purpose is made subjective. this is also how the person comes to play a role in the social-disposition that underlies our actions which in turn contributes to the social structure. habitus thus unites the objective social structure and subjective personal experience: “dialectic internalizing externalities and externalizing if internalities” (grenfell, 2008: 52). the author took one of the agents of groups because students divided their class into group. each group is consists in 4-5 persons and ready for doing practice on outing class. the experience of family care and education and educational experience of this course be seen from activities when they are preparing the practice. the activities of habitus are including “socialized subjectivity” and “social form” meant where their come from and characteristic roles. the author using 4p concepts to look how the students do in their habitus creativity for making “batik cap”. learning model is used by art-based learning. johan's (2018) explains that the implementation of art education in elementary schools must consider that art education as a means for educative play and build creativity. if we use the art of education as a means of education, the approach must be in accordance with the purpose of art creation. expected competence of art education for elementary school children is. 1. being able to integrate the elements of ethics, logic and aesthetics, including: knowledge, understanding, perception, analysis, evaluation, appreciation, and production through visual language, voice, motion, and roles. 2. having sensory sensitivity, aesthetics and artistic feelings through exploratory experiences, expressing and creating in the cross field in probosiwi, habitus creativity of elementary teacher ... 85 emotional, intellectual, moral, spiritual and intelligence difficulties according to the needs and development of children. 3. able to be creative in visual language, voice, motion and role in developing the ability of perception, understanding, appreciation, creativity in production. 4. having basic skills and being able to create based on inspiration that comes from nature and the environment around children in processing the art medium. 5. able to appreciate their own work and the work of others and the diversity of local cultural arts and islands. 6. able to play, present artwork and/ or design, display it in class and or in the school environment. the objectives of competency-based arts education are alternatives to: (1) bring art education and the world of art closer; (2) guaranteeing the general basis of art education; (3) focus on results and processes at the same time; (4) introducing flexible learning; (5) acknowledging previous learning; and (6) guarantee multiple entries and exits. thus art education in schools which include art, music, dance and drama, can be used as a basis for education in shaping the soul and personality (moral character). art education can be used as a basis for education, because to form a good personality is done through art education. reingold (2018), five reasons why art learning arises based on students' responses to questions about whether they enjoy learning through art and what they feel is offered by art, including. a. learning through art provides an opportunity to express creativity. b. learning through art leads to better remembering texts. c. learning through art provides an opportunity to feel successful. d. learning through art leads to collaboration which results in deeper thinking about material. e. learning through art provides opportunities to be challenged in new ways. art-based research as a set of methodological tools used by qualitative researchers as a tool adapts the principles of creative arts to answer social research questions holistically and the ways involved in which theory and practice are interrelated. the author deciding for choose reingold concepts are learning art provides an opportunity to express creativity, art leads to better remembering texts, art provides an opportunity to feel successful, art leads to collaboration which results in deeper thinking about material, art provides opportunities to be challenged in new ways. art-based learning concepts from reingold analyzed from affective, cognitive, and psychomotor aspects. ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 86 materials and method qualitative research applied to natural background or in the context of a need (entity), because of natural ontology calls for the facts as a whole that can’t be understood if separated from its context (moleong, 2018:8). furthermore moleong (2018:9), explained that qualitative research uses interviews, observations, and document review methods. this research has several considerations, namely the adjustment is easier if faced with plural facts; presents the nature of the relationship between researchers and respondents directly; qualitative methods are more sensitive and more adaptable to the many sharpening of the mutual influence on the patterns of values encountered. interviews are one of the most widely used research data collection tools that enable researchers to collect data from respondents in a variety of situations and contexts (sarosa, 2017:47). types of interviews in qualitative research consist of three types, namely structured interviews, unstructured interviews, and semistructured interviews. in this study, the author uses the type of unstructured interview, which is informal, there are no guidelines whatsoever, starting with exploring a general topic together with participants (sarosa, 2017:49). observation is carried out by means of field studies that are observations of humans in their “habitat”, where the authors try to find the original “habitat” of the participants. field studies are not limited by specific places and times such as interviews, interaction between researchers and participants only lasts for a longer time, nuanced informal, researchers can explore and find information that is not revealed, researchers can observe what actually happened. types of observations in qualitative research are divided into two, namely observation and participatory observation. observations are researchers observing participants as outsiders, researchers can be present in the daily lives of the participants but do not take any role in their activities. while participatory observation is an activity carried out by researchers who participate in the daily activities of the participants (sarosa, 2017: 60-61). the process of carrying out field studies is carried out in three stages, such as planning (deciding what to do, reasons for conducting research, resource requirements), collecting data (gathering information, making notes, and observing), and analysis (analyzing the data that has been collected and then writing the report) (sarosa, 2017: 64-65). the reasons for observation techniques used in qualitative research are as follows (1) observation techniques are based on direct experience, if the data obtained is not satisfactory, researchers will usually ask the research subjects; (2) observation techniques are possible to see and observe themselves and then record the behavior and events as they occur in the actual situation; (3) observation allows researchers to record events in situations relating to propositional knowledge and knowledge obtained directly from data; (4) doubts probosiwi, habitus creativity of elementary teacher ... 87 often occur to researchers, so the best way is to check the confidence of the data by utilizing observations; (5) the technique enables researchers to be able to understand complex situations and complex behaviors; (6) observations are made if in certain cases communication techniques are not possible to use (moleong, 2018: 174-175). document review is done by viewing, reading, and reviewing documents that are considered relevant for research. sarosa (2017: 65), writes that documents are all material things in written form made by humans, all records both in paper (hardcopy) and electronic (softcopy) such as books, mass media articles, diaries, manifestos, laws, minutes, blogs, pages web, photos, and so on. moleong (2017: 208) explains that field notes have an important role in qualitative research because the discovery of knowledge or theory must be supported by concrete data and not supported by those from memory. the form of field notes consists of the front page and subsequent pages accompanied by paragraph instructions and margins. this research field note was written by the author in a small notebook that contains when, where, who was observed in certain aspects. the contents of the field notes on qualitative research consist of descriptive and reflective sections. descriptive part is the longest part of all events and experiences that are heard, seen, and recorded as completely and objectively as possible. this section contains the subject's selfdescription, dialogue reconstruction, dialogue reconstruction, notes on special events, observer behavior (moleong, 2018: 211-212). whereas the reflective part has a special place to describe something related to the observer itself which includes speculation, feelings, problems, ideas, something that directs, impressions, and prejudices (moleong, 2018: 212). based on the description, the interview process was conducted with the intended participants were even semester (4 and 6) elementary school teacher education department students who were studying visual arts and skills education course in academic year 2018/2019. observation is aimed from the fifth to the seventh meeting on the course. in the fifth meeting, students were given material about printed batik, printed batik tools, printed batik making techniques. at the stage of making batik, students are asked to form groups of 4-5 people in each groups, they negotiate to determine what batik motifs will be made later. each group is required to make a printed batik design on a4 paper sheets measuring 20 x 20 cm in color. each group is also directed to routinely carry out consultations and design guidance at least twice to the supporting lecturer. after the design was revised and received approval from the professors, they then made a master or prototype of a batik stamp tool made from malaga/ duplek paper and boards hardboard cut. each group is required to make a minimum of three master stamp motifs so that their batik is more varied. after the master stamp was made, each group practiced making printed batik with the coloring of naptol and indigosol in ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 88 accordance with the existing design. the document review is done on photos of printed batik designs, the manufacturing process, and printed batik fabrics. data analysis techniques that can be used in qualitative research include coding, hermeneutics, semiotics, narratives. the author chooses narrative techniques, which are writings that contain a series of events from time to time outlined in sequence starting from the beginning, middle, and end. narration is a story that contains empirical material collected by researchers. the material in question is the result of interviews with participants or personal narratives. some approaches to narrative data analysis techniques are as follows (1) reading or writing, from above or from below, realist, constructivist, critical, genre, sound, ante-narrative, deconstruction, grand-narrative, microstoria, story network, intextuality, causality, plot analysis, and theme analysis. the writer chooses the narrative technique approach to reading or writing. according to sarosa (2017: 93), writing in narrative analysis as a tool for organizing and presenting research data in a logical, structured, and systematic manner, while reading in narrative analysis is interpreting the meaning of data in the form of narrative. results based on ki/kd grade 5 elementary school namely on the basic competencies points 3.3 and 3.4 containing understanding and making local art works, elementary teacher education students have gone through a series of stages in making batik stamp in groups. learning aspects achieved include affective, cognitive, and psychomotor. 1) in the affective stage, students are given material about printed batik, ranging from definition, insight, knowledge, dissemination, how to make printed batik. in the learning process students form groups of 4-5 people, so that the total number of groups in one class reaches 12 groups. the learning method at this stage uses the discussion method and the learning model used is art-based learning. the discussion was held after the students obtained material on the topic of developing batik cap. the results of the discussion showed that each group had an effort to develop motives that were integrated with their respective regions of origin. the average student seeks visual inspiration from the internet, they develop a framework for developing motifs. next, students discuss how to construct a stamp tool from the material agreed upon in the class, namely natural materials. they use waste, rubbish, or used goods as an alternative to making stamp equipment. development orientation is aimed at primary school students in the upper class, namely 5th grade elementary school in accordance with applicable ki/kd. the output of the discussion process is the printed batik pattern framework that is worked on in two-dimensional fields. probosiwi, habitus creativity of elementary teacher ... 89 2) in the cognitive stage, students interpret the material by describing the concepts and steps of making printed batik and printed batik tools. students use their basic knowledge of printed batik for elementary school children to compile reports in the form of written descriptions. students use basic knowledge as a basis for integrating the actual stamp technique (with metal) into a process that is adjusted to the competencies of elementary school students. 3) in the psychomotor stage, students create intact batik designs on a4 hvs paper in a square area measuring 20 x 20 cm. furthermore, students apply directly the stamp tool that has been made from natural materials on the mori cloth in accordance with the batik designs that have been made and are colored. at this stage students also do the process of mixing colors from synthetic materials (naptol and indigosol) in the prepared container. the stamp is dipped in the dye container and directly applied to the fabric. to cope with small motifs, the students use a watercolor brush numbered 1, 2, 3 as a dab technique (painting) with a bunch of additional technique blocking and filling isen-isen. in the stage of the finishing work, students immersed batik cloth that had been stamped with fixanol liquid for 6 hours and the cloth that had been dried was trimmed by made the wolsom the edges of the fabric. discussion based on the three aspects of learning that have been described, the big picture in creativity consists of 4p, namely person, process, product, and press, the following description is obtained. table 1. creativity analysis of elementary teacher education students in making “batik cap” no. aspect description aspect remarks 1. person is an individual who is in a group per class that is 4-5 people in a group. each group of personnel works together in making the design framework for motifs, batik pattern designs, and stamped batik works. 2. process the stages of making batik work are done using a method based on consultation and guidance in the field. preparation phase: a. each group conducts consultation and guidance in developing a practice framework and design motifs. b. each group consulted and guided the design ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 90 of the printed batik patterns. c. each group consulted and guided the manufacture of batik stamp tools from natural materials by bringing pieces of motifs to be used. d. each group conducted a consultation and color guidance that was used for the design of printed batik (at least 3 types of colors). e. each group practiced batik making by bringing a set of tools in the form of a basin, a banner, a stove, a raffia rope, used plastic, clothes pins, gloves. stage of manufacture: a. step 1: wash the cloth a day before doing practice making “batik cap” with detergent and dry in the sun to dry. b. step 2: students heat the water to boiling. c. step 3: students dissolve naptol with hot water (basin 1) and color salt with cold water (basin 2). d. step 4: students dip the “mori” cloth to the basic color of the cloth in basin 1 then into basin 2 until it reaches the desired color density then dried in the sun to dry. e. step 5: dissolve the color of the second probosiwi, habitus creativity of elementary teacher ... 91 naptol in the basin and dip the stamp tool until the surface is flat and flap it twice then apply it to the fabric following the finished design. f. step 6: dissolve indigosol coloring with warm water mixed with enough nitrite, then rub it on the surface of the fabric to add small motives and used techniques block in certain areas. after blending, the indigosol color surface is diluted with hcl liquid that has been dissolved in cold water. g. step 7: dry the cloth to dry, then soak it in a bucket filled with fixanol liquid that has been dissolved in water ¾ the size of the bucket for 6 hours. h. step 8: trim the edges of the fabric with a wool mat and ironed and then put into plastic and collected. 3. product the results of the stages of learning a. the framework for developing printed batik is integrated with the motifs of each region. b. batik motif design. c. design of batik stamp tools. d. batik pattern design. e. batik cloth stamp. ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 92 4. press the pressure faced by students during the process of making printed batik. a. number of meetings is relatively short, namely 3x meetings. b. time to make batik development framework in 1x meeting. c. consultation and guidance for 1 month. d. the practice time to make batik in 1 day is on sunday with the division in the first and second week. based on table 1, stage 4p contains habitus as a system of practical production schemes, systems of perception, and appreciation practically related to aesthetics that allow for non-aesthetic responses within an object, different defined in terms of philosophical logic. of all the groups that did the practice, it was found that most of them had followed the procedure of creative thinking quite well. although in each group often faces differences of opinion. the students' habit in creating art followed by adapted learning methods and models adds to their more mature and neatly conceptualized thinking. so competence can be achieved. figure 1. “cap” master (left), design (right) (photograph: probosiwi, 2019) probosiwi, habitus creativity of elementary teacher ... 93 figure 2. detail of “cap” master (photograph: vais febrian, 2019) figure 3. the examples of “batik cap” (photograph: vais febrian, 2019) figure 4. stamping process with naptol and indigosol (photograph: probosiwi, 2019) ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 94 figure 4. “colet” processing (photograph: probosiwi, 2019) conclusion in learning art-based learning model, technical and strategic efforts are needed so that the achievement of creating art works according to the target. stages 4p become one of the strategies in learning art in elementary schools that can be read sequentially to the stages of work. the results obtained can also meet the beautiful requirements as a condition of a work of art. references anugraha, rino andias; sutan, wiyono; mufidah, ilma. (2015). “the design of batik stamp tool scraping working table using ergonomics principles”. proceeding. industrial engineering and service science 2015, iess 2015. procedia manufacturing 4. published by elsevier b.v. this is an open access article under the cc by-nc-nd license. page: 543-551. daly, shanna r; mosyjowsky, erika. a; oprea, stephanie. l; huang-saad, aileen. (2016). “college students’ views of creative process instruction across disciplines”. journal. thinking skills and creativity. received on 18th of may 2015. revision received on 22nd of july 2016. received on 30th 2016. available online on 9th of august 2016. grenfeel, michael. (2008). pierre bourdieu key concepts. edited by michael grenfeil. cromwell press: trowbridge. johan, tri monarita, et.al. (2018). “development of competence-based art learning model in primary school students”. journal. advances in social science, education and humanities research, volume 299. 5th upi international conference on technical and vocational education and training (ictvet 2018). published by atlantis press. this is an open access article under the cc by-nc license (http://creativecommons.org/licenses/by-nc/4.0/). probosiwi, habitus creativity of elementary teacher ... 95 kaun, linda. (2001). “ancient tools for modern times”. magazine. garuda, inflight magazine. february 2001. pages 20-21. moleong, lexy. (2018). metodologi penelitian kualitatif. bandung: pt. remaja rosdakarya. rante, hestiasari. (2014). “a digital batik tool: supporting children in understanding and constructing traditional batik patterns within a museum context”. journal. international journal of multidisciplinary education and research-ijmer. volume 1, issue 2. publication date: 30 september, 2014. reingold, matt. (2018). “student perspectives on the relevance and importance of arts-based learning”. journal. journal of the canadian association for curriculum studies (jcacs). volume 16, number 2, 2018. sarosa, samiaji. (2017). dasar-dasar penelitian kualitatif. jakarta: indeks. savoie, alain. (2015). “aesthetic experience and creativity in arts education: ehrenzweig and the primal syncretistic perception of the child”. journal. cambridge journal of education. issn: 0305-764x (print) 1469-3577 (online) journal homepage: http://www.tandfonline.com/loi/ccje20. sit, masganti, et.al. 2016. pengembangan kreativitas anak usia dini teori dan praktik. medan: perdana publishing. sovia, iif. 2016. “penguasaan pengetahuan pembuatan batik cap pada peserta didik smkn 14 bandung”. jurnal. family edu. vol ii no.1 april 2016. universitas pendidikan indonesia bandung. stavridi, sylvia. (2015). “the role of interactive visual art learning in development of young children’s creativity”. journal. creative education, vol. 6, issue 21 (december 2015), issn print: 2151-4755, issn online: 2151-4771. supriono, primus. (2016). ensiklopedia the heritage of batik: identitas pemersatu kebanggaan bangsa. yogyakarta: andi. sutari, wiyono; yekti, yusuf nugroho doyo; astuti, murni dwi; sari, yuvie mutiara. (2015). “analysis of working posture on muscular skeleton disorders of operator in stamp scraping in “batik cap” industry”. proceeding. industrial engineering and service science 2015, iess 2015. procedia manufacturing 4 (2015), published by elsevier b.v. this is an open access article under the cc by-nc-nd license. page: 133-138. syahputra, ramadoni & soesanti, indah. (2017). “solar home system application in batik industry”. journal. international journal of applied engineering research issn 0973-4562 vol. 12, number 16 (2017). page: 5995-6001 © research india publications. http://www.ripublication.com ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 96 widiaty; riza, l. s.; abdullah, a. g.; ana. (2015). “a preliminary study on augmented reality for learning local wisdom of indonesian batik in vocational schools”. proceeding. international conference on innovation in engineering and vocational education (icieve 2015). published by atlantis press. wulandari, ari. (2011). batik nusantara: makna filosofis, cara pembuatan & industri batik. yogyakarta: andi. ulger, k. (2018). “the effect of problem-based learning on the creative thinking and critical thinking disposition of students in visual arts education”. journal. interdisciplinary journal of problem-based learning, 12(1). https://doi.org/10.7771/1541-5015.1649. 145 volume 8 nomor 2, december 2021 p-issn 2339-191x | e-issn 2406-9760 p 145 – 160 peircean visual semiotics for tertiary level students on storytelling of lanna mural paintings at wat phumin, nan province, thailand tawipas pichaichanarong college of communication arts, suan sunandha rajabhat university, nakhon pathom campus, thailand e-mail: tawipas.pi@ssru.ac.th abstract most temples throughout thailand have mural paintings upon their inner walls. founder of silpakorn university, prof. silpa bhirasri, highlighted 13 temples in thailand as having exceptional mural paintings. with its original lanna mural paintings, wat phumin in nan is one such temple. these mural paintings depict three stories: the buddha, the previous life of the buddha and the ordinary lives of local people. in general, mural art is considered a medium designed to convey messages to the audience. therefore, this study is designed to examine the capability of tertiary level students to comprehend the storytelling of the lanna mural paintings at wat phumin. however, the target group of this study coincided with the data from the questionnaires which collected the data from a field trip onsite, which is tertiary education. various methodologies were used to explore the comprehension of the storytelling of lanna mural paintings among the tertiary students via peircean visual semiotics. as a result, the report of this research has been shown in this study. finally, the knowledge from this study can be used to enhance teaching in various education fields related to visual semiotics and mural paintings. in addition, due to the covid-19 pandemic, the volume of visitors to wat phumin has been reduced. as the situation gets better, this study can educate anyone who plans to visit this temple. keywords: peircean visual semiotics, tertiary level students, lanna mural paintings, wat phumin semiotika visual peircean dalam pengisahan lukisan mural lanna di wat phumin, provinsi nan, thailand pada mahasiswa abstrak sebagian besar kuil di thailand memiliki lukisan mural pada dinding bagian dalam. pendiri universitas silpakorn, prof. silpa bhirasri, menyoroti 13 kuil di thailand yang memiliki lukisan mural yang luar biasa. wat phumin di nan adalah salah satu kuil yang memiliki lukisan mural lanna mural. lukisan-lukisan mural ini menggambarkan tiga cerita: sang buddha, kehidupan sang buddha sebelumnya, dan kehidupan biasa masyarakat setempat. secara umum, seni mural dianggap sebagai media yang dirancang untuk menyampaikan pesan kepada pengunjung. oleh karena itu, penelitian ini dirancang untuk menguji kemampuan mahasiswa dalam memahami kisah pada lukisan mural lanna yang ada di wat phumin. kelompok sasaran penelitian ini berkesesuaian dengan data dari kuesioner yang didapat pada hasil kunjungan lapangan setempat, yaitu pendidikan tinggi. berbagai metodologi digunakan untuk menggali pemahaman akan kisah pada lukisan mural lanna di kalangan mahasiswa melalui semiotika visual peircean. hasilnya kemudian dilaporkan dalam penelitian ini. pada akhirnya pengetahuan dari penelitian ini dapat digunakan untuk meningkatkan pengajaran di berbagai bidang pendidikan yang berkaitan dengan semiotika visual dan lukisan mural. selain itu, karena pandemi covid19, jumlah pengunjung ke wat phumin menjadi berkurang. dengan semakin membaiknya 146 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 situasi, penelitian ini dapat mengedukasi siapa saja yang berencana untuk mengunjungi kuil ini. kata kunci: semiotika visual peircean, siswa tingkat atas, lukisan mural lanna, wat phumin introduction founder of silpakorn university in bangkok, professor silpa bhirasri wrote a book “appreciation of our murals" (1959), in which he highlighted the mural paintings of 13 temples throughout thailand as national treasures. specializing in the teaching of arts, both lectures and studio classes, silpa bhirasri’s opinions on mural paintings in his book can be viewed as focusing primarily on arts and aesthetics. however, mural paintings are not only a type of art, but also a medium. throughout the history of humankind, mural paintings have been used as visual narratives recounting events and stories to following generations. this is particularly the function of mural paintings in buddhist temples and the messages they convey to the audience. of the 13 thai temples silpa bhirasri viewed as having valuable mural paintings, wat phumin in nan is one and is the focus of this study. the study attempted to examine the understanding of the storytelling depicted in mural paintings from the visitors regarding their visual semiotics knowledge. as a result, visitors who visited wat phumin were the target group providing the relevant information needed for the research. fortunately, most of the visitors at wat phumin were studying at the tertiary level of education. in addition, the lanna mural painting at wat phumin comprises three main stories: “the buddha”, “the previous lives of the buddha”, and “the ordinary lives of the local people”. as a result, the study attempted to study the comprehension of the storytelling of the lanna mural paintings among tertiary level students via a peircean visual semiotics approach. the study focused on tertiary level students as the target group to gain insights into and knowledge of the visual semiotics for learning lanna mural paintings at wat phumin. literature review peircean visual semiotics visual semiotics is a subset of semiotics, which is the study of signs that represent meaning on any objects or in written paragraphs, pictures, etc. in addition, visual semiotics manages pictures that enclose meaning for the audience. the study of visual semiotics has increased in popularity and importance following the rise of mass communication to use images via different media. today, visual semiotics theory has become part of our culture. our brains are trained to decode messages with images that we receive every day from senders through various forms of 147 maya purnama sari1, dian rinjani2, the effectiveness of learning method drawing … media. within the field of visual semiotics, there is peircean visual semiotics. this focus on pictorial elements or images and so is suited to the field of mural paintings. jappy (2013) points out that peircean visual semiotics is usually used to decode images with words such as comic strips and advertising campaigns. chandlers (2007) introduced the peircean model used in this research. the model has its origins in charles sanders peirce, who devised his own semiotics model to approach a situation requiring certain skills to decode the message from the image. as shown in figure 1, peirce presented a three-part model which consists of: 1) representation refers to a sign-carrier. 2) interpretant refers to the metaphor of creating a sign. 3) an object referring to something that transcends the sign. figure 1. model of peircean visual semiotics by jappy, t. (2013) tertiary level students tertiary level education is the next stage for students who pursue education beyond the secondary level. this includes vocational education, bachelor education, master education, and phd education. uiis (2021) describes tertiary education as having the aim of individuals learning in specialized fields of education. it focuses on a higher level of sophisticated and expert education. fry et al. (2014) point out that students who enter tertiary level education will learn to think critically and gain knowledge independently. this study focuses on visitors who obtained tertiary education to study how they interpreted and learned from the storytelling depicted in lanna mural paintings at wat phumin in nan, according to peircean visual semiotics. storytelling serrat (2008) defines storytelling as the powerful depiction of opinions, faiths, exclusive, backgrounds, and principles for living one's life through the stories or tales that arouse mental states and intuition. therefore, storytelling uses stories as an articulation tool for any individual to value, contribute and gain 148 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 knowledge. most storytelling is told via the forms of personal stories, text, pictures and sound. in general, wat phumin depicts stories concerning the buddha, the previous lives of the buddha, the lives of ordinary people, as well as other various pictures and writings in the lanna script. lanna mural paintings the lanna mural paintings at wat phumin in nan were painted by nan bua phan, a tai-lue artist who lived in nan province. following king chao anantaworaritthidej's patronage, nan bua phan was instructed to depict the life of the buddha, the previous lives of the buddha, and the lives of ordinary people. nan buaphan and his artisan worker took about seven years to complete the lanna mural paintings on all four sides of the wall inside the temple. the mural paintings reflect the high degree of artistic and aesthetic skill among these individuals. the artists gave their best works at wat phumin nan province for hundred and fifty years and more to draw people to come and look at their works. wat phumin in nan as can be seen from figure 2, wat phumin is the most attractive temple in the town of nan. this is largely by virtue of its unique lanna and tai-lue architecture and its vibrant 19th-century murals that represent day-to-day scenes of nan life. however, there is no exact date as to when wat phumin was built. according to supot phrommanoch, director of the 7th regional office fine arts, chiang mai (2019), there is evidence that wat phumin was first established in 1603. later the temple was reconstructed during the period of 1867-1874. figure 2. wat phumin, nan province source: tawipas pichaichanarong documentation 149 maya purnama sari1, dian rinjani2, the effectiveness of learning method drawing … provide brief but sufficient information for others to be able to understand reproduce or the research. describe any new methods/procedures in detail, but cite in references if the procedures are already published. if the previously published procedures are modified, describe how you modified them and cite the published procedures' references. methodology questionnaires were used to collect data from 411 thai and foreign tourists who have visited wat phumin in nan. at the same time, a qualitative method was used to collect data from tourists who have visited wat phumin. the data were then analyzed using descriptive statistics and qualitative data. in addition, qualitative data were rising from in-depth interviews. tool measurements participants' responses were measured according to demographics and education level. results for the questionnaire, the sample comprised 411 depictive individuals. this was made up of 161 males (39.2%) and 250 females (60.87%). in terms of education level, 22 individuals (5.4%) had a primary school education, 48 (11.7%) had a secondary school education, 15 (36%) had vocational school education, 249 (3.6%) bachelor's degree education, 70 (17%) master's degree education, and 7 (1.7%) phd degree education. table 1. descriptive data of visitors concerning tertiary level education tertiary level education visitors (percent) vocational school 36 bachelor’s degree 3.6 master’s degree 17 ph.d. degree 1.7 total 58.3 150 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 fieldwork approach a discussion was designed to collate the wide range of opinions regarding the storytelling of lanna mural paintings to visitors who have visited wat phumin in nan. in order to learn about personal experiences and interpretations from looking at lanna mural paintings, the researcher then conducted an in-depth interview with one individual with a tertiary level education, and this fieldwork lasted one day. procedures the selected participant for in-depth interviews was male, aged 24 years old, and had obtained a bachelor's degree. his hometown is in ranong province. the participant viewed the lanna mural painting at wat phumin in nan and selected three images from the temple. for in-depth interviews, the researcher used the critical thinking process to study the participant's activity to engage with the storytelling of the lanna mural painting at wat phumin. to gain information from the tertiary level student, this research phase employed critical thinking based on “critical thinking: what is it and why it counts” by peter a. facione (2013). facione detailed the core of the critical thinking process according to the following six steps: 1) interpretation, 2) analysis, 3) evaluation, 4) inference, 5) explanation, and 6) self-regulation. 1. interpretation the participant answered that it was his first-time visiting wat phumin in nan. he understood the form of the temple. wat phumin is a cross-shaped building, as shown in figure 4, with the area of the building expanding in four directions. the participant understood all the characteristics of the temple before entering the building. in addition, he also understood the function of temples in lanna and thai culture, which is to perform daily temple rituals and educate the people who visit the temple. according to patterson et al. (2016), in contemporary times, museums serve as learning spaces. therefore, the lanna mural paintings at wat phumin serve the same purpose as museums. 2. analysis the participant was asked to select three images from the lanna mural paintings that he liked the most from the wall and any temple side. the participant selected two images from the northern wall: an image of buddha and a scene from the previous lives of buddha, which contained carts, a vehicle in lanna used to carry heavy items. the participant selected an image of an ordinary lanna couple from the western wall, as shown in figure 5. 151 maya purnama sari1, dian rinjani2, the effectiveness of learning method drawing … figure 4. cross-shaped building plan of wat phumin in nan source: the 7th regional office of fine arts, chiang mai 152 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 figure 5. three selected images of lanna mural paintings from wat phumin in nan source: tawipas pichaichanarong documentation 3. inference the participants were given the position of three images. however, in lanna mural paintings, the storytelling is in the composition with other elements in the mural painting. therefore, the first image came from the northern wall, an image of buddha and included two buddhist monks in the same scene. the second image came from the same direction, an image of a previous life of buddha, from panyas jataka in the scene where khatthana kumara met noi roi kor and noi rai keawn, with carts in the scene. regarding the third image from the western wall, the participant described it as a life-size figure of a couple that attracted him, as shown in figure 6. furthermore, to make the images from the lanna mural paintings easier to study, the researcher converted the images from the lanna mural painting into lanna graphic drawings more suitable for learning. 153 maya purnama sari1, dian rinjani2, the effectiveness of learning method drawing … figure 6. original and graphic drawings of lanna mural paintings (magnified) at wat phumin in nan source: tawipas pichaichanarong documentation 4. evaluation as the critical thinking approach, the stage of evaluation to determine the states of selected participants on the image of buddha, the image of the previous life of buddha, and the image of ordinary people were to be focused on single objects as shown in figure 7. 154 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 figure 7. original and graphic drawings of lanna mural paintings (focused) from wat phumin in nan source: tawipas pichaichanarong documentation 5. explanation to state the results of one's reasoning, this stage used peircean visual semiotics to explain the participant's selection of three different images as follows: 155 maya purnama sari1, dian rinjani2, the effectiveness of learning method drawing … the buddha the participant selected an image of the buddha from the north wall. this research used the peircean visual semiotic model to explain the selection by the participant. first, the image represents a sign vehicle – the participant selected a graphic drawing of the buddha. second, the interpretant refers to a sense that creates a sign, the interpretant refers to an image of the sort people pay tribute to at the temple, in a ritual to pay tribute to the three major symbols in buddhism: the buddha, the dhamma, and sangha. third, the researcher used image sorting as suggested by kumar (2012) to sort a vintage photograph of the statue of buddha at wat phumin, considered an object which represents the image of buddha in the form of art as shown in figure 8. figure 8. peircean visual semiotic model of the image of buddha at wat phumin in nan source: tawipas pichaichanarong documentation 156 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 the carts the participant selected an image of a cart from the north wall. this research used the peircean visual semiotic model to explain the participant's selection. first, the image represents a sign-vehicle as the participant selected graphic drawing of carts. second, the interpretant refers to a sense that creates a sign; in this case, the interpretant refers to an image of a lanna cart that is part of the daily life of the lanna people. third, the researcher uses image sorting as suggested by kumar (2012) to sort a vintage photograph of a cart because this represents the history of the cart from the past up to the present. as a result, lanna people still use carts in their daily life as shown in figure 9. figure 9. peircean visual semiotic model on the image of the carts at wat phumin in nan source: tawipas pichaichanarong documentation 157 maya purnama sari1, dian rinjani2, the effectiveness of learning method drawing … the couple the participant selected an image of ordinary people from the west well. first, the image represents a sign vehicle as the participant selected a drawing of a couple. second, the interpretant referred to the image of a person wearing a sinh, which is a skirt that lanna women usually wear every day. third, the researcher used image sorting as kumar (2012) suggested finding a photograph of various sinh in different patterns. the reputation of the unique pattern of nan's sinh attracts many visitors to come to nan province and purchase them, as shown in figure 10. figure 10. peircean visual semiotic model on the image of the couple at wat phumin in nan source: tawipas pichaichanarong documentation 158 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 6. self-regulation in this stage, the selected participant was interviewed regarding his mental processes. the researcher used the participant's qualitative interview data to answer this topic. the participant described how he perceived three selected images from the lanna mural painting at wat phumin as he walked around the temple. regarding how he selected the first image from the north wall, the participant answered it was because the buddhas were more beautiful than on the other walls. for the second image, he commented that the position of the carts, placed over the door of the north wall, was very distinct, and the picture stood out for him. the third image, the lifesize image of a couple from the west wall, he found attractive to look at. in this picture, various elements make this image worth looking at. he said he likes this picture because it is a very famous painting, and it is beautiful. discussion the researcher used observation methodology to gain general information about the visitors who visited wat phumin in nan. on the same day, the researcher noticed that most visitors to wat phumin on the same day were in their late teens or young adults. then the researcher returned to wat phumin to fill out questionnaires. the questionnaire asked about their education levels. as a result, most visitors have tertiary level education. the researcher subsequently asked a visitor who visited wat phumin to participate in qualitative research via in-depth interview. in addition, the researcher used the peircean visual semiotics model to ask the participant to select three images from the lanna mural painting at wat phumin. the participant then provided information about his selections. in order to graduate, all graduates of tertiary education are expected to think critically for when they enter the real world. the researcher asked the visitor /participant with tertiary education to report on his experience of the lanna mural paintings at wat phumin. to investigate the participant's critical thinking. the researcher used six steps of the critical thinking process to inform the in-depth interviews. as a result, the researcher studied the selected participant's answers, and found that the participant was able to think critically in mural paintings by himself. however, more knowledge is required to fully understand the storytelling on the lanna mural paintings at wat phumin. in addition, the researcher used the peircean visual semiotics approach to obtain information from a selected visitor. as a result, the selected participant showed his ability to solve the problems with his tertiary level education knowledge. therefore, this research can enhance teaching and learning at the tertiary level of education when combined with other methodologies to gain new knowledge, such as mural paintings, as shown in figure 11. indeed, there are many murals at temples throughout thailand that need to be further explored. 159 maya purnama sari1, dian rinjani2, the effectiveness of learning method drawing … figure 11. learning about lanna mural paintings at wat phumin in nan source: tawipas pichaichanarong documentation an important part of this research is related to covid -19 pandemic. when the spreading of the virus covid-19 throughout the world at the present, there are numbers of people in various fields are working hard to find the cure for covid-19 at the same time. after this research has been published and distributed to the public, it can educate prospective people staying or working from home during the covid-19 situation and plan to visit wat phumin, nan province, when everything is back to normal. whenever people read this article, the author believes that visitors have read this article before visiting wat phumin, nan province. robert curedale, the author of "design research methods: 150 ways to inform design", introduced online methods like this one. he suggested that online methods can develop tools for information design. as a result, they will use the model of the study to examine and analyze the findings of this research to facilitate them when they are going to glance and contemplate lanna mural paintings at wat phumin, nan province. 160 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 references bhirasri, s. (1959). appreciation of our murals. bangkok, thailand: fine arts dept. chandler, d. (2007). semiotics: the basics. routledge. curedale, r. (2013). design research methods: 150 ways to inform design (design methods). design community college inc. facione, p. a. (1998). critical thinking: what it is and why it counts. insight assessment, 1-16. fry, h., ketteridge, s., & marshall, s. (2014). a handbook for teaching and learning in higher education: enhancing academic practice. routledge. jappy, t. (2013). introduction to peircean visual semiotics. a&c black. kumar, v. (2012). 101 design methods: a structured approach for driving innovation in your organization. john wiley & sons. patterson, a., kelly, a., bryan, j., & keenan, j. (2016). museums as learning spaces: exploring trainee teachers’ attitudes to the value of museum visits as learning experiences for children. school of teacher education research in action, 1, 12-21. phrommanoch,s. (2019, july 22). personal interview [ personal interview] serrat, o.d. (2017). storytelling. in: knowledge solutions. springer, singapore. unesco institute of statistics. (2021, may 31). tertiary education (isced levels 5 to 8). retrieved from https://uis.unesco.org/en/glossary-term/tertiaryeducation-isced-levels-5-8 https://uis.unesco.org/en/glossary-term/tertiary-educationhttps://uis.unesco.org/en/glossary-term/tertiary-education 129 volume 7 nomor 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 graffiti virtual exhibition “pandemic youth” donna carollina high school of fine arts and design visi indonesia (sekolah tinggi seni rupa dan desain visi indonesia), jl. tamansiswa no. 150 b, yogyakarta e-mail: donnacarollina@stsrdvisi.ac.id abstract in the middle of march 2020, indonesia declared a covid-19 emergency. this pandemic has an impact on art activities, including the artistic world of graffiti. during this time, the activities of graffiti artists in public spaces were increasingly limited. however, this limitation does not dampen their spirit, especially in terms of organizing exhibitions. where on may 17, 2020, they held a virtual exhibition titled "youth pandemics." this topic is interesting to discuss since organizing a virtual exhibition is a new thing for graffiti artists, especially in indonesia. this research uses the descriptive qualitative method. this study's results reveal that implementing a virtual exhibition gave new alternative space for graffiti artists during a pandemic. also, a virtual exhibition is a place to gather for graffiti artists amid their social limitations. keywords: graffiti, virtual exhibition, pandemic youth pameran virtual graffiti “pandemic youth” abstrak medio maret 2020 indonesia dinyatakan darurat covid-19. pandemik ini berdampak pada aktivitas seni termasuk di dalamnya dunia artistik graffiti. selama pandemik, aktivitas artistik pelaku graffiti di ruang publik semakin terbatas. namun batasan ini tidak menyurutkan semangat berkesenian sebagian pelaku graffiti, terutama dalam hal penyelenggaraan pameran. dimana pada 17 mei 2020 lalu mereka menyelenggarakan pameran virtual bertajuk “pandemic youth”. topik ini menarik untuk dibahas mengingat upaya penyelenggaraan pameran virtual ini merupakan hal yang baru bagi pelaku graffiti khususnya di indonesia. penelitian ini menggunakan metode kualitatif deskriptif. hasil dari penelitian ini mengungkap bahwa penyelenggaraan pameran virtual menambah alternatif baru bagi ruang berekspresi para pelaku graffiti di tengah pandemik. selain itu pameran virtual sekaligus menjadi wadah berkumpul bagi para pelaku graffiti di tengah keterbatasan sosial mereka. kata kunci: graffiti, pameran virtual, pandemic youth introduction in the middle of march 2020, indonesia has declared a pandemic of covid-19. the virus that was initially identified in wuhan has spread to indonesia, and in a short period since the middle of may 2020, the favorable cases of covid-19 have increased significantly (azanella, 2020). the indonesian government is following up on the handling of covid-19 by issuing government regulation number 21 of 2020 concerning the implementation of large-scale social restrictions that can be 130 donna carollina, graffiti virtual exhibition “pandemic youth” carried out by the regional government based on the approval of the minister of health (giri, 2020). social restriction has an impact that felt by all indonesian people. work and study activities carried out online. this effort is to prevent the potential transmission of covid-19 caused by many people's interactions in one space at the same time. work and study, but art activities also impact; one of them is the art world of graffiti in indonesia. this pandemic situation limits the activities of graffiti artists in public spaces. artistic activities held regularly were postponed indefinitely, such as the exhibition. these social restrictions impact graffiti artists’ artistic process where graffiti artists present their existence in public spaces and require appreciation as a form of self-actualization through community spaces such as exhibitions (artcoholic, 2020). these things motivating artcoholic to explore a new form of an exhibition in a virtual model. the virtual exhibition entitled "pandemic youth" can gather graffiti artists and their audience in one space simultaneously without direct physical interaction. this context makes the virtual exhibition "pandemic youth" becomes an exciting topic to study. based on circumstances, "pandemic youth" is a new form used by graffiti artists in indonesia to exhibit their works. so it becomes something new for all graffiti artists who gather in this virtual exhibition. "pandemic youth" is also an exciting topic considering that this virtual exhibition is held in indonesia’s pandemic situation. this exhibition being an event to give a spirit that motivating the graffiti artists and their audiences in the middle of the pandemic situation. online access for exhibition visitors is through a 360° virtual view that can perceive the audience's experiences who visit the exhibition even virtually. things to be studied in this research related to the new experiences felt by exhibition organizers, graffiti artists, and exhibition audiences who visit the "pandemic youth" as well as studying the potential of virtual exhibitions as a new alternative form of exhibiting graffiti work, especially in indonesia during this pandemic covid-19 situation. materials and method this research used the descriptive qualitative method. the characteristic of qualitative research is collecting data in the form of words, sentences, or images that meaningful and trigger a real understanding compared to presentation in the form of numbers or frequency. meanwhile, to increase this study’s validity, a triangulation source technique called data triangulation was used (sutopo, 2006). this study's data triangulation was collecting data from interviews, documents/archives, and observations. interviews were conducted with resource persons to obtain information about the virtual exhibition "pandemic youth", namely by several graffiti artists members of the artcoholic crew as the organizer. 131 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 the interview process was carried out in-depth. subsequent data collection was carried out on documents or archives related to the process and results of organizing the virtual exhibition "pandemic youth". finally, through observation, data collection is carried out in person by attending the online virtual exhibition "pandemic youth". result the virtual exhibition “pandemic youth” was held by artcoholic, a graffiti crew from jakarta, and was formed in 2001. preparation for the exhibition itself was carried out within a month, based on spontaneous ideas during a sudden pandemic that impacted all aspects of life, including graffiti artists and their artistic world. the virtual exhibition "pandemic youth" is a concrete form from graffiti artists in response to the limited and fearful conditions during the pandemic, and bring positive energy. the purpose of this exhibition is to organize and learn about a new form of virtual exhibition space for the development of the graffiti scene in indonesia and a communal space that brings together graffiti artists amid social limitations (artcoholic, 2020). "pandemic youth" is the first virtual graffiti exhibition held during the covid-19 pandemic in indonesia. organizing and accessing this exhibition is carried out online on the https://artcoholic.damnrock.club/ page starting may 17, 2020, to june 2, 2020, and is attended by 30 graffiti artists both from within the country and abroad. these graffiti artists are bujangan urban (jakarta), brokey (jakarta), fine (jakarta), koma (jakarta), muth (jakarta), pots (jakarta), rest (jakarta), smok (jakarta), sidvizeus (jakarta), totokismo (jakarta), yeah! (jakarta), add one seven (jakarta), darbotz (jakarta), daske (surabaya), egg fiasco (philippines), figure 1. publication of the virtual exhibition "pandemic youth" on social media instagram. source: artcoholic instagram account, 2020 132 donna carollina, graffiti virtual exhibition “pandemic youth” ghost (makassar), kicks (bogor), morden (jakarta), muck (yogyakarta), semor (german), shake (bandung), slac satu (singapore), stokemaki (semarang), swodshit (semarang), the popo (jakarta), tutu (jakarta), tuyuloveme (yogyakarta), wormo (jakarta), yuker (jakarta), dan zero (singapore). the total number of visitors to the virtual exhibition "pandemic youth" based on google analytics data counted 8,383 visitors. visitors to this exhibition based on google analytics data is from indonesia, singapore, united states, malaysia, japan, the philippines, vietnam, australia, the netherlands, taiwan, united kingdom, france, hong kong, saudi arabia, ukraine, canada, chile, and china. the largest percentage of exhibition access is using mobile phone. figure 2. total visitors to the virtual exhibition "pandemic youth". source: artcoholic instagram account and artcoholic database from google analytics report 133 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 the critical process in realizing the virtual exhibition “pandemic youth” is preparing a virtual application as an exhibition medium. in the process, artcoholic uses augmented reality technology and explores various programs such as adobe photoshop, adobe illustrator, sketchup, 3d vista, and several game maker programs to build virtual displays. this process is quite complicated, considering that the construction of a virtual display must present the perception of visiting an exhibition to visitors even though virtually. therefore "pandemic youth" becomes a new experience for artcoholic as the exhibition organizer, graffiti artists, and the exhibition visitors. in general, the details of the experiences for both parties is: 1. exhibition organizer: explore a new form of the exhibition with augmented reality technology. virtual exhibits cut production costs. organizers do not need to prepare a specific budget for submitting works, accommodation for artists, rental of exhibition space, publications, and other technical matters. in terms of publications, virtual exhibitions are quickly be published by sending link access through social media that low cost of budgets but can be reached and accessed globally (artcoholic, 2020). 2. graffiti artists: new experiences in presenting their artworks. it is different from presenting their work at regular exhibitions that require direct physical interaction and objects, either with exhibition organizers, other graffiti artists, and exhibition visitors. the virtual exhibition has a high-security level for their artworks because there is no direct physical interaction during the exhibition. besides, artists can directly contribute to the exhibition publication by sending link access through social media that can be accessed online. its publication's reach can also be broad with social media that is accessed globally (interview to bujangan urban & muck, 2020). 3. exhibition visitors: easy access to the exhibition with only a mobile phone. visitors got a new sensation of visiting a virtual exhibition that has never been felt before. ease of identifying and interacting with graffiti artists’ social media links account featured in each artwork (based on interviews with ten visitors). 134 donna carollina, graffiti virtual exhibition “pandemic youth” discussion the exhibition is an organization of elements, objects, or works on display and works to organize and manipulate elements outside the exhibition room. broadly, the exhibition is considered a bond and connection of various things and elements in the space for specific purposes (susanto, 2004). in this case, virtual exhibitions are limited to appreciating static artworks displayed on online media and interacting based on augmented reality (ar) technology. augmented reality is a combination of real and virtual worlds, real-time interactions, and accurate 3d registration of virtual and real objects (wu et al., 2013). "pandemic youth" utilizes augmented reality technology to successfully combine all elements of a combination of real and virtual worlds, then present a perception of the reality of an exhibition based entirely on virtual information based on reality. this thing becomes a new experience for the graffiti scene, especially in indonesia, regarding the exploration of using augmented reality technology as a new media for virtual exhibitions. figure 3. virtual displays of "pandemic youth". source: https://artcoholic.damnrock.club/ 135 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 conclusion engagement is significant in the world of art exhibitions. it describes the process of addressing, stimulating, turning attention towards something, creating lasting positive memories, and giving new insights. engagement is a much deeper and more profound experience that changes and deepens understanding and aims for good exhibition design (hughes, 2010). during the covid-19 pandemic, social restrictions restricted the graffiti scene movement in indonesia threatened its development. however, there are always various ways to emerge as solutions in every limitation, in this case, as artcoholic did with the virtual exhibition "pandemic youth". they try to explore the uses of augmented reality technology and produce some virtual exhibitions. although virtual exhibitions with augmented reality technology are not new in this millennium, in the indonesian graffiti scene, augmented reality technology in virtual exhibitions has never been done, especially during the pandemic. therefore, the presence of "pandemic youth" is something new and potential to be used, especially in creating engagement for exhibition organizers, graffiti artists, and exhibition visitors. this engagement stimulates and gives a festive spirit during the pandemic conditions to keep works and appreciates indonesian graffiti work that develops the graffiti scene itself, especially for the indonesian graffiti scene. references azanella, l. a. (2020). kurva covid-19 melonjak, peneliti sebut pemerintah kehilangan momentum artikel ini telah tayang di kompas.com dengan judul “kurva covid-19 melonjak, peneliti sebut pemerintah kehilangan momentum”, klik untuk baca: https://www.kompas.com/tren/read/2020/06/. kompas. https://www.kompas.com/tren/read/2020/06/14/191259465/kurva-covid19-melonjak-peneliti-sebut-pemerintah-kehilangan-momentum?page=all giri, w. (2020). tiga jurus darurat melawan pandemi covid-19. indonesia.go.id portal informasi indonesia. https://www.indonesia.go.id/narasi/indonesiadalam-angka/ekonomi/tiga-jurus-darurat-melawan-pandemi-covid-19 hughes, p. (2010). exhibition design. laurence king publishing ltd. susanto, m. (2004). menimbang ruang menata rupa (i. gusmian (ed.); cetakan 1). galang press. sutopo, h. (2006). metode penelitian kualitatif. uns press. wu, h. k., lee, s. w. y., chang, h. y., & liang, j. c. (2013). current status, opportunities, and challenges of augmented reality in education. computers and education. https://doi.org/10.1016/j.compedu.2012.10.024 interview with arcoholic crew, bujangan urban, muck, carol, faisal zain, nanda, rio priambodo, agung, hino, sajid algar, miko, riski, and dado. 133 volume 9 nomor 2, december 2022 p-issn 2339-191x | e-issn 2406-9760 p 133 – 142 observation on the use of visual scripting for interaction design students yusup sigit martyastiadi interaction design, visual communication design, universitas multimedia nusantara e-mail: yusup.martyastiadi@umn.ac.id abstract programming for visual communication design students is a challenge in learning it. their competencies are developing visual communication materials for interactive media designs. programming competence in learning interaction design in the visual programming course focuses on programming logic. this study observes the method of visual programming using the bolt add-on (visual scripting). this data was collected from students majoring in interaction design, visual communication design study program at universitas multimedia nusantara when they took visual programming courses. the indicators of this research are studying the understanding of programming logic from several materials and the learning outcomes of each observed material. the researcher found positive results using visual scripting in understanding programming logic for visual communication design students on some of the material observed. in general, it can be concluded that the bolt add-on in the unity game engine software can help students work on interactive media design projects. keywords: visual programming, interaction design, programming logic observasi penggunaan pemrograman visual untuk mahasiswa desain interaksi abstrak pemrograman bagi mahasiswa desain komunikasi visual menjadi tantangan tersendiri dalam mempelajarinya. kompetensi mereka adalah mengembangkan materi komunikasi visual untuk desain media interaktif. kompetensi pemrograman dalam pembelajaran desain interaksi pada mata kuliah pemrograman visual berfokus pada logika pemrograman. penelitian ini mengamati penggunaan metode pemrograman visual dengan menggunakan aplikasi tambahan bolt (visual scripting). pengumpulan data ini dilakukan kepada mahasiswa peminatan desain interaksi, program studi desain komunikasi visual, universitas multimedia nusantara di saat mereka mengambil mata kuliah pemrograman visual. indikator penelitian ini adalah mempelajari pemahaman logika pemrograman dari beberapa materi dan hasil belajar dari setiap materi yang diamati. peneliti menemukan hasil positif menggunakan pemrograman visual dalam proses pemahaman logika pemrograman bagi mahasiswa desain komunikasi visual pada beberapa materi yang diamati. secara umum dapat disimpulkan bahwa aplikasi tambahan bolt pada piranti lunak unity (game engine) dapat membantu mahasiswa dalam mengerjakan proyek perancangan media interaktif. kata kunci: pemrograman visual, desain interaksi, logika pemrograman introduction programming is an activity in technology that is not easy to learn and use (chao, 2016). programming requires special skills to master it holistically (myers, 1990). it takes stages in learning, by learning the programming language first and then 134 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 learning its application and use. prospective programmers must be focused and patient in learning these skills and consistently practice achieving their capacity as reliable programmers. the process of learning programming can be self-taught (non-academic) or take the academic path in college. visual communication design (vcd) studies the application of art and design in communicating messages visually. through this study program, the students will understand the application of art and design in creating solutions to problems that exist in society. this is so that they can design visual communication in various media to create change for the surrounding environment. the vcd study program is a place for students to develop their creativity and innovation as well as their skills in the field of art design to suit global competencies and future industrial needs. the umn’s vcd study program emphasizes adapting and modifying nusantara concepts in design works, both for print and digital needs (desain komunikasi visual, 2022). the vcd study program has a visual programming course with code course id 490. the description of this course is “the visual programming course is a basic introduction course for programming for interactive media. in this course, students will learn about the introduction and basic principles of programming logic for producing interactions in application projects and games. so those students are expected to be able to produce a digital interactive work that is using simple programming” (martyastiadi, 2022). before 2021, this visual programming course used the c# programming language in the learning process for developing interactive media and games. the c# programming language is used in the unity game engine (okita, 2020). as figure 1. bolt in unity asset store (web version) source: https://assetstore.unity.com/packages/tools/visual-scripting/bolt-163802 135 yusup sigit martyastiadi, observation on the use of visual scripting, … time goes by, starting in the odd semester (1st study period) of 2021/2022 (august 2021), the visual programming course introduces bolt as visual scripting in the lecture process. the bolt add-on can be downloaded freely from unity asset store (as shown in figure 1). however, the researcher still partially includes material using the c# programming language as part of the observation and comparison of understanding programming logic. there are several visual programming applications developed with the aim of learning programming, including non-it students (broll et al., 2017; chao, 2016; ray, 2017). those applications are called visual programming languages (vpls) (mcguffin & fuhrman, 2020). on the other hand, these applications are also called visual scripting languages (vsl) (renger, 2022). visual programming languages (vpls) have recently been integrated into some game engine software, such as bolt in unity game engine (chu & zaman, 2021). the bolt, as a visual scripting addon, provides easy options for users who are not familiar with complex programming languages (knutsen, 2021; unity technologies, 2020). the options (as seen in figure 2) are naming commands using the language we usually use (human naming) and naming instructions for programmers (programmer naming). the human naming (hn) scheme makes it easy for users to find and understand the program instructions to be used. in addition, the commands are easy to identify because they use colloquial terms. this differs from the programmer naming (pn) scheme, which uses terms that not everyone knows. for example, "int" in the program command in pn, while the program command in hn directly says "integer". figure 3 is an example of code using bolt as visual scripting. mcguffin & fuhrman (2020) point out that the bolt uses “curves or line segments to connect figure 2. naming scheme in bolt source: https://docs.unity3d.com/2019.3/documentation/uploads/main/bolt-setupwizard2.png 136 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 figure 3. example of visual scripting using bolt source: screen captured from researcher’s computer blocks, and these connections may be equivalent to using temporary variables in a text-based language to store input and output values”. method this study observed 92 students who took visual programming courses. the respondents are a combination of students from three semesters from august 2021 to the present (1st, 2nd study period of 2021/2022 and 1st study period of 2022/2023). the data collection technique used observation during programming practice and limited interviews. the researcher did not observe all the material every week. the observation process is carried out on only a few materials based on three levels of material difficulty: easy, medium, and complex. basically, the observation was conducted by comparing the process results of doing practical assignments using bolt and the c# programming language. the observation activities were carried out as follows: 1. observing students when compiling each c# coding and visual scripting command/ instruction on an assignment. 2. observing students in understanding a programming logic on an interaction concept. 3. observing students when developing an interactivity system observation & disscussion 1. compiling c# codes and bolt visual scripting this section describes the observation of students when they were compiling the c# codes and visual scripting. here is an example of some observation processes; the researcher will not explain all of the observation activities. first observation, the researcher gave the students coding tasks using c# programming language. the simplest instruction was to print out “hello umn” to the ui of unity (as shown 137 yusup sigit martyastiadi, observation on the use of visual scripting, … in figure 4), and then the researcher did a sample from some of the students to explain each line/ row of the codes. most of them understood the code, although the instruction of the code did not mention print out. the students understood that lines 7 to 10 are commands of print out the message of “hello umn!”. they agreed that there is easy to guess by using the clue of “hello umn!”. the researcher points out that they did not really understand the codes, however, they know the logic of printing out the text. in the second experiment, the students have written codes of two instructions: playing the game by loading the game scene and quitting the game (as seen in the codes in figure 5). most of the students faced difficulties in writing the codes. they are not familiar with codes and don't know how to call the command code that they mean and the function of each code. figure 5. code of play and quit game source: screen captured from researcher’s computer figure 4. code of print out “hello umn!” source: screen captured from researcher’s computer 138 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 next step, as the researcher, i gave instructions using bolt as visual scripting (as shown in figure 6). the basic command is the same as the c# programming above. there are loading the game scene and quitting the game. in the last observation, the students tried moderate visual scripting difficulties. the term moderate is the code that needs to apply external components such as rigid body, physics, and raycast systems (as shown in figure 7). the external components of rigid body, physics, and raycast systems are the simulation of natural law in real life. at this point, the students learned how to implement the natural law using visual programming to recognize the programming logic of real things, such as gravity and collision. moreover, the students were given mathematical calculations and condition comparison (if) on the code as a combination of complex understanding of the programming logic (as seen in figure 8). figure 6. bolt visual scripting of play and quit game source: screen captured from researcher’s computer figure 7. bolt visual scripting of applying external components source: screen captured from researcher’s computer 139 yusup sigit martyastiadi, observation on the use of visual scripting, … generally, after the students tried bolt, most felt it was easier to understand the programming logic. the visual and human naming programming of bolt visual scripting has aided them. ray (2017) and chao (2016) state that vpls help to visualize the programming logic. coding using visual scripting is more comprehensible than writing a set of lines of c# codes. it also simplifies them to using scripting commands by calling visualized “english-like” code naming. visual scripting helps the students because of its blocks and lines that visually ease to see the process flow of program commands. according to martyastiadi (2018), visual cues lead design students to more easily understand something in the process learning of designing games. 2. understanding programming logic on interaction concepts and developing interactivity system this observation section explains general information about the use bolt to implement the students’ ideas by developing their interactive media. the table below summarizes observations and personal interviews while they were doing the practicum of visual programming. in the interview, some students said they had previous programming knowledge; however, most didn’t have coding experience. as we see in table 1, generally, the students face difficulty in using c# programming language. scripting a set of c# codes is challenging for those who do not have it background knowledge, especially while writing textual instructions. however, some students (about 10-12) still understand that dan can use c# programming language. as the researcher mentioned above, they stated figure 8. bolt visual scripting of mathematical calculation and condition comparison source: screen captured from researcher’s computer 140 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 they have previous programming experience. the students learned programming at senior high school or programming training centers. table 1. summary of programming understanding activities understand neutral don't understand c# code 10 15 67 using c# 12 13 67 programming logic of c# 12 13 67 c# implementation 5 33 54 bolt visual scripting 78 7 7 using bolt 82 3 7 programming logic of bolt 85 0 7 bolt implementation 85 0 7 broll et al. (2017) also state that this circumstance was happen in their study of visual programming environment for learning distributed programming. consequently, the well-known programming students were much faster at understanding the logic of programming and wrote the c# codes. the use of bolt improves understanding of programming logic. according to table 1, the number of students (more than 75 persons) who understand programming logic is increasing sharply compared to students who are familiar with c# programming language. they felt easier using bolt rather than writing c# codes. using bolt feels easy because it looks like the hierarchy and order of data communication, namely variables and values given. moreover, bolt uses instruction blocks and lines that are interconnected between instructions. it is also stated by renger (2022) that “a visual scripting language is superior to text when it comes to expressing sequences of things, because you can lay things out spatially in a way that you can't in text-driven programming languages. the spatial dimension you have is one dimension vertically and if you have multiple flows somehow then you will interpret these lines with each other”. in their study, kuhail et al. (2021) and chao (2016) mention that vpls was helping students learn how to program. basically, understanding programming logic is the goal of the visual programming course. as a researcher, i focus on this goal. researchers do not expect students to be proficient in programming, but they understand programming logic. the point is that they understand the programming process, so it is easier to work with programmers in the future one day. in this observation process, students' understanding is also seen when implementing visual scripting in the development of interactive media that they are doing. they don't spend much time programming, but they can focus more on creating 2d and 3d assets. 141 yusup sigit martyastiadi, observation on the use of visual scripting, … conclusion this paper presents the observation of the use of bolt visual scripting in visual programming course at visual communication design study program, universitas multimedia nusantara. the visual scripting using blocks and lines helps students to understand the hierarchy and order of commands in programming algorithms. in summary, the use of bolt positively impacts the students. the benefit of the bolt addon for unity game engine software is that it is easy to learn and helps students to understand programming logic. in addition, the bolt helps students learn how to program. for future study, learning methods are needed to be developed to increase the effectiveness of understanding programming logic in the future. references broll, b., lédeczi, á., völgyesi, p., sallai, j., maróti, m., & carrillo, a. (2017). a visual programming environment for learning distributed programming. proceedings of the conference on integrating technology into computer science education, iticse, 81–86. https://doi.org/10.1145/3017680.3017741 chao, p. y. (2016). exploring students’ computational practice, design and performance of problem-solving through a visual programming environment. computers and education, 95, 202–215. https://doi.org/10.1016/j.compedu.2016.01.010 chu, e., & zaman, l. (2021). exploring alternatives with unreal engine’s blueprints visual scripting system. entertainment computing, 36(february 2020), 100388. https://doi.org/10.1016/j.entcom.2020.100388 desain komunikasi visual. (2022). universitas multimedia nusantara. https://www.umn.ac.id/desain-komunikasi-visual/ knutsen, k. í. (2021). visual scripting in game development (issue may). metropolia university of applied sciences. kuhail, m. a., farooq, s., hammad, r., & bahja, m. (2021). characterizing visual programming approaches for end-user developers: a systematic review. ieee access, 9, 14181–14202. https://doi.org/10.1109/access.2021.3051043 martyastiadi, y. s. (2018). the paradox of control: visual clue vs. auditory instruction in game designing. international journal of creative and arts studies, 5(2). https://doi.org/10.24821/ijcas.v5i2.2409 martyastiadi, y. s. (2022). rencana program dan kegiatan pembelajaran semester (rpkps). https://elearning.umn.ac.id/pluginfile.php/24606/mod_resource/content/0/rp kps id 490 visual programming.pdf mcguffin, m. j., & fuhrman, c. p. (2020). categories and completeness of visual programming and direct manipulation. acm international conference proceeding series. https://doi.org/10.1145/3399715.3399821 myers, b. a. (1990). taxonomies of visual programming and program visualization. journal of visual languages and computing, 1(1), 97–123. 142 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 https://doi.org/10.1016/s1045-926x(05)80036-9 okita, a. (2020). learning c# programming with unity 3d. crc press. ray, p. p. (2017). a survey on visual programming languages in internet of things. scientific programming, 2017. https://doi.org/10.1155/2017/1231430 renger, s. (2022). investigation into the criteria of embeddability of visual scripting languages within the domain of game development . (issue june) [breda university of applied sciences]. https://doi.org/10.13140/rg.2.2.11976.39686 unity technologies. (2020). visual scripting with bolt. unity technologies. https://docs.unity3d.com/bolt/1.4/manual/index.html 145 volume 7 nomor 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 the explanation of life experience reflection as ideas of artistic research hery budiawan1,3; yusup sigit martyastiadi2,3 1music education, faculty of language and arts, state university of jakarta; 2interaction design, faculty of art & design, universitas multimedia nusantara; 3doctoral student of graduate school, indonesia institute of the arts yogyakarta e-mail: herybudiawan@unj.ac.id; yusup.martyastiadi@umn.ac.id abstract in indonesia's artistic research, especially for art creation research, many art creative ideas are born from personal experience; however, the artists' subjectivity often constrains them in expressing these experiences. this condition triggers a lack of scientific publications relating to explaining life experiences that underlie creating artwork. this article describes the process of explaining the life experience reflection into the idea of creating artworks. this method is needed to explain emotional triggers into objective knowledge as a scientific research manuscript. this artistic research employs a practice-led research approach. the analysis and discussion are carried out through reflection between ideas of creation, artworks, reviews of existing artworks, and related literature. researchers convince that the practice-led research methodology is very strategic to boost the quality of writing artistic articles, dissemination, and presentation of arts. also, this methodology is expected to overcome the gap between art creation and scientific publications. this study offers steps to uncover subjective experiences into objective research. this artistic research can be used to conquer the subjectivity in art creation and the imbalance between scientific publications and the writing of art creation practices. keywords: artistic research, practice-led research, life experience reflection, art creation penjelasan refleksi pengalaman hidup sebagai gagasan penelitian artistik abstrak dalam penelitian artistik di indonesia, khususnya untuk penelitian penciptaan seni; banyak ide penciptaan seni yang lahir dari pengalaman pribadi, namun mereka sering terkendala oleh subjektivitas seniman dalam mengekspresikan pengalaman ini. hal ini memicu kurangnya publikasi ilmiah yang berkaitan dengan penjelasan pengalaman hidup yang mendasari gagasan penciptaan karya seni. artikel ini menjabarkan proses penjelasan refleksi pengalaman hidup ke dalam gagasan penciptaan karya seni. metode ini diperlukan untuk menjelaskan hal yang subjektif ke dalam pengetahuan yang lebih objektif sebagai naskah penelitian ilmiah. penelitian artistik ini menggunakan pendekatan penelitian yang didorong oleh praktik (plr). analisis dan diskusi dilakukan melalui refleksi antara ide-ide penciptaan, karya seni, ulasan karya seni yang ada, dan literatur terkait. para peneliti yakin bahwa metodologi penelitian yang didorong oleh praktik sangat tepat guna dalam meningkatkan kualitas penulisan artikel, publikasi dan penyajian seni. selain itu, metodologi ini diharapkan dapat mengatasi kesenjangan antara praktik penciptaan seni dan publikasi ilmiah. penelitian ini menawarkan langkah-langkah untuk mengungkap pengalaman subjektif ke dalam penelitian ilmiah yang objektif. penelitian artistik ini dapat digunakan untuk menjembatani antara subjektivitas dalam penciptaan seni dan ketidakseimbangan antara publikasi ilmiah dan penulisan praktik penciptaan seni. kata kunci: penelitian artistik, penelitian yang didorong oleh praktik, refleksi pengalaman hidup, penciptaan seni mailto:herybudiawan@unj.ac.id 146 hery budiawan1; yusup sigit martyastiadi2, the explanation of life experience... introduction it is realized that artists and art practitioners cannot be separated from the activities, work, and creative processes that are carried out and the artwork produced. the experience of work and artwork produced by artists and art practitioners is obtained through creative work and artwork. the process of creativity is a research process, and artwork is the research results; it means both are processes and research results. it is misperception when the artists and art practitioners cannot research their art creation experience and artwork. through the creative process and artworks, artists and art practitioners can find new experiences, methodology, and up to date knowledge. artists and art practitioners indirectly have done scientific work in their artistic practice, whether consciously or not. the method can be to do research first by studying existing works and researching experiences with various artist-style interviews. another method is to conduct direct experiments for the artwork that will be made. this artist's scientific work process has not been written down in scientific writings on a theoretical basis. the potential to bring art practice to scientific publication still seems to be a discourse because of a gap between artistic publication and scientific publication. schön (1983), polanyi (1958), and cross (2001) believe that this 'logical gap' needs to be accommodated through the art creation methodology in the creative process. what is needed to bridge this logical gap is a credible and competent practitioner's ability to provide confidence in analyzing and explaining the artist and designer (cross, 2001; polanyi, 1958; rust, 2004; schön, 1983). on the one hand, artists and art practitioners are occasionally reluctant to write down their creation process in a document because they feel that the artwork itself is sufficient to be submitted to the public and scientific material. meanwhile, in general, the world of scientific research has not accepted creative work as a single element in the assessment and equivalence of artwork. as long as these artistic publications have not been written textually as literature and reviews, this gap tends to exist. even though, internationally, the recognition that art practice is equivalent to scientific research has been summarized in recent studies and literature (barrett & bolt, 2007; gray, 1996; marley, 2012; smith & dean, 2009; sullivan, 2006, 2010). as in policies from the indonesia ministry of research, technology and higher education in 2009 and 2014. to eliminate this gap, it is necessary to think of a method as a balance between practice and scientific writing. usually, in the process of personal reflection and critical reflection, which is one of the crucial elements of practiceled research, there is a risk of overusing the word "i" and using one's experience as the primary reference for conducting research justification. mcnamara (2012) suggests that avoiding this tendency should focus on contributing to knowledge 147 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 even though practice departs from oneself first. art research now tends to be encouraged to become an interdisciplinary science in order to be more objective. this interdisciplinary knowledge allows researchers to reposition and rearrange art practices related to space and time as a synthesis form. this new understanding is developed in the artist's internal area (which can be called one's 'home' territory) to create a productive 'methodological synthesis' (kincheloe, 2001). this article offers the idea that experiences can be used as an idea of art creation to become artwork as an objective and scientific manuscript. the practiceled research approach can bridge the imbalance of art practice with scientific publications in indonesia. the need for academic accountability, dissemination, and publication for artists, practitioners, academics, and students can be answered by implementing strategic practice-led research to base and frame art practices in indonesia, especially overcoming artistic research's subjectivity and imbalance between scientific publications and art creation. method the method used in this paper is artistic research through a practice-led research approach, which will be analyzed through reflection between artworks and ideas of creation. the authors see that the practice-led research methodology is very strategic to help improve the quality, dissemination, publication of art creation and address the gap between the practice of artistic creation and scientific publications. another misconception that often occurs in indonesia that art creation is instrumental. it means that the concept is described first and the subject matter, practice following the conceptual framework, and research is more dominant in subject matter exploration. the art practice is only a tool or process to fulfill goals and concepts, which may be premature because it does not experience an iterative exploration of ideaspractices through practice-led research. even though researchers who employ practice-led research claim that they are creating artwork for the benefit of the audience, in reality, they are making creative work and preparatory work for themselves. in this case, stock (2010) considers that artists in the art industry are outcome-driven (controlled by results), while artists with a practice-led research approach are more controlled by the process while both are involved in the creative process of creating. the researchers express their personal experiences and serve as creative ideas requiring several stages, depending on the research area and its topic. there are no final stages, like other research approaches. the stage here is more on the researchers' need to execute ideas into artwork in a thoughtful way. kenna (2012) investigates that this research-led focuses on the principles of art and methods needed by artists to face art challenges through developing experimental 148 hery budiawan1; yusup sigit martyastiadi2, the explanation of life experience... work methodologies and providing practical examples for methodological testing and demonstrating the findings of this practical research. so, this research contributes to the developing definition of artwork to help artists in their work. experience as a scientific idea of creation experience with sound in the past makes it an idea of creation that will be turned into an artwork, on the conceptual work that will become this research. the researcher sees that a timbre point of view based on a sound experience. the experience of a sound becomes a timbre. it means timbre can remember an experience for those who listen to it. timbre is not just a matter of music, but timbre becomes an association for those who listen to it; so that it can be interpreted as a "sense of sound" for the time being by researchers. sound has a taste like food, but the taste cannot be absolute because it is subjective. to objectify very subjective things, it takes supporting literature and logic of thinking as a means of making sense. the experience of a person's timbre varies between humans, and it will not be the same when hearing something and feeling it, or in reverse, it feels something and sounds it. from various literature regarding timbre, there is nothing written about how to see the timbre of the one who made the composition or who listened to it, what was felt, how the emotions occurred after hearing it; timbre is exciting to talk about after listening to it. there are so many differences that will occur and felt because the timbre nature is not well established. it will not even be as established as other things (tone, pitch, duration, strength). the things mentioned are very measurable, so how do you measure the "sense of sound" (mentioned as timbre)? from exploring experiences related to the researcher's emotional "feeling", it is necessary to do research that involves feel and timbre. experience can make a sound, and sound can be an experience itself. for this reason, there is an in-depth timbre exploration for the need for sound nostalgia to be revealed. one opinion is that timbre is a complex dimension in the perception of human hearing. the american national standards institute (as cited by reid, 2013) calls timbre an "auditory sensation attribute". in this case, we can judge two sounds with the same loudness and the same pitch with the same loudness in the event of sound. however, pitch and loudness are too simple to describe a timbre phenomenon (rossing as quoted by reid, 2013). the authors see a lack of discourse in reflecting a sound experience into a musical composition with the primary material being timbre, which can be termed from "taste to sound or from sound to taste, vice versa." consequently, it is deemed necessary for abstraction to bridge between experience, timbre, and music. timbre has an essential position in composition work to connect and give nostalgic meaning to sound, timbre, and musical composition. timbre is not only about the 149 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 technicalities, sounds, and instruments in music, but far from it. timbre is an element that is still relevant as a medium of expression for composers amid limitations in interpreting the true timbre. svetlana boym presents an interesting perspective in his book entitled "the future of nostalgia". boym (2001) defines nostalgia as a longing for a home that does not exist or does not even exist. she categorizes nostalgia into two classes, namely restorative nostalgia and reflective nostalgia. the restorative type is nostalgia as a human effort to revive the past in the present. reflective nostalgia is a kind of mental recreation of past experiences. reflective nostalgia will bring in the form of aesthetic pleasure, a blissful journey across the realm of memory without feeling anxious that it will never come back again. martyastiadi (2020) adds that inconvenience of the past experiences is also encouraging researchers to create perceptions to present new sensations of experience in their artworks. the process of reflection sometimes needs to think logically and structurally. this proves that the idea of experience is very much in line with a very scientific, reflective theory of nostalgia. after searching through the various literature regarding timbre, timbre memory, nostalgia, emotions, and related musical works, several things that have not been explored can be drawn to reveal the timbre that has been limited to music, physics, and musical instruments. the ongoing debate regarding timbre proves that timbre can indeed be seen from various perspectives. in contrast to pitch, frequency tones are already established by definition because they are absolute. it is this conceptual work that will be important in this artistic research. researchers see the timbre point of view based on a sound experience. how does the experience of sound become a timbre? or can timbre activate an experience for those who listen to it? timbre is not just a matter of music, but far from it, timbre as a self-association for those who listen to it can be interpreted as a "sense of sound" for now by researchers. sound has a taste like food, but the taste cannot be absolute because it is subjective. practice-led research as a solution approach to experience the concept above is an effort to place subjective matters into an objective thing with a practice-led research approach. at least the nature of "me" will be commonplace and not naive in scientific research. the use of the word "i" may occur a lot in creation research with a practice-led research approach. this approach's initially subjective experience became interesting and scientific because every scarcity would reflect some disbursement of data or an interview in nature. this experience provides a new perspective on the world of research and provides a differentiated way of seeing things from various perspectives. 150 hery budiawan1; yusup sigit martyastiadi2, the explanation of life experience... when artists and art academics explore their ability to be responsible for their work, these artists have approached them from an academic perspective (biggs & karlsson, 2011). kjørup (2010) underlines that artistic research occurs when an artist creates artwork and examines the creative process, then adds the accumulated knowledge of the work and research. honesty in artists' practice and process in preparing, incubating ideas, implementing and testing theory through practice, conducting experiments through a series of experiments, going into the field, and documenting are essential aspects of research. gray (1996) is one of the founders of the principles and definitions of practice-led research, which provides the following explanation: • research initiated into practice in which questions, problems, challenges are identified and shaped from the needs of the practice and the practitioner. • research strategies are conveyed through practice, using a predominance of methodologies and specific methods known to practitioners. besides, sullivan (2006, 2010) exposed various inquiries related to the debate that art practice can be equated with scientific research. practice-led research has become part of the recent development of artistic research. in a practice-led research process, researchers explore the ways in which information can be processed into artworks and textual snippets. the process is circular and spiral; reading and information influence artwork and textual as well as the choice of content to write by the artist/designer (berridge, 2007). this will sound experiences timbre timbre parameter timbre model timbre in composition time intensity brightness music composition timbre conceptual (researcher’s timbre model) wik timbre timbre conversion anagram timbre nostalgia restorative nostalgia reflective nostalgia reflection figure 1. art creation research framework of “timbre” 151 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 affect the direction of reading and gathering information so that further dialogue will be created through the relationship between theory and practice. this study emphasizes the relationship between the nature of practice and research results that encourage new knowledge that has operational significance for practice (candy, 2006). the practice-led research grew because of the difficulty of art practitioners when using conventional research paradigms. creative practitioners in the arts and design environment then choose to develop their own research strategies that are more in line with actual practical conditions (haseman, 2007). haseman adds that the significance of practice-led research is its potential to initiate and fight for research through art practice. the traditional research approach requires sympathy for the studies they have undertaken, among others by implementing action research, contemporary auto-ethnography, and case studies, which are then framed with postmodern paradigms, feminism, hermeneutics, phenomenology and so on (stock, 2010). conclusion through the research that has been carried out, the authors see that the practice-led research methodology is very strategic to help improve quality, dissemination and publication of art creation in indonesia, and overcoming gaps in art creation practices and academic publications. the following recommendations are made to improve the quality of art creation as research. the first recommendation is to explain works that are easily understood by the general public so that academic publications of art are no longer exclusive but inclusive. the second recommendation is to make it a habit to record each method, new knowledge acquired during the creation process and practice. third, it is necessary to build cooperation between academics, artists, and art practitioners to review scientific manuscripts resulting from creation research. according to indonesia's conditions, this joint meeting can discuss practice-led research to reduce the gap between artistic practice and scientific writing. references barrett, e., & bolt, b. (eds.). (2007). practice as research: approaches to creative arts inquiry. ib tauris & co ltd. berridge, s. (2007). arts-based research and the creative ph.d. proceedings of the 12th conference of the australian association of writing programmes. biggs, m., & karlsson, h. (2011). evaluating quality in artistic research. in the routledge companion to research in the arts (pp. 405 – 424). routledge taylor and francis group. 152 hery budiawan1; yusup sigit martyastiadi2, the explanation of life experience... boym, s. (2001). the future of nostalgia. basic books. candy, l. (2006). practice-based research: a guide. in ccs report 1. cross, n. (2001). designerly ways of knowing: design discipline versus design science. design issue, 17(3). gray, c. (1996). inquiry through practice: developing appropriate research strategies. no guru, no method?, 1–28. haseman, b. c. (2007). tightrope writing: creative writing programs in the rqf environment. text: journal of writing and writing courses, 11(1), 1–15. kenna, h. (2012). a practice-led study of design principles for screen typography with reference to the teachings of emil ruder. university of the arts london, london. kincheloe, j. (2001). describing the bricolage: conceptualizing a new rigour in qualitative research. qualitative inquiry, 7(6), 679– 692. kjørup, s. (2010). pleading for plurality: artistic and other kinds of research. marley, i. . (2012). investigating the appropriateness of the theory of organizational knowledge creation as a management model for practice-led research. literator, 33(1), 1–10. martyastiadi, y. s. (2020). from spiritual to virtual: an interactive digital art creation of virtual reality borobudur. proceedings nicograph international 2020, nicoint 2020, 18–25. https://doi.org/10.1109/nicoint50878.2020.00011 mcnamara, a. e. (2012). six rules for practice-led research. text: journal of writing and writing courses, 14, 1–15. polanyi, m. (1958). the personal knowledge towards a post-critical philosophy. routledge & kegan paul. reid, l. c. (2013). composing timbre spaces, composing timbre in space: an exploration of the possibilities of multidimensional timbre representations and their compositional applications. stanford university. rust, c. (2004). design enquiry: tacit knowledge and invention in science. design issue, 20(4). schön, d. (1983). the reflective practitioner how professionals think in action. basic books. smith, h., & dean, r. t. (2009). introduction: practice-led research, research-led practice-towards the iterative cyclic web. practice-led research, researchled practice in the creative arts, 1–38. stock, c. f. (2010). aesthetic tensions: evaluating outcomes for practice-led research and industry. text journal, special issue 8. sullivan, g. (2006). research acts in art practice. studies in art education, 48(1), 19–35. sullivan, g. (ed.). (2010). art practice as research: inquiry in visual arts. sage publications inc. 125 experimental method on “pseudo delights” artwork fransisca retno setyowati rahardjo universitas multimedia nusantara, serpong, tangerang e-mail: fransisca.retno8787@gmail.com abstract in 1975 indonesian contemporary art was believed to be born and marked by the occurrence of the “black december” event which then initiated the gerakan seni rupa baru indonesia. arts academy also swiftly respond to this phenomenon by putting an art experimentation course as their subject in itb and asri yogyakarta. another example was made in 1987, a successful experimental exhibition “pasaraya dunia fantasi” which was held taman ismail marzuki being a headline. it is now four decades the development of experimentation medium celebrated even to other non-art disciplines. being consider of it the author seeks to bring back the methods of the past that have been adapted to the contexts of today's problems and technological advances. in this research will be a study to develop experimentation model by using some reference logic theory such as design thinking method to produce a work. the development of contemporary art and design has not been widely recognized as an interdisciplinary area that could potentially be developed into a sophisticated and cutting-edge work. in contrast, in some academic and art academic discourses, student’s views are narrowed by thickening the barriers between art and design under the pretext of need capitalization of education. therefore, the author tries to create a method of designing an experimentation work entitled 'pseudo delights'. this work has been previously executed and exhibited at the national gallery. pseudo delight is a performative event specially engineered to respond to today's hyper-reality phenomenon. where the development of information and mass media is celebrated massively. the rise of many social media applications such as instagram, the urban communities can celebrate the exclusivity of their lives in a virtual gallery freely. as to convince others about the image of their modern life that is considered successful often the image that appears then contain excessive payload or false sign. something paradoxical to the advancement of information technology today is presenting a lot of fake images has become the era of the death of information itself. keywords: experimental arts, design thinking, performative event abstrak pada tahun 1975 seni rupa kontemporer indonesia diyakini lahir dengan tanda hadirnya peristiwa “black december” yang kemudian mengawali gerakan seni rupa baru indonesia. akademi seni juga dengan cepat merespon fenomena ini dengan menambahkan mata kuliah eksperimentas seni sebagai salah satu subjek pendidikan seni di itb dan asri yogyakarta. contoh lain ada pada tahun 1987 ketika sebuah pameran eksperimental yang sukses "pasaraya dunia fantasi" yang diadakan taman ismail marzuki menjadi berita utama. sekarang empat dekade lebih pengembangan media eksperimen telah dirayakan bahkan untuk kegiatan ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 126 disiplin non-seni lainnya. dengan mempertimbangkan hal itu penulis berusaha untuk mengembalikan metode masa lalu yang telah disesuaikan dengan konteks masalah saat ini dan kemajuan teknologi. dalam penelitian ini akan dilakukan penelitian untuk mengembangkan model eksperimen dengan menggunakan beberapa teori logika referensi seperti merancang metode berpikir untuk menghasilkan suatu karya. perkembangan seni dan desain kontemporer belum diakui secara luas sebagai bidang interdisipliner yang berpotensi dikembangkan menjadi karya canggih dan mutakhir. sebaliknya, dalam beberapa wacana akademis dan seni, pandangan siswa dipersempit dengan mempertebal hambatan antara seni dan desain dengan dalih kapitalisasi kebutuhan pendidikan. oleh karena itu, penulis mencoba membuat metode merancang karya eksperimen berjudul 'pseudo delights'. karya ini sebelumnya telah dieksekusi dan dipamerkan di galeri nasional. pseudo delights adalah acara performatif yang dirancang khusus untuk merespons fenomena hiper realitas saat ini. di mana perkembangan informasi dan media massa dirayakan secara masif. maraknya banyak aplikasi media sosial seperti instagram, masyarakat perkotaan dapat merayakan eksklusivitas kehidupan mereka di galeri virtual secara bebas. seperti untuk meyakinkan orang lain tentang citra kehidupan modern mereka yang dianggap sukses sering gambar yang muncul kemudian mengandung muatan berlebihan atau tanda palsu. sesuatu yang paradoks dengan kemajuan teknologi informasi saat ini adalah menghadirkan banyak gambar palsu yang telah menjadi era kematian informasi itu sendiri. kata kunci: seni eksperimental, berpikir desain, peristiwa performatif pseudo delights introduction in 2017 i was invited to work with selected artists exi (s) t at the national gallery of jakarta. exi (s) t is an annual exhibition program for jakarta youth under 30 years old which was initiated by mr. fx. harsono, one of the senior artists of the indonesian new art movement (gsrb), is believed to be the forerunner of indonesian contemporary art along with the owner of the art and design room dia.lo.gue mr. hermawan tanzil and the young curator of the cemeti 25-year grant exhibition, mitha budhyarto. at that time the exi (s) t program ran for 5 years, therefore the organizers took the initiative to celebrate the sustainability by holding a collective exhibition of selected artists from exi (s) t # 1 to # 5 with the title 'tomorow as we know it'. exi (s) t is an art mentoring program that culminates in a joint exhibition that is aspired to create young indonesian contemporary artists who struggle and survive in a specific character area, jakarta. i call it urbanists. unlike other professional artists who were born and departed from the fine arts academies in bandung and yogyakarta, the average jakarta artist is an applied art graduate even non-arts who already have other jobs in order to survive. it can be said that these urban artists are involved in the social field of art in an inclusive manner and have fransisca retno setyowati rahardjo, experimental method on “pseudo delights” artwork 127 their own anxiety about the typical city issues, namely the problem of chaos and hedonism. there are 15 artists selected with quite different backgrounds. some of us are graphic designers, illustrators, photographers and musicians, i myself work as a lecturer in visual communication design. one thing that becomes the equation and then binds us is the issue of urban identity itself. therefore when faced with the theme offered by curators evelyn huang and shila ghaisani, the issue that i raised was not separated from the two issues of urbanity that have been mentioned in the previous paragraph. the theme of the 'end of the world' or 'doomsday' embodied in the text "tomorow as we know it.", is the inducement of ideas that lead artists to respond to issues typical of urban cities that are related to the exploitation of technological progress and its impact on humanity. the "pseudo delights" work was then born as a result of long discussions and an arena of exchange of ideas scheduled during the exhibition preparation process. here is the artist statement that became the foundation of my thinking space: "pseudo delights" is a performative activity that responds to the postmodern technology situation at this time. where the development of information and mass media is no longer found but celebrated massively. the social media phenomenon of instagram user darling, for example, has become a common lifestyle of urban society. a lifestyle that tends to be hedonistic is closely related to the life of the people of jakarta. therefore, many values of the essential values of life progress are actually burdened by the demands to always look exclusive and luxurious. and with the emergence of many applications on social media such as instagram, in the end urban communities are given the free space to celebrate the exclusivity of their lives into a virtual gallery. and in order to convince other people (read: followers) about the image of their modern life that is considered successful, often the image that appears is then manipulated so that it contains the charge of excessive marks or even false signs (pseudo sign). this term is often referred to in the book hypersemiotics of the thought of a professor yasraf amir pilliang. the reality is presented beyond the real reality through the help of advanced features of photo manipulation tools such as gallery filters, visual applications, and visual framing techniques. this becomes a paradoxical thing for the advancement of information technology today which actually presents a lot of false images that indicate the death of the information itself. ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 128 performance art participatory what i did in this work was that i designed an event that was adopted from everyday reality, entered into a gallery, namely by changing one corner of the national gallery into a promotion room for dessert products (a dessert from the fine dining tradition in west which is usually made feels sweet). white long tables are beautifully arranged with various beautiful tools and flower decorations deliberately presented to adjust the concept of modern aristocratic dining procedures. on the right and left there is a photo menu that i took from the virtual gallery instagram, some of my close friends who have a great hobby of posting about their lifestyle and daily consumption patterns. i used plowing method that was taking their photos secretly without asking them permission first, i acted that as a sign that today voyeurism and/or peeping culture also seem to thrive in the psychological aspects of urban society. myself included. i have calculated the risk somehow, so that this antagonistic strategy does not necessarily let me take off without direction. when the opening of the exhibition where this event was executed i invited my good friends and explained the concept and justification of my work. it was proven that none of them had any problems with my action. continuing the narrative about pseudo delights, the layout or lay-out of the menu photos from instagram i show in accordance with the appearance of their social media complete with profile photos, location info, number of likes, and comments netted. there are about 6 fake 'menus' on the wall along with various food ingredients i prepare when visitors order one from the menu. on the contrary, from the menu image displayed on the wall, the food menu material that i tried actually came from everyday food products that were 'cheap' and tended to be underestimated by both instant products and traditional foods such as biscuits, icing sugar, cream, getuk, even combro (products processed cassava from west java). the contradiction of the mated symbols in a narrative is a sign of my initial effort to conduct an experiment on the work. i then acted as a chef and waiter who made and delivered food orders that visitors requested. the purchase system is free, but with the condition that visitors who want to order food, i must first put a round sticker on the bottom right of the menu so that at the end of this performative activity, which food menu is the favorite. this round sticker also resembles a sign of activity that occurs in the art market the main route is when an artwork has been sold out. thus i want to design a situation of perception of works of art where art audiences or art lovers seem to be anesthetized and feel they do not feel distant from the artwork itself even they can respond and consume the artwork literally. for this approach to the audiences i named the methods was using ‘instruction based art’ which close to gamification paradigm. in the art world we use to call it partisipatory art method who build aesthetical relation between art subject and object art with interactions. fransisca retno setyowati rahardjo, experimental method on “pseudo delights” artwork 129 however, the process of executing this performance activity is not without constraints. i as the sole performer of this performance art is quite overwhelmed by the number of visitors who enthusiastically want to taste this work. i serve them personally one by one and explain many times my concepts and alignments about the issues i raise with them. this causes the time needed to serve each person to be long enough so that it is less efficient if you want to embrace as many people as possible. the lack of preparation time because it collides with my teaching time, makes compromises as a reasonable solution so that this event can be held. contemporary art allows the process of producing works of art can also be seen as art itself or what we often hear the term 'process art'. therefore, i continue to carry out my scenario design work and claim it as a prototype work that has not been completed and can be developed at any time. figure 1. a desert menu was made by local food cassave ‘misro’ (privat doc.) ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 130 figure 2. another dessert menu was made by ordinary crackers (privat doc.) figure 3. audiences was queueing to have artist’s service (privat doc.) fransisca retno setyowati rahardjo, experimental method on “pseudo delights” artwork 131 figure 4. audiences was queueing to have artist’s service (privat doc.) enhancement artwork with design thinking methods ... creativity is the habit of continually doing things in new ways to make a positive difference to our life (hyper island, 2016) in the academic environment that works as a lecturer, i am obliged to carry out the tri dharma of higher education as determined by the director general of higher education in indonesia, including the areas of teaching, scientific research, and community service. i can use this to develop the art work process that i have done by first converting it into a scientific research with the aim of achieving research is to produce an innovation. although quite active in the social field of fine arts, my way of thinking was influenced by the scientific background of visual communication design where i completed a bachelor's degree program. therefore, i will apply the design thinking method in the development of pseudo delights performative artwork. this reminds us also of the fact that research-based art whose data collection resembles design research methods has been widely practiced in indonesian contemporary art discourses. one of the artists who have done the method even from the 1980s is mr. fx harsono, one of the mentors of the exi (s) t exhibition program. the above ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 132 premise is also a celebration of the value offered by the contemporary art school that art is believed to be able to be merged back with any aspects beyond the issue of art itself both its application to non-arts. this includes design. design thinking in the perspective of the way of thinking is a method of answering creative problems involving several relevant stakeholders from several different disciplines. the term design thinking has existed since the 1960s initially in america to answer product design needs. then it was more popularized by the early 2000s by stanford university by including it in curriculum content for engineering students. this method focuses on creating innovative solutions to human needs or human-centered design. double diamond is a scheme that is commonly used in the application of thinking design methods that are circulating at this time may have gained a lot of interpretation and expansion of meaning. there are several stages from problem finding to problem solving that must be passed to apply this method according to the british design council, ideo's human centered ideology, namely: 1. discover: do research, find and find the source of the problem. 2. define: search for synthesis, select the problem area to be focused. 3. develop: develop ideas and potential solutions in several alternatives. 4. deliver: implement a solution that works well. 5. solution: the problem is solved for the context of the time. whereas according to the stanford school of design, the design thinking process can be elaborated into: 1. empathize, empathize and try to find out from another human's point of view. 2. define, decide the source of the problem. 3. ideate, elaborating the idea of creation in a sketch 4. prototype, make some prototypes or dummy. 5. test, finalize selected prototypes into finished products. and the 5 things above are cycles that can be repeated depending on deadlines and supporting resources. this is also the application of an ideology even a design process will never stop. based on the aforementioned scheme, the first stage of design thinking method can be applied, namely empathize, that in the case of the development of "pseudo delights" work there are several problems that arise based on input from stakeholders, namely previous work participants, fellow performance artiss who also use food as the medium. from the participants of the previous work, the input which expressed the problem was the lack of instructions that could invite them to interact with the work. then for fellow artists said artistic objects that arouse the intuition of the audience to participate are also less mature. symbols that are contradictory to excessive reality such as the use of food raw materials which are fransisca retno setyowati rahardjo, experimental method on “pseudo delights” artwork 133 underestimated and considered village-style food (foods considered to be produced for low-income community consumption) are also less thickened. at the define stage, then i as a researcher determined that the problem was in the aspect of human orientation design that was less elaborated so that it had an impact on the pattern of interaction. the thing that later became my focus was how to produce an object of work which included a combination of interactive digital design and instruction design in accordance with the input of stakeholders number one and three. until the ideate stage, i again developed what menus can be processed so that it can outwit the perceptions of prospective participants because the raw materials contrast with what is expected. the location of the event is also considered to be no longer executed in a gallery but on a public site that can be accessed by a wider audiences. i consider the prototype stage to be implemented even though it is not in a systematic order. because it starts with the logic of art work i think this can be claimed as legitimate because the work of intuition sometimes appears randomly. therefore the journey of "pseudo delights" that has been carried out for 3 weeks at the national gallery in 2017 is the prototyping stage itself. however this prototyping process should be continued to refine some shortcomings of the first prototype so the work will improve. the second prototyping will take place at studio plesungan this early november on undisclosed territory #11 performance art event, karang anyar. a good coincidance that i was invited by melati suryodarmo to participate again this year with a theme “you are what you eat.” my scenario is i will elaborate some local food that is considered as low culture or ‘kampung’ dishes. ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 134 figure 5. article from national newspaper (tempo doc.) fransisca retno setyowati rahardjo, experimental method on “pseudo delights” artwork 135 figure 6. pseudo delights layout for undisclosed territory #11 (privat doc.) ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 136 art, design, and everyday life activity the development of information technology and the current globalization is happening in this contemporary era generates consequences that inevitably that is becoming increasingly elastic. the boundaries of conventional terminology that used to be very thick began to fade. therefore, it is now important for the academy to be more flexible to adapt to the times, and processing collaborations should be more enhanced to produce innovations. hopefully, these innovations can be used to respond to the problematic of the society today with the medium of art as well as design as its vehicles. as joseph beuys ever said that everybody is an artist, for now, can be so much relevant, like also jeff koons ever said there was no separation between art and everyday life (object). as postmodern icons, these artists have influenced me to take art more further even to everyday life activities. and i realized this action art is not only the one because medium performance art has been developed for almost 60 years since the fluxus. in order to honour that movement, i think it is important to keep continuing the experiment with conceptual thinking so arts can be adjusted to its functions in every era. references adiyati, siti. 2017. dari kandinsky sampai wianta: catatan-catatan seni rupa (1975-1997). yayasan jakarta biennale. adriano, laura, jens. 2009. vitamin 3-d: perspective in sculpture and installation. phaidon. battcock, gregory. 1984. the art of performance, a critical antholog. ubu editions. bishop, claire. 2004. antagonism and relational aesthetics. fall 2004, pp. 51–79. © 2004. october magazine, ltd. and massachusetts institute of technology. bishop, claire. 2012. artificial hells: participatory art and politics of spectactorship. maple vail us. brown, tim, wyatt, jocelyn. 2010. design thinking for social innovation. stanford innovation review. minissale, gregory. 2013. the psychology of contemporary art. cambridge university press. houdrouge, jennifer. 2015. the institunalization of performance art in the 21st century: museums, biennals, and galleries. a thesis of master’s degree in contemporary art sotheby’s institute of art fransisca retno setyowati rahardjo, experimental method on “pseudo delights” artwork 137 minisale, gregory. 2013. the psychology of contemporary art. cambridge university press. moline, katerine. 2007. connections experimental design. ivan dougherty gallery, college of fine arts. moran, lisa and bryne, sophie. 2010. what is installation art. irish museum of modern art, booklet. coogan, amanda. 2011. performance arts. imma irish museum of modern art. rush, michael. 2005. new media in art. thames & hudson world of art. rodrigues, marta. 2014. the challenges of the ephemeral: conserving performance art. grupo de artes e estudos criticos do ceaa, portugal. roosak, eivind. 2008. the performative archive: new conception of the archive in contemporary theory, art and new media practises. technovisuality conference at the chinese university of hong kong. saidi, acep iwan. 2008. narasi simbolik seni rupa kontemporer indonesia. isaacbook. uc berkeley’s, art, technology, and culture 1997-2010. public lecture series. 109 from imagination to compassion and democracy: martha nussbaum on the role of art ferdinand indrajaya visual communication design department, school of design, pelita harapan university, tangerang, indonesia, 15811. phd student of stf driyarkara, jakarta, indonesia, 10520. e-mail: ferdinand.indrajaya@uph.edu abstract it is undeniable that most of our modern universities are portraying themselves as factory-like institutions which manufacture useful knowledge. the term “useful knowledge” refers to a type of knowledge which directly has immediate payoff and practically commodifiable. most modern universities are no longer spotlighted as the generator of new knowledge, the influential bodies in civic life and nation-state, the greatest critics of public policies, but reduced to and figuring as a major agent of economic growth. posting economic growth as the model for universities is a form of corporatism in higher education level. art disciplines, as a part of humanities, are inevitably framed by such a model. in which, art is understood as a mere aesthetic commodity and the artist is seen as a mechanical subject to be manipulated by profit motifs. this view has been well prevailing, but it is not incontestable. this paper is written as an attempt to critically respond towards such prevailing corporatist view. to do that, the author borrows some philosophical perspectives from an american philosopher, martha c. nussbaum (1947–now). her philosophical accounts on art, imagination, and compassion as a form of distinctive moral emotion are considerably an adversary to the current perspective of art education which has been colonized by corporatism. from her perspective, more than just a mere commodity, art has a significant role in upholding democracy. art has the power to nurture compassion, in which respect and concern for others are inherent. respect and concern are the vital-ethical ingredients for democracy. one particular art form which, according to nussbaum, can nurture compassion, intensively, is a tragedy. through which, we shall see other people as human beings, not as objects of manipulation. such philosophical views of hers may re-attune our current perspective on art education. keywords: art, imagination, compassion, corporatism, democracy abstrak sulit dipungkiri bahwa kebanyakan dari universitas modern/masa kini kerap menampilkan wajahnya sebagai institusi yang serupa dengan pabrik manufaktur pengetahuan yang berguna. istilah “pengetahuan yang berguna” merujuk kepada pengetahuan yang berdampak langsung dan secara praktis dapat dikomodifikasi. kebanyakan dari universitas masa kini tidak lagi disorot sebagai sebuah generator bagi kebaruan pengetahuan, lembaga yang berpengaruh bagi kehidupan civic dan negara bangsa, kritikus terbesar bagi kebijakan-kebijakan publik, akan tetapi terreduksi sebagai agen utama dari pertumbuhan ekonomi. penempatan pertumbuhan ekonomi sebagai model yang diacu oleh universitas ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 110 sesungguhnya adalah sebuah wujud korporatisme pada aras perguruan tinggi. disiplin keilimuan seni, sebagai sebuah bagian dari humaniora, turut terbingkai oleh model tersebut. dari perspektif korporatisme, seni dipahami sekadar komoditas estetis dan sang seniman dipandang sebagai subjek mekanistik yang dapat dimanipulasi oleh motif-motif profit. pandangan ini masih bertahan dan populer sampai saat ini, akan tetapi tidak berarti tidak dapat dikontestasikan. makalah ini ditulis sebagai sebuah upaya untuk menanggapi secara kritis pandangan korporatistik tersebut. dalam rangka mencapai tujuan tersebut, penulis merujuk kepada beberapa pandangan filosofis dari salah satu filosof asal amerika, yakni martha nussbaum (1947-sekarang). pandangan filosofisnya tentang seni, imajinasi, dan bela rasa sebagai sebuah bentuk emosi moral distingtif adalah lawan dari perspektif tentang pendidikan seni yang telah dikolonisasi oleh korporatisme. seni, melalui perspektifnya, memiliki peran yang signifikan dalam menegakkan demokrasi; keberadaannya lebih dari sekadar komoditas. baginya seni berdaya untuk memelihara bela rasa, yang di dalamnya rasa hormat dan kepedulian terhadap yang lain inheren. rasa hormat dan kepedulian, dalam hal ini, adalah unsur etis yang vital bagi demokrasi. salah satu bentuk partikular dari seni yang menurut nussbaum mampu secara intensif memelihara bela rasa, adalah tragedi. melalui tragedi, kita akan memandang orang lain sebagai manusia, bukan sebagai objek untuk dimanipulasi. pandangan-pandangan filosofis darinya merupakan ajakan bagi kita untuk menala kembali perspektif yang bertahan hingga kini tentang pendidikan seni. kata kunci: seni, imajinasi, bela rasa, korporatisme, demokrasi introduction what is this paper about to share is basically a philosophical reflection regarding the current situation in most higher education institutions and the role of art within such context. the term ‘philosophical reflection’ generally refers to an attempt to borrow and contextualize martha nussbaum’s philosophical accounts regarding art within the higher education’s current situation. martha nussbaum (1947 ) herself is an american philosopher who is well-versed in roman and ancient greek philosophy (www.famousphilosophers.org). issues such as feminism, politics, ethics, emotion, and also art are mainly wrestled and colouring her philosophical concerns. specifically, this paper shall try to focus on her philosophical accounts on art (especially tragedy as a form of art), imagination, compassion, and how are these considerably crucial for education in its contribution to preserve democracy. a question one might ask is: why nussbaum? in order to answer such question, there are at least three considerations shall be put forward. one may find these three considerations in the forward of nussbaum’s book entitled not for profit: why democracy needs the humanities, written by ruth o’brien. the first consideration relates to nussbaum’s deep and broad knowledge of philosophy and educational theory which cover the western’s and non-western’s (nussbaum, ferdinand indrajaya, from imagination to compassion and democracy 111 2010, p. x). this implies that her views are responsibly authoritative. secondly, it relates to her critical perspective towards a considerably current view on education, in which education is conceived primarily a mere tool for economic growth. according to her, “economic growth does not invariably generate better quality of life,” on the contrary, it may lead “the quality of all our lives, and the health of our democracies, at risk” (nussbaum, 2010, p. xi). this second consideration touches upon the crux of the problem which also is mainly concerned by this paper. the third one is related to her philosophical accounts on art and how it is closely linked with democracy. through art, we “learn to imagine the situations of others, a capacity that is essential for a successful democracy” (nussbaum, 2010, p. ix). this implies the importance of imagination in developing compassion which is highly crucial for democracy and art helps us in actualizing it. such view may help us to re-attune our current perspectives on art: a mere aesthetic object or simply no other than an economic commodity. in order to deliver what have been put forward, systematically, this paper will start by laying out an existing problematic issue regarding contemporary higher education which is considered to be crucial, namely corporatism. corporatism within the context of higher education shall be briefly elaborated as a background or an opening for further discussion. there are two considerations which support such decision. first, it tries to describe the current situation in the nowadays higher education institutions. secondly, it also reflects nussbaum’s critical concern regarding the prevailing perspective on education as a mere tool for economic growth. as the first part of the paper, it shall briefly put forward at least three things. first, it shall put forward the definition of corporatism. this shall be continued by pointing out the penetration of such -ism into the body of current higher education institutions. the last part shall highlight the problematic ethical-philosophical consequences of corporatism within the higher education institutions, which are the impoverished humanity and comatose democracy. the discussion shall be continued by elaborating in a concise manner, nussbaum’s view on art and its significant role in preserving democracy. within which, we shall touches upon nussbaum’s accounts of imagination, compassion, and the relation between the two. through art, imagination shall be triggered and, according to nussbaum, may potentially lead to compassion, which is necessary for democracy. one form of art which she considers has the powerful capacity in triggering imagination that leads to compassion is tragedy. from her perspective, tragedy is positioned as a paradigmatic form of art which shall make ‘compassionate imagination’ possible; and it is highly crucial for democracy. it should also be noted that her philosophical account regarding compassion is inseparable from her view on imagination as one of the basic capabilities (or opportunities), which is presupposed inherent within every human being. in short, ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 112 her philosophical conception of compassion is necessarily interrelated with her account of imagination. corporatism in higher education–a background what was once a business enterprise, a factory, an industry, or a merchant, are now racing to assemble university. the impetus to blur the boundaries between the interests of large corporation and industry with that of higher education institution has been well nurtured up until now. the invasion of business corporations into the university are welcomed even though they eventually alter the existence of the institution through the benefits they offer. instead of suspending our judgment about it, most of us tend to confirm its existence for granted. nowadays, it is quite often that most of us even view corporatized universities as highly credible and bona fide. this is no longer an assumption or an aspiration, but an explicit recognition which requires to be critically responded. what has been going on is a vulgar display of corporatism in higher education. corporatism itself may be defined as an ideological perspective which prioritizes the interest and power of business corporations over society (suarezvilla, 2009, p. 1). its unimpeded penetration into the body of higher education institution is reinforced and buttressed by another worldwide accepted ideology, namely neoliberalism (waite, 2010, p. 82). neoliberalism itself is a “theory of political economic practices that proposes that human well-being can best be advanced by liberating individual entrepreneurial freedoms and skills within an institutional framework characterized by strong private property rights, free markets, and free trade. it aims to sustain the sense of competition regarding market forces, strengthen market friendly institutions, and advance individual freedom (jessop, 2012, p. 1513). what about the role of the state in regards to such aim? the role of the state is to create and preserve an institutional framework appropriate to such practices” (harvey, 2005, p. 2). education, under the heading of neoliberalism, is framed as a resource for global competition and wealth accumulation and the role of the state is confined in promoting such view (waite, 2010, p. 84). under such heading, educational institutions are directed to learning processes which will serve such interests (sleeter, 2008, p. 145). how does corporatism practically affect our current and prevailing views regarding the existence of contemporary higher education and its notably primary aspects such as knowledge, the position of university, and the students themselves? first, knowledge is understood as a mere commodity. this shall be exemplified by the wedding of microsoft and cambridge university, as reported by the economist. in the october 1997, the economist issued its special report entitled “inside the knowledge factory”. generally, the report put forward the ferdinand indrajaya, from imagination to compassion and democracy 113 ongoing global crisis within the realm of higher education institutions worldwide (https://www.economist.com/special-report/1997/10/02/inside-the-knowledgefactory). such crisis referred to the dedication shifting universities. it was stated that universities were no longer dedicating themselves to pursue knowledge for the sake of knowledge itself. the dedication has been perverted to the pursuit of economic growth and profit through the act of fabricating useful knowledge, supported by the penetration of large business corporation into the body of university. the term ‘useful knowledge’ refers to knowledge which gives an immediate pay off in a utilitarian sense, such as electrical engineering, computer technology, biotechnology, and the like. they are considered as highly important and crucial for a nation to compete globally and accumulate wealth. how much profit which we can get out of their research and invented-utilizable products, determines the future health of a nation (nussbaum, 2010, p. 7). the alliance of microsoft and cambridge university was referred by the report as a concrete example. it was stated that how cambridge was brimming with pride when microsoft decided to fund the university and choose its site to establish a computer science laboratory (now is known as cambridge computer science and technology department). the department’s coverage encompasses some considerably useful knowledge, such as computer science, technology, and mathematics as the prominent fields of study. one of the intentions behind the funding, which might be the most salient, is inseparable from microsoft business’ interest to compete with its rivalry, the silicon valley in the united states (https://www.independent.co.uk/news/bill-gates-chips-in-to-help-cambridge1241153.html). microsoft needs a knowledge factory of its own to produce the most updated yet patentable innovations in computer technology to compete with its rival globally. knowledge, innovation, including creativity, in this case, is reduced to a mere commodity which benefits financially. secondly, nowadays, the current university is conceived as none the other: a sorting machine. in the year of 2002, cambridge ring, was founded. it is an association which its existence is infrastructural to the computer science and technology department. such association provides updated information, contacts, and business programs exclusively for the department’s graduates. the ring channels computer science and technology’s graduates with the computer technology industries (https://www.cst.cam.ac.uk./ring). the association implicitly positions itself as a sorting machine and explicitly also a service provider. from the perspective of the association and also the university itself, students, especially the graduates, are treated like none other than customer. the student-as-customer model is also applied pervasively in most modern or current universities and probably be the most welcomed model within our contemporary ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 114 society. we are here touching upon the third prevailing views regarding corporatism in higher education. in 1994, the student-as-customer model has been embraced and adopted by a group of uk-based universities. the model itself is no less than a way of business enterprise, an industry, or even a salesman in doing their economictransactional activity. when implemented in an institution of higher education, such model manipulates the students to act accordingly with the logic of marketing (furedi, 2011, p. 3). the logic which is inherent in marketing activity penetrates so deep thus the distinction between an academic relationship and an economic-transactional one is blurred. through such model, the university is reduced to a service provider, a pander with academic clothing, which provides what the student-customers want (as if they even really know what they want) rather than educating them to become educated. from what has been put forward, we can once again highlight how the dedication of higher education has truly shifted once it is infected by corporatism. as previously mentioned, the pursuit of economic growth and profit has been a dominant disposition of most (corporatized) contemporary universities. such condition is not only made possible and prevailing by the penetration of large business corporation’s interests into the body of universities, but also actively buttressed by the significant role of the state. the support from the state flows due to the lucrative outcomes which are gained from the business corporations’ infiltration into the universities. it manufactures the three ingredients which are concerning the nation’s chief source for sustainable growth and prosperity; they are highly trained specialists, expert knowledge, and scientific & technological advances (bok, 2003, p. 1). the support from the state usually presents in a form of regulatory policies. in indonesia, such policies may be exemplified by the link and match policy, issued by the indonesian ministry of national education in 1995. the link and match policy was proposed as a response to the rising of unemployed university’s graduates. it was initially conceptualized to overcome unemployment issue which was happened nationwide. the conceptualization of such policy was departing from one assumption: the rise of unemployment was caused by the impairment of existing education system (https://www.republika.co.id/berita/shortlink/21227). the policy suggested that such issue might be overcome if universities readjusted their curriculum to accommodate the interests of business corporations and industries. once the curriculum was able to accommodate the needs of business corporations and industries, the university’s graduates should be well employed. from which, competency based curriculum was constituted. ferdinand indrajaya, from imagination to compassion and democracy 115 such policy implies the position of business corporations and industries as an academic consultant and this legitimates the significant role of the state and higher education in supporting the establishment of corporatism up until today. it suggests that the task of higher education is delivering competent graduates to serve the interests of business corporations and industries (dikti, 2003, p. 8). university has become a human factory which produces “generations of useful machines” (nussbaum, 2010, p. 2) and this will lead us to a greater crisis in humanity yet a comatose democracy. instead of cultivating imagination, this according to nussbaum is what makes us human, corporatized higher education polishes the manipulative dexterity. corporatized higher education, through its creativity commodification, replaces respect and concern for others (which according to nussbaum, they grow out of the ability to imagine), with manipulation. by replacing respect and concern with manipulation, corporatism actively participates in putting democracy in a coma. since democracy is likely depending upon education for its sustenance (waite, 2010, p. 99), corporatized higher education has a significant role in comatose democracy. in turn, it will replace democracy with corporatocracy. the term corporatocracy refers to “a political system in which powerful corporate interest groups dominate the policy agenda” (sachs, 2011, p. 104). it is no longer ‘by the people and for the people’, but it is shifting to ‘by the corporation and for the corporation’ and our current higher education system is definitely has a prominent role in giving birth to it. up to this stage, we may ask: how does nussbaum’s view on art might be a relevant contesting perspective to such corporatized one? the answer to this question shall be briefly elaborated in the next part. art, imagination, and compassion from nussbaum’s perspective within the context of corporatized higher education, one direct step, which is usually taken to sustain the sovereignty of corporatism, is to make less room for arts and humanities courses, in favor for more ‘useful’ subjects (nussbaum, 2010, p. 23). from the perspective of corporatism, such direct step is necessary and considerably proper. why? art, according to nussbaum, is the great enemy of obtuseness and obtuseness is necessary to carry out programs of economic growth which ignore respect and concern for others as the base for democracy (nussbaum, 2010, p. 23). the artist, as the aesthetic subject, is no reliable servant of any ideology (nussbaum, 2010, pp. 23-24), especially of the one which oppresses and stunts imagination. by giving no room for art within the realm of higher education, it simultaneously eliminates the vital component for democracy, which is compassion. art, as part of the humanities, provides “a capacity for ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 116 genuine concern for others” through igniting “the ability to imagine what the experience of another might be like” (nussbaum, 2010, p. 97). it teaches people to be capable of “living with others without control,” manipulation, and objectification (nussbaum, 2010, p. 101). such values are definitely not the concerns of corporatism because they simply useless for financial profit and economic growth. from nussbaum’s perspective, art has the capacity to ignite one’s imagination in acknowledging his existence as part of global citizenship and in turn, such imagination will give rise to compassion which is crucial for preserving democracy. imagination, in nussbaum’s philosophical account, is understood as one of the capabilities central to human being which enables us to put the wellbeing of others as an end. capability itself is one of the prominent philosophical views from nussbaum. her philosophical ideas of capability are developed and inspired by another philosopher, namely amartya sen (1933 ). sen himself views capability as “substantial freedoms” or “a set of (usually interrelated) opportunities to choose and to act” (nussbaum, 2011, p. 20). it is “what is this person able to do and to be” (nussbaum, 2011, p. 20). departing from her conception of capability, imagination is an inherent opportunity in someone which will enable her or him to act and to decide who she or he is. imagination, from nussbaum’s perspective, is not just a matter of cognition or understood within the realm of epistemology, but it has an ethical dimension. as mentioned previously, it has to do with a possibility to choose an action and deciding who one is; as such unquestionably is presupposed by a certain conception of the good. such view on imagination is also influenced by her reading of one great greek philosopher, aristotle (384 – 322 bc). one philosophical concept from aristotle which influences nussbaum in developing her account on imagination is phantasy or phantasia. phantasia refers to “the active and selective aspect of perception” and “it works closely in tandem with memory, enabling the creature to focus on absent experienced items in their concreteness, and even to form new combinations, not yet experienced, from items that have entered sense experience” (nussbaum, 1990, p. 77). the linkage of imagination with ethical concern is represented by the deliberative characteristic of perception itself, which is its selective aspect. one’s perception of things does not spring forth in indiscriminate manner but it is “something that answers to one of his or her practical interests or concerns” (nussbaum, 1990, p. 77). it corresponds with one’s view of what should be pursued and what should be avoided; it is inevitably related to one’s conception of the good. through art, imagination is oriented to the good of others. the well-being of others shall be selected as something that is worth pursuing. through which, the imagination that is cultivated by art is potentially growing a sense of ferdinand indrajaya, from imagination to compassion and democracy 117 compassion towards others. art, according to nussbaum, is closely associated with “the ability to think critically; the ability to transcend local loyalties and to approach world problems as a “citizens of the world”; and, finally, the ability to imagine sympathetically the predicament of another person” (nussbaum, 2010, p. 7). the ability to “to imagine sympathetically the predicament of another person” specifically shows the linkage between imagination and compassion; and this is made possible by acknowledging one’s existence as the citizens of the world (not just as an apparatus of the corporate or a bolt of an industrial machine). the interrelation between imagination and compassion is signified by nussbaum in a more straightforward manner through her definition of compassion. compassion, according to nussbaum, is a form of emotion, namely “an emotion that has been relied on to hook our imaginations to the good of others and to make them the object of our intense care” (nussbaum, 2001, p. 13). the well-being, the good of others (not economic wealth and profit), is placed as an end for our ethical conduct and this requires active role of imagination which is cultivated by the arts; this is why art is important for democracy. besides it is closely linked with imagination, nussbaum’s view on compassion is also inseparable from her philosophical account of emotion which is also quite central in her philosophy. in fact, her definition of compassion tries to show how emotion is a point where imagination and concerns for the others’ meet. nussbaum’s view on emotion is different from what is commonly accepted up until today, which is conceived within the feeling and thinking dichotomy (das, 2017, p. 2). according to her, emotion is not a mere “unthinking forces that have no connection with our thoughts, evaluations, or plans” (nussbaum, 2001, pp. 26-27). she views emotion as cognitive-evaluative judgment and such view stands as a critical response towards a dominating conception of emotion which still prevails today. it is an adversary to a traditional or commonly western accepted view on emotions as “objectless feelings of pain and/or pleasure” (nussbaum, 2001, p. 35). nussbaum dissents this western traditional view on emotions. she argues that emotions are not objectless or simply a thoughtless forces. in order to show this, nussbaum describes her argument in three ways. first, emotions are not objectless, “they are about something: they have an object” (nussbaum, 2001, p. 27). our fear or grief is fear or grief about something. when we experienced fear, our heart trembled or leaped. fear is always a fear of something and if this something is taken away, then it might just be trembling or heart-leaping. secondly, the object towards which our emotions are directed is “an intentional object” (nussbaum, 2001, p. 27). the about-ness of the object is not external but internal. it is not something that being pointed and then let it go. as nussbaum suggests, it is internal. the about-ness is understood ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 118 internally in a sense that it “comes from my active ways of seeing and interpreting: it is not like being given a snapshot of the object, but requires looking at the object, so to speak, through one’s own window (nussbaum, 2001, p. 28). in grief, we see something or a person as lost, while in love we perceive someone as full of radiance. there is a sense of captivating in the about-ness. the about-ness of something is ‘haunting’ or enthralling us in such ways thus our gaze is ‘locked’ and directed towards the object. thirdly, these emotions “embody not simply ways of seeing an object, but beliefs – often very complex – about the object” (nussbaum, 2001, p. 28). our emotions involve certain beliefs about the object and these beliefs are not trivial but invested with highly significant value. for example, in order to be angry, we must believe that something obnoxious has significantly happened to us or someone that happens to be dearly for us. subsequently, we also believe that this obnoxious situation may have been done by someone willingly or accidentally. emotions are, as has been described briefly, not construed and conceived as objectless or unthinking movements. they are not some irrational distractions, but are intelligent responses to the perception of value. as nussbaum clearly explicates, “they are concerned with value, they see their object as invested with value or importance” (nussbaum, 2001, p. 30). they proceed from judgments we make concerning the others (objects and people) that are beyond our control but valuable to us. emotions are “forms of evaluative judgment that ascribe to certain things and person outside a person’s own control great importance for the person’s own flourishing. emotions are thus, in effect, acknowledgements of neediness and lack of self-sufficiency” (nussbaum, 2001, p. 22). the phrase “great importance for the person’s own flourishing” involves a wider sense of eudaimonia as a characteristic of emotions, not the narrow or utilitarian sense which leads it to a mere happiness. in a wider sense, it refers to “mutual relations of civic or personal love and friendship, in which the object is loved and benefited for his or her own sake” (nussbaum, 2001, p. 32). such eudaimonistic character of emotions is also one of the reasons why nussbaum strongly suggests that the theory of emotion must be included in the discussion of ethics. as a form of emotion, compassion is a distinctive moral one. nussbaum’s philosophical account of emotion, again, is greatly influenced by aristotle. from aristotle’s perspective, compassion (eleos in greek term), is not conceived as part of evaluative judgment (deigh, 2004, p. 467). he construes compassion as a painful experience which is dealt by someone caused by the tragic predicament of others. this suffering or tragic predicament befalls to others not on her or his behalf (i.e. disaster-like or catastrophe-like). someone suffers because of the undeserved suffering happens to others and such suffering might actually befall into him or her beyond his or her control. the term eleos itself is parallel to ‘pity’ ferdinand indrajaya, from imagination to compassion and democracy 119 in english. in our daily lives, according to nussbaum, we often use pity, empathy, and sympathy, interchangeably with compassion (nussbaum, 2001, p. 301). nevertheless, the difference of those terms is also applied. for example, we can have self-pity, but not self-compassion. though we interchangeably use the term pity and compassion quite often, nussbaum normatively avoids this because of its (pity) pejorative character. pity, according to her, is fully contained with “nuances of condescension and superiority to the sufferer” (nussbaum, 2001, p. 301). empathy, on the other hand, is also different from compassion. it is simply “an imaginative reconstruction of another person’s experience, whether that experience is happy or sad, pleasant or painful, or neutral, and whether the imaginer thinks the other person’s situation good, bad, or indifferent” (nussbaum, 2001, p. 302), therefore it is way different from compassion and not even sufficient for it. sympathy, from nussbaum’s perspective, considerably has the closest meaning to compassion. its similarity is found on the judgment that “the other person’s distress is bad” (nussbaum, 2001, p. 302). the difference between sympathy and compassion lies in its intensity. according to nussbaum, compassion is more “intense and suggests a greater degree of suffering, both on the part of the afflicted person and on the part of the person having the emotion” (nussbaum, 2001, p. 302). according to nussbaum, one particular art form which is quite powerful in nurturing compassion, in hooking our imagination to the well-being of others and placing them as the object of our concern intensively, is tragedy. tragedy is a form of art, a type of drama which presents a subject matter or theme regarding a serious human suffering. it is rooted in our life as human being (torghabeh, 2018, p. 234). the principle character who suffers usually experiences and deals with his or her tragic predicament which is not the consequences of his or her own past conduct, but due to a misfortune; and misfortune is one of the events in life. the quality of the misfortune is not trivial, but a catastrophic one. one of the tragedies which is used by nussbaum as an example in her discussion of compassion, is the story of sophocles’ philoctetes, a greek tragedy. the tragic life of philoctetes was once retold by nussbaum in “boston review”, a political and literary online forum. in that forum, she shared the story shortly: “philoctetes was a good man and a good soldier. on his way to troy to fight with the greeks in the trojan war, he had a terrible accident. he stepped by mistake into a sacred shrine, and his foot was bitten by the serpent who guarded the shrine. it began to ooze with a foul-smelling pus, and his cries of agony disrupted the religious observances of the troops. the commanders therefore abandoned him on a deserted island, with no resources but his bow and arrows. ten years later, having learned that they cannot win the war without him, they return, determined to trick him into rejoining them. sick, lonely, hungry, ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 120 exhausted from hunting his own food, philoctetes still longs for friendship and activity. he greets his visitors with joy, delighted that he can interact with others after his long solitude. and he asks them to have compassion for him, seeing the troubles that life has brought him, troubles from which no human is safe” (nussbaum, 1998). the story is about a tragic predicament which was experienced and dealt by philoctetes, the principle character. in that story we can see that the character undergoes a “terrible suffering through no fault of his own” (nussbaum, 2001, p. 351) or it happens due to a misfortune. we can easily see that such works of art are not only promoting compassion in their audience “by inviting both empathy and the judgment of similar possibilities,” but also “assist our evolving judgments of size” (nussbaum, 2001, p. 351). this implies, first, that such works of art, like tragedy, encourage us to have compassion towards other’s terrible suffering since we ourselves might experience similar predicament. secondly, what nussbaum tries to put forward is that tragedy may assist our evolving judgment regarding “size”. the magnitude of philoctetes’s suffering, although it is a fiction, is incomparable to, for example, someone who can’t go to his or her office because of the flood. the size of philoctetes suffering may awake our awareness about him as fragile and vulnerable human being, as we are. we can no longer see him as a military object, an instrument, or within the context of corporatism, a means to serve the interests of business and industry. the story strips down all the attributes which was previously adhered to the principle character and leaves him as simply human being. not an object to be manipulated, but a human being who deserves respect. this kind of respect and concern is what constitutes and underlies democracy; this is why democracy needs tragedy. closing remarks a conclusion this paper is not written as an attempt to against totally the involvement of business’ or corporation’s interest within the context of current higher education institution. nor to reject the importance of scientific subjects as useful knowledge. it is an invitation to critically reflect upon the emerging ethical consequences from taking business’ or corporation’s interests as synonymous to the interests of education. when we embrace corporatism as the only proper ideology for us to fully grasp the existence of higher education, we put humanity prone to crisis. reducing higher education as a mere tool for economic growth and profit equals to the impoverishment of humanity. it also paralyzes the capacity of art in igniting imagination and fostering compassion which are highly crucial for a healthy democratic living. at this point, nussbaum’s views on art (tragedy in particular), ferdinand indrajaya, from imagination to compassion and democracy 121 imagination, and compassion give us a considerably valuable insight to reflect on such matter. tragedy ignites, activates, and directs our imagination towards the good of other. subsequently, it fosters compassion as well as our sense of humanity. it drives and captivates us to contemplate the fragility and finitude of our being as human. it is powerful to encourage “pleasure of the most difficult type: the pleasure of contemplating our mortality and our vulnerability to the worst disasters in life” (nussbaum, 2001, p. 352). furthermore, art in general does not only teach us to embrace our own vulnerable lives pleasantly, but as we see through tragedy, it also encourages us to embrace the lives of others. it teaches us about the same and different, the known and the new, and simultaneously who am i and what is beyond myself (enslin, 2013, p. 66). within which, is implied what has been inherent in the meaning of education itself that is vital for democracy: the civilization of human being as human being (yoldaş, 2015, p. 545, anttila, 2018, p. 62). art educates in a sense that it lies down the very necessary condition for not only democracy, but humanity. references anttila, eeva. 2018. “art education promotes the development of the child and society.” in improving the quality of childhood in europe, edited by michiel matthes, lea pulkkinen, christopher clouder, belinda heys, 6172. brussels: alliance for childhood european network foundation. bok, derek. 2003. universities in the marketplace: the commercialization of higher education. new jersey: princeton university press. das, krishanu k. “a theoretical approach to define and analyze emotions.” in international journal of emergency mental health and human resilience, 19(4), 1-14. deigh, j. 2004. “nussbaum’s account of compassion.” in philosophy and phenomenological research, 68(2), 465-472. dikti. 2003. pendidikan tinggi indonesia dalam lintasan waktu dan peristiwa. jakarta: universitas indonesia. enslin, penny. 2013. “artistic education and the possibilities for citizenship education.” in citizenship, social, and economic education, 12(2), 62-70. furedi, frank. 2011. “introduction to the marketisation of higher education and the student as consumer.” in the marketisation of higher education and the student as consumer, edited by mike molesworth, richard scullion, elizabeth nixon, 1-7. new york: routledge. ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 122 harvey, david. 2005. a brief history of neoliberalism. new york: oxford university press inc. jessop, bob. 2012. “neoliberalism.” in the wiley-blackwell encyclopedia of globalization, first edition, ed. george ritzer. new jersey: blackwell publishing, ltd. nussbaum, m.c. 1990. love’s knowledge: essays on philosophy and literature. new york: oxford university press. nussbaum, m.c. 2001. the upheavals of thought: the intelligence of emotions. new york: cambridge university press. nussbaum, m.c. 2010. not for profit: why democracy needs humanity. princeton: princeton university press. nussbaum, m.c. 2011. creating capabilities: the human development approach. massachusetts: the belknap press of harvard university press. ristekdikti. 2017. rencana induk riset nasional tahun 2017 – 2045. jakarta: kementrian riset, teknologi, dan pendidikan tinggi. sachs, jeffrey. d. 2011. the price of civilization: reawakening american virtue and prosperity. new york: the random house publishing group. sleeter, christine e. “teaching for democracy in an age of corporatocracy.” in teachers college record, 110(1), 139-159. suarez-villa, luis. 2009. technocapitalism: a critical perspective on technological innovation and corporatism. philadelphia: temple university press. torghabeh, rajabali a. 2018. “the study of revenge tragedies and their roots.” in the international journal of applied linguistics & english literature, 7(4), 234-237. waite, duncan and susan f. waite. 2010. “corporatism and its corruption of democracy and education.” in journal of education and humanities: theory and practice, 1(2), 81-106. yoldaş, özlem k. 2015. “civic education and learning democracy: their importance for political participation of young people.” in procedia – social and behavioral sciences, vol. 174, 544-549. online references about i department of computer science and technology. retrieved from https://www.cst.cam.ac.uk/about cambridge ring. retrieved from https://www.cst.cam.ac.uk./ring ferdinand indrajaya, from imagination to compassion and democracy 123 inside the knowledge factory. (1997, october 2). retrieved from https://www.economist.com/special-report/1997/10/02/inside-theknowledge-factory nussbaum, m.c. (1998, march). victims and agents. retrieved from https://bostonreview.net/archives/br23.1/nussbaum.html wardiman: dunia pendidikan harus link dan match. (2008, desember 19). retrieved from https://www.republika.co.id/berita/shortlink/21227 ward, l. (1997, september 26). bill gates chips in to help cambridge. retrieved from https://www.independent.co.uk/news/bill-gates-chips-in-to-helpcambridge-1241153.html what is democracy. (2004, january 21). retrieved from https://web.stanford.edu/~idiamond/whaisdemocracy012004.htm 61 thesis writing model of art practice indro moerdisuroso & zaitun y.a. kherid universitas negeri jakarta, jalan rawamangun muka, jakarta 13220 e-mail: indro@unj.ac.id; eza_kherid@unj.ac.id abstract the result of this study is contributed to improving the academic thinking of art practice students, especially in the writing of the undergraduate thesis. the problem is about a system of academic thinking as reflected in the thesis guidebook. students' academic thinking in thesis writing is guided by a manual book published by a local institution. the case in this study is the thesis guidebook of art practice in an art study program. in this book has no explicit explanation on method and analysis aspects. whereas both of these aspects are precisely the essence of academic thinking, that is research-based thinking. this fact encourages a study of thesis writing model of art practice, particularly on methods and analysis aspects. this study implements a research and development (r&d) approach and mixed methods. the model will propose teikmanis' typology of art-related research, such as practice-led research, research-led practice, and artistic research. it also adapted barrett's structure of art education, which consisted of conceptual, operational and synthesis aspects. the conclusion of the study showed that the participants were able to arrange a thesis based on this model. keywords: thesis writing, art practice, analysis, guidebook model penulisan tesis praktik seni abstrak hasil penelitian ini dikontribusikan untuk meningkatkan pemikiran akademik mahasiswa praktik seni, khususnya dalam penulisan skripsi. masalahnya adalah tentang berpikir akademis sebagaimana tercermin dalam pedoman skripsi. pemikiran akademis dalam penulisan skripsi dipandu oleh pedoman penulisan yang diterbitkan oleh institusi terkait. kasus dalam penelitian ini adalah suatu pedoman skripsi praktik seni dalam suatu program studi seni rupa. dalam buku ini tidak ada penjelasan eksplisit tentang aspek metode dan analisis. padahal kedua aspek ini justru merupakan inti dari pemikiran akademis, yaitu pemikiran berbasis penelitian. fakta ini mendorong studi model penulisan skripsi praktik seni, terutama dalam aspek metode dan analisis. studi ini menerapkan pendekatan penelitian dan pengembangan (r&d) dengan metode campuran. model ini mengusulkan tipologi penelitian seni teikmanis, seperti practiceled research, research-led practice, dan artistic research. selain itu juga mengadaptasi struktur pendidikan seni barrett, yang terdiri dari aspek konseptual, operasional, dan sintesis. kesimpulan dari penelitian ini menunjukkan bahwa para partisipan dapat menyusun skripsi berdasarkan model ini. kata kunci: penulisan skripsi, praktik seni, analisis, buku pedoman introduction this study intends to present the reasoning, besides offering consideration to improve the quality of academic thinking for undergraduate art practice students, especially in thesis writing. thesis in this paper is a research report texts, side by side with art products, and both are the learning outcomes of the academic art indro moerdisuroso & zaitun y.a. kherid, thesis writing model of art practice 62 practitioner. these are common a requirement for art practice students of higher education in indonesia. undergraduate education standards in indonesia are preparing students to be intellectuals and/or scientists who are civilized, able to enter and/or create a business, and able develop themselves to be professional (indonesia law of higher education act 12 of 2012 article 8 paragraph 2). in art scholarship, these standards are achieved through the ability to create works of art and compile research reports. the problem in this study is focused on the writing guidelines for research reports or so-called thesis that meet intellectual and/or scientific standards in the arts field. the thesis is generally written based on guidelines published by the local institution. in the guidelines set the order of parts or writing systematic that describes academic thinking patterns. regardless of the deepness of thesis content produced by each student, by complying with the guidelines, students enter into academic thinking patterns. that is, the quality of academic thinking reflected in the thesis is more or less depends on the quality of the guidelines. in other words, thesis guidelines also determine the quality of students’ academic thinking who take thesis. higher education institutions in indonesia have their writing guidelines. for some examples, the thesis guidelines 2016 by the faculty of cultural studies, universitas brawijaya, the final assignment guidelines 2015 by isi surakarta, and the guidelines for final assignment 2019 by isi yogyakarta, these all have differences chaptering. nevertheless, there are the same research fit aspects in these three examples, namely methods, and analysis or discussion. according to creswell (2010), the research fit entails five aspects: the research paradigmthe research methodologies; ontologythe knowledge of the research; epistemologythe way the research knowledge is driven; axiologythe value of the research knowledge; and rhetorichow the research knowledge (askarzai, 2017). the case in this study is based on guidelines of thesis writing published by an art study program, for which there are no sections of methods and analysis or discussion. these sections are precisely the essence of research, namely the use of high-order thinking skills in connecting data, theories, concepts, and researchers' experiences towards problem-solving. this essence is indeed slightly higher than the standard research level of the bachelor as borgdoff (2013) mentions, that bachelor's curriculum teaches elementary research skills like argumentation, information, communication and presentation skills. this case prompted the question of how the thesis writing model on an art practice that meets the academic thinking aspects. this study is an effort to find solutions to these weaknesses, it is to construct a thesis writing model of art practice that meet the aspects of academic thinking. the benefits of this study for academics is as an offer of discussion about art ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 63 practice research. especially for art practice students, this study is useful for improving the quality of academic thinking. for the arts educational institutions, this research is useful as a topic of discussion to improve the quality of thesis guidelines. this study is considered essential especially for pragmatic reasons, it is because the guidelines which are the case in this study are being used by students in related institutions. its weakness has been running. the results of this study can be considered as input to revise the guidelines. it is also important because it correlates with the prolonged debate at postgraduate degree; it is possible because the underside is not well organized yet. limitation of the study is focused on aspects of the method and analysis because the case in the guidelines lies in both aspects. philosophy of art, aesthetic principles, and art education, in general, are not covered in this study. besides, the data in this study were taken from a particular higher education institution, so it tends to exclusively apply to this institution. the conclusion in this study is also limited to solving this case. the next limitation related to the students in undergoing try out have not reached the discussion aspects yet, so this paper only revealed the method aspects. oxford english dictionary has defined research as ‘the systematic investigation into and study of materials and sources to establish facts and reach new conclusions’. research in merriam webster dictionary is described as ‘the investigation or experimentation aimed at the discovery and interpretation of facts, revision of accepted theories or laws in the light of new facts, or practical application of such new or revised theories or laws’. research on the model aims to be applied, so the definition follows the oecd (2015) applied research, is an original investigation undertaken to acquire new knowledge; it is, however, directed primarily towards a specific, practical aim or objective. in many cases, artistic research can be understood as an interdisciplinary and transdisciplinary activity and the different interor transdisciplinary entwinements lead to different types of artistic research (arlander, 2016). art can be said to be the only system of knowledge which, when incorporated into the academic system, immediately creates prolonged problems. while research in other disciplines is relatively coherent with the limitations of the academic system, art does not. there is always a conflict of interest between the subjectivity in art and the objectivity in the academic system. there is even a view that this conflict cannot be bridged. “no bridge can be built to connect them, but some kinds of jump and intercourse are possible. attaching the artworks to the presentation is an attempt to continue and share this intercourse. if readers find the artwork samples unhelpful, they should just skip them and focus on the text” (mäki, 2014). this is a contextual opinion, which gives space for each interest according indro moerdisuroso & zaitun y.a. kherid, thesis writing model of art practice 64 to the context. unlike the case with the opinion that the artistic research becomes capable of pushing the future university to understand more deeply how to live on the planet we inhabit, rather than one we produce in our image (butt, 2017). this opinion emphasizes the importance of art that contributes to academic interests. in the context of academic improvement, it is necessary to quote the opinion of gray and malins (2004) who consider academic research to be the best mechanism to raise awareness of critical and contextual issues of practice, to analyse and interpret ideas, and to develop new creative and cultural strategies based on rigorous evidence and research experience. the issues of art-related research in higher education began to be debated in christopher fryling’s paper (1993). fryling categorizes art-related research into art, research through art, research for art. the first category is research in the art that relies on cognitive work, such as art history research, aesthetics, and art reviews from various theoretical perspectives. the output is written text. the second category is research in certain aspects of practising arts and is simultaneously communicated in writing, which means cognitional and expressional works. for instance, material and tools research, techniques research, creative development, action research, which all of the outputs are written text and art product. the latter category views the practice of art itself as a form of research, merely expressional, and the output is artifact. of the three categories, fryling tends to expressional works as the essence of art practice and offers research activities as an introduction to academic practice that should not be avoided. the term art practice research in this study, refer to fryling’s category, thus included in research through art. categorization of research into art, and research through art have clear, and commonly practiced in higher education. the debates arose primarily due to the third category that forced into the second category and generates understandings overlap. opinion on the one side, for example, statement of julian klein (2017): “art without research just as equally dispenses of its essential foundation as does science without research”. in the other side, for instance, rae earnshaw’s (2016) quote about research type which the output is an artefact: “this area is less easy to evaluate in terms of possible academic outcomes and deliverables”. another statement made the debates go increasingly boisterous, such as rubidge’s (2005) in mateus-berr (2013) distinction of research for art into three types: practice-based research, practice-led research, dan practice as research. the first term is research that tests pre-formulated questions derived from artistic practice; the artist is the researcher. the second is research using the practice to research practice itself. the latter term seems to be equated with the first one, frequently used as an umbrella term for academic research which incorporates artistic practice as a ‘research methodology.’ this study leaves these debates and goes straight into ‘research through art’. ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 65 teikmanis in "typology of research" (2013) has guided the understanding of various terms in art-related research. based on the debate between research and art practical work, he compiled art researches into six types: academic research, practice-led research, research-led practice, design research, art-based research, and artistic research. these types are distinguished based on five aspects: the relationship between research and practice, subjective relations, research objects, types of produced knowledge, and research output. by comparing all aspects, there is similarity between research-led practice and design research. both are only different in the form of work, artwork and design object so that in this study is integrated into research-led practice type. if we look at aspects of research output, there are three types that outputs are written text and artwork or design, namely practice-led research, research-led practice, and artistic research. since this paper is for artwork and written text outputs then these three types as shown in the following table are further used as references. table 1. types of art practice research. source: teikmanis 2013, p. 163 materials and method research design this research implements a quantitative-qualitative approach, that is to arrange a thesis writing model which is validated by the experts quantifiably, and is qualitatively tried out on participant students. the experts and students are representing their self exclusively. the method is the research and development (r and d), where the definitions according to oecd, comprise creative and research types the relation between research and practice subjective relations research object or objects types of produced knowledge research output practice-led research research is based on practice author of artwork = researcher artwork(s) produced by the researcher artwork(s) and documentation of its production artwork and text researchled practice the practice is based on research researcher = author of the artwork production of artwork and new knowledge new technological solutions, methods and theories artwork or design object and text artistic research practice and research are inseparable author of artwork = researcher artistic practice artwork, ideas, and theories artwork and text indro moerdisuroso & zaitun y.a. kherid, thesis writing model of art practice 66 systematic work undertaken to increase the stock of knowledge – including knowledge of humankind, culture and society – and to devise new applications of available knowledge. in this study is an academic writing model. this method’s procedure includes the stages of designing the model, validation, try out, implementation. data are expert and student opinions. the model is displayed in the likert scale adaptation format. it was validated by three experts, each representing the fields of fine arts, design and crafts. validation results were quantified and interpreted as an academic value. after the model was revised based on the validation results, then trialled on the three students participating in the final project of art practice. each student representing the fields of fine arts, design, and crafts. the models for chapters iii and iv is presented in a tabulation consist of indicators column, and agreement scale columns. total indicators are 28 items, and the agreement on a scale of 4: disagree, quite agree, agree, strongly agree. the score of each item and validator are calculated by the formula: validator’s score divided by the maximum score multiplied by 100 percent. the total score is interpreted into the range of academically values as follows: 60 69 = less academic; 70 79 = quite academic; 80-89 = academic; 90 100 = strongly academic. data on student opinions were captured through open interviews. the topics of the interview emphasize experience in determining the choice of the final project idea and experience in practicing the model. opinion on the first topic is needed to detect a student’s mindset pattern, to correlate its tendencies with teikmanis’ types of research. opinions on the second topic are needed for the model revision. model design on the thesis writing aspects of the method described in chapter iii. the instrument consists of 16 indicators. the number of items is relatively large because it accommodates the indicators for three fields of arts. this section contains the structure of art practice methods. all aspects of the method are shown in the following table. table 2. art practice methods: design of art practice methods. source: moerdisuroso & kherid, 2019 a. design of art practice methods 1. method approaches and research types field of art method approach type of research fine art qualitative: descriptive-qualitative or grounded research research-led practice practice-led research artistic research design quantitative-qualitative: development research, applied research, action research research-led practice practice-led research ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 67 craft quantitative-qualitative: development research, applied research, action research research-led practice practice-led research artistic research 2. sources and types of data data sources type of data conceptual visual operational apprenticeship (practitioner’s property) opinion, text, event original works of art, sketch, dummy, mock-up, shop drawing, visual archives working process, exploration process materials, tools and techniques, studio facilities, student’s art practice process and products text exploration pieces, sketch, dummy, mock-up, shop drawing, finished work of art, design object, craft object working process, materials, tools and techniques, studio facilities experts/users opinion opinion opinion table 3. art practice methods: data collection. source: moerdisuroso & kherid, 2019 b. data collection types of data data collection techniques opinion interview, questioner text resume, quote event logbook /field notes exploration pieces, sketch, dummy, mock-up, shop drawing, finished work of art, design object, craft object, visual archives photo/video recording working process, exploration process logbook /field notes, photo/video recording materials, tools and techniques, studio facilities observation, check-list, photo/video recording notes: 1. apprenticeship data: resource person profiles, place and time of apprenticeship, data collection techniques 2. expert/user data: expert/user profiles, place and time to collect, data collection techniques indro moerdisuroso & zaitun y.a. kherid, thesis writing model of art practice 68 table 4. art practice methods: data presentation and analysis techniques. source: moerdisuroso, 2019 c. techniques for presenting and analyzing data 1. steps in presenting data the steps in presenting data are a description of the plan to classify various types of data on apprenticeship, the process and products of art practice, as well as the forms of their appearance, in the form of tables, schemes, text box, and descriptions of each group of data. 2. data analysis steps the data analysis steps are an explanation of the discussion design of the data that has been presented previously. the design of the discussion must be correlated with the theoretical foundation and aspects of the concept of creation. the results and discussion are described in chapter iv. the model in this section contains the practice of presenting data from various sources. this section also contains guidance in analysing the correlation of data from various sources with the theoretical foundation towards verifying the authenticity of creation concept aspects. the indicators are 12 items, shown in the following table. table 5. results and discussion source: moerdisuroso & kherid, 2019 a. results 1. the results contain the presentation of data obtained from the processes and products of art practice as designed in chapter iii. 2. data is grouped, tabulated, and described based on activities according to the fields of fine art, design, or craft. 3. data groups include: results of apprenticeships, process and products of student’s art practice, expert/user opinion. 4. the results of the apprenticeships consist of: the creation concept of resource person, the characteristics of the products, the process of art practice, studio facilities, and the elaboration of the results of the apprenticeship. 5. the process and products of student’s art practice, market studies, preliminary designs, model designs, user opinions (only for the field of design and crafts), expert’s opinions (only for the field of fine art), and the photograph of all works created. 6. user opinions are specific to the field of design and craft, related to studies of needs, responses to initial designs, and responses to model designs. 7. expert opinion is the response, assessment and suggestion of an art expert to a student's artwork. b. discussion 1. in principle, this section is an implementation of the steps of data analysis. the analysis is oriented to confirm the authenticity of the concept of creation. the ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 69 analytical framework can be based on the structure of the art (conceptual, visual, and operational aspects), or follows the theoretical foundation. 2. the discussion of conceptual aspects consists of breaking down the data of conceptual aspects of students, which are compared with the data group of conceptual aspects from all sources (apprenticeship sources, expert or user opinions), and practice references, and referring to the theoretical foundation. the discussion is oriented to prove the authenticity of the conceptual aspects of students. this discussion pattern is also used in the discussion of visual and operational aspects. results data of experts opinion experts opinions are the validation results. validator i (v-1) is a design educator, v-2 is craft educator, and v-3 is a fine art educator. the values of the model given from each validator are 90.8; 94.6; 94.6. all three gave values greater than 90, is interpreted strongly academic. the indicator item that has the lowest scores (75.0) are interpreted to be quite academic, given only two items, one each for chapters iii and iv as shown in the following table. table 6. the items on the lowest score. source: moerdisuroso & kherid, 2019 no indicators v-1 v-2 v-3 σn σv interpretation a. chaper iii 4 the design of quantitative-based creation methods tends to resemble the methods of development research, applied research, and action research. 3 3 3 9 75,0 quite academic b. chaper iv 20 data groups include: results of apprenticeship, market study results, preliminary designs, model designs, user opinions (only for design and craft), expert opinions (only for fine art), and all of the finished product photographs. 3 3 3 9 75,0 quite academic the instrument sheet provides a validator's notes. all three validators write notes with different intensities. v-1 gives the highest intensity note. v-1 notes emphasize that design methods take precedence, and suggests that the research process be shortened so that it does not have an impact on creative work. v-2 notes contain the affirmation of the majority of answers strongly agree; only 5 items were hesitant to be strongly agreed. v-3 notes are only a correction to the answers itself. indro moerdisuroso & zaitun y.a. kherid, thesis writing model of art practice 70 data of students opinion the participant that tested this model consist of 3 students who were attending the art practice thesis seminar. each student chooses fine art, design, and craft. thesis in fine art entitled “reflections on asocial behaviour due to the effects of social media in contemporary art”. the field of design makes the title “idealism of millennial generation students in comic book”. the craft field uses the title “sebira island environment as an inspiration on handmade batik ornaments with natural dyes from mangrove tree bark (rhizophora stylosa)”. students opinion is focused on practicing the model also opinions about the process of determining the final project ideas. in general, the three students stated their support with the model. according to them when carrying out apprenticeships also carry out activities as stated in the model, but it is less direct. they stated the model had directed the writing of the entire apprenticeship and exploration process. design and craft students stated that the method in the model includes the design method already. the fine art student commented on the difficulty to find the experts and to ask the opinions as required. the three students shared the same opinion about the hassle of having to record all activities in the final project process. until this study was written, the three students had not yet reached the stage of writing the discussion, so its data had not been obtained yet. opinions about the process of determining the final project ideas, design student told his experiences as activists: “since in high school i like to join organizations and adventures. at the early, on campus, i actively participated in the student association of study programs, continue to get acquainted with student organizations in the faculty, until universities. i do not join parties, or other organizations, only in student affairs. so i never wanted to take to the street by order. we move only when there are troublesome government policies. i want to share this idealism with my juniors through comic stories.” craft student tells the following experiences: “i once travelled to sebira island in the thousand islands. this is the farthest from jakarta. people rarely come here. many bugisese, madurese, minangese. men wear a sarong. they eat anchovies, lots of them here. there is a tower from the colonial era. the beach is full of mangrove trees. the colours are different. i take the skin, scribble on the shirt, the sap is imprinted. so thinking about making batik. the skin is pounded, boiled. different colours of trees also result in fabric. the ornaments are taken from what is here, tower, sarongs, anchovies.” fine art students tend to be quiet, but he said more regularly than the two students above. his experience related to the final project is told as follows: “i use to addict an online game. all-day in front of the computer. even if i leave, my mind continues to be overshadowed by the game. so i cannot focus on me, even lazy to ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 71 meet with anyone. i want to express this experience with installation art. i want to convey the message through material objects and space characteristics.” discussion the opinions of three experts on the model, out of 28 indicators are interpreted as follows: strongly academic = 21 items; academic = five items, quite academic = two items; less academic = zero items. the acquisition of the lowest interpretation “quite academic” arises from items four and 20. for both items, the three validators give the same score which is three. sentence point four is: “the design of quantitative-based creation methods tends to resemble the methods of development research, applied research, and action research”. concerning scoring three on point four, there is no validator providing notes. factors causing the scoring the three (quite academic) were estimated because the use of the technical terms was not equipped with detailed explanation. these terms are correlated with the types of art-related research according to fryling and teikmanis. research through art in fryling’s term is produced artefacts and written works. development, applied and action research can be included in this term. likewise, with the teikmanis’ term. both research-led practices, practice-led research and artistic research is also produced the same things. one of which can be chosen to be associated with one of development, applied or action research. these three forms of research have similarities as research to produce something tangible, as well as in art practice research. other indicators that have low score is point 20, with the sentence: “data groups include: apprenticeship, market study, preliminary designs, model designs, user opinions (only for design and crafts), expert opinion (only for fine art), and photos of all products of art practice. there are only v-1 notes to this item, that is "add product and designers reference studies”. about this note, it can be stated that reference study activities are not placed in this chapter, because it is not classified as data. based on this discussion, it seems that there are no significant deficiencies so that the model can proceed to the tryout phase. model try out generates student opinion data. the data of the three students showed a positive tendency, especially related to the methods (chapter iii). it means designing the methods, determining the techniques and instruments of data collection, and planning the techniques of presentation, and analysis of data can be done by students of art practice. the ability to carry out all aspects of the method indicate students are applied a high order thinking. in bloom's taxonomic revision (anderson et al., 2001) low to high levels of cognition include: remember, understand, apply, evaluate, create. the last three are classified as high order thinking. to anderson, all cognitive thinking relate to four levels of knowledge: factual, conceptual, procedural, and metacognitive. refer to this taxonomy, indro moerdisuroso & zaitun y.a. kherid, thesis writing model of art practice 72 students' ability in compiling methods are classified as procedural knowledge. besides, according to the concept of creation structure which includes conceptual, visual, and operational aspects, students show their ability to describe the data specifications of each aspect. student experience in determining the idea of the final project can be correlated with teikmanis’ three types of art-related research. although all students in the try-out have received an explanation of these types, and can consciously choose, they still need to be confirmed. by observing the flow of his experience can be detected trends in the type of art research. opinions of design student describe the experiences as activists. he explains this dominantly than the experience of making comics. by barrett's term, the emphasize for his research is the conceptual aspect. this means that although it is not carried out in a disciplined manner, students have undergone research. their own experiences as objects of research. research results later developed into a storyboard, and then created a comic book. in simple terms, the sequences describe research-led practice from the conceptual aspect. this integration between art practice and research is in line with graeme sullivan (2004), is aimed to investigate how knowledge is created in the process of making art. research in the art, therefore, asks questions about the processes and products of artistic knowledge. to do this the artist is both the researcher and the object of study. the flow of experience above is almost the same as the experience of craft student. starting an interested in the operational aspect, it is the experience of exploring mangrove bark material and its visual effects. followed by the exploration of objects and events in the sebira island environment as an inspiration of batik ornaments. the practice of making batik is only possible after all exploration is considered complete. this pattern is in line with research-led practice from the operational aspect dominantly. in undergoing the final project of art practice, a fine arts student, such as design student, also rely on their subjective experience. he felt asocial. in artistic activities, he tends to interact first with various materials and spaces possibilities whose characteristics are considered in line with the message to be expressed. this artistic encouragement is relatively difficult to plan and tends to be done by trial and error. it means the work sequence of this student tends to be classified as practice-led or artistic research and dominantly from the visual aspect. ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 73 conclusion this study departs from the thesis guidelines for art practices that do not explicitly state the method and analysis aspects. the scope of research, methods, data, and analysis then is based on the question of how the thesis writing model of art practice. for this reason, a series of research has been carried out with the r & d method, in which stages: the model design has been prepared, tested for readability, validated by experts, produced the model, and tested on students. based on the entire research process the following conclusions are obtained: 1. the academic principle in art practice is the skill of creating works of art that interacts with the ability to build and confirm the concept of creation through research procedures, and the ability to communicate in writing according to the academic writing system. 2. art practice research models that meet academic rules consist of three possible types: practice-led research, research-led practice, and artistic research, which can be correlated with quantitative, qualitative, or mixed approaches. the selection of research types by students is subjective, depending on the tendency of their thinking. 3. this thesis writing model of art practice, especially the method aspect which requires high order thinking can be implemented by students under research discipline relatively. references adisukma, wisnu., achmad sjafi’i, sunarmi, et al. (2015). “panduan tugas akhir seni rupa dan desain”. institut seni indonesia surakarta, indonesia. anderson, lorin w., david r. krathwohl, peter w. airasian, kathleen a. cruikshank, richard e. mayer, paul r. pintrich, james raths, merlin c. wittrock (2001). a taxonomy for learning, teaching, and assessing: a revision of bloom's taxonomy of educational objectives. a bridge edition. united states: addison wesley longman. isbn 0-8013-1903-x arlander, annette. (2017). artistic research for speculative practice. journal for artistic research. issn 2235-0225. accessed on 16 may 2020 from https://doi.org/10.22501/jarnet.0001 askarzai, walied., bhuvan unhelkasr. (2017). research methodologies: an extensive overviews. ijsrm international journal of science and research methodologies vol. 6, issue 4, june 2017. http://ijsrm.humanjournals.com/wp-content/uploads/2017/07/3.dr_.walied-askarzai-bhuvan-unhelkar.pdf indro moerdisuroso & zaitun y.a. kherid, thesis writing model of art practice 74 barrett, maurice. (1982). art education, strategy for course design. london: heinemann educational books. borgdorff, henk. (2013). “a brief survey of current debates on the concepts and practices of research in the arts”. in mick wilson and schelte van ruiten (eds.) handbook for artistic research education. share, step-change for higher arts research and education. amsterdam: elia. isbn 978-90810357-0-5. retrieved on may 2017 from http://www.sharenetwork.eu/resources/share-handbook borgdorff, henk. (2016). buku pedoman penulisan skripsi. malang: fakultas ilmu budaya, universitas brawijaya. butt, danny. (2017). artistic research in the future academy. bristol, uk: intellect books. earnshaw, rae. (2016). research and development in art, design, and creativity. uk: springer. doi 10.1007/978-3-319-33005-1 fryling, christopher. (1993). “research in art and design”. royal college of art research paper vol. 1. no. 1. 1993/4. london: royal college of art. isbn 1 874175 55 1. retrieved on 25 july 2019 from http://researchonline.rca.ac.uk/384/3/frayling_research_in_art_and_design _1993.pdf gray, carole, julian malins. (2016). visualizing research: a guide to the research process of art and design. new york, usa: routledge. klein, julian. (2017). what is artistic research? journal for artistic research. issn 2235-0225. accessed on 13 august 2019 from https://doi.org/10.22501/jarnet.0004 mäki, teemu. (2014). art and research colliding. journal for artistic research. issn 2235-0225. (2014) accessed on 16 may 2020 from https://www.researchcatalogue.net/view/49919/49920/0/0 mateus-berr, ruth. (2013). “habits’ within arts and design-based research”. in mick wilson and schelte van ruiten (eds.) handbook for artistic research education. share, step-change for higher arts research and education. amsterdam: elia. isbn 978-90-810357-0-5. retrieved on july 2019 from http://www.sharenetwork.eu/resources/share-handbook merriam webster dictionary. accessed on 16 august 2019 from https://www.merriam-webster.com/dictionary/research. oecd (2015). “concepts and definitions for identifying r&d”, in frascati manuao 2015: guidelines for collecting and reporting data on research and experimental development. paris: oecd publishing. retrieved on 25 july 2019 from http://dx.doi.org/10.1787/9789264239012-4-en oxford english dictionary. accessed from https://www.lexico.com/en/definition/research on 16 august 2019. ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 75 ________. (2019). pedoman pembimbingan tugas akhir program studi s-1 seni rupa murni. yogyakarta: fakultas seni rupa, institut seni indonesia. sullivan, graeme. (2004). studio art as a research practice. in elliot w. eisner and michael d. day (eds.) handbook of research and policy in art education. new jersey: lawrence erlbaum associates inc. teikmanis, andris. (2013). typology of research. in mick wilson and schelte van ruiten (eds.) handbook for artistic research education. share, stepchange for higher arts research and education. amsterdam: elia. isbn 978-90-810357-0-5. retrieved on may 2019 from http://www.sharenetwork.eu/resources/share-handbook undang-undang republik indonesia nomor 12 tahun 2012 tentang pendidikan tinggi. kementerian hukum dan hak asasi manusia republik indonesia, 10 agustus 2012. wilson, brent g. (1971). evaluation of learning in art education. in bloom, b. t. handbook on formative and summative evaluation of student learning. new york, usa: mcgraw-hill inc. 101 volume 7 nomor 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 upcycle: as a new preference in the art of climate change centaury harjani product design department, faculty of architecture and design, dwcu, jl. dr. wahidin sudirohusodo no 5-25, yogyakarta 55224 e-mail: centaury_h@staff.ukdw.ac.id abstract the most common inspiration used in the art of climate change is global warming. indeed, the greenhouse effect that leads to a global temperature rise is the cause of global warming. this effect occurs due to increasing levels of carbon released into the air. upon this, an artist needs to reduce carbon emissions for the sake of a better environment. one of the effective ways is by using the principles of environmentally friendly (low-carbon emissions) artwork. the way that can be chosen is upcycling in the making of an artwork. upcycled is the upgraded version of recycling. upcycle will help reduce carbon emissions by utilizing old goods as materials to create an artwork. upcycle does not use new materials, and it uses the method of material processing with a short phase compared to recycling. the contemporary art of climate change raises many issues on global warming as its inspiration. therefore, it should pay attention to the material used in the making of environmentally friendly artwork. this paper will discuss the upcycle as a preference to produce that artwork. practice-based research methods and literature studies are used in this study. this research will also discuss creative strategies in upcycling deadstock to become part of climate change contemporary artwork. the preliminary result from this study is that the upcycle will be optimal when combined with the principle of zero-waste. keywords: upcycle, low carbon emission, fashion, climate change upcycle: preferensi baru dalam seni perubahan iklim abstrak inspirasi yang paling banyak digunakan pada seni perubahan iklim adalah pemanasan global. sesungguhnya, efek rumah kaca adalah penyebab utama adanya peningkatan suhu secara global sehingga terjadi pemanasan global. efek ini terjadi disebabkan oleh peningkatan jumlah karbon yang dilepaskan ke udara. karena itu, seniman perlu berpartisipasi mengurangi jumlah gas buang karbon demi lingkungan yang lebih baik. satu cara efektif yang dapat dilakukan adalah menggunakan prinsip karya seni ramah lingkungan yang tingkat gas buang karbonnya rendah. cara yang dapat dipilih adalah melakukan upcycle dalam pembuatan karya seni. upcylce ini adalah peningkatan versi dari recycle. upcycle akan membantu mengurangi gas buang karbon dengan memanfaatkan barang-barang lama sebagai bahan baku pada proses pembuatan karya seni. upcycle tidak menggunakan material baru dan memiliki proses pengolahan material yang lebih pendek jika dibandingkan dengan metode recycle. seni kontemporer terkait perubahan iklim mengangkat banyak isu mengenai pemanasan global. karena itu, seni ini perlu memperhatikan bahan baku yang digunakan untuk memperoleh karya seni yang ramah lingkungan. makalah ini akan membahas upcycle sebagai preferensi untuk menghasilkan karya seni tersebut. metode penelitian berbasis praktik dan studi literatur digunakan dalam penelitian ini. penelitian ini juga akan membahas strategi kreatif dalam melakukan upcycling bahan baku deadstock karya seni kontemporer perubahan iklim. kesimpulan awal dari penelitian ini, penggunaan upcycle akan lebih optimal jika dipadukan dengan prinsip zero-waste. kata kunci: upcycle, emisi carbon rendah, fesyen, perubahan iklim 102 centaury harjani, upcycle: as a new preference in the art of ... introduction there are many artworks made all over the world. art has already had a long history in the world. nonetheless, susanne (darabas, 2014) stated that “over thousands of years, the relationship between man and nature has changed,” should be considered a thought in creating an artwork. she informed that in the early 20th century, many artists started making environmental art because of climatic and atmospheric conditions. according to sam bower, there are some types of environmental art, i.e. land art, earthworks, earth art, art in nature, ecological art, environmentally themed gallery or museum work, and crossover from other fields. all of the types have the purpose of increasing the right impacts on the environment and human life. however, many of the existing artworks only focus on inspiration and communicate about global warming. curtis, reid, and ballard explain using art as a way to communicate scientific information because art helps people understand complex scientific information. their research propounded that art conveys information more interestingly and easily to remember. furthermore, art promotes new ways of looking at issues. art is also able to evoke emotions and create memorable moments and a celebratory atmosphere at the convention. however, there are some questions about art: what is the role of art and artist in responding to climate change? how can art communicate scientific information? can art help people to perceive the effects of climate change and to comprehend its underlying physical processes? is art an effective means of motivating political action or changing individual conduct? how should nature be imagined in a period when the global environment is undergoing a profound transformation as a consequence of human actions? (stephens, et al., 2013). the answer to this question, the artist should pay attention to the material used in work. it is conveyed by sam bower (2011) that “environmental art often takes into consideration this larger context, the origin of the material used, and the ecological impact of the ways an artwork was constructed and disseminated, as well as long-term effects on non-human life and systems.” anik kohli, myriam steinemann, nickolai denisov, and simone droz in nexus brief, nr.5, july 2018, bring up that climate change could bring fragility and conflict in the world. they put forward that there are relationships between the environment, climate change, fragility, and conflict. therefore, climate change is not a trivial matter, and an artist should take part in this circumstance. an artist can create inspiring upcycle works that remind a broad audience of a better environment. 103 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 materials and method study literature and practice-based research method were used in this paper. the purpose of using this method is to get a review of some data from different works of literature. the type of literature study used is a semi-systematic review. hannah snyder (2019) said that this type of literature review "provides guidelines for conducting a meta-narrative review." this type of review is suitable for use in elaborating various sources of review data to support this research. meanwhile, as proposed by linda candy and ernest edmonds (2018), practice-based research produces creative work through research practice. practice and research work together involving new media art and emphasizing the exploration of the creative process in finding suitable upcycle ways to produce artwork. a google form questionnaire is used to get any confirmation input about the finding from other artists as a creator and from ordinary people as a spectator. these methods are appropriate for finding environmentally friendly artwork on the upcycle. figure 1. model of practice-based research source: centaury’s documentation, 2020 104 centaury harjani, upcycle: as a new preference in the art of ... results environmentally friendly art is environmental art, but it still needs to focus on lowcarbon emissions. environmental art is more aiming at communicating ideas about current environmental conditions. therefore, the upcycle is carried out more on the media to communicate environmentally friendly art. upcycle is environmentally friendly because it is processed from existing materials. it makes more use of materials that are no longer used (low carbon emissions), such as dead-stock clothing, which is discussed in this paper. some strategies can be used in upcycling a dead stock based on the literature, i.e.: table 1. literature review about strategies of upcycling source: centaury, 2020 no literature review author title year 1. hana hanifah konsep upcycle sebagai alternatif solusi pemanfaatan limbah kebaya lama 2018 kebaya with a modern design as a result of a combination of two old kebaya. 2. dwiyanti yusnindya putri and ratna suhartini upcycle busana casual sebagai pemanfaatan pakaian bekas 2018 three ways of upcycle: merging, changing models and adding accessories/details. 3. etsuko yamada and kanji okamoto wrapping with fabric your complete guide to furoshiki-the japanese art of wrapping 2014 contains inspiration for various carrying containers 4. nawwar shukriah ali, nuur farhana khairuddin, and shahriman zainal abidin upcycling: re-use and recreate functional interior space using waste materials 2013 upcycling of interior products with new functions. 5. pixeladies furoshiki fabric wraps: simple, reusable, beautiful 2012 contains how to sew the edges of the fabric, to decorate the wrapping. 6. katie ebben fabric scrapping 2008 fabric scarp using fabric remnants with many different technique. 105 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 7. susan breier it’s a wrap: sewing fabric purses, baskets, and bowls 2006 the technique of processing fabrics into fabric strips, which are then used to wrap clothesline and shape them into functional objects in the form of various containers. 8. kumiko sudo flower origami: fabric flower from simple shapes 2004 the technique of processing cloth by folding (origami). 9. kumiko sudo omiyage: handmade gifts from fabrics in the japanese tradition 2000 many creative ideation made from fabric. there are many inspiration came from a literature study. these include inspiration about technique (wrapping and scrapping), function, and form. the results from this study become the basis for developing experimentation doing upcycle practices. the questionnaire provides a glimpse of the public’s view about how the circumstance of the environment and environmental art. figure 2. public’s view about environment and environmental art source: centaury’s documentation, 2020 106 centaury harjani, upcycle: as a new preference in the art of ... the conclusion from the questionnaire is 100% respondents agree to apply the art on to functional objects. therefore, these objects (wearable product and bag) would be the media for applying art. it is chosen with the interest of elongating the life cycle of the art and broadening the scope of the spectator. all the results of this upcycling practice-based research would be used as art media. the results from practices that can be used for applying the art as a media visual communication made from upcycling dead-stock material, i.e.:  tote bag figure 4. upcycled tote bag source: centaury’s documentation, 2020 figure 3. public’s view about media for applying art source: centaury’s documentation, 2020 107 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760  coaster  coat  pouch figure 5. upcycled coaster with wrapping source: centaury’s documentation, 2020 figure 6. upcycled coat from shirt source: centaury’s documentation, 2020 figure 7. upcycled pouch from denim source: centaury’s documentation, 2020 108 centaury harjani, upcycle: as a new preference in the art of ...  mask andy goldsworthy’s sculptures is used for giving ilustration in apply art to the media, such as: figure 8. upcycled mask from sleeve source: centaury’s documentation, 2020 figure 9. ephemeral sculptures source: andy goldsworthy, 2014 figure 10. ilustration applied art in the upcycled media source: centaury’s documentation, 2020 109 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 discussion edwin datschefski (founder of bio thinking international) in martin hill (earth to earth) 2007, said that: every day each of us changes the world. we change it primarily through the side effects of the physical transformation of materials that make up the products, energy, and food we consume. unfortunately, this change is almost always detrimental, as even products that seem beautiful on the outside have a hidden ugliness behind them and ugliness caused by the exploitation of workers, releases of pollution, and destruction of habitats. kate fletcher (2014), “the total amount of clothing and textile waste arising per year in the uk is approximately 2.35 million tonnes. this is equivalent to nearly 40 kg per person per year, a figure that includes waste from industry and domestic sources.” she also said that when it goes to landfill, it could produce methane gases and its mean pollutions. because of that, this paper chooses to use deadstock from the fashion industry to be upcycled to become the media for art. this is the effort of reducing the carbon footprint in the arts. epa in the subramanian senthilkannan muthu (2016) (carbon footprint handbook) explained that “c footprint is the total amount of ghgs that emitted into the atmosphere each year by a person, family, building, organization, or company. this includes ghg emissions from the fuel that an individual burns directly, such as by heating a home or riding in a car. it also includes ghgs that come from producing the goods or services that the individual uses, including emissions from power plants that make electricity and factories that make products and landfills where trash is disposed of.” vandana gupta, madhvi arora, jasmine minhas (2020) clarify it with their statement that: “just like the actual footprint, the carbon footprint is the mark you leave upon the environment, not with your shoes but with your every action which releases harmful gases like co2 which are pumped down by burning oil and natural gases. the more fuel one uses, the bigger will be the footprint”. they also informed that in the production of 1 kg fabric its means 23 kg greenhouse gases, 2.000 litters of water, and 4 kwh of energy. hence, it is clear that the upcycling movement is required to reduce the carbon footprint. stuart sim, in “reducing our carbon footprint: altering lifestyles” states that, “there has been no lack of suggestions as to how we might alter our lifestyle to affect the reduction in our carbon footprint that would secure our future”. as artists, what we can simply do is change our artistic style by paying more attention to the materials used as art media. kate fletcher said, “repair and reconditioning of textiles and garments also saves resources compared with manufacturing new items.” 110 centaury harjani, upcycle: as a new preference in the art of ... esther sanye-mengual, raul garcia lozano, ramon ferreny, jordi oliver sola, carles m. gasol, and joan rieradevall (2014) argued that “there are some the eco-design methodologies that can be adopted such as reduces resource consumption (i.e., energy, materials, water), redesign of an existing product, optimize the lifespan of the product, or avoiding end-of-life treatments with higher impacts”. abrahams, guy, bronwyn johnson, and kelly gelatlly (art+climate=change) 2016 john wiseman told that: “one question frequently asked at many art+climate= change exhibitions, debates and round tables was: ’ok—impressive work and interesting ideas—but, beyond the narrow circle of people who visit art galleries, what, if anything, will this art really change?” if the artwork is only exhibited in a gallery or museum, only a few people will witness it. however, kelly gelatlly adds that “above all, art + climate = change demonstrates a sense of hope and faith in the experience of art to communicate meaningfully, and a belief. that art, and exhibitions, can function as powerful catalysts of change”. for art to become an agent of change, it only needs to be added with media to help disseminate the artwork for more people to see. one of the art themes that can be raised to help improve the environment, apart from global warming, is the theme of an invitation to remember the importance of planting trees. this is by the opinion of daniel bodansky (2010) in the art and craft of international environmental law: “global warming is caused by emissions of carbon dioxide and other greenhouse gases, which trap heat in the atmosphere. thus, many proposals to address climate change focus on cutting emissions. but emissions do not directly cause global warming; they do so only to the extent that they accumulate in the atmosphere, causing concentrations of greenhouse gases to increase. so another possible response would be to remove carbon dioxide from the atmosphere, for example, by planting trees or increasing the activities of other so-called carbon sinks.” conclusion in conclusion, all the discussions in this paper discuss using environmentally friendly materials to become functional works of art. works of art are not only objects of an exhibition but can be used and seen by more people. thus, works of art can have a broader impact on many people. lanni lantto (2014) put forward that, “everything you own can be redesigned. all you need are the skills to see old materials in a new light.” one of the skills that can be developed is upcycling, as discussed in this paper, namely, upcycle using dead stocks. upcycle used existing 111 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 materials to become a source of art. natural themes that persuade people to do green can be chosen. “let us learn from nature,” this is in line with what was said by erica palmcrants aziz and susanne hovenas (2014) that said, “in nature, nothing is wasted, and nature only uses the energy it needs”. william mcdonough and michael braungart (2014) suggest a need to leave as little carbon footprint as possible in our lives. one thing that we can do is based on alison gwilt and timo rissanen (shaping sustainable fashion) 2011, “materials are routinely selected for aesthetic and functional reasons, but a fashion designer can choose to work with recovered materials, which positively contributes to the management of textile waste.” here, borrowing the perspective of a fashion designer, as an artist, of course, we can adapt this way of thinking in working with recovered materials. hopefully, we can become artists like john marchello, who say that his goal is “as an artist, i have two goals: one to inspire people to live an environmentally friendly lifestyle and two, to reveal the hidden beauty that can be found in places that are often overlooked.” as an artist who certainly has high creativity, it is only natural to see the potential behind all kinds of materials to make creative works of art. therefore, we can do upcycle in the making of art from upcycling material that already exists. also, we need to ensure that all the material being used (zero-wasted) will maximize the reduction of carbon footprints. references ali, nawwar shukriah; khairuddin, nuur farhana; abidin, s. z. (2013). upcycling: re-use and recreate functional interior space using waste materials. international conference on engineering and product design education, dublin institute of technology, dublin, ireland. aziz, erica palmcrants; hovenas, s. (2014). the new art of living green: how to reduce your carbon footprint and live a happier, more eco-friendly life. usa: skyhorse publishing. bodansky, d. (2010). the art and craft of international environmental law. london: harvard university press. bower, s. (2011). a working guide to the landscape of arts for change: a collection of writings depicting the wide range of ways the arts make community, civic, and social change, environmental art. retrieved from animating democracy-american for the arts website: https://animatingdemocracy.org/sites/default/files/sbower trend paper.pdf breier, s. (2006). it’s a wrap: sewing fabric purses, baskets, and bowls. usa: martingale company. candy, linda; edmonds, e. (2018). practice-based research in the creative arts: foundation and futures from the front line. leonardo, 51(1), 63–69. https://doi.org/doi:10.11.62/leon_a_01472 darabas, s. (2014). a short history of environmental art. in green art collection, 112 centaury harjani, upcycle: as a new preference in the art of ... environment & society portal (rachel carson centre for environment and society. retrieved from http://environmentandstandsociety.org/node/6806 datschefski, e. (2007). founder of biothinking internasional. in m. hill, earth to earth: art inspired by nature’s design (pp. 180–202). usa: andrews mcmeel publishing. ebben, k. (2008). fabric scrapping. london: sterling. fletcher, k. (2014). sustainable fashion and textiles: design journeys. london: sterling. gelatlly, k. (2016). museum and the public good. in abrahams, guy, bronwyn johnson and kelly gellatly, art+climate=change (pp. 14–17). australia: melbourne university press. gupta, v.; arora, m.; minhas, j. (2020). innovating opportunities for fashion brands by using textile waste for better fashion. in p. pandit, s. ahmed, k. singha, & s. shrivastava, recycling from waste in fashion and textile: a sustainable & circular economic approach (pp. 101–122). usa: scrivener publishing llc. gwilt, a.; rissanes, t. (2011). shaping sustainable fashion: changing the way we make and use clothes. london: earthscan. hanifah, h. (2018). konsep upcycle sebagai alternatif solusi pemanfaatan limbah kebaya lama. e-proceeding of art & design, 5 (3), 2317–2324. hill, m. (2007). earth to earth: art inspired by nature’s design. usa: andrews mcmeel publishing. kohli, a.; steinemann, m.; denisov, n.; & droz, s. (2018). nexus brief: climate change & environment x fragility and conflict. retrieved from prevention web website: https//www.shareweb.ch/site/climate-changeand_environment lantto, l. (2014). fabric & fashion. in nathan devine, retrash (pp. 16–25). usa: verve studio. marchello, j. (2014). etsy. in nathan devine, retrash. usa: verve studio. mcdonough, william; & michael, b. (2014). the upcycle: beyond sustainabilitydesigning for abundance. new york: farrar, straus, and giroux. mengual, esther s,; lozano, raul g.; ferreny, ramon; sola, jordi o.; gasol, carles m.; & rieradevall, j. (2014). introduction to the eco-design methodology and the role of product carbon footprint. in s. s, muthu, assessment of carbon footprint in different industrial sectors, vol. 1, ecoproduction (pp. 1–24). https://doi.org/10.1007/978-981-4560-41-2_1 muthu, s. s. (2016). the carbon footprint handbook. new york: taylor & francis group. pixeladies. (2012). furoshiki fabric wraps: simple, reusable, beautiful. concord: c&t publishing. putri, d. y.; & suhartini, r. (2018). upcycle busana casual sebagai pemanfaatan pakaian bekas. e-journal edisi yudisium periode februari 2018, 7(1), 12– 22. sim, s. (2009). the carbon footprint wars, what might happen if we retreat from, globalization? edinburgh: edinburgh university press. 113 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 snyder, h. (2019). literature review as a research methodology: an overview and guidelines. journal of business research, 104, 333–339. retrieved from www.elsevier.com/locate/jbusres stephens, jennie c.; hassenzahl, david m.; weisel, gary; black, brian c.; gift, n. (2013). art and climate change references. sudo, k. (2000). omiyage: handmade gifts from fabrics in the japanese tradition. australia: contemporary books. sudo, k. (2004). flower origami: fabric flower from simple shapes. usa: breckling press. wiseman, j. (2016). art in a harsh climate: pathways to a just and resilient postcarbon culture. in g. abrahams, b. johnson, & k. gellatly, art+climate=change (pp. 18–27). australia: melbourne university press. yamada, e.; & okamoto, k. (2014). wrapping with fabric your complete guide to furoshiki-the japanese art of wrapping. usa: tuttle publishing. 97 we can teach art, but can art teaches us? john dewey on the significance of art d. rio adiwijaya new media program, visual communication design department, school of design, bina nusantara university, jakarta, indonesia 11480, phd student of stf driyarkara, jakarta, indonesia, 10520. e-mail: dadiwijaya@binus.edu | rioadi@gmail.com abstract those who pursue a teaching career in art and design are most likely aware of one of its pressing dilemmas. on the one hand, as a subject situated in the postindustrial higher education setting where the progressive accumulation of knowledge – mostly in propositional form and explaining how things work in physical or social reality – constitutes its main purpose, art are unavoidably driven to adopt the same objective. on the other hand, most artistic activities are not aimed to produce and derived from replicable research propositions but conducted to generate novel artifacts, performances, narratives or experiences in order to enhance artistic universe. regarding their being as artifactual, non-propositional and idiosyncratic, artworks are unfortunately regarded as mere products of subjective emotions, where it’s appropriate roles are nothing more than spectacles, entertainments or ornaments, which at the same time testify its marginal relationship with knowledge. however, this predicament is not as self-evident as it looks since it is in fact resulted from a particular philosophical outlook, namely, an outlook that bifurcates mind and body, rational and emotional, subject and object, and so forth that comes down to us from the platonic and cartesian tradition. it is precisely the thought of john dewey that profitably conceives art prior to platonic/cartesian bifurcation which will be discussed in this paper. art, for dewey, is not a product of a mere subjectivity, but instead emerges from “experience,” understood as primary, pre-linguistic (hence pre-dualism) and embodied human-environment “transactions.” located in such a primary domain, art regains its utmost significance. keywords: art, knowledge, bifurcations of thought, john dewey, experience abstrak mereka yang mengejar karir dosen di bidang seni dan desain kemungkinan besar menyadari salah satu dilemanya yang mendesak. di satu sisi, sebagai bidang yang berada dalam lingkungan pendidikan tinggi pasca-industri di mana akumulasi pengetahuan progresif kebanyakan dalam bentuk proposisional dan menjelaskan bagaimana hal-hal bekerja dalam realitas fisik ataupun sosial merupakan tujuan utamanya, seni secara tidak terhindarkan didorong untuk mengadopsi tujuan yang sama. di sisi lain, sebagian besar kegiatan artistik tidak bertujuan untuk menghasilkan, dan berasal dari proposisi penelitian yang dapat direplikasi namun dilakukan untuk menghasilkan artefak, performa, narasi atau pengalaman baru dalam rangka mengembangkan semesta artistik. melihat keberadaan seni yang serba artifaktual, non-proposisional dan unik, karya seni dianggap sebagai ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 98 semata-mata produk dari emosi subjektif, di mana perannya dianggap tidak lebih dari tontonan, hiburan atau ornamen, yang pada saat yang sama menyiratkan hubungannya yang marginal dengan pengetahuan. namun, dilema ini bukan sesuatu yang sudah jelas dengan sendirinya, karena nyatanya dihasilkan dari pandangan filosofis tertentu, yaitu, pandangan yang membelah tajam antara pikiran dan tubuh, rasional dan emosional, subjek dan objek, dan sebagainya yang diturunkan pada kita dari tradisi platonis dan cartesian. adalah pemikiran proseni dari john dewey yang bergerak sebelum bifurkasi platonis/cartesian yang akan dibahas dalam makalah ini. seni, bagi dewey, bukan produk dari subjektivitas belaka, melainkan muncul dari "pengalaman," dipahami sebagai "transaksi" manusia-lingkungan yang bersifat primer, pra-linguistik (oleh karena itu pra-dualisme) dan menubuh (artifaktual). diletakkan di ranah semendasar ini, seni mendapatkan kembali signifikansi terpentingnya. kata kunci: seni, pengetahuan, bifurkasi pemikiran, john dewey, pengalaman introduction in many world societies that are increasingly tied to the global network of information economy, there is nothing more precious to cultivate than knowledge. accordingly, policy conceptualizations within the global economy tend to prioritize programs and fundings for knowledge areas having the highest possible economical impact, namely, techno-scientific research (duby & barker, 2017:1). this kind of policy has challenged the future of faculties such as traditional humanities and creative arts, for their alleged speculative and aesthetic traits are regarded as insignificant in techno-economical terms. the emergence of the exciting yet polemical notion of creative arts as research is in part driven by this kind of policy conceptualization (cazeaux, 2017: 1-4). but can art truly become research in a traditional sense? how could we comprehend the idea of creative arts as research or as ‘knowledge production’ while its outcomes are still primarily artworks and/or performances rather than verbal propositions that systematically explain, predict or describe how things work in our natural and cultural world? where can we find art’s truth value? are they implied in the written concepts? however, no matter how invaluable verbal concepts are, they do not isomorphically translate into, and from artworks and/or performances. for how can we premeditate and/or ‘paraphrase’ isomorphically in verbal terms, let us say, a picture or a musical piece? immediately sensed aesthetic dimensions is stubbornly present in all art creations and receptions. and unlike scientific or social research which attempt to ‘represent the actual’ through explanatory and descriptive verbal propositions, art foremostly ‘present the possible’ through direct presence or performativity of sensory works. so, in what way that we can comprehend art’s significance as research driven knowledge? if we insist that artistic research and its knowledge are necessarily embodied in the artifacts and performances, there are many fundamental d. rio adiwijaya, we can teach art, but can art teaches us? 99 questions concerning embodied knowledge itself that should be answered, e.g., what kind of knowledge it in fact, is? how can sensory works and/or performances embodying ‘imaginative’ content be regarded as equal to ‘factuality’ of scientific propositions resulting from rigorous research? (pakes, 2004: 1). does embodied knowledge in art have equal explanatory / predictive / descriptive roles as explicit propositional knowledge? if it does not, then art is still ensnared in the domain of ‘aesthetics.’ the question is then, how can we make sense of art and aesthetic experiences in a more significant way than deeming it to be a merely subjective affair (johnson, 2018: 1-3, shusterman, 1997: 29 and, 2012: 107). fortunately, difficulties we face in finding significant meaning of art and aesthetic experience are not results of some self-evident facts (i.e. that art is selfevidently a mere subjectivistic affair) since the allegedly self-evident fact itself is already a logical consequence of a particular philosophical (i.e., metaphysical and epistemological) view. following john dewey’s philosophical hint, our tendency to make sense of art and aesthetic experiences as a merely subjective phenomenon is precisely follows from an unrealized philosophical view that bifurcates the mind and the body, rational and emotional, subject and object, and so forth in the first place, a view which actually comes down to us from the platonic and the cartesian tradition (johnson, 2018: 73-74, and, 2011: 143, gamo, 2011: 85-87). as dewey (1859-1952) has argued at length, subject and object are not self-evident ‘facts’ but instead a product of history of philosophy. it follows that far from being an absolute, this conception can be deconstructed, allowing us at the same time to make sense of art and aesthetic experience in a more constructive or positive way. accordingly, this study has two aims. firstly, is to deconstruct the dualistic metaphysics, and secondly, to construct a more significant understanding of art in accordance to dewey’s understanding of experience. in appropriating dewey’s complex yet rich understanding of aesthetic experience as primary modes of human existence which is always in contact with reality, this study employs literary research of selected primary and secondary texts. but firstly dewey’s basic philosophical position should be introduced here. john dewey is the key proponent of american pragmatism, a school of thought that rejects dualistic metaphysics and epistemology of modern philosophy (malachowski, 2013: 81-82, 128, 346), and alternatively advocates a strong naturalistic view of knowledge as arising from active and continuous processes of adaptation of human organisms to their lived environment (ibid., 2013: 64, 134). the primary starting point of dewey's pragmatic naturalism is to approach the world as we experience it in a direct, immediate and pre-reflective way prior to conceptual split between the mind and the body or subject and object (muhit, 2013: 13-16). in this manner, dewey pursues a holistic ontology of events (macey, 1994: 165) in which the world and ourselves are no longer understood as two separate ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 100 substances, but rather as co-emergent happenings which admit both of its episodic uniqueness (deweyan locus for art) as well as its general regularities (deweyan locus for science) (johnson, 2011: 149-150). however, this very brief study is only sufficed to highlight some of dewey's key notions regarding experience, which in consecutive order are: the ‘stretched’ or spatial character of experience, the temporal character of aesthetic experience, and how can art becomes significant on the ground of dewey’s broad understanding of experience. dewey against intellectualistic dualism difficulties we encounter in recognizing art’s sensory presence or performativity as embodying significant understanding, albeit non-verbal, according to deweyan view are due to the old yet prevailing philosophical notion that bifurcates mind from body, intelligible from sensible, thought from feeling, facts from values, spiritual from material, thinking from doing/making, et cetera, and places the former half of each binary pair as more primary, essential in human beings and superior than the latter. mind or reason, for example, is commonly taken to be superior faculties compared to bodily senses. from this ‘intellectualistic dualism’ rooted in platonic philosophy, knowledge is seen as an abstract thing or a fixed body of propositions representing the true forms or real essence of things, attainable only through human intellect insofar it is ‘purified’ from any sensory or emotional biases. accordingly, art as an epitome of the sensory definitely appears as having no significant relation to true knowledge. modern philosophy since descartes has brought deeper complications by inducing more segregation into platonic dualism, namely, the sharp division between subject and object, inner and outer, self and world. thanks to cartesianism, there are now familiar divisions between what is considered to be merely subjective or occurring inside the mind, and truly objective or taking place in the outside world (muhit, 2013:10; gamo, 2011: 85-86). the impact of this cartesian dualism to art is more devastating. for being a result of our own creative act, art appears to be a mere sensory externalization of our own subjective fantasy or feeling, and in turn, it causes in its viewers merely subjective emotional responses rather than rationally objective understanding of the world. conversely, it is science that is granted a status as a genuine form of knowledge, for its allegedly passive, detached and purely cognitive way of inquiry is regarded to have resulted propositional body of claims that objectively represent the external world. insofar we still hold on to this old metaphysical dualism or the “folk theory of disembodied mind’ (johnson, 2018: 3-4) which prioritize the mind over the body, any attempt to give art a significant status as embodying true knowledge seems to end in vain. d. rio adiwijaya, we can teach art, but can art teaches us? 101 the question is, then, how can we make sense of ourselves, the world, and the arts beyond the ‘perimeters’ of the all too familiar platonic/cartesian binary? following dewey, one of the critical ways is to see that bifurcated oppositional pairs such as mind versus body, cognitive versus aesthetic, subject versus object, inner versus outer, et cetera, are not actual constitutions of the real but instead results of philosophical conceptualization. however, dewey is not against conceptualizations per se for he himself is a philosopher whose job is making conceptual distinctions. one thing we should carefully avoid is to fall into “fallacy of hypostatization,” which is defined by dewey as “conversion of eventual functions into antecedent existence” (dewey, 1981: 34). when we reify some static quasi-entities out of the temporal flow of concrete life that precedes any philosophical conceptualization, hypostatization fallacy occurs (fesmire, 2015: 8586). in other words, we commit the fallacy when we treat abstract concepts as selfsufficient entities and forgetting their origin as results of analysis (as in the case of cartesian res cogitans or mind, which is conceived by descartes to be a real ‘mental thing’ which truly exists independently from the body or material thing). to avoid such fallacy which contributes to fatal conceptual segregation and compartmentalization of life, dewey himself prefers the term ‘body-minds’ (cochran, 2010:126) to “capture the intimate and intricate interaction of the corporeal, interpersonal, and cultural dimensions of our selfhood. body and mind are not separate realities, but rather aspects or dimensions of a process of organismenvironment interaction, in which organism and environment are interrelated, interdependent, and interdefined” (johnson, 2018:14). indeed, dewey did not merely play around with neologisms but wholeheartedly anchoring his philosophy in experience and nature and art as experience in the temporal continuum of life context prior to mind-body, subject-object, or self-world split. life as spatially stretched experience if one begins from hypostatized mind-body or subject-object split, the only logical way to bridge the allegedly ‘natural’ gap between the split is through the mediation of explicit propositional knowledge (since we assume that we are solely thinking subjects). in an almost comparable fashion to phenomenology, dewey radicalized version of naturalism emphasizes the primacy of his version of lebenswelt, the lived-world prior to our conceptual separation between ourselves and the world (fesmire, 2011:112, malachowski, 2013:7), hence we and the world are not yet separated mind and world, or subject and object. in this raw, unmediated and prereflective mode of existence, we and the world, according to dewey, are both parts of continually developing flow of organism-environment transactions. we live and become who we are only in and through series of embodied interactions with multivarious facets of our physical and socio-cultural environment. in this pre ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 102 theoretical yet primary mode of existence, our interactions are directly experienced rather than mediated by mental concepts. since it signifies our unmediated interactions, experience for dewey is neither a psychological event that occurs inside the mind nor merely felt occurrence of physical stimulus. “experience is of as well as in nature. it is not experience which is experienced, but nature—stones, plants, animals, diseases, health, temperature, electricity, and so on. things interacting in certain ways are experience; they are what is experienced. linked in certain other ways with another natural object—the human organism—they are how things are experienced as well. experience thus reaches down into nature; it has depth. it also has breadth and to an indefinitely elastic extent. it stretches.” (dewey, 1981: 12-13) in other words, life itself primarily occurs as a field of experience that encompasses both organism and environment, rather than constituted by the presence of atomistic subjects standing over against the world of objects through mediation of explicit cognizance. indeed, this is dewey’s basic philosophical stance in overcoming intellectualistic dualism. however, how can people orient their life without being mediated or informed by some instances of explicit knowledge? dewey’s answer is primarily through directly felt pervasive quality of experience itself. mark johnson has an excellent illustration: “we dwell in a world of qualities… the fresh, earthy scent of a cool breeze coming in through the window on a spring morning, the sounds of children playing, the honking of horns in congested traffic accompanied by the smell of exhaust and the feeling of cars and trucks pressing in around us, and the refreshing shock of the cold mountain lake after a strenuous sweaty hike. we act to realize some qualities and avoid others… all of which are experienced qualitatively without any need for reflective thought.” (johnson, 2018:247) our interactions in/with the world are indeed meaningful even without explicit language, as when we silently exchange gestures with others in daily interactions, or effortlessly enjoy our drive around town without having to think consciously about car mechanism and maps. this is not to say that symbolic language has no role in enriching our possibilities for meaningful interactions. instead, dewey's point is that linguistic meaning is parasitic on embodied qualitative meaning, and not the other way around. the problem is, intellectualistic dualism has deemed the qualitative aspect of experience as merely residing ‘inside’ the human ‘mind.’ in other words, quality is deemed to be merely ‘subjective.’ however, since subject-object and inside-outside split themselves are results of hypostatization, putting quality in the subject’s mind and quantity in the objective world is even more untenable! for dewey, immediately felt pervasive qualities belong to the world as well as to the d. rio adiwijaya, we can teach art, but can art teaches us? 103 humans. it is neither subjective nor objective but encompasses both, insofar as both the experiencer and the experienced interact. as can be expected, this qualitatively meaningful field of embodied experience is precisely the deweyan philosophical context for making sense of creative arts in a very significant way. however, there is still more to say about experience since it is precisely dewey’s most central concept and considered to be more primary than knowledge. furthermore, whenever we are immersing in qualitatively meaningful experience, for dewey, we are dwelling in its most primary mode (ruoppa, 2019:69; mcclelland, 2005: 47-48). conversely, our conscious, conceptually mediated, and detached encounter with the world constitutes secondary mode of experience. overall flow of one’s life experience hence consists of switching back and forth between its primary and secondary mode, whereas the latter always comes from and feeds back to the former in terms of achieving its fuller or more consummatory phase. these cycles of feedback loops eventually make possible one’s life experience as a whole to be continuously developing (fesmire, 2015:71; 192), transforming a person’s state from less experienced to become more cultivated. recognizing this difference between primary and secondary experience is also crucial in understanding dewey’s differentiation between art and science (ruoppa, 2019:62). art, due to its sensory or embodied character, mostly operates in primary mode of experience by enacting directly sensed qualitative meanings and values via artworks. in contrast to art, science with its abstract-conceptualizing character that seeks generalizations operates mostly in secondary mode of experience (johnson, 2011:147.) however, since secondary experience always emerges from, and feeds back into the primary one, science in the deweyan sense can also be said to be art, albeit involving its own qualities, i.e., its norms and ideals (johnson, 2011: 149-150.). however, since secondary or detached experience always emerges from, and feeds back to the primary and immediate one, science in the deweyan sense can also be said to be a kind of art, albeit involving its own qualities, i.e., its own norms and ideals. and lastly, since the whole life itself for dewey is a temporal flow of experience taken at large (i.e., human cultural history), art and science's most profound role is continuously improving how the world is qualitatively experienced by ourselves. in other words, science is not a set of fact-stating propositions and art is not a set of artifacts that express irrational subjectivities, but rather, they are two different kind of experience-improving human affairs whose basic existence is marked by ongoing socio-practical transactions with what we call reality. we and nature are both emergent realities which primarily and immediately felt through our embodied experiences. ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 104 temporality of aesthetic experience dewey’s thick exposition in art as experience chiefly focuses on how art relates to the ‘temporality’ of experience. however, to make sense of this notion of ‘temporality’ that belongs to experience, we better make a comparison with the one which is mostly ‘spatial.’ as we have discussed above, experience for dewey is allencompassing. it envelopes both the experiencer (the human) and the experienced (other humans or things) with an immediately felt pervasive quality. for example, we immediately feel a ‘formal’ pervasive quality of our office when we attend a meeting, a ‘cheerful’ quality when we have lunch in the cantina, et cetera. so it can be said that we dwell in multifarious ‘spaces’ of qualitative meaning. still, such spaces are banal or mundane because they give us only a fleeting experience, i.e. leaves no strong impression as soon as we no longer dwell in it. however, there is another kind of experience which does not only envelope us in some qualitative spaces but gradually unfolds over time, connecting past, present, and future events then culminate as a whole in a very singular yet deeply meaningful way (jackson, 1998: 44-45). for this kind of unitary and consummatory experience, dewey adds an article ‘an’ in front of the word experience, so it becomes ‘an experience.’ an experience is precisely dewey’s term for aesthetic experience par excellence. some simple examples of ‘an experience’ is perhaps a graduation day, a successful first concert, the birth of a child, a funeral of the beloved one, et cetera. in attending the funeral of our beloved friend, for example, we are not merely dwelling in a qualitative space called cemetery in a temporally fleeting way. within some moments of the funeral, our past moment with our friend begin to unfold and flash before our eyes. it does not stop in connecting our present to our past, but it also opens up the future possibilities. perhaps there are some feeling of guilt of letting our friend down in the past, followed by the feeling of gratitude of enduringly maintaining good friendship until the last moment of her/his life, and this particular yet temporally unfolding experience invites us to become a more caring person in the future. this present experience with connections its to past may still echo for some times ahead, receiving our imaginative selection and refinements, and finally in a consummatory moment (perhaps when we discover that we have become a more caring person), the whole chain of events resolute into its most meaningful whole, giving us ‘an experience’ of friendship, a special and life changing one. “we have an experience when the material experienced runs its course to fulfillment. then and then only is it integrated within and demarcated in the general stream of experience from other experiences. a piece of work is finished in a way that is satisfactory; a problem receives its solution; a game is played through; a situation, whether that of eating a meal, playing a game of chess, carrying on a conversation, writing a book, or taking part in a political campaign, is d. rio adiwijaya, we can teach art, but can art teaches us? 105 so rounded out that its close is a consummation and not a cessation. such an experience is a whole and carries with it its own individualizing quality and self-sufficiency. it is an experience.” (dewey, 1988: 42) the question is then, what is the relationship of an experience with art? to attend to dewey’s answer, we should pay attention not to the ‘content’ or the story of one’s experience, but to its wholistic temporal (i.e., rhythmic) character, structure, or ‘form,’ which integrates all of its parts in a very engaging and meaningful way (jackson, 1998: 44-54, cochran, 2010: 246), a structure which is also akin to work of art in general. an experience of a common person might not be reaching its consummation in the same structural quality as narrative design created by a very good team of movie writer, director and editor. however, that is precisely dewey’s point. art originates in spatially and temporally structured experiences of common women and men. but its finest example is epitomized, precisely in artworks. “in short, art, in its form, unites the very same relation of doing and undergoing, outgoing and incoming energy, that makes an experience to be an experience. because of elimination of all that does not contribute to mutual organization of the factors of both action and reception into one another, and because of selection of just the aspects and traits that contribute to their interpenetration of each other, the product is a work of esthetic art… the doing or making is artistic when the perceived result is of such a nature that its qualities as perceived have controlled the question of production.” (dewey, 1988: 48) art as experience is indeed filled with thick analysis of artwork’s structure and process. but dewey did not apply his analysis exclusively to art objects as in formalism. if we remember his philosophical starting point, dewey is against dualism which gave birth to formalism, i.e., aesthetic objectivism in art. since human beings and their environment are interpenetrated to each other spatially and temporally through human experiences, form in dewey’s terminology should be understood as a form of experiences, i.e., signifying the human-environment spatio-temporal (or stretched and developing) experiential relationships, rather than static or platonic form of art objects (alexander, 2016: p. 66). another possible objection that can be addressed to dewey’s aesthetics is his rendition of temporality of experience is akin to psychological analysis of mental activities, which at first glance seems to assumes mind-body and inner-outer dualism. but if we read dewey’s notion of experience more carefully, we can also read that his analysis of the temporality of experience is still an extension of his concepts of organism-environment transactions. in dewey’s own words: ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 106 experience in the degree in which it is experience is heightened vitality. instead of signifying being shut up within one’s own private feelings and sensations, it signifies active and alert commerce with the world; at its height it signifies complete interpenetration of self and the world of objects and events. instead of signifying surrender to caprice and disorder, it affords our sole demonstration of a stability that is not stagnation but is rhythmic and developing. because experience is the fulfillment of an organism in its struggles and achievements in a world of things, it is art in germ. (dewey, 1988: 19) concluding remarks: the significance of art as we have discussed, dewey does not understand art as merely a class of ‘object’ that covers fiction, entertainment or museum display. he too does not understand aesthetic experience as a merely ‘subjectivistic’ happening that occurs ‘inside’ each of our isolated minds. these two inter-related ways of conceiving art, ourselves and aesthetic experience is shown by dewey as a consequence of an old yet prevailing dualistic metaphysical bifurcation, which compartmentalizes many aspects of life, not to mention inherited us with unsolvable philosophical pseudoproblems, such as: how can we relate our thought inside with reality outside (the problem of scepticism, relativism), and also nihilism (devaluation of the meaning of reality since qualitative meaning is deemed to be a subjective phenomenon, which is also closely tied to modern day’s marginalization of art and aesthetic experience). dewey’s notion of experience, as we have seen, is a radical critique and a strong remedy to such fallacy of hypostatization. experience for dewey is a relational and temporal term. it refers to life as lived, a directly sensed and everdeveloping context of interactions or transactions between human beings and their world. within life understood as experience, art for dewey stands still as a paradigmatic example for consummatory or culminating experience, that is, a series of life experiences in which their driving energies do not dissipate, but form some configurations and each reaches its meaningful closure. to quote thomas alexander, 'art’ arises in the way human beings express what gives meaning and value to their lives, even where the culture does not have either the idea or a word for ‘art’ (alexander, 2016: 64) art-related aesthetic experiences integrate the future and the past within the present moments of the artwork’s presences or performances. in this case, the creators and the appreciators might both be captivated in the art making/performing/appreciating experiences. however, as one of the leading dewey scholar scott stroud reminds us, “we must never forget that life and the struggles of the living creature — including the living symbol-using creature that is the human — extends beyond the realm of art objects as defined by specific cultural traditions of production and reception. our activities can hold the same level of d. rio adiwijaya, we can teach art, but can art teaches us? 107 integration as an art object; the difference is simply in the details” (stroud, 2014: 44). instead of immersing in meaningful story line of our favorite film, it might be our current engagement with our work that brings forth the feeling of fulfilment. nevertheless, it is the ‘form of experience’ which is present in both instances, i.e., “an attentively engaged present funded by the past and anticipating the future. we can engage this present skillfully” as we were performing artists, or merely doing our work mechanically or randomly (ibid., 2014: 44). the two latter qualities are of course the antinomy of the aesthetic: blindly following procedural mechanism or executing things randomly which hardly ever pave our way to consummatory or culminating experience. in this way, dewes understanding of art-related aesthetic experience has successfully demonstrated to us what art can do for us in the age of knowledge economy with its overt cyberbureaucratic tendency. art can teach us about how to live our life in an artful way. references alexander, thomas m. 2016. “dewey’s philosophy of art and aesthetic experience.” in artizein: arts and teaching journal, vol. ii, issue i. pp. 5967. cazeaux, clive. 2017. art, research, philosophy. routledge, london. cochran, molly (ed.). 2010. the cambridge companion to dewey. cambridge university press, cambridge. dewey, john. 1981. “experience and nature.” in the later works of john dewey, vol. 1. jo ann boydston (ed.). southern illinois university press, carbondale. ___________. 1988. “art as experience.” in the later works of john dewey, vol. 10. jo ann boydston (ed.). southern illinois university press, carbondale. duby, marc and barker, paul a. 2017. “deterritorialising the research space: artistic research, embodied knowledge, and the academy.” in sage open journal, october-december. retrieved on september 2019 from https://journals.sagepub.com/doi/10.1177/2158244017737130 fesmire, steven. 2015. dewey. routledge, london. gamo, marta v. 2011. “john dewey on the continuity of art and morals within the consummated experience.” in art, emotion and value. 5th mediterranean congress of aesthetics (conference proceedings). retrieved on sept. 2019 from https://www.um.es/vmca/proceedings/docs/8.martavaamonde-gamo.pdf jackson, philip w. 1998. john dewey and the lessons of art. yale university press, new haven. ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 108 johnson, mark. 2018. the aesthetics of meaning and thought: the bodily roots of philosophy, science, morality, and art. the university of chicago press, chicago. johnson, mark. 2011. “embodied knowing through art” in the routledge companion to research in the arts. biggs & karlsson (eds.). routledge, london. pp. 141-151. macey, samuel (ed.). 1994. encyclopedia of time. routledge, new york. malachowski, allan (ed.). 2013. the cambridge companion to pragmatism. cambridge university press, cambridge. mcclelland, kenneth a. 2005. “john dewey: aesthetic experience and artful conduct.” in education and culture, vol. 21, no. 2. pp. 44–62. muhit, md. abdul. 2013. “notion of ‘experience’ in john dewey’s philosophy.” in philosophy and progress, vols. liii-liv, january-june, july-december. pp. 10-24. issn 1607-2278. pakes, a. 2004. “art as action or art as object? the embodiment of knowledge in practice as research.” in working papers in art and design, vol. 3. issn 1466-4917. ruoppa, raine. 2019. “john dewey’s theory of aesthetic experience: bridging the gap between arts and sciences.” in open philosophy, vol. 2, issue 1. pp. 59–74. retrieved on september 2019 from https://www.degruyter.com/view/j/opphil.2019.2.issue-1/opphil-20190007/opphil-2019-0007.xml shusterman, richard. 1997. “the end of aesthetic experience.” in the journal of aesthetics and art criticism, vol. 55, no. 1. pp. 29-41. shusterman, richard. 2012. “back to the future: aesthetics today.” in the nordic journal of aesthetics, no. 43. pp. 104–124. stroud, scott r. 2014. “the art of experience: dewey on the aesthetic.” in practicing pragmatist aesthetics: critical perspectives on the arts. wojciech malecki (ed.). rodopi, amsterdam. pp. 33-46. 49 visual-spatial and intrapersonal intelligence in learning of rampak kendang art for elementary school students fery setyaningrum & heni siswantari universitas ahmad dahlan, jalan ki ageng pemanahan no. 19 sorosutan yogyakarta 55164 e-mail: fery.setyaningrum@pgsd.uad.ac.id abstract the art of rampak kendang in patimuan cilacap regency is an art that has existed for a long time and is hereditary in the people of cilacap. in learning the art of rampak kendang, two types of plural intelligence exist and have their character in the form of visual-spatial and intrapersonal intelligence. this study aims to describe how visual-spatial and intrapersonal intelligence can form through the learning art of rampak kendang in elementary school students in patimuan cilacap. this research method uses descriptive research with a qualitative approach. methods of data collection using observation, interviews, and document studies to analyze content, this study uses data validity techniques in the form of source triangulation, with data analysis techniques for data reduction, data presentation, and concluding. this study's results in the form of the formation of visual-spatial and intrapersonal intelligence are influenced by internal, external, textual, and contextual factors. visuals spatial are formed based on understanding art through the senses, primarily through the eyes in the form of colour and space, then transforming the learning the art of rampak kendang captured by the eye into another type of recording and becoming a musical work that appears. in contrast, intrapersonal intelligence is formed with the ability to understand oneself and act based on understanding, which includes strengths and limitations of self, moods, intentions, motivations, temperament and desires, self-discipline, and self-understanding and respect. this study concludes that visual-spatial intelligence is created in the form of creating space by making floor patterns, observing and recording the trainer and then can mimic the movements of kendang, and the use of dancers 'and musicians' face makeup, and costume selection for performances. intrapersonal intelligence appears based on listening to and playing music among musicians to create strength in oneself, calm the mood, control oneself, and be motivated so that it becomes more disciplined and more self-respecting and the environment. keywords: visual-spatial intelligence, intrapersonal intelligence, rampak kendang, elementary school students kecerdasan visual spasial dan intrapersonal dalam pembelajaran seni rampak kendang bagi siswa sekolah dasar abstrak seni rampak kendang di patimuan kabupaten cilacap merupakan kesenian yang sudah lama ada dan turun temurun pada masyarakat cilacap. dalam pembelajaran seni rampak kendang ditemukan ada dua jenis kecerdasan jamak yang ada dan memiliki karakternya sendiri berupa kecerdasan visual spasial dan intrapersonal. penelitian ini bertujuan untuk mendeskripsikan proses kecerdasan visual spasial dan intrapersonal dapat terbentuk melalui pembelajaran seni rampak kendang pada siswa sekolah dasar di patimuan cilacap. metode penelitian ini menggunakan jenis penelitian deskriptif dengan pendekatan kualitatif. metode pengumpulan data menggunakan observasi, wawancara dan studi dokumen untuk menganalisis konten, penelitian ini menggunakan teknik keabsahan data berupa triangulasi sumber, dengan teknik analisis datanya reduksi data, penyajian data ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 50 serta penarikan kesimpulan. hasil penelitian ini berupa proses terbentuknya kecerdasan visual spasial dan intrapersonal dipengaruhi oleh faktor internal, eksternal, tekstual dan kontekstual. visual spasial terbentuk berdasarkan memahami seni melalui pancaindera khususnya melalui mata berupa warna dan ruang, selanjutnya mentransformasikan bentuk dari pembelajaran seni rampak kendang yang ditangkap mata ke dalam bentuk wujud lain berupa rekaman dan menjadi karya musik yang rampak. sedangkan kecerdasan intrapersonal terbentuk dengan kemampuan memahami diri sendiri dan bertindak berdasarkan pemahaman yang meliputi kekuatan dan keterbatasan diri, suasana hati, maksud, motivasi, temperamen dan keinginan, disiplin diri serta memahami dan menghargai diri. kesimpulan penelitian ini adalah kecerdasan visual spasial tercipta berupa menciptakan ruang dengan membuat pola lantai, mengamati dan merekam pelatih kemudian bisa menirukan gerakan kendang, dan penggunaan make-up wajah penari dan pemusik, serta pemilihan kostum untuk pertunjukan. sedangkan kecerdasan intrapersonal muncul ada berdasarkan mendengarkan dan memainkan musik antar anggota pemusik sehingga membuat kekuatan pada diri, menenangkan suasana hati, dapat mengendalikan diri, termotivasi sehingga menjadi lebih disiplin dan lebih menghargai diri serta lingkungan. kata kunci: kecerdasan visual spasial, intrapersonal, rampak kendang, siswa sekolah dasar introduction the art rampak kendang patimuan in cilacap district is an art that has long existed and hereditary in the cilacap community. in learning the art of rampak kendang, two types of plural intelligence live and have their character in the form of visualspatial and information intrapersonal. according to masfiroh (wijaya, 2018), visual-spatial knowledge can create a design or perception of the visual-spatial world appropriately. children who can make a building or design area, read maps and charts, make two and three-dimensional works, combine colors well, are the characteristics of children who have intelligence visual-spatial. then the relationship with music seems kendangs. that is what the author wants to convey in this article. while lazear states that intrapersonal intelligence is the ability of selfintrospection that opens opportunities to reflect on oneself so that it is aware of all aspects of the self, such as knowledge of one's feelings own, thought processes, self-reflection and a sense of desire that is possessed. the core of intrapersonal intelligence is twofold, namely self-identity and the ability (ability) to recognize the strengths and weaknesses of oneself, according to lazear (utami, 2010). in the preobservation and data analysis, i also found intrapersonal intelligence was the writer wanted to describe in more detail how the process was. multiple intelligences is a theory invented by howard gardner. gardner by identifying existing intelligence in humans that is close to the world of psychology. even now, multiple intelligences are more often used to dissect children's intelligence in various learning processes in the world of education. according to fery setyaningrum & heni siswantari, visual-spatial and intrapersonal intelligence ... 51 (gardner, 2003) intelligence in multiple intelligences includes “verbal-linguistic intelligence (intelligent words), logical-mathematical intelligence (intelligent numbers), visual-spatial intelligence (intelligent color-images), musical intelligence (intelligent music-songs), kinesthetic intelligence (intelligent movement), interpersonal intelligence (social intelligent), intrapersonal intelligence (intelligent self), naturalist intelligence (intelligent inside), existential intelligence (intelligent nature)”. cognitive psychologist, gardner also explained that intelligence is knowledge or ability to package a product or use a skill in a way that is assessed by one or more of cultures gardner's sin (jansen, 2018) on page 25. furthermore (yaumi, 2016) on page 5 up to 7 explained the importance of integrated based learning multiple intelligence both from paud, elementary, junior high to high school levels to produce human resources more top quality. in addition to printing human resources, according to gardner in (agustin, 2013) on page 113 conveyed that the essential theory of multiple intelligences to respect the uniqueness of each individual, various variations of learning methods, realizing some models to assess them and almost no way limited to actualize themselves inworld this. according to the view of multiple intelligences (gardner, 1993) intelligence can be called an ability that has three main components, namely: (1) the ability to solve problems that occur in real daily life, (2) the ability to address new issues faced to be completed, (3) the ability to create something or offer services that will give rise to appreciation in culture ones. for educators, students are individuals who are unique because they have different abilities and intelligence. based on the reference, its theory is critical to understand the characteristics of each child's information so that it can be used by teachers to adapt to models and methods of learning in the classroom, with teachers understanding the abilities and intelligence of children, it will be easy to include the various knowledge that students need in their age development. according to gardner, multiple intelligences have the concept of different characteristics from the characteristics of pre-existing intelligence (musfiroh, 2011). these characteristics are as follows: (1) all information is different, but all are equal. in this sense, there is no intelligence that is better or more important than other information. (2) all knowledge possessed by humans in levels that are not the same. all info can explore, developed, and developed optimally. (3) there are many indicators of intelligence in each intelligence. with practice, a person can build on the strengths of his knowledge and thin out weaknesses. (4) all these different bits of information will work together to realize the activities that humans do. one event may require more than one intelligence, and one knowledge can use in various fields. (5) all types of information can found in all or all cross-cultures throughout the world and groups age. (6) the natural stages of each intelligence begin with the ability to make archetypes. musical knowledge, for example, is characterized by ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 52 the ability to distinguish high and low tones. while spatial information starts with the ability to regulate three dimensions. (7) when a person is mature, data to express through a range of professional pursuits and hobbies. intelligence logicalmathematical began as the ability to make archetypes in infancy developed into symbolic mastery in childhood, and finally reached the maturity of expression in the form of a profession as a mathematician, accountant, and scientist. (8) there is a possibility that a child is in a "risky" condition so that if they do not receive assistance special, they will experience failure in specific tasks involving such intelligence. based on the various characteristics described by gardner above, it is essential to know and understand the multiple kinds of information that exist, especially in children, so that children can develop the abilities possessed to the maximum. the age of the students taken is in the upper classes. this study aims to describe the process of spatial and intrapersonal visual intelligence through the learning of art rampak kendang in elementary school students in patimuan cilacap. materials and method this research is qualitative research using an ethnographic approach. researchers conducted intensive research for three months and participated in all community activities, from preparation and training to stage. data collection methods are observation, interviews, and documentation studies involving community leaders (trainers), community members, and surrounding communities. literature studies are periodically following the research findings—content analysis to use in dissecting the results of research in the field. to obtain valid data, the researcher triangulated the sources with related parties such as the village apparatus, the chair of rampak kendang in the patimuan, and the players, as well as the rampak kendang dancer to the local educational institution. results the results of this study are that in the process of the art of rampak kendang, the ability to lift memories, eyesight, and hearing becomes a new memory to create a work of art. various information obtained is stored into a more sensitive perception or can call important. furthermore, it continues into a new memory of movements and floor patterns resulting from memory storage into unique works of art. subsequent results on the multiple intelligence systems find that this system can be the basis of a pilot in the world of education in indonesia because children can focus fery setyaningrum & heni siswantari, visual-spatial and intrapersonal intelligence ... 53 on developing certain types of intelligence without having to be burdened with being proficient in other information. with the requirement, that child can develop information or abilities possessed well, focus, and in-depth details. it can see from how to play a musical instrument kendang alternately and mutually control themselves when “beating” a kendang between one player with another. strengthen the ability of each tool held by the player and play the tempo of the music. each player has a distinct “penabuh” kendang. so by maximizing each musical instrument playing on the kendang player, it is expected to create a musical kendang game that is pleasant to listen to. in addition to visual-spatial and interpersonal intelligence, in addition to fostering the character of mutual respect, love, great solidarity between performers and dancers of the art of rampak kendangs, it can also heal the trauma of some players and the public. it can also be used as music for meditation, dreaming, silence, reflection as a conclusion to solve problems socially. discussion in the rampak kendang art patimuan community, there are visual-spatial intelligence and intrapersonal intelligence that is reflecting after learning and processing the art will to describing after this, based on the results of interviews with ratnaningsih (dancer leader) kendang rampak community in patimuan cilacap as follows. "friends of dancers work together to dance the rampak kendang dance well, i know very well how they practice and their enthusiasm that i may not forget, i greatly applaud the rampak kendang dancers, they observe me giving directions and movements of all dances, then they start to try little by little to dance, even at their home i also hear they continue to practice. it's not easy, you memorize all the movements and patterns of the floor at one time and then combine them all in a dance that seems to require continuity, focus, intention, and high effort" (ratnaningsih, 2018) describe the results of the interview with the dancer leader in rampak kendang by the concept put forward by (baum, 2005) on page 16 that conveys the key to spatial intelligence is to observe and change three-dimensional visuals or information in one mind and needed memory is to to develop the spatial. suitability understands causal or functional relationships through observation of spatial information use to navigate the space of sensory perception or visual representation of the world and the production of art in the form of visual information or works of art. in the interview results above ratnaningsih conveyed that the dancers were very enthusiastic in learning to dance, they applied what ratnaningsih taught by paying close attention to the exercises from the movements to the floor patterns given, then ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 54 memorizing dance after the dance to dance to remember and try again at home, ratnaningsih also explained that doing the exercise was not easy; it needed high concentration, strong will, and continuous. the dancers' enthusiasm in learning both in paying close attention to trying at home shows that the dancers can capture the visual space of dance moves and implement it in attempting to return home. this is by the concept of visual intelligence expressed by (wahyuni, 2015) visual-spatial information is the ability of students to capture the world of visual space accurately and make changes to these perceptions. the interview results above were also added to the effects of an interview with one of the dancers in the community cilacap kendang patimuan rampak named dani and described as follows. "yes, sir, we learned to dance with enthusiasm, although it is not easy to quickly memorize the dance moves and floor patterns taught by ms ratna we continue to practice with enthusiasm" (dani, 2018). dani, one of the rampak kendang dancers, also said the same is related to the process of dancing training in the community, the same thing is also clarified again by other concepts, related to the existence of three keys in defining visual-spatial intelligence, namely: 1. perceiving, namely capturing and understanding something through the five senses. 2. visual-spatial is related to the ability of the eye, especially color and space. 3. transforming, namely shifting the eye-catching thing into another form, for example seeing, watching, recording, interpreting in his mind then pouring into a recording of a work, (yaumi, 2016) on page 15. whereas according to (andriani, 2009) on page 57, intelligence, visualspatial the capacity to recognize and visualize objects or patterns received by the brain. based on the above understanding of the critical definitions of children in having spatial-visual intelligence, the researcher connects with data in the field using the results of an interview with one of the dancers in the community rampak kendang named indri apriyani, which is describing as follows: "before we practised in our home pay close attention to what ms ratna taught, from her movements to making floor patterns for us, besides that i remember and sometimes record using my cellphone so that if i forget i can see the visuals to help me remember, i record with thoughts and memories as well as it is not uncommon to use your cellphone tools" (indri, 2018). the results of the interview above accompanied by evidence in the form of photo documentation: fery setyaningrum & heni siswantari, visual-spatial and intrapersonal intelligence ... 55 figure 1. during the interview with the rampak kendang dancer. source: fery documentation, 2018 indri enthusiastically conveyed their training process and how they remembered so that they could practice well. the sentences above are consistent with the statement (rofiah, 2016) from page 71 that intelligence formed through the involvement of cultural values and a person (in the activity) follows a specific pattern of development. in the interview results above the responses memory and the way indri approached spatial-visual intelligence, it can see from their practice that they do not just rely on movement. still, they understand and visualize by imagining and recording the exercise's process so that the expected memory process occurs and the achievement of achievement is achieving. a good memory to practice. the following authors attach photo documentation added when the practice process rampak kendang dancers as follows: figure 2. process the dancers rampak kendang exercise patimuan. source: riswanto documentation, 2018 in addition to the kendang rampak dancers, there are also gamelan players who practice before the show. kendang that will use is preparing in a position best (longitudinal row). then the players hold kendang each and pay attention to the ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 56 trainer when practising. as evidence, they do practising kendangs by providing photo documentation as follows: figure 3. the process of practising gamelan rampak kendang patimuan source: riswanto documentation, 2018 kendang music game is a group playing music and dance together. the players should have reasonable self-control when playing the instrument. that is for the sake of the realization of harmony in playing the kendang, both in power and tempo. in addition to achieving balance, it can also explore the potential of children playing music through the application of multiple intelligences. following the statement (candra, 2015) that implementing systems, numerous bits of intelligence students can boost their deficiencies through their strengths, in the sense of optimizing the characteristics or types of intelligence possessed by students. every child does not have to have complete information but can maximize the ability of just one or two, for example, in the form of knowledge that the child has provided that develops skills more profoundly and in focus. the following add back evidence of the results of an interview with riswanto as a kendang player on rampak kendang in patimuan cilacap who said that: if there is someone who is not fast enough to hit the kendang, it should add that it will reduce if there is something too tight. likewise, if someone has memorized the punch once, they must adjust the other friends. so you cannot win yourself. (riswanto, 2018) riswanto's statement above shows that children's self-ability to hold themselves is very important especially when playing rampak kendang, a player must be able to reflect on their position and role when playing rampak kendang. as photo evidence during an interview with riswanto as a trainer with rampak kendang, as follows: fery setyaningrum & heni siswantari, visual-spatial and intrapersonal intelligence ... 57 figure 4. during an interview with rampak kendang trainers. source: fery documentation, 2018 when the players can reflect on themselves well, the player can indirectly understand the role of other people in playing rampak kendangs, it is necessary to understand the parts of themselves and others to create harmony. this is following the concept of intrapersonal intelligence put forward by armstrong in (kelly, 2015) on page 44 which means that if someone is intelligent in understanding themselves, then he will know himself, know who he is and what can do, and he is aware of the feelings that are twelve experienced and maybe a better understanding of himself than people others who understand. this is tantamount to the ability to process intrapersonal intelligence by making a separation between oneself both as a subject and object so that communication occurs with oneself well (hardjana, 2003) on page 47. following the documentation of the process rampak kendang exercise. figure 5. exercise process music player rampak kendang patimuan in harmonizing the tempo of the music game. source: riswanto documentation, 2018 intrapersonal intelligence also relates to the environment around the person, friends with social relations. the sentences above are in line with the results of the ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 58 study (jinky, 2014) on page 20 which states that after the arts, especially the type of group dance that performs rhythmic beatings from the body and singing, they have the effect of ties social, strengthen group solidarity, and prove to be ideal activities even to heal the trauma of something, to enhance the results of research researchers added evidence of photographic photos of the rampak kendang performance when hired for an event in patimuan village, on the performance were the performers and dancers seen compact in presenting the show. figure 6. rampak kendang patimuan show when at a wedding one of patimuan residents. source: eva documentation, 2018 the above concept is following the results of an interview with one of the rampak kendang players named rakim or commonly called pigtails by a friend of his community, as follows: yes, sure, miss, his name is like you were eating and sleeping together, playing, training together, yes, it must be very close, just like your sister. how can you not be like that, practice together day and night, know the good and the bad, see if you are angry and what are you happy about, and also yes miss although we are like brothers but instead we become more disciplined because we are not comfortable with each other when not on time. (rakim, 2018) based on the above interview results it can be concluded that after playing music and dance together, the players have a feeling and bond emotional more than ever before, have a sense of solidarity and mutual understanding. some observations from the research also show that some players are traumatized by something such as trauma with the music itself, such as “jathilan” music, but over time they recover and are not afraid of it. if the players have a change in the form of abilities that are better than before, then they already have intrapersonal skills following elmubarok's expression (amelia, 2017) on page 19 that intrapersonal fery setyaningrum & heni siswantari, visual-spatial and intrapersonal intelligence ... 59 intelligence is an ability which involves: thinking, meditating, dreaming, staying silent, proclaiming goals, reflection, reflection, journaling, self-appraisal, time outs, self-initiated projects, writing, introspection. intrapersonal intelligence that exists in these children will be able to be following the 2013 curriculum. according to (machali, 2014) on page 39 the attitude that shows intrapersonal intelligence in the curriculum 2013 appears in the formulation of competencies to achieve that is living and practising honest behavior, discipline, responsibility, caring, cooperation, cooperation, tolerance, peace, courtesy, self-confidence, responsiveness, and proactivity which in essence attitudes shown are part of the solution to various problems in the social environment. conclusion multiple intelligence in the form of visual-spatial and intrapersonal intelligence found or formed in the process of learning art in the rampak kendang patimuan community by analyzing the main characteristics of visual-spatial were taken from the dancers recording from various ways to remember to be a memory to memorize the shape of movements and floor patterns. from the analysis of the main characteristics of intrapersonal intelligence is the emergence of the character of mutual respect, love, great solidarity between performers and dancers in the patimuan rampak kendang community. besides, listening to and playing music between members of the musician to create strength in themselves, calm the mood, control themselves, and motivate them to become more disciplined and more selfrespect and the environment. references agustin, m. (2013). mengenali dan mengembangkan potensi kecerdasan jamak anak sejak dini sebagai tonggak awal melahirkan generasi emas. jurnal cakrawala dini, 4(2), 113–122. https://doi.org/doi:10.1201/9781420042474.ch5\n10.1201/9781420042474.c h5 amelia, d. j. (2017). analisis pelaksanaan pembelajaran tematik berorientasi multiple intelligences di kelas awal sd muhammadiyah 9 malang. jurnal pendidikan dasar nusantara, 3(1), 13–28. retrieved from http://ojs.unpkediri.ac.id/index.php/pgsd/article/download/807/565/ andriani, j. r. (2009). multiply intellegences: melatih 8 kecerdasan majemuk pada anak. yogyakarta: cv. andi offset. baum, s. and v. j. and s. b. (2005). multiple intelligences in the elementary classroom. new york: teachers college press. candra, m. d. (2015). penerapan pembelajaran berbasis multiple intelligences ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 60 pada siswa kelas v di sd juara gondokusuman yogyakarta. jurnal pendidikan guru sekolah dasar (jpsd) fakultas ilmu pendidikan universitas ahmad dahlan, halaman 1-13. gardner, h. (1993). multiple intelligence: the theory in practice a reader. new york: basic books. hardjana, a. (2003). komunikasi intrapersonal & interpersonal. yogyakarta: kanisius. jansen, e. (2018). memperkaya otak: cara memaksimalkan potensi setiap pembelajaran. jakarta: indeks. jinky, j. c. and s. l. k. o. and i. s. b. and m. s. and s. k. m. (2014). responses to tsunami and war trauma through the musical arts in aceh, 2005–2012. wacana seni journal of arts discourse., jil./vol.1. kelly, e. (2015). kecerdasan interpersonal dan kecerdasan intrapeersonal dengan sikap multikultural pada mahasiswa malang. jurnal psikologi, iii(1), 39–59. machali, i. (2014). dimensi kecerdasan majemuk dalam kurikulum 2013. insania: jurnal pemikiran alternatif kependidikan, 19(1), 21–45. https://doi.org/10.24090/insania.v19i1.462 musfiroh, t. (2011). materi pokok pengembangan kecerdasan majemuk. jakarta: universitas terbuka. rofiah, n. h. (2016). menerapkan multiple intelligences dalam pembelajaran di sekolah dasar. jurnal dinamika pendidikan dasar, 8(1), 69–79. retrieved from http://jurnalnasional.ump.ac.id/index.php/dinamika/article/view/937/875 utami, a. d. (2010). peningkatan kecerdasan intrapersonal dan kecerdasan interpersonal melalui pembelajaran project approach. universitas negeri jakarta, 7(2), 56. wahyuni. (2015). upaya meningkatkan kemampuan visual spasial anak melalui bermain di sentra balok pada kelompok a tk himawari semarang. penelitian dan pendidikan, hal. 95-107. wijaya, i. k. w. b. (2018). mengembangkan kecerdasan majemuk siswa sekolah dasar (sd) melalui pembelajaran ipa untuk meningkatkan mutu lulusan sekolah dasar. jurnal penjaminan mutu, 4, 147–154. yaumi, m. & n. i. (2016). pembelajaran berbasis kecerdasan jamak (learning based on multiple intelligences). jakarta: prenadamedia grup. 1 biomimicry learning as inspiration for product design innovation in industrial revolution 4.0 dina lestari product design study program, universitas agung podomoro (podomoro university) e-mail: dina.lestari@podomorouniversity.ac.id abstract nature can be a source of unlimited inspiration, biomimicry is an innovative approach to find sustainable solutions to overcome problems and meet human needs by imitating existing patterns and strategies in nature. the industrial revolution 4.0 brought many changes in human life, changes in lifestyles, ways of working, ways of learning, and ways of communicating between humans in many aspects. most university students make use of technology to find and develop their ideas especially in creative industries where the oim (observe, imitate, modify) practice can be done through the internet by observing from another researcher's observation. while biomimicry offers researchers to observe nature and create technology innovation inspired by nature. students need to experience and learn from nature and use technology wisely. this study examines the biomimicryinspired works of product design undergraduate program students of podomoro university jakarta. the methodology research that we use in this study is a qualitative participatory method with comparative and correlational studies. the content of this study is to learn and evaluate the process and result of student's biomimicry observation into innovative product design. the conclusion can also be drawn that comparing the different levels of students which is the first year, second year, and third-year students by using the biomimicry observation approach will show variated concepts and skills on their work depending on what knowledge that they have learned from each semester. keywords: learning, biomimicry, inspiration, innovation, product design, industrial revolution 4.0 pembelajaran biomimikri sebagai inspirasi dalam inovasi desain produk di era revolusi industri 4.0 abstrak alam dapat menjadi sumber inspirasi tanpa batas, biomimikri adalah pendekatan inovatif untuk menemukan solusi berkelanjutan untuk mengatasi berbagai permasalahan dan memenuhi kebutuhan manusia dengan meniru pola serta strategi yang nyata di alam. revolusi industri 4.0 membawa banyak perubahan dalam kehidupan manusia, perubahan gaya hidup, cara bekerja, cara belajar, dan cara berkomunikasi antara manusia dalam banyak aspek. sebagian besar mahasiswa memanfaatkan teknologi untuk menemukan dan mengembangkan ideide mereka terutama di industri kreatif di mana praktik atm (amati, tiru, modifikasi) dapat dilakukan melalui internet dengan mengamati dari pengamatan peneliti lain. sementara biomimikri menawarkan peneliti untuk mengamati alam dan menciptakan inovasi teknologi yang terinspirasi oleh alam. diharapkan ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 2 dengan riset ini siswa bisa mendapatkan pengalaman nyata, mereka dapat termotivasi untuk mempelajari alam dan juga dapat menggunakan teknologi secara bijaksana. riset ini bertujuan untuk mengkaji karya-karya yang terinspirasi biomimikri dari mahasiswa program sarjana jurusan desain produk universitas agung podomoro jakarta. metodologi penelitian yang digunakan dalam riset ini adalah metode kualitatif parsitipatif dengan pendekatan korelatif serta komparatif. konten kajian dalam studi ini merupakan evaluasi serta proses pembelajaran mahasiswa dalam penciptaan desain produk inovatif. dari hasil riset ini dapat ditarik kesimpulan bahwa ternyata setelah melakukan perbandingan rancangan mahasiswa tahun pertama, kedua dan ketiga dengan menggunakan pendekatan observasi biomimikri maka ditemukan adanya perbedaan hasil serta tingkat keterampilan pada masing-masing angkatan tergantung dari pengetahuan yang mereka telah pelajari dan dapatkan di setiap semesternya. kata kunci: pembelajaran, biomimikri, inspirasi, inovasi, desain produk, revolusi industri 4.0 introduction “man differs from other animals particularly in this, that he is imitative, and acquires his rudiments of knowledge in this way; besides, the delight in imitation is universal.” that is a famous quote from aristotle, and in his article “poetica” he explains that human is as always intuitively learning by imitating since they were born in this world. people learn to survive by imitating various things such as how to express, eat, walk, move, behave, and various things from their surroundings. by mimicking, humans pass through the process of exploration, observation, and experimentation to solve problems and fulfil their needs (data source: http://classics.mit.edu//aristotle/poetics.html). the industrial revolution 4.0 brought many changes in human life, changes in lifestyles, ways of working, ways of learning, and ways of communicating between humans in many aspects. technology has been argued as giving a positive influence on people's way of thinking. steve johnson (2005) in his book “everything bad is good for you”, he stated that technology making people smarter by obtaining, interpreting, and processing data and information from many sources (johnson, s., 2006). many researchers have observed how technology giving impacts on our brains and affects the way how we think and perform. observation is a very important step for researchers to create reality. an observer role is to expose the virtual potential of their research objects, for example, if humans are a machine or computer, so the input of audio and visual information is needed and then processed through observation and projected in a reality. the visualized reality can be shown in a variated form such as art, writing, movement, or even music. the results of observations can also vary depending on the empirical experience of each observer. through deep experience, an object that was dina lestari, biomimicry learning as inspiration... 3 previously considered insignificant will have its potential explored and become an internal part based on the observer's empirical experience. there are several ways of observing, for example by the help of technology or by doing a holistic approach. technology will help people collect data and information instantly, while deep observation by experience needs time and process but everything has its pluses and minuses. prime minister of india narendra modi once said that both learnings from experience and learning from education are important. it is from education & values people can determine how they can learn from experience (prime minister of india narendra modi speech at the commemoration of teacher's day at the manekshaw auditorium, new delhi on 5 september 2014). experience-based learning was also popularized by david kolb, a professor and education expert in the field of experience-based learning. the learning method that he developed is known as the experiential learning model (elm). david kolb believes that learning is the process by which knowledge is created through the transformation of experience. knowledge is produced from the merging of captured and transformed experiences. kolb stated that “experiential learning is a learning process, a process of change that uses experience as a teaching or learning medium that does not only utilize material sourced from theories in reference books or from instructors” (kolb, a. y., & kolb, d.a., 2005:194). according to kolb's experiential learning model, there are 4 elements of experiential learning which is concrete experience, reflective observation, abstract conceptualization and active experimentation. . figure 1. kolb’s experiential learning model source: https://www.inspiring ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 4 in a study conducted by ni wayan rina regarding the effect of learning with experiential methods on students 'critical thinking skills, she stated that experiential learning affected students' ability to think critically (lestari, n. w. dkk, 2014). then there are also the results of research carried out by anggara and komang, according to them the experiential learning method is quite relevant to be implemented as an effort to develop self-concept and concept understanding (anggara, ari & i komang, 2012). students need to experience and learn from nature and use technology wisely. this research examines the biomimicry-inspired works of product design undergraduate program students of podomoro university jakarta. the methodology research that we use in this study is a qualitative descriptive method with comparative and correlational studies. the content of this study is to learn and evaluate the process and result of students' biomimicry observation into innovative product design. designing with technology: technology helps improve better education by facilitating the learning process, it can connect people that separated by distance, time, and place. people can browse for information, data, and finding inspiration from all over the globe by learning through the internet. people learn through observing other people's behavior, attitudes, and then the outcomes of those behaviors (bandura, a., 1977). “most human behavior is learned observationally through modelling: from observing others, one forms an idea of how new behaviors are performed, and on later occasions, this coded information serves as a guide for action.” (bandura). this observing, imitating, and modelling theory is one of social learning theory from bandura. bandura explains how human behaviors influenced by continuous reciprocal interaction between cognitive, behavioral, and environmental aspects. imitating is human nature and in this digital era, imitation behavior evolves with the help of technology. technology provides abundant information and data to be observed and learned as a model. for a designer, exploring inspiration is an important stage in making a design. with the help of technology, the process of exploring inspiration becomes easier. according to bandura's social theory, human nature is to copy and it includes the habits of observing, imitating, and modeling, and now for many designers in this digital era, those term seems to change into observing, imitating and modified. we may have heard the words "there is nothing new under the sun" this practice has been used by most designers to recreate designs. in this digital era, designers surfing on the internets for inspiration. inspiration is obtained by browsing on a design portal in search of design references. some pages that are often referred by designers include pinterest, fast dina lestari, biomimicry learning as inspiration... 5 co. design, solid smack, inhabitat, kick starter, core 77, behance, design taxi, and many more. existing works or designs are observed and then part of the design is taken to be imitated and then modified to produce new work or product. this then becomes common practice, the observation process becomes easier and instant. but the problem is if designers depend entirely only on technology, in this case, internet, then it will be a matter of time until they deal with technical and ethical issues of designing by taking inspiration from the internet only, which is why special skills are needed in creating personal and original designs. table 1. designers inspirational blogs (pict source: links below) designers inspirational blogs no websites links 1. pinterest https://id.pinterest.com/ 2. . fast co. design https://www.fastcompany.co m/co-design 4. inhabitat https://inhabitat.com/ ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 6 5. kick starter https://www.kickstarter.com/ 6. and many more... in the design school, creating design has rules, stages, and processes. and the process is part of learning so that the prospective designers not only rely on technology but also hone their exploration and in-depth observation capabilities. technology is a tool created by humans to help humans solve problems and meet human needs. design thinking for design students: in design education institutions, students as academics are required to pass several processes on designing based on rules, one of the design principles that are often used in designing is design thinking theory from stanford design school. an effective way to design products is by using a design thinking framework, this framework refers to how to solve problems that focus on humans through analysis or observation of needs. figure 2. design thinking process source: https://dschool-old.stanford.edu/groups/k12/wiki/6c04c/visual_resources.html dina lestari, biomimicry learning as inspiration... 7 according to baeck & grimmett, design thinking is a creative approach that focuses on ways to solve problems and user needs with a more experimental approach (baeck, a., gremett p, 2011). in his book the science of the artificial, simon defines an initial model of the design process, that consists of seven stages which are defined, research, ideate, prototype, choose, implement, and learn. (simon, herbert alexander, 1996). down below is a process of design thinking based on human needs from stanford design school that has been used in the process of making products by several numbers of students in the product design program at podomoro university: 1. empathy empathy is a fairly important stage in the design thinking process, in this stage, the designer is asked to jump right in and recognize the problem from the user's perspective. observing needs in the user's physical environment to gain personal experience and find problems based on empathy. 2. define at the stage of the definition, the data that has been collected from the process of observation (empathy) is then analyzed and synthesized. 3. ideate after the problem is analyzed, the next step is to find a solution by having a brainstorming method and try to think creatively “out of the box” to generate as many ideas as possible (expand the solution space). 4. prototype this stage is experimental, ideas that are suitable then visualized in the form of prototypes as product samples. 5. test this stage is the testing stage of the prototypes, the sample products then tested for their durability, ergonomics, and conformity based on the needs of consumers. ideas in creating an innovative product can be explored with in-depth observations, one of the ways to explore innovative ideas in observing is by empathizing, not only empathizing with humans but also the surrounding environment, plants, animals and even the universe. to deal with the global ecological crisis that is happening in this era, humans need to change attitudes and mindsets by empathizing with nature. humans also need to study nature more deeply to be able to control and use it wisely. biomimicry as innovation inspiration: marcel proust a french novelist stated a famous quote saying that the real voyage of discovery consists not in seeking new landscapes, but in having new eyes ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 8 (marcel proust, french novelist famous quotation (1871–1922). everything which looks common at first sight will reveal its potential through observation, everything that viewed from different perspectives will look different too. the source of various kinds of innovation is “needs”, humans are motivated to create inventions according to their needs. in the process of creation, in-depth observation is one of the most important steps. the object of observation can be obtained from the things around us from the simple to the most complex. nature is a source of unlimited inspiration, that is why the exploration process on nature could support the creation of innovation based on the observation process. janine m benyus in her book innovation inspired by nature explains biomimicry or often also called biomimetics as an innovation process by observing nature. the observations focus in this process are every aspect of the natural elements, which are their visual form, their mechanism or their systems, and other natural elements to be imitated or used as inspiration as part of their purpose in overcoming human problems and needs (benyus, janine m., 1997:2). the term biomimicry itself is adapted from the greek language bios, which means life, and mimesis, which means imitating. other terms that are commonly used are bionics, bio-inspiration, and biognosis. biomimicry is a method of studying nature to create or develop sustainable solutions in overcoming human problems in the fields of engineering, material science, medicine, and other fields (mueller, t., 2008). the aim is to create a new product, process and policy system that is adapted to live on earth in the long run. there are 3 types of biomimicry the first is to take inspiration from its visual form, the second is to imitate the process of occurrence and the third is to imitate at the ecosystem level, such as building systems inspired by nature. nature is the greatest teacher, filiv tafsan and elif sonmez said that science; from nature to model, measure, and mentor, taking a lot to learn. biomimicry examined models in nature, then imitating these designs or taking inspiration from them which aims to provide solutions to people's problems are one of the new branches of science (tavsan, f., & sonmez, e., 2015). elena lurie luke wrote in her article “what can biomimicry inspire” she said that biomimicry has revealed new opportunities for material development across a range of fields, including optics, medicine, agriculture, energy generation, textiles, transport aids, and construction. fully exploiting the range of structures on offer in nature presents the unique opportunity to utilize our environment in a new, safe, and environmentally-sustainable manner (lurie-luke, e. (2014). actually, the design process by taking inspiration from nature has long been applied by an artist who is also an italian-born innovator, leonardo da vinci. some of his designs took inspiration from nature and then decades after that, it was developed by scientists and became part of the latest technology. for example, dina lestari, biomimicry learning as inspiration... 9 leonardo was the first inventor of the design of war tanks, he was inspired by the turtle shell self-defense mechanism. then by studying the anatomy of the bird's wings, leonardo tried to design flying vehicles. leonardo has created technology by taking inspiration from nature (da vinci's tank: a war machine for the duke of milan. davincilife.com.) figure 3. leonardo da vinci nature inspired invention source: https://www.davincilife.com/davincis-tank.html even though technology has grown and developed, it does not mean that humans no longer need nature as an inspiration for designing products. nature becomes a powerful tool in creating technology. for example, eiji nakatsu is the head of the shinkansen railroad project who also works as a bird watcher. he studied the bird's anatomy and behavior to develop shinkansen railroad technology. nakatsu designed the front end of the train with a beak model of kingfishers and penguins, this bird can dive from air to water with a little spark to catch fish. with this visual form, the train design result is not only reducing the sounds so that it becomes quieter, but also uses 15% less electricity, even the train is also able to run 10% faster. (source: https://biomimicry.org accessed may 14, 2019). shinkansen trains are only a small example of the application of biomimicry on technology, there are still many other natural elements that can be used as inspiration to create and develop other innovative products (source: christophe.haubursin@vox.com (documenter video). ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 10 figure 4. shinkansen train design by eiji nakatsu source: christophe.haubursin@vox.com this paper is an evaluation report of the research about the application of biomimicry learning to product design students. in this project, students use the design thinking approach. the subjects in this study were students of the product design study program at agung podomoro university. the methodology used in this research is a descriptive qualitative method with comparative and correlational studies. research methods the method used in this research is a qualitative method with a participatory approach. students are involved as the main actors so the impact of experiential learning can be estimated based on student contributions through the activities they do. according to lexy j moleoung in his writing titled "qualitative research methods" what is meant by qualitative research is research that seeks to understand a phenomenon experienced by research subjects and can manifest behavior patterns, perspectives, motivations, actions, and so on holistically (moleong, lexy j, 2005). the data collection can be done using descriptions and in the form of words and language. in a particular context that is natural and also utilizes a variety of natural methods. based on the opinion of nazir in research methods (2005:58) comparative research is one of the descriptive studies aimed at finding fundamental answers about causation, this research was conducted by analyzing the indications of causation or also the trigger for the emergence of certain phenomena (nazir, moh., 2005). this research involving design students as a participant, this practice meant to motivate design students to engage in nature as one of their source of inspiration. quoted from dekay writings in “systems thinking as the basis for ecological design education”. he mentioned that to educate designers for ecologically and dina lestari, biomimicry learning as inspiration... 11 socially responsible practice, design schools need to be radically redesigned in their structure, content, and methods (dekay, m., 1996). just like yeler’s opinion in his article “creating nature awareness in design education”. he said that each student can gain awareness of nature and transform formations in nature and biological expressions into design knowledge if education programs are revised in a way that enables the student to comprehend how these events occur in nature. it is assumed that in design courses, which constitute a gradual process, learning knowledge of nature by exploration, analyzing this knowledge, making accurate determinations, and transforming knowledge of nature into design knowledge by making connections will increase the creativity of design students. in this context, including nature-inspired design approaches in education programs of all design disciplines are prioritized in means of creating a sustainable world (yeler, g. m., 2015). the sample examined in this research were students of the agung podomoro university product design study program. as a comparison sample that was taken is students from 3 different levels, next is the list of the sample criteria. sample criteria: • sample taken is students of the first batch of product design program in the 5th semester, the 2nd batch in the 3rd semester and the 3rd batch in the 1st semester. • each batch is taken 2 samples as a comparison. • the design output for each batch will be compared with another batch. • students that taken as the sample is the one that having nature as inspiration in their design or their products, whether it’s inspired by the nature visuals shapes, mechanisms or ecosystems. figure 5. nature inspired observation process source: private picture ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 12 in the next table, 6 students taken as samples. (2 students from semester 1, 2 students from semester 3 and 2 students from semester 5). this is the list of the student's samples: table 2. students list (nature-inspired product design) no students initial join year batch semester 1. b.n 2018 3 1 2. n.g 2018 3 1 3. a.f 2017 2 3 4. y.a.s 2017 2 3 5. b.f.n.w 2016 1 5 6. j.s 2016 1 5 some of these students make product designs based on the research of nature, they make observations to get inspiration for the products they design, but it turns out that the output result from each batch is different. the difference is shown in the outcome of the design they created and it turned out to have influence based on the background of the provision of knowledge given to them each semester. the following table is a list of the research results using the biomimicry approach. table 3. students design (1st semester/join year 2018) student initial: b.n product visualization: bird chair design sketch. nature inspiration: sparrow product design note: inspired by the sparrow, the anatomical shape of the bird's body is the inspiration for the reclining system on the back of the lounge chair. indications of creation are still focused on a visual shape on the bird as a source of inspiration, due to limited knowledge of materials and the production process, the outcome is still dina lestari, biomimicry learning as inspiration... 13 limited to a design sketch, whereas for the creation of the prototype it cannot be done yet. student initial: n.g product visualization: flower bowl design sketch nature inspiration: japanese frangipani flower product design note: the inspiration that is taken in this design is from the japanese frangipani flower, she took the open-close system of the japanese frangipani flower petals as inspiration. she designs a silicone bowl that can be opened or closed just like the mechanism of japanese frangipani petals. indications of creation are still focused on visual innovation as a source of inspiration, due to limited knowledge of materials and the production process. the outcome is still limited to a design sketch. table 4. students design (3rd semester/join year 2017) student initial: a.f product visualization: water splash table lamp nature inspiration: water splash product design ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 14 note: the inspiration that is taken in this work is from the water splashes, students in this semester have received knowledge about material and process in product making. this student observing the visual character of water by replacing it with resin material. student initial: y.a.s product visualization: table lamp. nature inspiration: awan. product design note: the inspiration that is taken in this work is from the visual shape of clouds, students in this semester already acquired knowledge about material and process in product making. this student observing the visual character and the movement of clouds. he chooses luminous fabric and wire to copy the movement of clouds. dina lestari, biomimicry learning as inspiration... 15 table 5. students design (5th semester/join year 2016) student initial: b.f.n.w product visualization: beach reclining seat nature inspiration: nature ecosystem (beach) product design note: the inspiration that is taken in this work is from the ecosystem of the beach, the dynamic movements of beach waves and elements of coconut trees which can be found growing on many beaches were taken partially for his product inspiration. students in this semester already acquired knowledge about designing furniture as well as material and process in product making. after this student studying nature element and movement on the beach, he designs a beach chair prototype by using synthetic rattan materials. student initial: j.s product visualization: rocking sofa nature inspiration: peanut shell product design ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 16 note: the inspiration that is taken in this work is from the shell of peanut, students in this semester already acquired knowledge about designing furniture as well as material and process in product making. peanut shell shape deformation was taken as inspiration to create a rocking sofa by using synthetic rattan materials. conclusion base in the comparative study above, we see a different outcome and it’s indicated from different weighting courses that have been given to them each semester. the more advanced courses they get each semester, the more they could create a better and tangible design on their products. the following is the list of courses given to students each semester. down below is the list of courses for students from the first semester: 1. design presentation 2. process and material 3. introduction to product design 4. science and technology (applied mechanics, calculus, physic, and technical math) 5. general courses such as religion and indonesian language. 6. special courses tael (thinking and acting like entrepreneurial leader). down below is the list of courses for students from the third semester, they have taken all the courses above on the first semester and at third semester they learn the following courses: 1. digital modelling 1 dan 2. 2. design thinking. 3. research methods. 4. design management 5. interaction design. 6. ergonomics. 7. general courses (pancasila dan citizenship). 8. special courses ctps (creative thinking and the power of simplicity). down below is the list of courses for students from the fifth semester, they have taken all the courses above in the first and third semesters. on fifth semester they learn the following courses: 1. furniture design 2. modeling workshop. 3. colloquium dina lestari, biomimicry learning as inspiration... 17 4. packaging design 5. innovation design from the list above, we could identify the different outcomes of students' design by comparing the list of the given courses. the more knowledge they get the better the quality of the products they produce. biomimicry learning is quite useful to be applied to product design innovation. as gardner says that biomimicry learning could encourage students to go out from their comfort zone and so that they can learn to integrate other scientific disciplines to see how they can draw a common thread when applied in design projects and technological innovations (gardner, g. e. (2012). from this student’s nature-inspired work we could see how nature could influence the visual form of their product, but to deepen the biomimicry aspect on innovation, design students need to integrate other scientific disciplines to enrich and wider their view on getting inspiration from nature. that is why it is necessary to do a collaborative project with interdisciplinary institutions as an effort to improve this biomimicry innovation research, and that could be our next project. references anggara, ari & i komang. (2012). ‘pengaruh model pembelajaran experiential learning terhadap konsep diri dan pemahaman konsep fisika siswa kelas x sma negeri 4 singaraja’. singaraja: jurnal pendidikan dan pembelajaran ipa indonesia vol 2. no.1 [online], (http://119.252.161.254/e-journal/index.php/jurnal_ipa/article/view/405) retrieved 11-10-2019 aristotle poetics. classic mit.edu. retrieved 20-1-2019 baeck, a., gremett p. (2011). design thinking: in ux bestpractices – how to achieve more impact with user experience, eds. h. degen and x.yuan. new york: mcgraw-hill osborne media. bandura, a. (1977). social learning theory. new york: general learning press. benyus, janine m. (1997). biomimicry: innovation inspired by nature. new york: harpercollins publishers inc. da vinci's tank: a war machine for the duke of milan. davincilife.com. retrieved 02-08-2019 dekay, m. (1996). “systems thinking as the basis for an ecological design education”, in campbell-howe, r. and b. wilkins, eds., proceedings of the 21st national passive solar conference, american solar energy society, asheville, nc, boulder: ases. ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 18 gardner, g. e. (2012). using biomimicry to engage students in a design-based learning activity. the american biology teacher, 74(3), 182–184. https://doi.org/10.1525/abt.2012.74.3.10 johnson, s. (2006). everything bad is good for you: how today_s popular culture is actually making us smarter. journal of the american academy of child & adolescent psychiatry, 45(8), 1017–1019. https://doi.org/10.1097/01.chi.0000227884.96145.el kolb, a. y., & kolb, d.a., 2005. ‘learning style and learning space enhancing experiential learning in higher education.’ academy of management learning and education journal vol 4 no.2. new york. [online], (https://people.ok.ubc.ca/cstother/learning%20styles%20&%20learning %20spaces.pdf diakses tanggal 11 oktober 2019 pukul 9:10) lestari, n. w. dkk, 2014. ‘pengaruh model experiential learning terhadap keterampilan berpikir kritis dan motivasi berprestasi siswa’. singaraja: jurnal pendidikan dan pembelajaran ipa indonesia vol 4. no.1. [online], (http://119.252.161.254/e-journal/index.php/jurnal_ipa/article/view/1302 diakses tanggal 11 oktober 2019 pukul 10:20 ). lurie-luke, e. (2014). product and technology innovation: what can biomimicry inspire? biotechnology advances, 32(8), 1494–1505. https://doi.org/10.1016/j.biotechadv.2014.10.002 moleong, lexy j. (2005). metode penelitian kualitatif. bandung: pt. remaja rosdakarya. mueller, t. (2008). biomimetics: design by nature. national geographic magazine, april. nazir, moh. (2005). metode penelitian. jakarta: ghalia indonesia. shinkansen train. biomimicry.org retrieved 14-5-2019. simon, herbert alexander. (1996). the sciences of the artificial. massachusetts: mit press. tavsan, f., & sonmez, e. (2015). biomimicry in furniture design. procedia social and behavioral sciences, 197(february), 2285–2292. https://doi.org/10.1016/j.sbspro.2015.07.255 yeler, g. m. (2015). creating nature awareness in design education. procedia social and behavioral sciences, 174(78), 406–413. https://doi.org/10.1016/j.sbspro.2015.01.682 155 volume 9 nomor 2, december 2022 p-issn 2339-191x | e-issn 2406-9760 p 155 – 165 fetish in amateur photography practices hartono karnadi indonesia institute of the arts yogyakarta, jl. parangtritis km 6 yogyakarta, 55188, indonesia e-mail: hartonokarnadi@gmail.com abstract people, including amateur photographers, have been experiencing development on digital technology. amateur phothographers are those who practicing photography as a hobby and join a photography club. although at first people doubted the quality and performance of the digital tecnology, until now it has been growing to become a fetish. in the practice domain, it is cherished as a god-powered machine able to do incredible tasks. this research aimed at studying the psychological and sociological conditions of amateur photographers at the shift of technology from analog to digital photography and close to the the post-digital era. technology transformation has brought about significant impacts on photographers’ perspective about creating, displaying, and publishing photographs. the qualitative data were collected from literature study and interviews with senior photographers famous for their achievements among the amateurs, especially those who joined the salonfoto indonesia. the result of this study shows that fetishism on digital technology in amateur photographers’ practices does not automatically become the only method employed in exploring their creativity sources. based on the aesthetical experiences of the amateurs, it can be concluded that digital technology functions only as a computing system to perfect the creative works. technigue is important but not the most important one. keywords: fetishism, analog, digital, photography fetis dalam praktik fotografi amatir abstrak perkembangan digital sangat dirasakan oleh semua orang termasuk fotografer amatir. mereka termotivasi untuk pengembangan diri, bersosialisasi dan berpartisipasi dalam kontes fotografi. walaupun pada awalnya diragukan dalam performa kualitasnya. dalam praktiknya, teknologi digital seperti mesin yang menjadi dewa, ia menjadi fetis, seolah-olah memiliki kekuatan yang luar biasa untuk menghasilkan foto yang bagus. penelitian ini mengkaji kondisi-kondisi psikologis dan sosiologis amatir sebagai akibat dari peralihan teknologi analog ke digital dan menjelang pasca digital. dampak transformasi teknologi sangat memengaruhi perspektif dalam mencipta, menyajikan, dan mempublikasikan foto mereka. metode pengumpulan data menggunakan kualitatif yang bersumber pada studi kepustakaan dan mewawancarai beberapa fotografer senior yang sudah sangat dikenal prestasinya di kalangan amatir, khususnya salonfoto indonesia. hasil awal dari penelitian ini menunjukkan tranformasi teknologi digital mengubah paradigma amatir senior, yang semula menganggap digitalisasi merupakan mesin rumit dan membingungkan, sehingga mereka berusaha mempertahankan nilai-nilai 'tradisional' fotografi analog yang mengutamakan proses manual. kesimpulan yang dapat dirangkum bahwa fetisisme teknologi digital dalam praktik fotografer amatir, tidak serta-merta menjadi satu-satunya metode yang dapat mendukung eksplorasi sumber daya ciptanya. berdasarkan pengalaman estetika amatir, teknologi digital hanya sebagai suatu sistem komputasi untuk menyempurnakan olah kreatif. teknis penting, tapi bukan yang terpenting! kata kunci: fetisisme, analog, digital, fotografi 156 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 introduction technology and photography have always been related and become an unseperable unity like head and tail sides of a coin. the development of the two complete one another. since the daguerreotype was first introduced in 1839, photography technology has been significantly developed and is marked by many innovations. a very contrastive development was the transformation from the analog to digital technology. some aspects of the digital photography replace the operating system, devices, and also the production and reproduction process used in the analog. every new technology comes with its strengths and weaknesses. how people respond to it depends on each individual. analog phothography uses manual and mechanical operating system so that high precision is required. on the contrary, the digital one applies computerized and automatic operating system that ensures precision and accurateness. it replaces the celluloid film with sensor-based recording media as to dismiss the celluloid films. the use of sensors provides people with freedom to take picture as many as they want without worrying about running out of films. these days, the tendency of people’s dependency on digital technology is getting unavoidable. this technology is at the top position in processing fragments of a photograph. viewed from the artistic aspect, digital photography is the only medium that can visualize recorded shots into a piece of a photograph. the data gathered from the qualitative interviews with eleven amateur photographers living in java and bali islands show that the transformation from analog to digital photography posed them in a new technological habit. it also put them in a problem where they had to make a decision when they took, processed, saved, and displayed their photographic works. their orientation to manual aspects had to be shifted because they had to deal with a set of computers. photographic transformation from analog to digital before discussing the sophistication of digital photography, we need to appreciate some former photographers in terms of how they produced phenomenal works using modest devices. when the process carried out to produce a photograph was still very simple, they were able to combine some visuals from some incredible fragments of a photograph. when creating ‘the two ways of life’, oscar g. rejlander needed more than 32 negatives. he combined them in one photo print talking about ‘vice and virtue’. henry peach robinson conjoined five negative glass plates to narrate the sorrow felt by a family for the daughter who was dying in ‘fading away’. john heartfield made a photo montage delivering an anti nazi and anti facism message. another great photographer, jerry uelsmann created a 157 hartono karnadi, fetish in amateur photography practices mesmerizing surealistic photograph. it is unimaginable how careful and precise they were when working on those pieces. figure 1. oscar g. rejlander needed more than 32 negatives for creating ‘the two ways of life.’ oscar g. rejlander, two ways of life (hope in repentance), 1857. albumen silver print, 21.8 x 40.8 cm, moderna museet, stockholm source: https://artblart.com/tag/two-ways-of-life/ figure 2. henry peach robinson conjoined five negative glass plates for creating ‘fading away.’ henry peach robinson, fading away, 1858. albumen silver print from glass negatives, 23.8 x 37.2 cm. the royal photographic society at the national media museum, bradford, united kingdom source: https://www.metmuseum.org/art/collection/search/302289 158 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 digital photography changed photographers’ habit in producing and displaying their photos. today, photographers do not only take pictures, but they can independently edit their photo fragments by means of graphical computer. software supports such as photoshop that adopts various tools from the dark room provide photographers with an opportunity to legitimate their photos as truly sourced from their own creativity without any assistance from the dark room operator who used to be worked with photographers in the analog era. basically, digital photography was formed in a hibrid way by adopting the basic principles applied in analog photography. its main beneficial feature is that it offers a limitless chance of production and reproduction. rubinstein (2013: 13) claims that digitally produced pictures never stay still; they never freeze; they constantly move from one space to another and force the users to go along with them. fragments of digital photos are very different from analog films in the form of celluloid ribbons. when an exposed film is processed, it will become a permanent image and stop there. different thing happens to digital photos. they are data that can always be changed in accordance with the need but still perform similar quality. benjamin (2008: 224) in his thesis ‘the work of art in the age of mechanical reproduction’ states that from a negative film, someone can produce some print outs and those prints are all ‘original’. before the digital replaced the analog, artistic effects were created through many techniques such as multi-printing, solarization, bast relief, film sandwich, and other manipulation darkroom techniques. the skill in printing manually in the dark room was prestigious in the past. however, these days this special skill has been taken over by photoshop software that c an be operated by anybody only in one click. figure 3. dharma suryanto, fishermen, gombong. manipulation darkroom technique. source: salonfoto indonesia catalogue 1974 figure 4. santoso alimin, a happy family, surabaya. manipulation darkroom technique. source: salonfoto indonesia catalogue 1977 159 hartono karnadi, fetish in amateur photography practices digital technology triggered the creation of visual artworks resulted from image combinations. budi yuwono, a digital imaging artist, says that by combining some images using digital imaging means producing ‘new realities.’ he further asserts that the new realities are the visualized objects or events that did not exist figure 5. heru laksmana, potret, jakarta. manipulation darkroom technique. source: salonfoto indonesia catalogue 1975 figure 6. fendi siregar, musik kering, bandung. manipulation darkroom technique. source: salonfoto indonesia catalogue 1978 figure 7. toky. y., the way home, jakarta. manipulation darkroom technique. source: salonfoto indonesia catalogue 1973 figure 8. tjan hwa tjoe, senyum remaja, surabaya. manipulation darkroom technique. source: salonfoto indonesia catalogue 1978 160 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 before. the objects visualized in a photo by means of digital processing are not necessarily posed in front of the camera. the photo might be created by processing digital data of a montage of some pictures. technology fetishism in amateurs’ practice one of the major discrepancies between the former cultural activities that trigger fetishism strategy and the later is how people exploit the technology more and more to support the human’s biological inadequacy (kaplan, 2006: 175). these days, digital technology has taken over the troublesome manual skills by offering many conveniences and effectiveness. the superior digital technology gives people, including amateur photographers, as much space as possible to improve their creativity. it leads amateurs to become a fetishist. they adore technology as a superior machine capable of realizing their desires. digital technology of photography is a fetish in a way that it is seen as a substitution that can realize human’s desires. photograph manipulators can change the meaning and potential of pictures utilization as a proof by adding, deleting, or replacing the elements of identification (michell, 1998: 204). by means of photoshop software, photographers manipulate photo fragments to obtain visual pleasures (voyeuristic) toward a photograph. burgin (1982: 190) asserted that those who find them selves enchanted to a picture are called fetisists. the ease in processing photo fragments digitally make the amateurs amazed by the superiority of digital technology. as john hillman (2017: 17) says that photography is not only able to record, witness, and show something to people but also able to shape responses, interactions, and affective intensity from people as parts of the digital culture. within this context, digital technology is a part of human’s daily life and culture. people do not have power to reject it. people are conditioned to adore it and need it to achieve their desire of pleasures. the amateurs’ responses to digital transformation the transformation of phothography from analog to digital influenced the habits of amateur photographers in producing photos. it is in accordance with donghoo lee’s (2010: 266) statement that digital technology changes the users’ modes in accessing, processing, manipulating, saving, and distributing various data. this study was conducted to locate those impacts. the respondents were selected through a purposive sampling, i.e., a non-random sampling that is organized by priorly determined the desired criteria that are supportive for the attainment of the research’ objectives (ratna, 2016: 215). for this reason, the informants of this research were taken from senior amateur phoyhographers experiencing both the analog and digital technology. 161 hartono karnadi, fetish in amateur photography practices there were eleven informants, namely: (1) agatha anne bunanta, (2) agus leonardus, (3) aris liem, (4) budi darmawan, (5) edwin djuanda, (6) harto solichin margo, (7) i made arya dwita dedok, (8) johnny hendarta, (9) stephanus setiawan, (10) sungkono, and (11) tan sioe lay. they are famous as salonfoto indonesia members. all of them are very competent so that they were assigned as juries in the salon. they were called amateur because they are active in photography world driven by their interests on the activities. those seniors consider phothography as a hobby. they are motivated to develop their capacity in phothography and to socialize by joining an amateur photograper clubs in their own city. they are also actively participated in exhibitions and competitions of salon photos at the national and international levels. they experienced technological shift from analog to semi-digital, then digital, and are facing the post digital era today. technological shift always demands adaptation and also shift in thinking framework toward the new operating system, devices, materials, and platforms. they were not only conditioned by transformation on technology but also experienced numerous events that influenced their methods in creating photos. according to hirsch (2008: 4-5), the production of a photography work is influenced by four attached tendencies. first is the tendency on the production system: devices, materials, and softwares used in producing pictures. the second one is the tendency coming from the photographers’ habit and prefferences when operating a system. third is the photographers’ personal experiences that are delivered to the spectators. the last is the influence originated in the external cultural power, social trends, economy, and politics at a particular time. the following is the result of the interview with the chosen amateur photographers who informed their background and attitude toward the transformation on photography technology (analog to digital): agatha anne bunanta (54 years old jakarta) was a photographer who has been actively involved in national and international salon photo competition. the history recorded her as the first female jury of the 2007 salonfoto indonesia. she loves photography due to her traveling hobby. to her, technology is merely an aid in strengthening and smoothing the delivery of the photo messages. a photo is resulted by the photographer’s concept and ideas. like a painter who starts his work from an empty canvas, a phothographer does a similar process too. agus leonardus, (67 years old yogyakarta). in 1976 he started to learn photography in a self-taught way from books and magazines. in his mind, technology always develops and certainly will be replaced by the more sophisticated ones. however, it is just a machine that supports the doer in terms of technical process. techniques are important but not the most important ones. it is easy to learn them. the more crucial factor is who handles the camera. 162 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 aris liem (55 years old solo, central java). he learnt photography when he was a student in yogyakarta in 1985. he enjoys producing landscapes for he wants to create natural photos without artificial settings or arrangements. to him digital photography has big impacts and some strengths. in the past when photographers only took pictures, the quality of the end products would greatly depend on the dark room operator. on the contrary, the digital era allows photographers to be involved in the printing process to get the end products fit to their expectations. the photos are really the phothographers’ works because it is the photographers them selves who handle the digital processing. budi darmawan (74 years old surabaya, east java) began his photography activities when he was a student in 1971. when he visualizes his works, pictorialism plays a huge role. he enriched himself with artistic knowledge he gained from cataloques published by international salon photo competition organizers, especially from hongkong and other asian countries. the transformation from analog to digital was not a big deal for him due to his intensive involvement in printing business that was close to digital process. digital technology is a huge aid in realizing his inspirations. however, he thinks that glorifying technology without strong basis will result in banal works. edwin djuanda (68 years old jakarta) began to do photography when he was 15 in 1969. in his opinion, today, utilizimg digital technology in taking pictures is a lot easier and sophisticated. however, to make an oustanding photo greatly depends on the photographer’s imagination. photoshop is just a technical support. taste and feeling are much more crucial for the end products. harto solichin margo (70 years old bandung, west java) has been falling in love with photography since 1965. he studied in germany so that it was easy for him to get access to aesthetical knowledge from famous magazines and photographers in europe. he states that digital phothography provide him with a direct access to phothograph quality and visualization. screens on digital cameras enable photographers taking the desired pictures without waiting for the negatives to be processed to become prints. digital cameras shorten the long process so that photographers can directly see the quality of the taken pictures. i made arya dwita dedok (51 years old magelang, central java) knew photography when he was little from his father who loved photography. when studying at smsr bali (1987-1991), he continued his interest to this field because photography was a school subject. he was taught about dark room, printing, and chemical bathing of the black and white photos. digital technology eliminates the needs to buy the negatives and to print them because the pictures can be seen already on the computer screen and can be produced when we need it. johnny hendarta, (69 tahun yogyakarya), has been enjoying his hobby in photography since 1979. to him, phothography is a visual language as well as a 163 hartono karnadi, fetish in amateur photography practices document where he can store his memories about space and time of various objects or events. photography is a trace that can be used as a guidance by the next generation. he has a huge interest in taking pictures of humans and their activities. in the past, he used to take shots on his object artificially. it was because in the analog era, there were only limited choices for film’s iso. when the targetted object was in a limited lighting condition, the process would be hindered by the availability of iso sensitive to the available light. nowadays, we can determine the value of the iso without changing the films. in his opinion, the technique used is still the major thing to have a high-quality photo. stephanus setiawan, (70 tahun yogyakarta) learnt photo in a self-taught manner when he was a sixth-grade elementary school student in 1964. he started his passion toward photography since he got a scool task to document school activities. digital technology development gives him flexible iso choices. digital photography frees him to push the shutter without thinking about running out of films. according to him, analog and digital technologies are merely facilities. once you master the technology, you will master the basic of the coming new technology. that is why when the digital appeared, he did not need long time to adapt himself to it for it shared the basic principles with the analog. sungkono, (66 tahun magelang, central java) knew photography in 1975 when he worked at a photo studio as a dark room operator. his experience in printing phothos encouraged him to work on black and white photography that back then was still something many people did not understand. the shift from analog to digital, especially processing the fragments to become a quality print, was not an obstacle for him. at the early time of digital era, most amateurs could not afford it. using a digital camera without possessing a computer was ‘having the head but not the body’. tan sioe lay (73 years old singaraja, bali) has been engrossing himself in printing black and white as well as color pictures since 1970. he states that digital technology, mainly the photoshop software support, is very efficient compared to the manual printing. for example, the process of combining some images in layers using photoshop is much more practical and easier. digitalization brings freedom in taking pictures. however, although we do not need to worry about running out of films, we still must be careful in shutting the shutter. the data gathered shows that the eleven amateur photographers at the beginning of the transformation from the analogue photography to the digital one encountered some obstacles in comprehending the facilities and infrastructure of the system used in digital operation. however, because they developed their knowledge on this matter they were finally benefited from this technological shift because it provides them with vast opportunities to improve their creative process. 164 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 conclusion the advantage of digital technique is how its softwares can be operated easily. almost all people can edit pictures using computer softwares. for amateur photographers who put importance on techniques, digital technology shapes them to become a pragmatic and instant individual. a number of special printing techniques that used to be the pride of the dark room experts, now are replaced by photoshop features. however, making a photo to become a work of art with high-quality visuals and novel idea and concept is not easy at all. in the past, an amateur could produce fine photos using only modest cameras. through trials and errors, they built a strong foundation for their selves. the foundation was their capital to cope with a coming technological transformation so that it would not hinder them in creating photos. those whose foundation is strong consider technology as just a support. as agus leonardus said that technology was significant, but it was not the most significant. the post-digital era influenced by the digital revolution triggers a dematerialization, i.e., the absorbtion of physical materials towards digital dimension. it can be clearly exemplified by the change in producing images from chemically printed from films to digitally printed using inkjet pigments. ink as a color pigment has replaced the chemical printing process. the printing media also become various, ranged from papers, canvases, textiles, etc. technology transformation in photography is inevitable since technology and photography is a unity. the statement that camera can freeze time and space can be rebuted by the fact that digital technology enables photographers to create a visual in a photo frame by joining a number of objects recorded from different times and spaces. digital photography creates new realities. it becomes a new characteristic of the visual style close to the post digital era. references benjamin, w. (n.d.). illuminations essay and reflections. edited by hannah arendt (1968) new preface by leon wieseltier (2007). schocken books. benjamin, w. (2008). the work of art in the age of its technological reproducibility and other writings on media (tr. edmund jephcott, et.al). the belknap press of harvard university press. bunyan, m. (2013). “exhibition: ‘faking it: manipulated photography before photoshop’ at the metropolitan museum of art, new york.” art blart. https://artblart.com/tag/henry-peach-robinson-fading-away/ burgin, v. (ed). (1982). thinking photography. macmillan press. hillman, j. (2017). photography and its failure to represent. university of the arts london and falmouth university. hirsch, r. (2008). photographic possibilities the expressive use of equipment, ideas, materials, and processes. routledge. 165 hartono karnadi, fetish in amateur photography practices https://doi.org/https://doi.org/10.4324/9780080927756 kaplan, l. j. (2006). cultures of fetishism. palgrave macmillan. lee, d.-h. (2010). digital cameras, personal photography and the reconfiguration of spatial experiences. in the information society (vol. 26, issue 4, pp. 266–275). routledge taylor & francis group. michell, w. j. (1998). the reconfigured eye, visual truth in the post-photographic era. mit press. ratna, n. k. (2016). metodologi penelitian kajian budaya dan ilmu-ilmu sosial humaniora pada umumnya. pustaka pelajar. rubinstein, d. (2013). digital image. routledge. https://www.academia.edu/4595376/digital_image informan budi yuwono, aka budi "ccline" is a digital imaging artist, living in sleman, yogyakarta. https://www.instagram.com/budi.ccline/. volume 9 nomor 1, june 2022 p-issn 2339-191x | e-issn 2406-9760 p 1 – 12 lingkar rupa community strategy in developing the actualization of street artists in kota tua, jakarta fransisca retno setyowati rahardjo universitas matana, matana university tower jl. cbd barat kav, rw.1, curug sangereng, kelapa dua, tangerang regency, banten 15810 e-mail: rahardjo.fransisca@gmail.com abstract this study will describe the method used by the initiators of the lingkar rupa community as a basis for a strategy to develop the quality of the work of street artists in kota tua, as well as a description that archives the movement of a new art community in jakarta. lingkar rupa in an effort to protect and actualize themselves and the work of street artists in kota tua. the community, which was initiated by an art and culture teacher, ferry kurniawan, is a social activity that arose from the founder's personal anxiety about art life at the grassroots level. this research will discuss the background, art activities and exhibitions, art strategies and the impact that lingkar rupa has carried out. with a qualitative method, namely using in-depth interview techniques from several founders and members of lingkar rupa's own informants. the theory of participatory art will be a surgical tool that examines the direction of this community's journey. it should be noted that the 'street art' that the author describes here is an art that is different from the terminology of 'street art' in the west which often emerges from elite academic circles and tries to present works of protest against the social situation around them in a very 'educated' manner. this research is also important to identify the 'underground' movement which is often not recognized because it is less popular and dapper. keywords: strategy, art community, street art, grassroots, identification strategi komunitas lingkar rupa dalam mengembangkan aktualisasi seniman jalanan di kota tua, jakarta abstrak penelitian ini akan mengurai metode apa yang dipakai oleh penggagas komunitas lingkar rupa sebagai dasar strategi mengembangkan kualitas berkarya para seniman jalanan di kota tua, selain sebagai deskripsi yang mengarsipkan gerakan sebuah komunitas seni baru di jakarta. lingkar rupa dalam upaya mengayomi dan mengaktualisasi diri dan kekaryaan para seniman jalanan di kota tua. komunitas yang digagas oleh seorang guru seni dan budaya, ferry kurniawan, merupakan aktivitas sosial yang muncul dari kegelisahan personal pendirinya mengenai kehidupan seni di kalangan akar rumput. dalam penelitian ini akan dibahas mengenai latar belakang, kegiatan seni dan pameran, strategi kesenian, serta dampak yang telah lingkar rupa kerjakan, dengan metode kualitatif yaitu menggunakan teknik wawancara yang mendalam dari beberapa informan pendiri dan anggota lingkar rupa itu sendiri. teori seni partisipatoris akan menjadi alat bedah yang mengkaji arah perjalanan komunitas ini. perlu diketahui bahwa ‘seni jalanan’ yang penulis jabarkan di sini adalah seni yang berbeda dari terminologi ‘street art’ di ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 barat yang kerap kali muncul dari kalangan akademi elit dan mencoba menghadirkan karya protes terhadap situasi sosial di sekitarnya dengan sangat ‘terdidik’. penelitian ini juga penting untuk mengidentifikasi gerakan ‘bawah tanah’ yang sering kali tidak terekognisi karena kurang populer dan necis. kata kunci: strategi, komunitas seni, seni jalanan, akar rumput, identifikasi introduction street artists in kota tua are a collection of professional painters who work along street pavements and are recognized by the dki provincial government as being who contribute to beautify historical tourist destinations in dki jakarta. they have been operating in the area since the early 90s. generally, the painters or artists in this location draw photos of faces and caricatures of various sizes according to customer orders. the number of street painters who are actively making a living in the kota tua area ranges from more than 50 people with the age of 40 and over for now. however, this number continues to change every year. prior to the existence of the lingkar rupa community, the works of street artists that they produced were only limited to the need for souvenirs or souvenirs, there was no awareness of other interesting art concepts or subject matter to be processed. the skills they have are limited to practical skills and have not yet reached the stage of issue awareness or sense intelligence. however, since its presence, lingkar rupa has tried to break it all down by holding many activities that move in the area of thought such as discussions, workshops, street art murals, 'happening art' actions and joint exhibitions which gradually foster a critical spirit and a sense of wanting to actualize the artist's self. the street artist. in the next few years, solidarity between them was formed so that it became a community that has a base camp spot. the lingkar rupa community also received recognition that it was registered with the ministry of education and culture so that they could ask for financial assistance if they wanted to activate art. the paradigm of street art so far, there may not be a single definition that can explain 'street art' or street art, but the general definition is a visual object (two-dimensional, threedimensional, or performance) that contains artistic value and is made in a public location. because there are rules that prohibit the act of doodling on public spaces in many countries, including indonesia, the making of street art is usually illegal or can be categorized as vandalism. however, on several occasions, it is possible that local governments ask for the help of artists to beautify public spaces in certain moments, such as national and international sports weeks. in indonesia, street art is fransisca retno setyowati rahardjo, lingkar rupa community strategy in developing the actualization … synonymous with flat art products in the form of graffiti and murals, even though performing arts displayed in public spaces are also legitimately called street art. for example, street performers at red lights and mime artists on the sidewalks of historic city buildings who work to survive on the streets. in the manufacture of street art, the mural and graffiti parts, the tools used are usually spray, wall paint or wood paint and other supporting media such as chalk, masking tape or malls, and many others that can produce an image. street art or street art is indeed a term that comes from culture in the west and the history of the school started from there. according to wikipedia in manhattan, new york's "post-graffiti" street art became popular in the 1970s and 1980s from the soho and lower east side areas which were still quiet neighborhoods at that time. starting from an activity that merely carves his name on property belonging to the general public to show someone's existence, then it develops into a space for showing works of art. if in america the development of modern street art had begun in the 1970s, it was different in indonesia. historically, we can trace the appearance of street art products since the colonial era before independence, but they come with a different paradigm from what we understand today. during the independence period in 1945, street art was widely used by the fighters to spread and inflame the people's fighting spirit and ideas of struggle into persuasive texts. street art or street art in indonesia has again found a new context with the birth of many communities such as taring padi and apotik komik in the 1990s which were popular in the 1998 reform era which served as a means for artists to voice their aspirations related to political themes such as opposition to the new order. , anti-corruption and other popular issues that were hot at the time. a few years later, in the 2000s, street art communities sprang up in big cities such as jakarta, bandung, jogjakarta from art and design students. bomber is the name for street art makers on the streets they are more active at night to avoid security officers. in its development in the past few years this movement has finally received support from the government, those who previously played "cat and mouse" with the security forces are now able to freely channel their creations. there are many special tourist spots and certain corners of the city, for example under the flyover which is specially provided for bombers to be creative as well as to entertain visitors so that they can enjoy the street art art scenery along the walls that looks neat and attractive. even for certain events the government deliberately invites them to do art commission projects in order to celebrate the national and international olympic week for example. even so, there are still bomber artists who prefer to draw freely on the walls of the streets. the street artist community in this group are those who come from the bourgeoisie or upper middle social class. usually they get to know street art starting with an interest in graffiti art from american pop art culture. the average age ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 when they first join is late teens to early adults, namely high school to early grade students, so it's clear their motive is for self-existence. therefore, it is natural for graffiti to be a bridge for the first introduction to wider street art because of its 'tagging' nature or signifying that someone has been present in a certain place. teenagers and early adults who are colored by delinquency make graffiti vandalism more popular because it is in accordance with the stage of their age turmoil. however, in subsequent developments, their needs are increasingly supported by the recognition of the general public and the arts community for works that are considered successful and aesthetic. for example, names such as darbots, bujangan urban, robowobo, the popo and others have succeeded in transforming their vandal activity and expertise into a visual icon and turning it into an art commodity. just like what happened to the hip hop subculture in america, their consistent existence makes their works get a fairly high economic value addition, some of them are even appreciated as international artists. darbotz, bujangan urban, the popo and others are pseudonyms or stage names made up consciously. there is a reason they created the stage name due to their own strategy and safety when working so that their identity will not be seen when doing a mural that is considered vandal. there are two names of jakarta street artists whose real names are finally revealed, namely darbots (darma aditya) and bujangan urban (rizky aditya nugroho). this may be due to the skyrocketing popularity of their own after more than a decade of being in the street art scene, so there are also many gaps for news seekers to find answers to the mystery of their name. figure 1. jakarta young men in mural activity source: https://www.hipwee.com/narasi/street-art-di-indonesia-sejarah-dan-perkembangan fransisca retno setyowati rahardjo, lingkar rupa community strategy in developing the actualization … figure 2. robowobo in front of his artwork source: https://visualjalanan.org/web/gerakan-gerakan-sosial-dan-street-art-dalam-perbincangandengan-robowobo/ figure 3. darbotz in front of his artwork source: http://creamcreativemagazine.blogspot.com/2009/09/artcoholic.html making arts in sidewalk from the description above, it can be seen that the definition of street art or street art is dominated by references from the academic world. the perpetrators also come from the middle to upper middle class who can afford to go to college like the art and design students. they are the urban generation who are restless with the state of their city but still see it through binoculars which are quite far away. the main motivation that arises besides wanting to convey public opinion is to selfactualize as a productive art worker. this is good as a sign that there has been a https://visualjalanan.org/web/gerakan-gerakan-sosial-dan-street-art-dalam-perbincangan-dengan-robowobo/ https://visualjalanan.org/web/gerakan-gerakan-sosial-dan-street-art-dalam-perbincangan-dengan-robowobo/ http://creamcreativemagazine.blogspot.com/2009/09/artcoholic.html ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 progressive development of the art scene, but the author feels it is unfair if the discourse on street art fails to cover the proletarian movement of art which is the subject of the problems of the city itself. it is the art of sidewalk streets in blok-m and kota tua jakarta, for example, that has existed since the 1980s. the art media that are present here are usually paintings, drawings and illustrations. the performers of their art work are often called pavement face painters and most of them work by self-taught or self-study, not from academics. many were initially unable to paint at all, but due to economic pressures, they became interested in learning from friends who had existed before. for sidewalk painters, the motivation to create art is, of course, different from urban artists who call themselves street artists, they initially work solely because of economic needs and some even feel that they have no talent, but because they see an opportunity on the street, they muster the courage to learn and work. selfsufficient as an artist. as for the young street artists, their main need is selfexistence, although then greater financial well-being will follow because of their popularity on the contemporary (contemporary) art scene. this artistic activity then becomes a lifestyle. the author himself found that there is another art stage that lives in a community, namely the actual street art stage where the actors are art workers who are still at the stage of working to survive. there are those whose previous professions were unemployment due to unplanned urbanization, buskers, street children, massage therapists, to mobile cigarette vendors. they are the real street artists who come from the 'grassroots' socio-economic circles. by writing about them, the writer hopes that indonesian art discourses can develop more proportionally, dynamically and not one-sidedly. figure 4. street art before independence day source: nationalgeographic.grid.id fransisca retno setyowati rahardjo, lingkar rupa community strategy in developing the actualization … lingkar rupa as an art actualization tool for street artists as in other aspects of the world, in the world of art there are also classes. in the west we know high art and low art which means high art and low art. high art is synonymous with exclusive art and can be collected by capital owners for personal satisfaction motivation, historical interest, or future investment and is very easy to find in galleries, art markets, and auction halls. meanwhile, low art is always associated with industrial products that are popular and quite large in quantity. in the east the concept of high art may be similar to the understanding of the noble arts and the arts of handicrafts. in this contemporary era where everything is equal and free, maybe this is no longer relevant, but in reality there are still barriers that are quite high in attention and appreciation for these various types of media. street artists in the context of artists who struggle to survive on the streets are a class that has not been mapped by the social field of art for various reasons. street artists, according to the author, are a separate class that can be categorized as marginalized artists. it is not without reason that the author analyzes one of the reasons why their motives are considered too simple, namely art only to fulfill the primary needs of life that day, there is no awareness of the issues that are elaborated or social narrative discourse which is actually their own problematic which is very close to their daily experience. days but is not employed due to a lack of education and insight into the arts. they are the losers in the system but still fight as best they can even with the consequences mentioned above. they are the subject matter of art itself. figure 5. high art vs low art by john fisher source: therapidian.org ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 since the presence of the lingkar rupa community, which was initiated by ferry kurniawan, the situation has been dismantled. ferry himself is an academic who graduated from taman siswa graphic arts who was very inspired by the national education ideals of ki hajar dewantoro. like art according to ki hajar dewantara's understanding is all human actions that arise from feelings and beautiful nature, so that it moves the soul of human feelings. therefore, the idea of the lingkar rupa community movement is based on empathy and a sense of humanity. the profiles of the street artists or painters who hang out on the sidewalks of pintu besar selatan are very diverse, but most of them are ordinary people who do not understand art and design at all. the existence of an opportunity in the form of a large enough consumer opportunity and solidarity to share knowledge free of charge among themselves are one of the reasons that make this sidewalk painter profession still exist today. so the technical ability that is obtained self-taught is a result that is sure to be obtained for those who are diligent and consistent. among them painting, many feel that painting is an unintentional profession because their initial profession was unsuccessful or lost in the 'market'. examples of early professions in this street painter group include selling fried rice, buskers, massage therapists, and even unemployment due to layoffs. even though we come from an odd background, we often get unexpected conclusions because such people are able to transform after some time into painters who are able to produce very good image quality and are not inferior to the results of graduates from art and design students and even realist artists (or hyperrealism) though. figure 6. stratification social class of sanento yuliman source: ‘kurasi and kuasa’ fransisca retno setyowati rahardjo, lingkar rupa community strategy in developing the actualization … apart from the determination that produces miracles without relying on talent or talent alone, it turns out that there is still an empty space that is difficult to work on if there is no intervention from other parties. although technically, the expertise of these street painters is unquestionable, there is a lack of knowledge that makes according to the author their existence is stagnant in perspective, which also affects economic stability. the author himself is of the opinion that a broader scientific perspective is a sharper bullet for those who want to work in the art market. for example, there is a misunderstanding when they get an order for caricature works that are supposed to highlight the distinctive character of a person's face in a hyperbole but they actually display the size of the head which is enlarged from the body on an ordinary naive scale. it is very rare for them to have personal ideas other than custom works, if any, only dwell in the area of material experimentation. then lingkar rupa in 2011 came to present discourses, insight into art history, enrichment of social and political issues through routine activities. the traces of this new awareness are then recorded in the works of walls and pillars that support the old buildings where they stand. with the existence of lingkar rupa, art is no longer merely "flea market art" but a medium of expression of real experience or realism. figure 7. logo lingkar rupa community source: privat documentation figure 8. founding father of komunitas lingkar rupa source: privat documentation figure 9. recognition from the government source: privat documentation ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 discussion : partisipatory arts in lingkar rupa indonesia is thick with the culture of 'gotong royong' which is a common thing and has been practiced for generations. it is even stated in the proverb "light is the same as carried, heavy is the same as carried." although along the way these values began to fade with the times and modernism, especially in big metropolitan cities like jakarta, in reality there are still many residents of jakarta who care about the concerned situation around them. usually those who apply these values are overseas residents who experience the romance of 'ngguyub' life in their hometown. in contrast to what is happening in western society, this communal practice is seen as something new if it is applied in a 'new abandoned space', observers will identify it as a specific 'new' art method. figure 10. poster event activation with bank indonesia source: privat documentation fransisca retno setyowati rahardjo, lingkar rupa community strategy in developing the actualization … there is a curator and art critic from england named nicolas bourriard (1965) who is very well known in europe. he revealed that the phenomenon or practice of 'gotong royong' in the art world is known as participatory art. according to bourriad, the works of art that are studied have a 'relational aesthetic' content or are aesthetically related and are participatory works of art. and bourriard also formulated what conditions a participatory work of art must have to be judged successful or qualified, namely: 1. aesthetic relational works are not as simple as interactive works, meaning they have to work in contextual contemporary location spaces and involve 'cultural' aspects on a large scale. 2. performance art works can be categorized as a premium medium to accommodate this artistic activity. 3. the success of relational art depends entirely on the possibilities of the environment and its audience. moreover, this audience is depicted as a participant in a community rather than a one-on-one relationship between the artwork and the audience. relational art sets up a situation in which the viewer is not only addressed as a collective social entity but is actually given the means to create community. in the initiative held by ferry kurniawan as the founder of the lingkar rupa community, we can see the quality of aesthetically related art as in the theory expressed by nicholas bourriard. although not in the context of conceptual awareness of performance art, which is quite complicated, the approach that incorporates itself as an existential artist has demonstrated this relational aesthetic quality. in interviews at every opportunity, ferry kurniawan always tries to encourage his fostered artists to come forward and get to the stage of art exploration, while he himself works more behind the scenes, namely as a drafter, proposal maker, and negotiator if there is an obstacle or need for an agreement. in the end, the attitude shown by ferry kurniawan formed a new habitus pattern among proletarian street artists, namely the habit of discussing, supporting each other, and eradicating prejudice and feelings of inferiority as the 'losing' group in the system because many practitioners, both professionals and academics, participated. join this supportive community regardless of social and economic status. ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 figure 11. learning how to draw a model in live source: privat documentation figure 12. organizing cross-medium art association event source: privat documentation fransisca retno setyowati rahardjo, lingkar rupa community strategy in developing the actualization … figure 13. performance art with paints source: privat documentation conclusion if you read from the perspective of high art and low art from john fisher and sanento yuliman's chart, you will find a discrepancy due to a shift in values. the discrepancy in the shift in value is the claim that low art tends to be of lower value because it does not pay more attention to aesthetics and prioritizes function. in the actualization activity carried out by ferry kurniawan and his friends, the proletarian circle of visuals is on the contrary because the nobility of the cultural vision and mission is more prominently celebrated than accommodating the need for daily survival, so in this context the chart is not very accurate for the street artists fostered by lingkar. appearance. as a comparison, the street artist subculture community with a more bourgeois background can be seen that there is an element of need to express the functional beauty of a site as well as a marker of their existence as artists who still need a 'stage' for contemporary visual artists. (look at figure 14) the fact that the flow of production and consumption of functional aesthetics by the street art subculture artists was eventually absorbed by the owners of capital and the elite also breaks the premise that the followers of low art are low-employed, small-scale traders, unskilled laborers and unemployed. in the context of indonesia, the segmentation of street art subculture players, which is ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 usually classified as low art in the west, actually gets a place in commercial galleries, young collectors, and educated art connoisseurs from the middle to upper social classes. they are willing to buy the work as an investment at a fantastic price. meanwhile, street painting artists continue to wallow in poverty and fall into the category of low art which is actually in the social arena of indonesian art. reading from this comprehensive contemporary phenomenon, the author makes a new conclusion that can summarize the position and actualization of street artists in kota tua today, especially the lingkar rupa community in the social arena of indonesian art. (look at figure 15 & 16) here we can see that the trend and visual style displayed by street artists on the sidewalks of pintu besar selatan jakarta is more of a social realism style typical of modern indonesian art, namely art that emerged before the post-independence era, as promoted by the maestro sudjojono, basuki abdulah, affandi and many more. in addition, there are also several images containing elements of environmental campaigns and side by side with content that voices campaigns about education, reminders of history and the rich culture of the archipelago. although most of their works are 'only' imitating the works of the existing maestro, it can be said that this group of proletarian artists shows more of a nationalist attitude than only being oriented towards the existence and goals of elite commodification of art. figure 14. writer’s version of indonesian stratification social class fransisca retno setyowati rahardjo, lingkar rupa community strategy in developing the actualization … figure 15. mural of “mooi indie” image appropriation source: privat documentation figure 16. imitation image of raden saleh painting and orang utan campaign source: privat documentation ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 references achmad fedyani saifuddin. (2006). antropologi kontemporer, suatu pengantar kritis mengenai paradigma. jakarta: kencana. anindita, gisela. (2020). art and artist movement in banten edi bonetski x pengpeng. ijcas (international journal of creative and arts studies), vol.7 no.2, pp. 137-143. doi: https://doi.org/10.24821/ijcas.v7i2.4656 arifin, moch. zainal, sri sadewo, fx. (2017). analisis fenomenologi tentang motif-motif sosial penggiat seni jalanan grafiti di surabaya. paradigma vol.5 no.1. bishop, claire. (2004). antagonism and relational aesthetics. october magazine.ltd and massachusetts institute of technology. doi: https://doi.org/10.24821/ijcas.v8i2.6304 hakim, salima. (2021). art, the ancient spirit of gotong royong and the global pandemic village. ijcas (international journal of creative and arts studies), vol.8 no.2, pp. 133-143. hujatnikajennong, agung. (2015). kurasi dan kuasa: kekuratoran dalam medan seni rupa kontemporer di indonesia. komite seni rupa dewan kesenian jakarta. kaplan, david dan robert a. manners. (2002). teori budaya. yogyakarta: pustaka pelajar. minissale, gregory. (2013). the psychology of contemporary art. cambridge university press. purwantono, antonius. (2021). stensil sebagai media aspirasi dalam wacana desain komunikasi visual. dekave vol.01 no.3. 75 volume 9 nomor 1, june 2022 p-issn 2339-191x | e-issn 2406-9760 p 75 – 83 creative learning in covid-19 pandemic: a case study in major subject, church music department-the way bethel theological institute johanes kristianto stt bethel the way jakarta jalan tanjung duren, blok g, no. 1d-1l, west jakarta e-mail: johanes.kristianto@sttbetheltheway.ac.id | johaneskristianto3@gmail.com abstract within the pandemic era, the traditional education system has been transformed into e-learning based, with learning held through the help of the hardware, software, and the internet. music higher educational system in indonesia usually used direct engagement, but the pandemic changed this system to be e-learning based. e-learning separated lecturer and student by distance, where both have a problem: a bad signal, limited insight about meeting application, and audio delay. therefore, the lecturer has to find a new way to encourage the student to find a novel learning habit during the pandemic, for instance, give the task to the student to upload a video to youtube. this paper describes a novel learning habit in the music learning system during a covid-19 pandemic. in the qualitative method used in this paper, the writer interviewed six enrolled students from different majors, including piano, drum, and guitar. data was collected with semi-structured interviews through zoom meetings. the interview was in indonesian, just a point of view that was translated into english. this paper found that students could interpret some values from this pandemic as follows: 1. how students got to manage a new approach based on remote learning? 2. what expertise of students can support the major subject? 3. how students got the priceless value of peer interaction during the pandemic? keywords: e-learning, creative music learning, covid-19 learning system, music higher educational system pembelajaran kreatif di masa pandemi covid-19: studi kasus mata pelajaran utama, jurusan musik gereja-the way bethel theological institute abstrak dalam era pandemi, sistem pendidikan tradisional telah bertransformasi menjadi berbasis e-learning, pembelajaran tersebut ditunjang piranti keras, piranti lunak, dan internet. sistem pendidikan musik di perguruan tinggi biasanya menggunakan pendekatan tatap muka langsung, tapi pandemik mengubah sistem tersebut ke dalam pembelajaran berbasis e-learning. e-learning memisahkan jarak dosen dan mahasiswa, keduanya memiliki kendala yang serupa, contohnya: sinyal yang buruk, pengetahuan yang terbatas dalam menggunakan aplikasi pertemuan, dan lambatnya suara yang diterima pendengar. oleh karena itu, dosen perlu memikirkan ulang cara untuk mendorong mahasiswa menemukan kebiasaan belajar baru selama pandemi, misalnya memberikan tugas kepada mahasiswa dengan cara mengunggah video hasil belajar ke youtube. penelitian ini mendeskripsikan kebaruan dalam sistem pembelajaran musik selama pandemi. kualitatif adalah metode yang digunakan mailto:johanes.kristianto@sttbetheltheway.ac.id 76 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 dalam penelitian ini, penulis mewawancara enam mahasiswa aktif dari mayor yang berbeda; piano, drum, dan gitar. data dikumpulkan melalui wawancara semiterstruktur yang dilakukan di aplikasi zoom. wawancara dilakukan menggunakan bahasa indonesia, hanya poin-poin penting yang ditranslasi ke dalam bahasa inggris. penelitian ini menemukan bahwa mahasiswa dapat menginterpretasi beberapa nilai yang berharga dari masa pandemi ini, misalnya: 1. bagaimana mahasiswa mengelola pendekatan baru dalam pembelajaran jarak jauh, 2. mampu melihat kemampuan apa yang dapat menunjang perkuliahan mayor, 3. mahasiswa mendapatkan nilai yang berharga dari interaksi tatap muka selama pandemi. kata kunci: e-learning, pembelajaran musik kreatif, sistem pembelajaran covid-19, pendidikan musik dalam peguruan tinggi introduction president joko widodo declared; that covid-19 had been spread in indonesia in march 2020 with three positive patients. this phenomenon firstly happened in depok, west java (https://indonesia.go.id/). covid-19 affects every single worldwide activity, the education sector included. it has changed traditional education to the educational technology system. according to unesco, 63 million teachers were affected in 165 countries. one point three billion learners worldwide could not attend school or university, and approximately 32,07,13,810 were affected (unesco, 2020). therefore, the learning system switched to e-learning. the music ministry department is a part of the way bethel institute the way institute. in this institution, each student has a different learning approach. during pandemics, the traditional learning system transformed into e-learning, where all learning has no direct engagement. this department has various subjects: piano, guitar, and drum. those subjects tend to be through a classical music curriculum. students get new insights during pandemics, like practice management and editing audio and video. classical music is quite different from electronic music, the sound of wood. it means that when students play music, it does not use sound effects and unplugs in electricity. e-learning e-learning, or the electronic learning approach, is used electronically to support this learning. because of that, e-learning can be called online learning also (eveline siregar, hartini nara, 2011). according to soekartawi, haryono, libero (2002), e-learning is definited as a generic term for all technologically supported learning using an array of teaching and learning tools such as phone bridging, audio, and videotapes, teleconferencing and satellite transmission. they also noted that 77 johanes kristianto, creative learning in covid-19 pandemic: a case study in major subject … the benefit number of e-learning is pretty much it, but there is a lack of those at the same time, as follows: 1. lack interaction of between teacher and student, even though peer-student 2. business-oriented and denied the social value 3. the learning process tends to course 4. a student that has no high motivation tends to fail 5. place and students often not connected to the internet according to their research, the problem with students and lecturers is a lack of interaction and internet access. one of the institutes affected by this phenomenon is the way bethel theological institute, located in west jakarta. even though it is located in the capital city, the students are from several small cities in indonesia. the institute has many study programs, so the writer focuses on the church ministry study program, particularly major subjects: guitar, piano, and drum. unlike traditional learning, during pandemics, we occasionally approached direct class but frequently used e-learning: student and lecturer separated by distance. zoom is an application that was chosen in e-learning because it is easier and more efficient than other applications. besides zoom, lecturers usually used google classroom, and these applications functioned to submit the task. there are many tasks, such as submitting papers, exercises, and videos. the video needs to upload to youtube monthly and the link sent to google classroom. when students capture the video repeatedly, they attempt to get optimal results. of course, they have many opportunities to curate the video—these a novel things in their campus life. otherwise, in direct engagement, the students have a one-time opportunity only to present their exercise results to the audience. writer guesses that in traditional learning, students lack time to learn their exercise material. on the other hand, this is good news to fix students’ bad habit of exercising in a major subject. creativity definition according to runco and jaeger, the standard and definition of creativity are bipartite, requiring originality and effectiveness. originality is undoubtedly required but has to combine with effectiveness. because originality is vital but insufficient, it needs to fit and appropriateness (runco & jaeger, 2012). creativity is the ability to solve problems that one has not previously learned how to solve. creativity in education can be regarded as applying multiple and new strategies (mayer, 1989). those references give the writer perspective on creativity, which is an ability to solve problems with new strategies. 78 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 framework during the pandemic, students went through uncommon phases; schiavio, biasutti, and philippe constructed experiences for their participants and concluded the study with this framework. the immersion phase is when informants adapt to circumstances after adapting their systematization with the many points of view, as follows implementation, creative learning, and peer interaction. the interpretation phase is a phase in which participants could reflect on many things they are struggling with; in this phase, each informant got creative learning based on their experiences (schiavio et al., 2021). table 1. overview of codes and macro-categories no. codes questions implementation 1. missing opportunities what difficulties are there during e-learning? 2. benefit what are the benefits of e-learning? creative learning 3. novelty seeking is there any other expertise to support major subjects during a pandemic? 4. improving performance what could things be improved in major subjects during a pandemic peer-interaction 5. the need for collaboration how to do peer collaboration during a pandemic? 6. rediscovering interactions what do you think about friendship value? explain the interaction pattern also. figure 1. framework source: schiavio et al., 2021 79 johanes kristianto, creative learning in covid-19 pandemic: a case study in major subject … method this research used a qualitative method with semi-structured interviews through zoom meeting. at least six students from any majors have been interviewed using indonesian. the interview has been transcribed verbatim, but keywords are only translated to english. in this research, the writer attempts to describe the creative learning of each student during the covid-19 pandemic, particularly in the higher education system. interview results have been coded; the codes are from the framework. after coding, the writer reduced the data and then presented it to the reader. coding is a data operation process collected from each part and written the category in borders (rossman & rallis, 2012). participant a total of six enrolled male students were interviewed in this study, whose ages ranged from 19-27. their main instrument is called major, as follows: piano (n= 2), guitar (n=2), and drum (n=2). most majors in these institutions tend to be projected to classical music based on wood in musical instrument material. participation in this study is voluntary; they do not receive payment, credits, or financial reward. a writer chooses participants because they are a sample of their batch and major. all participants were informed about the information that had been anonymized. result and discussion after collecting the data from the interview, this study finds new teaching approaches, the emerging forms of creative learning technology-based, and the transformation of peer interaction and collaborations. codes describe those points in the framework. to keep the anonymity of all informants, the writer signed those with p 1-6. implementation missing opportunities: • the students get difficult things in the early phase. • they get wrong signals, challenging to see a clear tone and position from the lecturer. • interestingly many things distract them, like a noise from a vehicle and a parent’s call. “the difficult thing when e-learning is everything is limited, sir, like last time there was a case where i learned the right-hand position. so, the right hand is straight (in a while pointed to the right hand), that is sturdy, nor this (in a while pointed to the right hand). that is an 80 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 authentic position from others, i just learned. but when e-learning, it was pretty hard, sir, because i did not see the lecture’s gesture, i did not see”. (p.5) “[...] there are many things that distracted me, sir. for example, when i was present my playing in zoom, there was a parent’s call and noise from a vehicle, it was very disturbing me”. (p.6) however, if there is any solution to fix the lousy signal from other students, they suggest that each student has to have a musical instrument, called a soundcard. through the soundcard, the sound that is sent to each computer is better, at least sounds clear. interestingly, any student hopes that someday the internet will be 5g. “oh, i know, sir, the solution is that each student has a proper laptop and soundcard, likewise the lecturer, if connected to the soundcard, we get a smooth internet. therefore, if we ppw (pray, praise, and worship) on campus used soundcards, it would be smooth. but since the soundcard is broken, it is ineffective. so, when we do ppw, it is more simple, just play the guitar. so, when we used the soundcard, the audio and video were clear”. (p.2) “i hope 5g could improve the speed of signal”. (p.1) benefit: normally, when students get cons, they get pros also. based on the interview, the writer found that students benefit from e-learning and time management particularly. unlike onsite learning, in e-learning, students found a long time to do many activities. they spent practice time longer than usual. on the other hand, they could evaluate the result of expertise from a video they took. “i felt that i have practised more since e-learning”. (p.6) “i tend to practice more than usual, of course, because i am just at home”. (p.1) “personally, i projected in evaluating more sir, my technique particularly. in this semester, my target is to improve my technique, sir. so, like my right hand, i think i need to practice more. although the technique depends on each person, sir, because each other has different anatomy. it may work for the person, but it is not necessarily for others. so, i prefer to learn in these areas”. (p.5) on the other hand, most students felt another benefit from this approach: the students felt that the lecturer appreciated their effort. it is proven through scores that they see in google classroom. “if through e-learning the lecturer gives the task through a zoom meeting, then provide a facility in google classroom. so, students could see the scores directly, sir. so, every learning material given could be assigned and commented on. google classroom is more effective and easier”. (p.6) 81 johanes kristianto, creative learning in covid-19 pandemic: a case study in major subject … creative learning novelty seeking: during a pandemic, the students submit the task through google classroom; they play and record in those videos. the lecturer talks to them to edit the video; the student can get new expertise. students could edit the video and mixing-mastering audio with daw (digital audio workstation). this expertise is one of the most important in the future. through daw, students could present proper audio. “i learned basic mixing and mastering, sir, praise and worship during e-learning, like or dislike, i have to do it. then learn with others, luckily in my church paid for the professional one, so i learned, i brought the laptop [...] yes, sir during a pandemic, i learned basic mixing and mastering”. (p.3) “ok, sir, so i learned how to edit video. because we need to upload to whatsapp (wa) and youtube to present the video, that is all, sir”. (p.4) “[...] the lecturer told me about the kind of microphone and the function? after that, he talks about all aspects. he told me to record the sample song “ku bersyukur bapa”, there is guitar, vocal, drum, and bass. moreover, the most important for me is how to micing, sir. approximately if just any one mic, how to capture the audio? how do blocking? so i play the drum, and then my friends set the blocking of the mic. likewise, on acoustic guitar, we learn how to micing. i also learned to operate daw, called reaper.” (p.2) improving performance: during a pandemic, they improve their exercise pattern and increase practice time. before the pandemic mostly has three times a week practice, but during the pandemic, they increase their run-through per week. perhaps they got increased double time than usually. “perhaps 5-7 times in a week, sir”. (p.5) unlike the onsite learning which they have one time opportunity to present they best to the audiences. during a pandemic, students get an emerging form of practice; the way is recording the video. every record one video, they take 7-10 times before submitting the task. it means they have many opportunities to curate the best video. after curating, they submit the video to google classroom or wa. “ten, sir, i record up to ten times in a day. even though i have been playing for two days, i retake my playing”. (p.6) in addition to improved practice time, any student who practices their ear and musical intuition. “i projected my time to listen to more songs, whatever that, whether a secular song, worship songs, like that, sir”. (p.4) 82 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 peer interaction the need for collaboration: interaction is an essential aspect of learning, peer interaction particularly. in class, perhaps most students who hesitate to talk they thought to the lecturer find alternative insight from peers. interaction transformed from direct to virtual meetings; they usually use wa and open zoom meeting room until late at night. those platforms discuss campus life, daily life, and tasks. “to be honest, interaction through virtual is difficult, sir. for example, i just met two times with a senior”. (p.6) “usually after class, i usually wa call and ask them to explain a little bit”. (p.3) “oh, i prefer direct messages or in the wa batch group, but talk. however, in my batch, often a week, my friend is in an open room in zoom called “bincang subuh”, so we talk about everything but still on the track, which means campus life and daily life”. (p.2) however, on the other side, a student gets positive things from this circumstance. he gets networking with another student from another campus, and they make an appointment and discuss musical things. “networking, sir. if i did not do e-learning, it would be impossible to spend time with friends, even though i should be in the past. because if there is onsite learning, sure i will focus on the campus activity, sir.” (p.3) rediscovering interactions: the students guess that friendship is priceless in their life; they never know if their friends will help in the future. “friends are important, sir, in my opinion, means even though not pretty help at this time, we never know whether we get partnership or not with them in the future. so, i do friendship, nurture it, like that, sir”. (p.3) the pandemic made students more selective in bonding with each other. they see that peer interaction has decreased since the pandemic. “ok, sir, in my opinion, the value of friendship is coned. so, the value of a friend is just understood; who cares about me, it does not mean the others do not support me, but i just understand. “oh, i see, that is it. perhaps, they have another business, so like or dislike coned, sir, for speed up understanding the lecture or maybe applying in daily life, that is all, sir”. (p.4) discussion this study describes any students who have experienced struggling during a pandemic; six students enrolled have been interviewed. they interviewed with a semi-structured method; the writer found three outline aspects from this study, as follows: (i) how students got to manage a new approach based on remote learning, (ii) what expertise of students can support the major subject, (iii) how the student 83 johanes kristianto, creative learning in covid-19 pandemic: a case study in major subject … got the priceless value of peer-interaction during the pandemic. nevertheless, students experience many difficulties, but after a while, they find another way to fix their habits. those outlines describe the circumstances during a pandemic. also, fortunately during pandemics, the students can interpret what they are struggling with. from the interview, the writer noted that any student could interpret the benefit of e-learning. on the other hand, they suggested how e-learning could be implemented. they suggest whether the lecturer or students have to have the proper hardware to support the learning. in addition, they interpret the critical value of peer interaction. the writer's consciousness in this study has limitations; for example, the student condition does not represent another institution with a major subject. in addition, the writer just did interviews with male students. it is possible if the female student's perspective has different arguments. in the future, the study must involve a theoretical subject because this study involves a practical aspect. then, involving female students is an excellent option to enrich future research perspectives. references mayer, r. e. (1989). cognitive views of creativity: creative teaching for creative learning. contemporary educational psychology, 14(3), 203–211. https://doi.org/10.1016/0361-476x(89)90010-6 rossman, g., & rallis, s.e. (2012). learning in the field: an introduction to qualitative research (3rd edition). thousand oaks, ca: sage. runco, m. a., & jaeger, g. j. (2012). the standard definition of creativity. creativity research journal, 24(1), 92–96. https://doi.org/10.1080/10400419.2012.650092 schiavio, a., biasutti, m., & antonini philippe, r. (2021). creative pedagogies in the time of pandemic: a case study with conservatory students. music education research, 23(2), 167–178. https://doi.org/10.1080/14613808.2021.1881054 siregar, e., nara, h. 2011. teori belajar dan pembelajaran. bogor: penerbit ghalia indonesia. soekartawi, haryono, librero, f. (2002). greater learning opportunities through distance education: experience in indonesia and the philipphines. southeast journal of education (https://indonesia.go.id/narasi/indonesia-dalam-angka/ekonomi/kasus-covid-19pertama-masyarakat-jangan-panik). (https://en.unesco.org/news/13-billion-learners-are-still-affected-schooluniversity-closures-educational-institutions) 19 design science: approach to build design thinking for student winta adhitia guspara design product department, faculty of architecture and design, ukdw yogyakarta jl. dr. wahidin sudirohusodo, no. 5-25, yogyakarta 55224 e-mail: guspara@staff.ukdw.ac.id abstract the existence of products (artifacts) was not a major element in the design paradigm. product is like tools to help for designing scenarios, realizing the future, and building design knowledge. planning and making of a product should have an interconnection between the user, product and environment (e.g. space, social, ecological). accordingly, three main aspects work on the interconnection of product existence. first is the "action" aspect that the product created when changing user behavior. the second is the aspect of "matter" which talks about functions and purpose to meet user needs. the third is the aspect of "limitation" that arises when every limitation, need, and behavior meets each other. there is one important thing in that discourse, which is how the three aspects (i.e. action, matter, limitation) work and they are interconnected to build of the three design goals (i.e. scenario, future, design knowledge). the fundamental problem for product development was the gap between design theory and design practice. this situation occurs because the development of a product has been moving from the past and present until the future. the issue of conditions and time could not be done through sketches, visual images or also involving tinkering processes involving components and materials. relied on that, this article invites us to discuss design in a frame of mind called design science. the background of this discussion is an activity, process and design thinking that takes place and address product design students when developing a product. the goals to be achieved through this article is to get compatible design knowledge between the theory (head) and practical aspects (hands). keywords: design science, design knowledge, design thinking, product development design science: pendekatan untuk membangun cara berpikir desain bagi mahasiswa abstrak keberadaan produk (artifak) bukan merupakan unsur utama dalam paradigma desain. produk lebih merupakan alat untuk merancang skenario, mewujudkan masa depan, dan membangun pengetahuan desain. perancangan dan pembuatan sebuah produk harus dapat menghubungkan antara pengguna, produk dan lingkungan (e.g. ruang, sosial, ekologi). berdasar hal tersebut, terdapat tiga aspek utama yang bekerja pada hubungan keberadaan produk. pertama yaitu aspek “action” yang ditimbulkan oleh produk ketika merubah perilaku pengguna. kedua ialah aspek “matter” yang berbicara mengenai fungsi dan tujuan untuk memenuhi kebutuhan pengguna. ketiga ialah aspek “limitation” yang muncul ketika setiap ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 20 keterbatasan, kebutuhan, dan perilaku saling bertemu. terdapat satu perkara penting dalam wacana di atas yaitu bagaimana ketiga aspek (action, matter, limitation) bekerja dan saling terhubung untuk membangun ketiga tujuan desain (skenario, masa depan, pengetahuan desain). masalah mendasar untuk pengembangan produk adalah kesenjangan antara teori desain dan praktik desain. situasi ini terjadi karena pengembangan suatu produk bergerak pada masa lalu, sekarang, dan kedepan. persoalan kondisi dan waktu ini tidak bisa hanya dilakukan melalui sketsa, gambar visual atau juga melibatkan proses utak-atik yang melibatkan komponen dan bahan. berdasar pada hal itu, maka artikel ini mengajak untuk membahas desain dalam sebuah kerangka pemikiran yang disebut sebagai design science. latar belakang pembahasan yang digunakan ialah aktivitas, proses dan berpikir desain yang berlangsung pada mahasiswa ketika melakukan pengembangan sebuah produk. hasil yang ingin dicapai melalui artikel ini ialah mendapatkan pengetahuan desain yang kompatibel antara teori (kepala) dan aspek praktis (tangan). kata kunci: design science, pengetahuan desain, berpikir desain, pengembangan produk introduction relied on the fundamental learning of humans that was well-constructed by transposes meaningless feelings into meaningful ones (i.e. tacit knowledge) (polanyi, 1966), i would like to begin with a brief review of indonesian terminology as known as “reka-yasa” (rekayasa). according to the indonesian language dictionary (kbbi), reka means organizing, arranging, planning, presuming, expect. while, yasa on indonesian-java dictionary means inventive, making, made in, fabricating, manufacture, to wrought out. in other words, rekayasa (kbbi) has a meaning as the implementation/application of knowledge into a practical field/to execute/to make do/an order. grounded in my study of tacit knowledge (guspara, 2018 (a); guspara, 2018 (b); guspara, 2018 (c); guspara, 2018 (d); guspara, 2019), rekayasa has described as arranging/gave a thought to mapping out a model, pattern, situation, condition, problem, form, the structure into an activity of building up or making. today, we are living in the man-made world (i.e. rekayasa) than it is a natural world. our activity daily living shown that almost every aspect of us depends on human artifacts, start from toothpaste until humidity which is produced by the air conditioner (simon, 1996). however, the man-made world could not be neglected from human activity when they faced their problem to survive, and we called that activity as a design. for example, the artifact of archaeology shown us the design activity while the ancient people made a stone sickle blade for harvesting (goodale et al., 2009) or cooking stove (nystoom, 1985). the matter of fact, the design had a strong contribution to a man-made world, and product to be one of the winta adhitia guspara, design science: approach to build design ... 21 important things in these circumstances. start from this opinion, the design would be generated from the craftmanship era (i.e hands-on) to the draughtsmanship era (i.e. design process) when the industrial design had been started. the world situation today, design, as well as industrial design, can not speak about the product as it is a goal anymore. there is any situation or scenario that we have to change or build using the product, and some of the views we must deal with a wicked problem (rittel, and webber, 1984). a question in design study related to this situation is ‘what is the next an essential constraint when the design has passed through a handson process and design process, and how we teach the student to face it’. to answer that question, i would like to discuss a body of design knowledge through a design science perspective which is an approach to bridge tacit knowledge toward creativity or particularly about a practical activity (i.e. knowhow) and into knowing (i.e. know-what) (ryle, 2009; holmstrom et al., 2009). following simon and wieringa there is any two of a kind prominent situation in design science, that is (1) practical problem which following with a design question and addressed for a change the world, and (2) research problem which have a knowledge question and deal with a change knowledge about the world (simon, 1996; wierenga, 2009). both of them have interaction with each other, as it is a combination of methods in design activity. method according to simon, the design is a relationship between attaining goals with devise artifacts and concerned with how things ought to be (simon, 1996). so this study focuses on what should have any for produce knowledge by creating a product and how a learning strategy to following it. the most important aspect of them is the logic of design which born from finding alternatives through synthesized. hence, this study used action research methods (somekh, 2008) to continued a rationale from simon thought. for doing this (fig. 1), i work in any collaborated with a few students to finish our project for creating a product (e.g. studio class, exhibition project). ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 22 figure 1. model of action research source: somekh, 2008 step 1: to find what students have, we had brainstorming to found out of theme for their project. in our discussion, i laid on a parameter which is the urgency of theme, a problem or situation that has to be done, and people who had a contribution to work with. usually, i asked the student to found out the relationship between their theme, design issues, sdgs view, national agenda, and a situation around them. step 2: there are two kinds of situations in design activity, which are (1) research problem and (2) design problem. so, i will ask the student to found out the gap between the needs and the situation ought to be. there is two way that student able to do, (1) found out through literature (i.e. journal, article, book) or (2) found out using creating prototype and tested. step 3: starting from what the student decides, we look back at the problems found and the goals to be addressed. the process will lead students in difficult situations, especially looking for real problems and alternative solutions. sometimes, students need other methods to achieve it, but they don't know the exact method and the correlation between the methods. step 4: the next process is iteration and refinement, in the form of making a prototype that continued with testing or testing of the prototype that followed by reviewing the theory used. winta adhitia guspara, design science: approach to build design ... 23 step 5: the final report writing has done through reflection and synthesis which involves the relationship of every single step in design activity. practical work this article is based on work on studio classes and competition projects. the students have involved ranged from twenty-two people with different themes, namely (1) studio class with inclusive design theme, (2) competition projects with the disaster preparedness theme. particularly, the project re-usable material and disaster preparedness projects were not only followed by product design students but also involve students from information technology, medical education, and biotechnology. 1. studio classes this studio class has laid on the ergonomics approach as the basis for design activities and the chosen theme is designed inclusively. the basic understanding of ergonomics in design has been obtained in previous classes, so this class is an intermediate class based on research to get product novelty. as well as the studio class, the initial session begins with introducing the following inclusive design with an intended population and extreme users as respondents. besides, our initial discussion talked more broadly about the relationship between the sustainable development agendas, the indonesian national agendas, and the phenomena around us. an example is a relationship between an increasing number of elderly demographics, available products, and productivity. on behalf of ergonomics in design, those talked refers to elderly behavior, product usage, anthropometry, body mechanics, and gaps that arise. in this process, students are not only asked to know the phenomena that occur but also found design problems. the case at this stage is students often do not know that getting data in every aspect requires a variety of methods which interrelated with. therefore, we need a strategy that students able to know the methods needed and understood the purpose of the method. for example, it is a case when the elderly doing clothes washing activity at the nursing home. at this stage, students will make observations toward habits of clothes washing, body posture, and product usage without any understanding of the tools and methods that should be used to conduct research. the initial information that can be collected by students in the elderly is doing the washing activity without a washing machine. the activity has lead to various complaints most like back pain, fatigue in the shoulder, and numb on the hands. the results are not wrong, but very often students cannot find a more specific relationship to the information obtained. refer to this case, students were asking to make problem mapping has shown in figure 2, which has contained ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 24 a next propose and method to be used for research which has shown in figure 3 for an example. figure 2. model of problem mapping source: guspara, 2017 figure 3. case of problem mapping source: anggia nadya, 2019 by collated a problem mapping, students able to find relationships between problems and build concepts for their research. furthermore, they found the right winta adhitia guspara, design science: approach to build design ... 25 method which applied for a process of finding alternative solutions which shown in figure 4. figure 4. case of alternative solution source: anggia nadya, 2019 2. competition project this competition project used a different method from the studio class process. the studio class starts with literacy, but in this competition, the project has started directly by making prototypes to look for design problems. for the record, this competition project involves other students in addition to product design students, which means is they are not accustomed to the design process. following this situation, i need other methods to ensure they can find design problems. the way which i took is to ask the students to look for existing products and compare those products. the basis for comparison of those products refers to a thinking model that i develop (fig. 5). in this process, students would analyze existing products through their identification of need requirements, based on userproduct-environment interaction (fig. 6). the results of their analysis would be transformed into a prototype (fig. 7) which is tested on respondents in the next step. through usability testing, students get some inputs which are continued in the completing of utilities. the continuation of this process has asked students to look for literature to get a more holistic refinement process, such as an interlocking system for safety and a lamp buzzer that used by the squad rescue to detect survivor. ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 26 figure 5. thinking model of user-product-environment interaction source: guspara, 2017 figure 6. case of identification and analyzed of user-product-environment interaction source: guspara, 2019 winta adhitia guspara, design science: approach to build design ... 27 figure 7. the prototype of the protection table source: guspara, 2019 theoretical framework stigma about the task of the designer as a problem solving brings a very complicated situation, starting from the pre-structure of the problem to the transformation to solve the problem (hillier et. al, 1984). understanding the "problem" itself has a variety of basics situations, such as ignorance and gap (robertson, 2017). an example is the ignorance of ways to arise goals or the availability of products which not support operations for users with special needs, that situation illustrates to the problem resides on "limitations" as well. besides that, the problem is also closely related to "time" which means it is bound by a causative condition. a journey of time in the past and present has given many variables for problems to be complicated so that we have a wicked-problem situation arises (rittel and webber, 1984). time gives shifts in ways of thinking, the trajectory in technology, changes in behavior, and the way people interact. this situation must be faced by a designer, therefore, the only way to step out from that situation is to create a new scenario for the future which based on these shifts and changes, this is similar to future casting or that is even like a foresight. i often tell students about this situation is like a time traveller who goes alone to explore time and return to the situation today to push people to change without knowing why. therefore, ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 28 people will just really realize the real usefulness of the product when they saw and tried it. gradually their behavior will change following the features offered by the product. the most important thing from problem-solving lies in the process of finding out a few of knowledge. produce of knowledge was gained through a synthesis process, so students be able to see the problem more clearly and have a few alternative ways that able to use. weaving in the synthesis process cannot rely solely on design theory, but requires practical experience. they work simultaneously and synchronously in the process of finding problems, formulating alternative solutions, and creating new scenarios to solve the problems (jones, 1970). so, the experience of a problem solver is crucial in the synthesis process because that experience determines how much knowledge do they have. accordingly, a frame of discussion in this article uses the perspective of tacit knowledge, which i suspect strongly plays a role in the design science approach. tacit knowledge does not only talk about skills but also focuses on expertise, such as thinking skills and translating a concept into practice areas (leplat, 1990). likewise with happens in the design world, not only about creating objects but how concepts are built are very close to the objects created. so, this kind of knowledge helps to condition a very closely between theory (head) and practical field (hand) (niedderer, 2007). the situation has seen in student experience while completing their project. finding the problem is not easy and is closely related to the method used to search. they must be as close as possible to reality and try several methods to be able to weave the problems faced and find the gaps which conduct into a design problem. this mechanism is sometimes difficult to explain explicitly because it is very situational and depends on the foresight of students as well. the process of finding a design problem is closely related to a way to look at the problem, and this condition must begin with formulating the research problem. so, there are two focuses at the beginning of their project and related to methodological problems, namely (1) research problems are connected with knowledge questions and (2) practical problems are connected with design questions (wieringa, 2009). the biggest problem for product design students lies in the transform from design concepts into a product. students not only make a product but must also lay down a product into a context of the problem that needs to be solved. this situation leads students to a design decision that must take into consideration the interconnection between several aspects, such as aspects of the user, production, utility, social, ecology and economics. speak frankly, students must make a comprehensive choice to determine problem-solving. starting from these concepts, students must be realized the difference between functions as a tool for solving technical problems and usability as a tool for dealing with the context at hand. winta adhitia guspara, design science: approach to build design ... 29 specifically, the "function" speak about how to overcome restrictions such as mechanical load or physical limitation and the "uses" talk about behavior changes or ways of thinking, these two things will bring a new experience for users. students must also be directed to be able to do the derivation of the two basic thoughts. an example is the developing of material technology that has a relationship with material strength and aesthetic shape (i.e. material property) or product features that provide opportunities for more users (i.e. inclusive design). reviewing from that case and the discussion above, then i offer a way that can more help students for design activities. i argue that this method can bridge the gap between the theory (head) and practice (hand). the composition of design activities that i offer is prototyping, interaction, re-engineering, utilization and synthesizing or called pirus. i will discuss this design activity more detail in another article, but i can simply describe it as follows: activity information prototyping modelling by considering the newest products on the intended design issues. the aspects which are considered in this stage include body dimensions (static and dynamic anthropometry), operating systems, component functions, inter-component work, materials used, fabrication techniques, shapes, and uses. the results of these considerations are the form of product specifications and maps of the required user capabilities that need to make a basic model. interaction a data collection on the relationship between product-userenvironment through direct trials using a model that has been made. the trial that must be done is doing against prospective users by taking into calculating the operation needs to get feedback from the user. re-engineering prototyping improvement based on the result of the trial by developing in more detail the technical performance and still taking into account external factors. utilization planning of support capacity that has possible for operations related to other broader needs, including giving more users to be able to carry out operations. synthesize the zoom in zoom out the process for all aspects involved and connected. ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 30 discussion design, especially product design, is not only talked about making an object. a product could not solve the problem, but an improvement in the thinking process could determine the object which addresses to faced the problem. this perspective could give us a big picture that a problem solving very close to the production of knowledge by the student. the ability to find the problem in every aspect of information at each level and weaving them into an essential problem, which is constituted a part of knowledge production. through the clear problem that they found, the student would create many alternative ways for the solution clearly and also known about the interaction one and another. so, it is like a detective when comes to place in crime and starts to look detail aspect to build their theory. at the end of this article, i invite all of you to discuss this design science approach. based on my experience, this type of approach did not only helps students to produce knowledge but also helps us to formulate learning strategies. in other words, the production of knowledge carried out by students is also very dependent on the learning strategies that lecturers provide. students are freer to make their concoctions of the methods used to be faced with the problem at hand. in other words, the production of knowledge carried out by students is also very dependent on the learning strategies that lecturers provide. this situation also relates to the world we face today, about big bank data, about how one can learn from the others very quickly and easily. now, learning has not an era to feed through with many theories anymore but it is more about how to develop ways of thinking, and design through the design science approach can answer that situation. finally, i want to talk that creativity is talking about how to improvise an experience. improvisation requires knowledge and automatically generates new experiences, which means to produce new knowledge. learners would make changes in their knowledge through the realities that they found. references bill hillier; john musgrove; pat o'sulivan. (1984). knowledge and design. in developments in design methodology (pp. 245-264). new york: john wiley & sons. guspara, w. a. (2018) (a). cara dan model berpikir dalam pengetahuan tersirat: studi kasus metode tempa. seminar nasional ergonomi. medan. guspara, w. a. (2018) (b). kreativitas dan keputusan personal dalam pengetahuan tersirat: studi kasus metode tempa. yogyakarta: pascasarjana isi yogyakarta. winta adhitia guspara, design science: approach to build design ... 31 guspara, w. a. (2018) (c). perkakas, ketukangan, dan pengetahuan tersirat. in craft dan desain di indonesia (pp. 44-56). bandung: adpii. guspara, w. a. (2018) (d). thinking in making: a models translating information by the blacksmith. icapas. yogyakarta. guspara, w. a. (2019). craftmanship: sudut pandang pandai besi. dinamika kerajinan dan batik, vol. 36, no. 1, p. 1-16. horst w.j. rittel; melvin m. webber. (1984). planning problems are wicked problems. in developments in design methodology (pp. 135-144). new york: john wiley & sons. jan holmstrom; mikko ketokivi; ari-peka hameri. (2009). bridging practice and theory: a design science approach. decision sciences, vol 40, no. 1. jones, j. c. (1970). design methods: seeds of human futures. hertfordshire: john wiley & sons, ltd. leplat, j. (1990). skills and tacit skills. applied psychology: an international review, pp. 143-154. nathan goodale, heather otis, william andrefsky jr., bill finlayson, ian kujit, ken bart. (2009). sickle blade life-history and the transition to agriculture: an early. journal of archeological science, elsevier. niedderer, k. (2007). mapping the meaning of knowledge in design research. design research society. nystroom, m. (1985). kitchen and stove. grahns: lund university. polanyi, m. (1966). the tacit dimension. chicago: the university of chicago press. robertson, s. i. (2017). problem solving. new york: routledge. ryle, g. (2009). the concept of mind. new york: routledge. simon, h. a. (1996). the sciences of the artificial. massachusetts: mit press. somekh, b. (2008). action research. in l. m. given, the sage encyclopedia of qualitative research (pp. 4-7). california: sage publications, inc. wieringa, r. (2009). design science as nested problem solving. university of twente. 123 volume 8 nomor 2, december 2021 p-issn 2339-191x | e-issn 2406-9760 p 123 – 131 effectivity of asynchronous learning on theoretical compared to theoretical-practical courses at film department universitas multimedia nusantara annita1, yosef budi susanto2 1film department, universitas multimedia nusantara 2graduate program in management of technology, universitas multimedia nusantara e-mail: 1annita@umn.ac.id, 2bsusanto@umn.ac.id abstract implementation of the e-learning method is a necessity, both synchronous and asynchronous modes. universitas multimedia nusantara (umn) encourages all of its study programs to implement both synchronous and asynchronous. meanwhile, there are two types, of course, theoretical and theoretical-practical courses. due to the specific nature of its learning process, the effectiveness of asynchronous learning is not yet proven. this research aims to evaluate implementing the asynchronous method on theoretical and practical courses at film department, umn. the research was done quantitatively, using descriptive analysis and comparative test method, involving two hundred ninety-five respondents who participated in the study by filling questionnaires. the evaluation was done on the effectiveness of seven courses categorized into two types: theoretical and theoretical-practical courses. the results indicate that the implementation of asynchronous e-learning on seven courses is effective. furthermore, there is no significant difference between the implementation of asynchronous elearning on theoretical and theoretical-practical courses. based on this study, it is recommended that lecturers who apply asynchronous learning in their classes be more active in responding to the students. challenging activities can also be added to make the discussion forum more active. keywords: effectivity, asynchronous, online learning efektivitas pembelajaran asynchronous pada mata kuliah teori dan praktik di prodi film universitas multimedia nusantara abstrak penerapan metode e-learning merupakan suatu kebutuhan, baik berbentuk sinkron maupun asinkron. universitas multimedia nusantara (umn) mendorong seluruh program studinya untuk menerapkan kedua bentuk e-learning ini. sementara itu, ada dua jenis mata kuliah, teori dan praktik. karena sifat spesifik dari proses pembelajarannya, efektivitas pembelajaran asinkron belum terbukti. penelitian ini bertujuan untuk mengevaluasi efektivitas penerapan metode asinkron pada mata kuliah teori dan praktik di prodi film umn. penelitian ini dilakukan secara kuantitatif, menggunakan metode analisis deskriptif dan uji komparatif, dengan melibatkan dua ratus sembilan puluh lima responden yang berpartisipasi dalam penelitian dengan mengisi kuesioner. evaluasi dilakukan terhadap efektivitas tujuh mata kuliah yang dikategorikan menjadi dua jenis, yaitu teori dan praktik. hasil penelitian menunjukkan bahwa penerapan e-learning asynchronous pada tujuh mata kuliah sudah efektif. tidak terdapat perbedaan yang signifikan antara penerapan e-learning asinkron pada mata kuliah teori dan praktik. berdasarkan penelitian ini, disarankan agar dosen yang menerapkan pembelajaran asinkron di kelasnya lebih aktif dalam merespon 124 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 mahasiswa. kegiatan yang menarik juga dapat ditambahkan untuk membuat forum diskusi lebih aktif. kata kunci: efektivitas, asinkron, pembelajaran online introduction the pandemic has shaken education around the world. many parties are concerned about its impacts on students, such as lengthening graduation and shattering their academic plans (kasar et al., 2021; onyema et al., 2020). the longterm effect of the overnight change to distance learning is also daunting. inequality in education due to insufficient resources (giatman et al., 2020) and proper implementation may lead to a bigger problem in the future (murat & bonacini, 2020). distance learning has been forced to be the solution to this problem. schools and universities migrated to the online platform weeks after the outbreaks (bao, 2020; rajhans et al., 2020; unesco, 2020). like other educational institutions, universitas multimedia nusantara (umn) has altered to an online platform to cater to students' learning needs. training on how to use the learning management system (lms) and improvement on the system have been done continuously. at the film department, the adjustment to online learning is a challenge due to the nature of the study that requires film production (annita, 2020). the department implements synchronous and asynchronous learning. the synchronous delivered through zoom fulfils the social interaction among students and lecturers (mcbrien et al., 2009). meanwhile, the asynchronous is served through the university moodle-based lms. the lms permits various learning media to be utilized in an integrated way in the learning process (saputro & susilowati, 2019; schwartz et al., 2020) the asynchronous activities applied by umn strictly follow pedati (chaeruman, 2017). pedati stands for: pelajari (learn), dalami (comprehend), terapkan (apply), and evaluasi (evaluate). the materials designed by the film department and the e-learning team include teaching videos, slides, quizzes, discussion forums, and assignments (annita, 2020). after two years of implementation in the department, this paper aims to analyze the effectiveness of asynchronous teaching at the film department umn. the asynchronous is applied in theory-based and combination of theory and practice-based courses. the researchers will examine the effectivity of the asynchronous through several components: materials, video, assignments, quizzes, interaction, learning duration, overall asynchronous learning. this research elaborates the author's previous research on the students' perception of asynchronous learning (annita, 2020). 125 annita1, yosef budi susanto2, effectivity of asynchronous learning on theoretical compared … materials and method researchers collected data for this study through questionnaires distributed at the end of the even semester of the 2020/2021 academic year. the study uses a 5-point likert scale which ranges from strongly disagree (1), disagree (2), neutral (3), agree (4), and strongly agree (5). questionnaires were distributed to the third and fifth-year students of the film department who have taken these courses, which were offered in the even semester of 2020/2021 academic year: table 1. courses that implement asynchronous courses type film marketing theory image and sound concept theory introduction to creative business theory acting for directors theory + practice camera and sound recording theory + practice experimental film and animation theory + practice voice acting theory + practice asynchronous learning was implemented in the courses above, range from 2 to 10 meetings. students were required to complete the learning modules for each session: reading materials, teaching video, assignment, quiz, and discussion forum. the questionnaires were divided into four sections. the first was about the data of the courses taken. the second was about the effectiveness of each element of asynchronous learning. the questions were categorized into six variables as follow: table 2. operationalization of variables no variables code operational definition indicators 1 effectivity of materials em the degree to which the material is absorbed/unde rstood by students. em1 the amount of the materials given is appropriate to the number of course credits. em2 the materials accommodate the course requirements em3 the materials enrich my knowledge. em4 the portion between theory and practice is proportional 2 effectivity of videos ev the degree to which videos help students understand the subjects ev1 the videos help me understand the subject ev2 the video duration is proportional 3 effectivity of assignments ea the degree to which assignment helps students understand the subjects ea1 the assignments help me understand the subjects ea2 i have enough time to do the assignments ea3 the scores are given based on a clear scoring rubric. 126 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 4 effectivity of quizzes eq the degree to which quizzes help students understand the subjects eq1 the quizzes help me to understand the subjects eq2 i have enough time to do the quizzes 5 effectivity of interaction ei the degree to which the forum helps students actively participate in the discussion. ei1 i have the opportunity to discuss with other students actively. ei2 i have the opportunity to discuss with the lecturer actively. ei3 the interaction between lecturer and students is active. ei4 the interaction among students is active. 6 effectivity of duration ed the degree to which asynchronous learning duration helps students understand the subjects ed1 the learning duration is appropriate to the number of course credits. the third section was about the effectivity of overall asynchronous learning. it was defined as the degree to which asynchronous learning helps students understand the material. this was categorized as eo. the last section was dedicated to students’ feedback for asynchronous learning. results a. descriptive measurement three hundred fourteen respondents participated in the survey. however, 19 were invalid. thus, two hundred ninety-five respondents were counted in this survey. two hundred two students were in courses that combined theory and practice, categorized as group 1. at the same time, 93 students were in theorybased courses. the first step in this research is to find the descriptive analysis using spss. based on statistic data processing, the result is as follow: table 3. mean of effectivity variables no variable group 1 (theory+practice) group 2 (theory) significance of difference em effectivity of materials 3,7809 3,828 .572 ev effectivity of videos 3,9183 3,9355 .664 ea effectivity of assignments 3,7195 3,767 .393 eq effectivity of quizzes 3,6485 3,6989 .611 ei effectivity of interaction 3,3391 3,293 .525 127 annita1, yosef budi susanto2, effectivity of asynchronous learning on theoretical compared … ed effectivity of duration 3,78 3,86 .286 eo effectivity of overall asynchronous learning 3,6898 3,6846 .214 b. measurement result of effectivity of asynchronous learning the next step after getting the result of the descriptive analysis is to find the interval evaluation. the study uses a 5-point likert scale with 1 as the lowest and 5 as the highest scores. the formula to get the interval is as follow: interval = (highest score – lowest score)/highest score = (5-1)/5 = 0.8 table 4. interval table interval meaning 1.0 – 1.8 very ineffective 1.8 – 2.6 ineffective 2.6 – 3.4 moderate 3.4 – 4.2 effective 4.2 – 5 very effective based on the data shown in the table above, we can see that the means for em, ev, ea, eq, ed, and eo for both groups are between 3,6485 and 3,9355. from here, it can be concluded that the effectiveness of the materials, videos, assignments, quizzes, and duration are effective for theory-based and theory and practice-based courses. it means asynchronous learning is effective to be applied in both types of courses. for ei, the means is 3,3391 for group 1 (theory and practice-based courses) and 3,293 for group 2 (theory-based courses). it indicates that the effectiveness of interaction in theory-based and theory and practice-based courses is moderate. b.1. the measurement result of significance of the difference between groups 1 and 2 for a variable to be considered significantly different, the score should be < 0.05. however, from table 2 the significant difference for all variables is above 0.05. it can be concluded that asynchronous learning for theory-based and practicebased courses is not significantly different in terms of effectivity of materials, videos, assignments, quizzes, interaction, duration, and students' perception toward asynchronous learning. 128 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 discussion as we can see from the findings, the result of this study is positive. the data analysis shows that asynchronous learning is effective in both theory-based and theory and practice-based courses. there is no significant difference between both types of courses regarding the analyzed components of asynchronous learning: materials, videos, assignments, quizzes, interaction, duration, and students' perception. 1. effectivity of materials the means for the effectivity of material for theory and practice-based courses is 3,7809, whereas for theory-based courses is 3,828. from the result, it can be concluded that materials for both types, of course, are effective. the materials developed by the film department follow the course requirements and credits. the materials also enrich students’ knowledge of the subjects taught. the result also indicates that the portion between theory and practice in the course is proportional. although the result is effective, some participants prefer to have practice supervised directly by the teacher because they are unsure whether they are doing it right. besides, they also want the teacher to give them instant feedback toward the practice, which couldn’t be done if it is in asynchronous mode. 2. effectivity of videos the means for this variable is the highest among all variables tested. the means for theory and practice-based courses is 3,9183, whereas for theory-based courses is 3,9355. it indicates that the videos provided in the asynchronous are effective. the videos help participants understand the subjects. furthermore, the duration is proportional. the duration of the video is around 8-10 minutes. if the topic discussed is long, it will be divided into two or more videos. the length follows the suggestion from pedati. 3. effectivity of assignments for this variable, the means for theory and practice-based courses is 3,7195. the means for theory is 3,767. this variable is also considered effective. the assignments help participants to understand the subjects taught. participants have enough time to do the assignments. for asynchronous mode, participants have five days to do and submit the assignment to the lms. some participants suggest that it will be better if the teacher reminds students of the deadline of the assignments so that they can submit the assignments on time. 129 annita1, yosef budi susanto2, effectivity of asynchronous learning on theoretical compared … 4. effectivity of quizzes for theory and practice-based courses, the means is 3,6485, whereas for the theory-based course is 3,6989. the variable result is effective. participants agree that the quizzes help them to understand the subjects. they also have enough time to do the quizzes. the time allocated for doing a quiz is 10 minutes. each quiz consists of 10-15 multiple choice questions related to the subject discussed. 5. effectivity of interaction the means for this variable is moderate: 3,3391 for the theory and practicebased courses and 3,293 for the theory. the feedback from the participants also supports the result. they mention that the interaction is not like the regular face-toface meeting. some students feel demotivated because they don't experience direct interaction. to accommodate this, activities that can motivate students' interaction can be applied. for example, online debate, in which students may choose a side on certain topics and share their thoughts. they are motivated to challenge or dispute the opponents' ideas. topics for such activity need to be carefully selected. it will be better if the issues are about hot topics on related discussed subjects. participants of this study also suggest opening a q and a forum with lecturers. they want lecturers to be more active in the discussion and give them quick responses. another suggestion is to open a challenge forum for students to test a new method/way of exercising—for example, a challenge to experiment on "bokeh" cinematography. bokeh is the aesthetic quality of an image's out-of-focus blur (hicks and nisperos 2000). the result of the experiment is to be shared and discussed in the forum. 6. effectivity of duration the result of this variable is effective. the means for theory and practicebased courses is 3,78, and the theory-based courses is 3,86. the participants agree that the learning duration is appropriate to the number of course credits. the duration has been carefully calculated and checked by the e-learning team. the instructional designer will analyze the lesson plans and ensure that every required item follows the regulation before production. 7. effectivity of overall asynchronous learning the means for this variable in theory and practice-based courses is 3,6898, whereas in theory-based is 3,6846. in general, students have a positive perception of asynchronous learning. based on the feedback, they like asynchronous learning because they can manage their schedule to learn. this flexibility gives them the freedom to work at their pace of learning. however, some also mention that they miss the face-to-face class meeting because they like to socialize with other friends. 130 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 conclusion this study shows that the asynchronous learning applied in the chosen courses is effective. the asynchronous follows pedati principles that require the learning modules to have teaching videos, materials, assignments, quizzes, and discussion forums. the modules must be adjusted to the learning duration designed in the lesson plans. despite the positive result, this study has some weaknesses. first, it does not differentiate the gender of the participants. thus, we cannot see whether there is a different result between male and female respondents. second, the study should be conducted separately. one is for theory-based courses only. the other is for the theory and practice courses. thus, students who have taken both types of courses can give independent comments for each course. further research on confirming that the effectiveness of the discussed variables has adversely affected asynchronous learning needs to be done. exploring more on how to improve asynchronous learning might open up new ways of reaching out to students. references [times new roman 14, bold] annita, a. 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(2020). education: from disruption to recovery. https://en.unesco.org/covid19/educationresponse 33 javanese women hybridity: postcolonial study of nyonya muluk in damar kurung paintings aniendya christianna visual communication design, faculty of art and design, petra christian university surabaya, indonesia e-mail: aniendya@petra.ac.id abstract damar kurung is a typical lantern of gresik, made in the 16th century. in 2017 damar kurung was declared an intangible cultural heritage by the indonesian ministry of education and culture. masmundari (1904-2005) was a female artist who painted damar kurung based on skills learned from her ancestors. among masmundari's many paintings, nyonya muluk is the most frequently painted. nyonya muluk is described as a big woman wearing a dress and wings. many people say that nyonya muluk is a picture of queen wilhemina that masmundari has seen directly. to uncover nyonya muluk's identity, it is necessary to explain the image and meaning of this traditional art, the author uses bahasa rupa method (tabrani, 2012), which analyzes the contents of the wimba, cara wimba, tata ungkapan and how to read wimba. then, analyzed using postcolonial theory, specifically using the concepts of hybridity and mimicry to find out the identity of nyonya muluk. finally, this research is to produce (1) a description of the relationship between the two cultures (east and west/invaders and colonized) which is manifested in the figure of nyonya muluk. (2) nyonya muluk is a representation of javanese women's hybridity that illustrates the hopes and dreams of masmundari (as an east representative) to be similar to the west. keywords: damar kurung, nyonya muluk, women, postcolonial, hybridity hibriditas perempuan jawa: studi poskolonial figur nyonya muluk di lukisan damar kurung abstrak damar kurung adalah lentera khas gresik, dibuat pada abad ke-16. pada 2017 damar kurung dinyatakan sebagai warisan budaya tak bendawi oleh kementerian pendidikan dan kebudayaan indonesia. masmundari (1904-2005) adalah seniman perempuan yang melukis damar kurung berdasarkan keterampilan yang diperolehnya secara turun temurun. di antara banyak lukisan masmundari, nyonya muluk adalah yang paling sering dilukis. nyonya muluk digambarkan sebagai perempuan berukuran besar yang mengenakan gaun dan memiliki sepasang sayap. banyak orang mengatakan bahwa nyonya muluk adalah gambaran ratu wilhemina yang langsung dilihat masmundari. untuk mengungkap identitas nyonya muluk, perlu menjelaskan gambar dan makna seni lukis tradisi ini, penulis menggunakan metode bahasa rupa (tabrani, 2012), yang menganalisis isi wimba, cara wimba, tata cara dan cara membaca wimba. kemudian, dianalisis menggunakan teori postkolonial, khususnya menggunakan konsep hibriditas dan mimikri untuk mengetahui identitas nyonya muluk. akhirnya, penelitian menghasilkan (1) deskripsi hubungan antara dua budaya (timur dan barat/penjajah dan terjajah) yang dimanifestasikan dalam sosok nyonya muluk. (2) nyonya muluk adalah representasi dari hibriditas perempuan jawa yang menggambarkan harapan dan impian masmundari (sebagai perwakilan timur) untuk menjadi serupa dengan barat. kata kunci: damar kurung, nyonya muluk, perempuan, postkolonial, hibriditas ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 34 introduction javanese culture is full of symbols used to teach the wisdom of human life. in particular, about the horizontal relationship between humans and the vertical relationship between humans and god. one form of javanese culture is art. art and society have a reciprocal relationship. social and cultural backgrounds also influence artists in producing art. social interactions in daily life and transcendent experiences become important backgrounds for artists. java is one of many asian countries that use symbolic language to express their thoughts about life. mythology has an important role in the use of symbolic language. through mythology, javanese people understand the javanese world. javanese philosophy has many symbols that are manifested in various forms of art. damar kurung's paintings are one of gresik's distinctive cultural artifacts that have recorded many dynamics of civilization through its paintings. damar kurung is influenced by hindu-buddhist and islamic culture. damar kurung is a distinctive lantern of gresik which dates back to the 16th century during the sunan prapen period (still has a lineage with sunan giri). this lantern wrapping paper is decorated with beautiful pictures and has a wise meaning. at first, the damar kurung pictures were visually like wayang kulit: full of decorations, distilled and distorted figures, and without perspective. during its development, damar kurung's pictures no longer resemble shadow puppets, are simpler and more contemporary but still retain their visual characteristics. the change in style and theme of the damar kurung picture cannot be separated from the social context behind it. individuals as 'the thinking subject' are actively formulating themselves, formulating their society, and at the same time formulating their place in the face of globalization because of the reasoning system that is owned by each individual. thus, the social world is treated as the world on the making which will always grow and move according to what is built by the people. javanese society is a society in which it is loaded with a cultural richness that binds all its members with its reality and symbolic world. masmundari (1904-2005) as part of javanese society as well as is a female artist who was active in preserving the damar kurung painting tradition. masmundari painted various themes both spiritual and profane. of the many paintings she produced, nyonya muluk was a figure often painted. nyonya muluk is described as a big woman wearing a dress and wings. around her, there are other human figures in smaller sizes. who was the figure of nyonya muluk and why did masmundari paint it? the gresik community knows nyonya muluk but does not know who exactly nyonya muluk is. some said that nyonya muluk was an angel, and those who thought that it was only a fictional figure of masmundari. considering that masmundari is a painter who always observes first, the writer considers that nyonya muluk can't be just a figure of masmundari's imagination. based on the results of an interview with rohayah (74 years), masmundari's aniendya christianna, javanese women hybridity 35 daughter mentioned that the figure of nyonya muluk painted in damar kurung was inspired by queen wilhelmina who came to visit indonesia. rohayah said that masmundari was very impressed with the beauty and clothes worn by queen wilhemina at that time. so, masmundari painted it based on her interpretation and creativity into a well-known nyonya muluk figure to this day. postcolonial theory (morton, 2014: 101-132) can be said as a theory that can be used as an analytical tool to challenge colonialism practices that are continuing or a new form of colonialism that has given birth to a life filled with racism, unequal power relations, culture subaltern, and hybridity not with war propaganda and physical violence, but dialectically through awareness or ideas. said (2010:12) says besides a practice, culture is communication and representation, even has aesthetic value. therefore in line with the thought of cultural differentiation, postcolonialism rejects a monocentric view of human experience, and instead recognizes and values the existence of pluralism and cultural multiculturalism through syncretization and hybridity (mishra 1993: 41). pluralism is then defined as a belief, wherein a society consisting of various political, ideological, cultural or ethnic groups, there is not a single dominant group, in which there is an appreciation for differentiation. identity is expressed through various forms of representation that can be recognized by themselves and others (barker, 2013:174). representation by ratna (2008:123) is interpreted as images and symbols, which traditionally can also be interpreted as similarities and imitations. this shows that the representation is a form of representation, which can replace the true meaning of identity. further barker (2009:140) explains that representation is not mimesis, representation is an esthetic expression, a reconstruction of the actual situation. therefore, hutcheon (in ratna, 2008:123) describes all forms of representation, both literal, visual, oral, and cultural in general, both high culture and mass culture, based on certain ideological messages so that they are not free from social and political problems. representation does not describe a world as it is, but rather builds it. therefore, this paper aims to see and explain how masmundari as an east representative made dialectics and negotiations on his identity through images and symbols in the damar kurung painting. ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 36 figure 1. damar kurung paintings nyonya muluk’s theme by masmundari source: personal documentation from omah damar collections, 4th april 2016 literature review postcolonial homi k. bhabha postcolonial emerged as a study in the 1970s marked by edward said's book of orientalism (1978), becoming a western perspective in view of the east. the impact of orientalism displayed said is a devastating alienation and psychological marginalization, which between the west and the east will not unite, and give birth to a wider gap. in binary opposition thinking, lubis (2006:208) says someone is faced with one of the choices "this" or "that" as one that is declared true. for example east versus west, self versus the others, subjectivity versus objectivity, present versus past, observer (subject) versus observed (object) and so on. the binary opposition thinking model places the position of the west, invaders, self, observers, subjects and narratives considered to have superior positions compared to the east, colonized, outsiders, objects, told and so on. as stated by leela gandhi (2001:26) that the relationship between colonizers (or former colonies) is a hegemony relationship, colonization as a superior group compared to the inferior colonized parties. the relationship between the colonizers who were hegemonic then gave rise to what was called domination and subordination. such a pattern of the relationship then brings up unpleasant images of the colonized party as a group of barbarians, uncivilized, stupid, strange, mystical and irrational (gandhi, 2001:vi), or in the language of said, the east characteristic is voiceless, sensual, female, despotic, irrational and backward (said in moore-gilbert, 1997:39). said's thoughts were strongly influenced by the initiators of other theories, such as michel foucault, antonio gramsci, and other thinkers. furthermore, postcolonial studies expanded into various fields and developed because of the 'help' of many later generation thinkers. starting from cultural studies, feminism, visual studies, language studies, and literature. postcolonialism became a political and theoretical strategy to dismantle the dominance of western hegemony in line with other worlds. aniendya christianna, javanese women hybridity 37 the study of postcolonialism applied in this paper is the study of postcolonialism in the thought of homi k bhabha. bhabha initiated the theory of liminality (circumstances or feelings in-between) in the discourse of colonialism. according to sutrisno and hendar putranto (2004: 140-145), bhabha proposed a liminality model to animate the intersection space between the theory and practice of colonization to give birth to hybridity. this is because the search for identity should never stop. between the invaders and colonized there is a third space where the crossing of culture or hybridity presents itself in culture, race, language, and so on. hall asserts that identity is not something rigid with permanent characteristics that do not change from time to time. identity is something that is constantly formed in the framework of history and culture, something that is positioned at a place and time, according to context. the search for a person's identity is always related to the problem of how that person tries to position himself (positioning) within a scope of society that has placed himself in another sphere (being positioned). hybridity refers to the meeting of two or more cultures which then gives birth to a new culture, but the old culture is not abandoned. hybridity refers to the creation of new trans cultures that exist in the meeting area that is produced through colonization (ashcroft, et.al., 1998:55). one of the figures in the postcolonial study, homy babha, built the definition of hybridity on the foundations of edward said and fanon's ideas (darmawan, 2014:27). hybridity begins when the boundaries that exist in a system or culture experience flexing, so that clarity and firmness about things that can be done or cannot be blurred, which ultimately results in a new space. according to said's orientalism study, european study trends toward asia are european-centric and binary opposition. orientalism refers to the conclusion that colonized people (the east) are silent subjects and under european rule. the meaning of the west over the east is a homogeneous, standard and degrading picture. whereas fanon in 'black skin white skin', babha learned that from the side of the colonized people there was a desire to be the same, as well as fear of the invaders (darmawan, 2014:27). a separate system which is 'hybrid', which according to bhabha is a metaphor for describing the joining of two types (forms) which give rise to certain characteristics of each form, while also eliminating certain characteristics possessed by both. in hybridity, usually, the old identity does not just disappear, although the new cultural identity will strongly influence the old identity. this is where then occurs what is called by bhaba as the ambiguity of identity that brings someone in a position ‘in-between’ or ‘in the middle’ (rutherford, 1990:211). this is what bhaba later said that hybridity is a cultural tactic and strategy, where hybrid culture products always avoid all sorts of binary categorization, where hybrid culture products will eventually occupy what is called the third space in each binary category. the interaction between the colonialists was to create a kind of ‘acculturation’ form that loved and hated, refused but also ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 38 defended. the resistance is not purely tangible as an optional, but it is special, incomplete, and ambiguous, this is what makes the relationship of colonial identity unstable, doubtful, and ever-changing. that interaction results in what is meant as hybridity (through mimicry). damar kurung damar kurung is a name from ‘damar’ means ‘light’ and ‘kurung’ means cover. based on function value, damar kurung is a lantern that functioned as a room lighting. while the philosophical value is still related to the meaning of ‘illuminating’ human life in living life. the tradition of painting in damar kurung has been made in generations since the 16th century in sunan prapen, the third sunan after sunan giri (koeshanan, 2009). the theme of damar kurung painting relating to sacred activities, such as carrying out shalat tarawih, tadarus, idul fitri, halal bi halal, macapatan, khitanan, slametan, and others. in its development, the activities of profanity began to dominate damar kurung painting, such as night market, bandeng market, a celebration of independence, fishing, birds fishing, cycling, nyonya muluk, wedding parties, city building, carnival, and so forth. in the visual art of nusantara (including damar kurung paintings), always use a system that connects an image with other images to become an interwoven story. damar kurung when opened there will be 4 sides of the image. each side of the image has a different story with the direction to look around. like other visual art of nusantara: wayang beber, daun lontar painting, relief of temple, the symbolic concept and its layout always accompanies the pictures therein. drawing steps on damar kurung painting starting from top to bottom for the theme of any story (sacred and profane). before painting begins, the image field is divided into sections horizontally (usually 2-3 parts). the drawing process starts from the middle to the top image field then moves towards the right. once the image is finished, go back to the middle of the image first and move it towards the left of the drawing plane. after the image on the left of the image field is complete, proceed to the bottom image field. so on until the entire image field becomes full. in sacred themed paintings such as worship activities, the images are ‘read’ prasavya (the lantern is rotated to the left, from top to bottom). as for the theme of profan paintings, such as activities in the market, catching fish or fishing birds, painting ‘reads’ as pradaksina (koeshandari, 2014). bahasa rupa if in word/verbal language there are word and grammar components, so also in bahasa rupa there is citra and tata ungkapan. inside the painting, citra can be abstract or representative, damar kurung painting included in the category of representative drawings. a representative image is a pattern of images whose aniendya christianna, javanese women hybridity 39 visual expression represents the original object so that the shape can be identified (sunaryo, 2002:107). depictions of objects in a representative image can be performed in a descriptive, expressive, symbolic and aesthetically pleasing stylus. a representative picture of a narrative describing a situation/event, which is related to the information in conveying it’s his messages. tabrani (2005) uses the term isi wimba for a concrete form of citra that can be touch and feel. then, cara wimba is how wimba pictured in order to tell a picture. usually, isi wimba drawn by displaying the object in its entirety (from head to toe), the facial does not exist, but it tends to be of importance to body gestures. that is why the figure of wayang in a state of happiness, sadness or anger, her/his facial expressions remain the same, but her/his posture, hands and head are different. stilation image style, where the shape of the drawing object is simplified, is highlighted, altered in such a way that it is not exactly the same as the original object, but the original character can still be preserved. cara wimba also did through the size of isi wimba. when an object prioritized or becomes the centre of attention, the object is drawn larger than the surrounding object. cara wimba is a shift of isi wimba. so that all objects are more complete, intact and can be told, without resizing, do not know the perspective. the distant is not minimized or closed by other wimba, but it is shifted upward, therefore the image field becomes full-filled, no empty space. with some background, wimba pictured with layered, overlap, wimba which hang over other wimba means to be far away and declare an event that has happened first. this research analysis unit includes the following things: 1. isi wimba: tabrani (2005) uses a wimba content term for a concrete form of viewable and tactile imagery. 2. cara wimba: cara wimba is how isi wimba depicted in order to tell a picture. covers the image capture size, angle of capture, scale compared to the original object, stilation (stilation, naturalist, expressive), and how it is viewed (pravasya, pradaksina). 3. tata ungkapan: used for a single painting to tell a story. which includes the dimensions of space, motion, time and emphasis on interests. methodology this research uses a constructivist paradigm that orientates on qualitative methods. this means that the study uses constructivist forms by the perspective of various angles based on language (isi wimba, cara wimba, and tata ungkapan). to find a variety of constructed meanings. the constructivist paradigm research model is used to help facilitate the understanding and interpretation of meaning according to the value that is to be achieved. ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 40 perspective usage of bahasa rupa especially rwd system (ruang-waktudatar) (tabrani, 1991). based on consideration because of the traditional artwork in nusantara (the east) more precisely reviewed using rwd perspectives rather than npm (naturalis-perspektif-momenopname) which is widely used for western fine arts (since the renaissance era). rwd system shows how to draw from various directions, various distances and various times. in the rwd system, a sequence is drawn consists of a number of scenes and moving objects in an image field (space). thus the rwd system has space and time dimension. the results of the interpretation of language and symbolically damar kurung painting about nyonya muluk, then analyse the postcolonial theory of homi k. bhabha to find out the symptoms of mimicry and hybridity inside. discussion nyonya muluk’s identity binary opposition is important in post-colonial studies because the west is trying to make a clear distinction from the east. the analysis showed that javanese women (as the east representatives) were distinguished from western women based on their physical appearance. nyonya muluk's identity as a western woman is described as a woman wearing a colorful fancy gown, crown, jewelry (necklaces and earrings) and high heels. the difference is very clear compared to javanese women who wear kemben/kebaya kutu baru, jarik, hair in a bun, without jewelry and barefoot. damar kurung's paintings are folk art that is drawn spontaneously, honestly, and simply by masmundari. rohaya, masmundari's daughter said that she always draws without being preceded by a sketching process. an interesting experience for him will be directly drawn on paper and she will not stop before the painting is finished. even if she spends all day, masmundari will not eat or bathe until the painting is finished. now damar kurung's paintings no longer belong to masmundari individually, but they belong to the gresik community as a whole because each of his works reflects the socio-cultural background in gresik. masmundari painted nyonya muluk and other women based on certain considerations. masmundari as a woman born from javanese culture upholds the philosophy of life: “ajining dhiri saka pucuke lathi, ajining raga saka busana” (achmad, 2017:107). meaning: a person's self-esteem depends on their words, their self-esteem depends on the clothes they wear. javanese people have the principle to maintain the harmony of clothing by following self-identity. clothes that make themselves valuable do not have to be fancy, expensive and colorful. because the clothes are not necessarily appropriate and in harmony with their identity as javanese. from studying the images of nyonya muluk it was found that the scene aniendya christianna, javanese women hybridity 41 took place outside, on the gresik beach which tends to be hot. the incompatibility of the dress worn by nyonya muluk and the location proves that nyonya muluk is a foreigner/stranger. while the kemben, jarik and hair bun worn by a javanese woman adjusts where she lives with the hot atmosphere typical of the tropics. clothing and attributes used not only reflect cultural identity, but also geographical identity. table 1: table of meaning analysis: bahasa rupa and symbolic isi wimba cara wimba tata ungkapan nyonya muluk • from head to toe • head side view • front body • wearing dress, high heels, necklace, earrings and lipstick • pointed/sharp nose, curly hair • there are wings • static gesture • giant size • naturalist stilation • larger size stated the importance • there is a bottom edge of the landline • scratches of arrows indicate movement (air circulation outside the room) other women • from head to toe • head side view • front body • wearing kemben/kebaya kutu baru and jarik • hair bun • dynamic gesture (pointing, carrying a flag/something else) • barefoot • naturalist stilation • smaller size stated unimportant • there is a bottom edge of the land man • from head to toe • head side view • front body • wearing plain shirts, white-red striped shirts (from madura), shirtless and wearing shorts • naturalist stilation • smaller size stated unimportant • there is a bottom edge of the landline • scratches of arrows indicate movement ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 42 • dynamic gesture (pointing, carrying a flag/something else) • barefoot (air circulation outside the room) the colonized side thought that the invaders were a great, strong, rich people who could change the poverty of one's life. postcolonial born to sue the colonial construction that has oppressed marginal groups. postcolonial then dismantled (deconstructed) structured discourses, including in mapping politics and power. there are two main topics of discussion of postcolonial criticism, namely the issue of language and identity. the problem of identity is related to the problem of hybridity, namely the problem of national identity that changes due to the cultural influence of the colonial nation, including mimicry (the act of imitating colonial culture) by colonized. figure 2. nyonya muluk (the west) at the above of drawing area and other humans (the east) at the bottom of the drawing area. said (1998:7) shows that the western world gains its strength and identity by relying on the east. the identification of the east by the west is part of the west's attempt to identify itself as superior in many ways. the relationship between invaders and colonizers (former colonies) is hegemonic, the invaders as a superior group compared to the inferior colonized parties, and from the relationship between hegemonic invaders and then came the so-called domination and subordination. analysis of how to draw in the figure of nyonya muluk damar kurung shows differences in a human size, scale with original objects, body movements and the direction of vision of the wimba. nyonya muluk as a reflection of humans from the west is described in larger size compared to other human sizes. the static gesture shows a stable and solid strength. unlike other human figures, which are drawn in smaller sizes, gestures are more open and dynamic, in an upward-looking position, pointing at nyonya muluk. both are drawn in different positions: nyonya muluk (west) above the drawing plane and another human (east) at the bottom of the drawing area. the size and position of the wimba show a model of binary opposition nyonya muluk at the above drawing area other human at the bottom of drawing area aniendya christianna, javanese women hybridity 43 thought that places the west as a colonizer in a superior position compared to the colonized east. from such a relationship pattern arises unpleasant stereotypes about the colonized party as a low, stupid and irrational group. described as people who are not dressed and barefoot. the hybridity of nyonya muluk nyonya muluk comes from the word 'nyonya' which means the nickname of an older/more respected woman. 'muluk' in javanese and indonesian (kbbi) means to soar. nyonya muluk is described as flying because she has a pair of wings. nyonya muluk in damar kurung, which is a traditional archipelago art, cannot be separated from the cultural philosophy behind it. wings in javanese culture have been widely used, both in the past and in the present. such as gurdo batik motifs, mythological animals in temple reliefs in central and east java, the symbol of the ngayogyakarta hadiningrat palace, the symbol of indonesian education and culture: tut wuri handayani, to the symbol of the republic of indonesia: garuda pancasila. according to javanese philosophy, wings or 'suwiwi' or 'lar' has the meaning as "swiwi peksi, lambange gegayuhan inggil kayadene sumundul angkasa" (achmad, 2017), which means symbolizing high ideals, as high as the sky. masmundari described it in an open and symmetrical wing, identical to the classic gurdo batik motif. the shape of the gurdo motif consists of two wings and in the middle, there is a body and a tail. inspired by garuda (hindu animal mythology). garuda is a mythological animal ridden by lord vishnu. by the javanese, garuda is not only a symbol of life but also as a symbol of virility and strength (atmojo, 2011). on the wing of nyonya muluk there is a decoration that has similarities with batik isen-isen. isen-isen is an element of decoration in batik. isen-isen can be a point, line, or a combination of both. of the various types of isenisen, found in the wings of nyonya muluk is a type of scales (fish-point scales). the decorations are like fish scales in the middle of which have black dots. made repeatedly and cross each other. this isen-isen is an ancient motif that already existed in the xiv century mentioned in the book pararaton (atmojo:2011). isenisen reflects hope for strength and longevity. identity is also presented by hall as a thing that is always changing and never permanent. therefore, a person can experience a change of identity along with his life. cultural identity here then contains political identity, namely the politics of positioning in certain societies. implicitly, bhaba (in sutrisno et al. ed, 2004: 145-146) also argues that cultural identity is not an innate identity carried from birth to emptiness. cultural identity is not a predestined entity. the views of binary opposition ‘invaders’ and ‘colonized’ are no longer separate from each other and stand-alone. on the contrary, bhaba's opinion suggests that the negotiation of ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 44 cultural identity includes the continuous encounter and exchange of cultural views which in turn will result in mutual recognition of cultural differences. according to bhaba, culture and cultural systems are formed in the third space. that interdependence takes face in hybridity. identity hybridity, manifesting itself in culture, language, race and so on. based on the above view, masmundari defines identity as an 'entity' that can be changed according to specific history, time and space, moreover, paintings have free characteristics in producing symbols and meanings. the concept of cultural identity is closely related to communication events that use signs and symbols of communication. therefore, how the gresik people interpret the symbols in the damar kurung painting at the level of communication can also be interpreted as a cultural identity. it is in this hegemonic pattern of relations that the colonized people find a strategy of resistance to the domination of colonial discourse. not against in a frontal way, but with the 'cross-culture'. so they began to imitate the invaders in dress and behavior. this act of imitation is called mimicry. mimicry is not only a process of imitation but also a form of subversive resistance. from his subconscious, masmundari portrays nyonya muluk by combining conflicting cultural elements, which reflect a postcolonial subject that is never perfect. the ambivalence that arises from a reciprocal point of view shows a form of negotiation or resistance from a colonized position. in of mimicry and man: ambivalence of colonial discourse (bhabha, 1994: 85-92), bhabha defines mimicry as almost the same subject, but not completely created by the colonized parties to be similar to the colonialists. mimicry is a sign of dual articulation, a complex strategy of renewal, regulation, and discipline. if rohayah, masmundari's daughter states that nyonya muluk is queen wilhemina seen directly by masmundari, then the truth needs to be criticized. based on the findings of nyonya muluk's visual data and all the surrounding attributes it can be concluded that nyonya muluk is not entirely a western or eastern woman. rohayah assessed that nyonya muluk was a reflection of masmundari's fascination (as well as modesty) when she saw queen wilhemina in person. queen wilhemina who was present with a beautiful dress and a relatively large body for the caucasian group caused masmundari to feel inferior. masmundari's cultural background as a javanese person contributed to the creative process of creating nyonya muluk. the symbols commonly used in javanese culture to convey meaning implicitly are used by masmundari to complement the figure of nyonya muluk. javanese who tend to maintain harmony in life always use symbols/figures of speech to convey meaning never conveyed in a frontal manner. masmundari wants to identify himself with the invaders who are higher, more beautiful, superior in all respects. masmundari's imitation and integration of western and eastern elements was a form of resistance to the colonialism she experienced. it is worth remembering again that masmundari was born in 1904 and aniendya christianna, javanese women hybridity 45 died in 2005, meaning she has the experience of first hand a period of dutch and japanese occupation. figure 3. gurdo motif batik, isen-isen sisik melik and nyonya muluk’s wings conclusion bhaba added that postcolonial not only created hybrid culture or practice but also created new forms of resistance and negotiation for a group of people in their social and political relations (bhaba, 2004: 113-114). hybridity also allows for the introduction of new forms of identity production and cultural forms. so hybridity can be accepted as a tool for understanding cultural change through strategic termination or temporary stabilization of cultural categories (barker, 2005: 210). bhabha (1994: 84-92) finds 'mimicry' as proof that the colonized are not always silent, because they have the power to resist. masmundari, as a representative of the colonized eastern people, tried not to stand still, she made a 'fight' through the paintings she produced. the concept of mimicry is used to describe the process of imitating or borrowing various cultural elements. mimicry does not show the dependence of the colonized on the colonized, but imitators enjoy and play with the ambivalence that occurs in the imitation process. thus, mimicry can be seen as a strategy to confront colonial domination. like disguise, it is ambivalent, perpetuating but at the same time emphasizing its dominance. (martono, 2013: 125126). this mimicry shows that it is the basis of a hybrid identity (moore and gilbert 1997: 55). each artwork reflects the community setting in which the artwork was made. artists always come and live from the community. life in society is a reality that is directly encountered as a trigger for creativity. in facing the stimulation of its creation, artists can take a position as public witnesses or can also be a critic of the community. in this case, artists are free from the values held by the community. although the artist lives in a society with his values and learns with these values, he also has the freedom to agree or disagree with the values of that society. masmundari as part of javanese society does her job as an artist who expresses his assessment of the socio-cultural situation that occurs around her. no matter how ijcas volume 7 no. 1, june 2020 | p-issn 2339-191x | e-issn 2406-9760 46 imaginative artwork is, artists always start from the concrete conditions of society. masmundari is an artist who is sensitive to detect irregularities that occur in social life. besides, masmundari lived at the age of more than a century, she experienced the period of indonesia being colonized by the dutch and japanese. the dynamics of the lives of colonized people were immediately felt by masmundari. the figure of nyonya muluk in damar kurung is a manifestation of masmundari's creative process in responding to the phenomena that occur around her. nyonya muluk is said as a picture of queen wilhemina seen directly by masmundari. improvements made by masmundari in creating the figure of nyonya muluk showed that there was a merging of symbols from the west and east. nyonya muluk also illustrates the hopes and dreams of masmundari (as the east representative) to be similar to the west, even though it was not the same. references achmad, sri wintala. (2017). asal usul dan sejarah orang jawa. yogyakarta: penerbit araska. atmojo, wahyu tri. (2011). barong dan garuda dari sakral ke profan. yogyakarta: pascasarjana isi yogyakarta. barker, chris. (2013). cultural studies, theory and practice. yogyakarta: kreasi wacana. bhabha, homi. (1994). the location of culture. london, new york: routledge. bhabha, homi. k. (1995). cultural diversity and cultural differences, in ashcroft, b., et.al (eds). the postcolonial studies reader. london. routledge. darmawan, darwin. (2013). tesis: identitas hibrid orang cina indonesia kristen: ketegangan dan negosiasi antara kecinaan, keindonesiaan, dan kekristenan. yogyakarta. universitas gadjah mada. gandhi, leela. (2001). teori poskolonial: upaya meruntuhkan hegemoni barat (terj). yogyakarta: penerbit qalam. koeshandari, ika ismoerdijahwati. (2009). damar kurung dari masa ke masa. surabaya: dewan kesenian jawa timur. koeshandari, ika ismoerdijahwati. 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(1998). peran intelektual (tras.). jakarta: yayasan obor indonesia. sunaryo, aryo. (2002). seni rupa nusantara pengantar kajian dan apresiasi seni. semarang: dahara prize. sutrisno, mudji; hendar putranto. (2004). hermeneutika pascakolonial: soal identitas. yogyakarta: penerbit kanisius. tabrani, primadi. (1999). belajar dari sejarah dan lingkungan, sebuah renungan mengenai wawasan kebangsaan dan dampak globalisasi. bandung: penerbit itb bandung. tabrani, primadi. (2005). bahasa rupa. bandung: penerbit kelir. 71 volume 8 nomor 1, june 2021 p-issn 2339-191x | e-issn 2406-9760 p 71 – 88 local wisdom in yogyakarta international airport febriansyah ignas pradana college of aerospace technology; parangtritis street, druwo, bangunharjo, sewon district, bantul, special region of yogyakarta – 55187 e-mail: ignaspradana@gmail.com abstract the mega construction of yogyakarta international airport aims to increase global interaction in yogyakarta. the existence of an airport in a region should be important. furthermore, the airport is also able to show the identity of a region itself. the airport can also be a landmark, which is able to represent the cultural values of people in a region. the special region of yogyakarta, which is broadly known as a cultural and educational province, has thousand of cultural values in its local wisdom. this research aims to describe (1) the local wisdom contained in yogyakarta international airport, and (2) the values of that local wisdom. earlier, we have identified the condition of yogyakarta international airport, in order to create a research plan for this research. however, we found the main data, namely local wisdom in the airport’s building. from that fact, we formed research questions and set the main theory to classify and analyze them. we collect the data under the method of simak catat. according to the data, we set haryanto (2014) theory as the main theory. in order to collect valid and reliable data, we also conduct a deep interview with andika as an interviewee from pt. angkasa pura i is the coordinator of yogyakarta international airport. the results show that there are eighteen local pearls of wisdom in yogyakarta international airport, and the values of that local wisdom are triggered by the sociocultural aspect. keywords: local wisdom, airport, yogyakarta international airport kearifan lokal di yogyakarta international airport abstrak pembangunan bandar udara yogyakarta international airport bertujuan untuk meningkatkan hubungan global yang selama ini telah dilaksanakan di yogyakarta. keberadaan dari sebuah bandar udara internasional di yogyakarta menjadi sangat vital. bandar udara selain sebagai pusat dalam kegiatan penerbangan, turut menjadi identitas dari suatu daerah tempat bandar udara tersebut berada. bandar udara dapat menjadi landmark bagi wilayah karena merepresentasikan kehidupan dan nilainilai budaya yang terkandung di dalam masyarakat. daerah istimewa yogyakarta, yang juga dijuluki kota budaya, memiliki beragam kearifan lokal yang mampu menunjukkan identitas budaya pada sebuah bandar udara. penelitian ini bertujuan untuk mendeskripsikan (1) kearifan lokal yang terdapat di bandar udara yogyakarta international airport, dan (2) nilai-nilai yang terkandung dalam kearifan lokal tersebut. data utama dalam penelitian ini adalah kearifan lokal yang terdapat pada bandar udara yogyakarta international airport. metode pengumpulan data dalam penelitian ini adalah teknik simak catat. pada proses analisis data yang turut mencakup proses pengklasifikasian data, selanjutnya data iklasifikasikan berdasarkan teori haryanto (2014) yang membagi kearifan lokal dalam bentuk bentuk atau kategori tertentu. selanjutnya, data dianalisis secara deskriptif dengan pendekatan mixed-method yaitu pendekatan yang menggabungkan pendekatan kualitatif dan kuantitatif dalam satu waktu. dari hasil penelitian ini diharapkan menjadi titik awal bagi terciptanya sarana dan prasarana yang tepat guna di sebuah bandar udara internasional. kata kunci: kearifan lokal, bandar udara, bandar udara internasional yogyakarta 72 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 introduction the construction of yogyakarta international airport, which is in this research, referred to as yia, aims to improve global relations that have been implemented in yogyakarta (cornock, 2018). the limited amount of capacity, limited export and import transportation activities and the location in the middle of the settlements owned by adi sutjipto international airport also became the background for the construction of yogyakarta international airport (cornock, 2018). according to the central statistics agency of the special region of yogyakarta in january 2019, adi sutjipto yogyakarta airport has 267,237 arriving passengers for domestic arrivals and 17,186 passengers for international arrivals. the number of passengers departing from adi sutjipto airport also showed relatively high results, namely 311,299 passengers (yogyakarta province central bureau of statistics. 2019. in https://yogyakarta.bps.go.id, august 17, 2019). based on these statistical data, it can be concluded that the number of passengers at adi sutjipto airport has exceeded the specified capacity, which is 1,200,000 passengers per year (timbul, 2016). these results also show that activity level at yogyakarta airport is relatively high and makes the existence of an international airport in yogyakarta very vital. apart from being the center of aviation activities, an airport also becomes the identity of an area where the airport is located. an airport can be a landmark for the region because it represents society's life and cultural values. the special region of yogyakarta, also known as the city of culture, has a variety of local wisdom that can show a cultural identity at an airport. according to istiawati (2016), local wisdom is a conceptual idea that lives in society, grows, and develops continuously in people's consciousness, from sacred life to profane ones (daily life and its ordinary nature only). local wisdom can be understood as local ideas that are wise, full of wisdom, good value, embedded and followed by community members. based on the theory put forward by haryanto (2014), forms of local wisdom can be in the form of language, culture, values, norms, ethics, beliefs, customs, customary law, and special rules. in addition to values and habits, local wisdom can also take the form of tangible objects, one example of which is wayang (sutarso & murtiyoso, 2008). local wisdom that is shown in certain forms contains cultural values that carry specific messages. based on the initial review conducted by researchers on august 16, 2019, local wisdom was found in the form of kawung batik motifs on the departure information board, as shown in figure 1 below. 73 febriansyah ignas pradana, local wisdom in yogyakarta international airport figure 1. batik kawung motif on the departure information board source: author documentation, 2020 the kawung batik that is used as a motif on a notice board contains a thick cultural value. steelyana (2012) explains that the kawung motif describes the ideal order of community life. this kawung motif contains a message to become a human being who is superior, good, and beneficial to fellow humans. different from binsar siahaan, which have conducted a research in 2017 in a paper entitled “international airport terminal in yogyakarta with a green architecture approach” based on this background, also i. s. purwanto in 2017, which describes local wisdom contained in literary works, this study aims to describe (1) the local wisdom found in yogyakarta international airport and (2) the values contained in those local wisdom. materials and method the research method is essentially a scientific way to obtain data with specific purposes and uses (williamson et al., 2018). this statement is reinforced by sugiyono (2015) statement, which states that the research method is a branch of science that discusses or questions ways to carry out research, including activities to search, record, formulate, analyze, to compile reports based on facts or symptoms scientifically. the initial stage in the research carried out by the chief researcher was identifying the conditions of the research location, namely yia airport. furthermore, from the review results, the chairman and members of the researcher succeeded in formulating the problems and objectives of the research. there are primary data used in this study. this data is local wisdom found at yogyakarta international airport. data in the form of local wisdom in physical or non-physical form. physical local wisdom can be in puppets to local batik motifs found in all parts of the airport. 74 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 in contrast, non-physical local wisdom can translate announcements using regional languages in oral announcements at airports. the chairperson and members of the researcher collected data using the note-taking technique (suter, 2014), where the researcher saw actual events in the field and then recorded them on a data card. it is understood as a note-taking technique because, in this technique, the researcher observes the data source carefully, directed, and thoroughly. this is done in an effort for researchers to obtain the desired data. the results obtained from the observation are then recorded as data (williamson et al., 2018). after the data has been successfully collected from the data source, the researcher's next step is to analyze the data. in the data analysis process also includes the data classification process. data is classified based on haryanto's (2014) theory, which divides local wisdom into certain forms or categories. furthermore, the data were analyzed descriptively with a mixed-method approach, namely an approach that combines approaches qualitative and quantitative at one time (palinkas et al., 2015). a qualitative approach to explaining in-depth local wisdom in yia airport and a quantitative approach to state the local wisdom found at yia airport. the next step carried out by the head researcher to answer the second problem formulation was an interview conducted with angkasa pura i as the official manager of yogyakarta international airport. the interview technique is a method for collecting and analyzing data (sugiyono, 2015). the use of interviews in this study is included in interviews as a method to test, namely interviews are used to test the truth and stability of a dictum that has been obtained in other ways. from the results of these interviews, data were obtained that successfully solidified the researcher's assumptions. after the data was analyzed successfully, the researcher validated the data analyzed with the cultural and tourism office of the yogyakarta special province. the presentation of the results of the analysis in this study used formal and informal methods. the informal method is presented in sentences and paragraphs, while the formal method uses tables (creswell & plano-clark, 2011). the form of sentences and paragraphs in this study describes qualitatively the local wisdom found at yia airport and local wisdom value. formally, it means that the data is contained in tables and diagrams that contain the entire corpus of data used in this study (sugiyono, 2015). after the study results are presented, the chairman and members of the researcher draw up conclusions from the study. as an outcome, the lead researcher presented the research carried out at the international seminar and published the research in an accredited international journal. in summary, this research is illustrated in the flow chart and table of the following performance indicators. 75 febriansyah ignas pradana, local wisdom in yogyakarta international airport results and discussions a. main concept of artwork: jogja renaissance renaissance, or in indonesian called renaisans is the rebirth of a new civilization created from the acculturation of traditional culture with modern culture. yogyakarta has strong cultural values and is firmly held by its citizens. this culture then moves in a more dynamic direction, mixing with modern culture without losing its original cultural identity. yogyakarta renaissance is a continuous process of rebirth without destroying cultural roots. furthermore, the renaissance was a cultural revolution against the rigidity of thought and tradition. the concept of rationalism was chosen to give birth to the jogja gumregah movement to break away from the confines of mythology and dogmatic stagnation through the process of the gumregah of culture to a superior cultural level. in the past, superior civilization has shown evidence of upholding the noble values, virtues, and identity of yogyakarta. earth was created to give life to all of his servants, with various cultures produced as forms of life. this process continues and grows until the end of time by producing a new civilization as a form of perfection of the previous civilization, without eliminating the divine cultural identity, namely a civilization with one godhead. this can be realized if we can control our passions to achieve a balance between spiritual and rational in the process of creating this culture. these concepts are contained in the following local wisdom. 1) joglo semar tinandu figure 2. joglo semar trinandu in yogyakarta international airport source: researcher’s documentation 76 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 yia's joglo semar tinandu building was inspired by the gate of the ngayogyakarta hadiningrat palace called joglo semar tinandu (semar diusung/semar dipikul). in the semar tinandu concept at the gate or yia 'regol’, there is also a combination of kulon progo's typical geblek ornament. this combination makes the local cultural characteristics of kulon progo, yogyakarta, and kraton ngayogyakarta feel intact for passengers and potential passengers. 2) welcome statue "hamemayu hayuningrat" figure 3. hamemayu hayuningrat statue source: pt angkasa pura i yia is the face of yogyakarta and even the nusantara civilization. hamemayu hayuningrat has a meaning as a civilization monument that preserves traditional values as well as a space for new civilizations to grow in accordance with the character of the people of yogyakarta who are strong and flexible, feminine as well as masculine, a combination of the maritime and agrarian spirit. in line with the spirit of the renaissance and among the tani trade screens, the manifestation of yia is based on the noble values of javanese culture that are dynamic in keeping with the times. yia is a civilization monument that preserves traditional values as well as becomes a space for new and visionary civilizations to grow. the statue that placed at yia serves as a greeting so that the gesture of this statue figure is as the host welcoming the guests. the choice to present a female figure is intended to accentuate further the symbolization of the motherland in relation to the concept of father-to-earth. visually, the statue is a figure of the motherland, which is the location where we live and protect life on earth. the figure of a woman depicts fertility, life, activity, and javanese women 77 febriansyah ignas pradana, local wisdom in yogyakarta international airport who remain obedient to javanese cultural practices, next, in terms of its function, namely as a greeting (welcome monument) of passengers and visitors entering yia airport. the figure of the statue is displayed in its entirety and singularly because it wants to bring out the spirit of a friendly and graceful mother. gesture the statue in this location means welcoming the guests where it looks as if the gesture is stepping and welcoming a new era, with footwork that is like climbing, depicting the spirit of struggle. describes the adage "where the earth is set, the sky is upheld". javanese women's noble dress, wearing jarik cloth and kebaya janggan and carrying a scarf as a symbol of protection, flexibility, and authority. the clothing is meaningful to present a javanese noble, beautiful, and tough mother/woman. carrying a golden bowl symbolises a means of offering to god as a form of gratitude to him.. 3) gunungan figure 4. gunungan wayang in yogyakarta international airport source: pt angkasa pura i wayang gunungan is tapered upwards, which symbolizes human life. everything in this world will eventually come back "up". the higher the knowledge and the older the man, the closer to the creator. in addition, each character depicted in gunungan symbolizes the universe and its contents, starting from humans, animals, plants, and all their accessories. 4) balekambang balekambang is a building that is above the water. apart from yia, balekambang is also located at pesanggrahan ambarukmo, used by sultan hamengkubuwana vii for meditation. there are two balekambang yia 78 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 buildings, on the west side and the east side. on the west side is an inscription from batu merapi, which contains the diy governor's concept of a renaissance jogja, while on the east side is an inscription from merapi rock, which contains the words of the ancestors about the prediction of an airport in the temon area, kulon progo. 5) hastabrata hastabrata talked about the principles of javanese leadership. the word "hastabrata" comes from the hindu sanskrit book, manawa dharma sastra, which means that the royal leaders act according to the character of the gods represented into eight natural elements, namely earth, sun, sky, ocean, fire, wind, moon, and stars. figure 5. hastabrata in yogyakarta international airport source: pt angkasa pura i 6) panca wiwara the international and domestic departure gateways are "knowledge doors" of the people's socio-cultural portraits in five villages that were eliminated due to the airport's construction in kulon progo, which is immortalized in the form of a story. panca wiwara is a form of appreciation for the kulon progo people, which is spoken lightly. 79 febriansyah ignas pradana, local wisdom in yogyakarta international airport figure 6. panca wiwara in yogyakarta international airport source: pt angkasa pura i pelican village this relief tells of a discourse that indicates a determination that was initiated from the region regarding prince diponegoro's troops' transition to become ordinary people. sindutan village the position of sindutan village has the main road leading to other areas, such as guarding the direction towards their respective goals and being a link between regions. jangkaran village in the past, ship anchors were found in the jangkaran area. this story has been passed down from generation to generation and is immortalized in domestic departure gates' reliefs. glagah village relief tells about the history and situation in glagah village by presenting punokawan figures as 'pamomong' who are also symbols of the people. galaga also means flower of sugar cane. kebonrejo village relief tells about the picture of green royo-royo gemah ripah loh jinawi, green plant fertility, and yellow rice fields in rice fields. the embodiment of the local food security centre is reflected in kebonrejo. in javanese terms, 'kebon' means garden or field, and 'rejo' means prosperous. 7) babad alas taking the story of the beginning of a new civilization in the historical trajectory of java's land. babad alas mentaok as the birth of mataram. babad 80 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 alas pabringan early birth of ngayogyakarta and babad alas nawung kridha as the beginning of modern mataram civilization. figure 7. babad alas pabringan in yogyakarta international airport source: pt angkasa pura i babad alas pabringan in april 1755 hamengkubuwana i decided to open the pabringan forest as the ngayogyakarta hadiningrat kingdom's capital. previously, the forest had received a guesthouse named ngayogya as a resting place when delivering surakarta's corpse to the imogiri cemetery. babad alas mertani the relief narrative of babad alas mertani is almost the same as babad alas wanamarta, but it focuses more on the story of the pandavas, who then ruled each country whose king they succeeded in conquering so that the kingdom became the kingdom of the pandavas. babad alas mentaok i telling panembahan senopati built the islamic mataram kingdom. hutan mentaok (javanese: alas mentaok) is an area of the hindu mataram kingdom from the 8th century to the 10th century that stretches from the northeast to the southeast of yogyakarta today. babad alas mentaok ii when the sultan of panjang was led by sultan hadiwijaya (jaka tingkir), the mentaok forest area was given to ki ageng arrowing as a reward for his success in quelling the arya penangsang rebellion (adipati kadipaten jipang panolan) and later opened into a village by ki ageng penggahan and ki juru 81 febriansyah ignas pradana, local wisdom in yogyakarta international airport martani. the village in the menatok forest was subsequently named mataram and had a perdikan or tax free area. palihan nagari on thursday, pahing, 13 sura 1682, coinciding with october 7, 1756, sri sultan hamengkubuwono i and his family moved or moved from pesanggarahan ambarketawang to enter the new building of the ngayogyakarta palace. figure 8. babad alas palihan nagari i in yogyakarta international airport source: pt angkasa pura i 8) pandawa babad alas wanamarta babad alas wanamarta, in the puppet story, is the story of the pandavas building the state of amarta. encouraged by pity for the pandava children who were still his grandchildren, prabu matswapati, the king of the wirata state, handed over the mertani forest (alas wanamarta) to the pandavas. on king kresna, raja negara dwarawati, mertani forest will be built into a state. 9) bedhaya kinjeng wesi dance this sculpture is a symbol of aircraft movements and a visualization of the bedhaya kinjeng west dance movement created by a special choreographer to be dedicated to the iconic dance of yogyakarta international airport (yia). this dance means humans are part of the universe (macro cosmos), but there is also a universal work system within themselves (microcosmos) in humans. this shows that javanese humans are highly civilized, capable of discovering and understanding the universe's interactions. the sculpture is made with sufficient dimensions as a communication space (interface), commercial areas, and waiting areas. 82 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 figure 9. statue of tari bedhaya kinjeng wesi in yogyakarta international airport source: pt angkasa pura i 83 febriansyah ignas pradana, local wisdom in yogyakarta international airport 10) among bocah figure 10. wahana among bocah in yogyakarta international airport source: pt angkasa pura i among bocah is a playground for children in the form of a biplane. in the manufacturing process, artists are very concerned about artistic and aesthetic effects so that they are unique and not the same as playing areas elsewhere that seem uniform. this play area is safe, comfortable, and fun for children and a place for education and cultural introduction through traditional games (swings, slides), which are packaged in a modern and artistic form. 11) panca desa picture 11. panca desa design in yogyakarta international airport source: pt angkasa pura i the story tells about the romanticism of five villages (glagah, sindutan, jangkaran, palihan, and kebonrejo) which were eliminated from the impact of the airport construction as an appreciation for the kulon progo people. 12) among tani dagang layar among tani dagang layar tells of a parade of various village professions, namely fishermen, farmers, and traders, on their way to traditional markets on market days. javanese market days such as legi, pahing, pon, wage, and kliwon 84 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 are still the benchmark for trading systems and calendar systems for people in java. picture 12. among tani dagang layar in yogyakarta international airport source: pt angkasa pura i 13) tetanduran tetanduran (javanese: plant) is a symbol of the local vegetation of kulon progo in the form of the mangosteen tree stylization. picture 13. tetanduran in yogyakarta international airport source: pt angkasa pura i 14) lawang papat picture 14. lawang papat in yogyakarta international airport source: pt angkasa pura i 85 febriansyah ignas pradana, local wisdom in yogyakarta international airport lawang papat is the kori agung or the main gate to enter yogyakarta and is a symbol of the four cardinal directions that rest on one goal with the application of kawung motif texture. lawang papat is wrapped in kawung motif, which has a graded shape as a symbol of development and unity to achieve a comfortable life. the four gates are also a symbol of the entrance to yogyakarta, namely kulon progo, gunung kidul, bantul, and sleman. 15) tamansari picture 15. tamansari in yogyakarta international airport source: pt angkasa pura i tamansari, which means "beautiful garden", was originally a palace garden or the yogyakarta palace garden. tamansari consists of several buildings, bathing pools, suspension bridges, water canals, artificial lakes, artificial islands, mosques, and underground passages. the park is nicknamed the water kasteel (water palace) because of the pools and water elements. tamansari at yia is a mini replica that adapts the original tamansari. 16) gumuk pasir picture 16. gumuk pasir in yogyakarta international airport source: pt angkasa pura i 86 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 the "gumuk pasir" design in the check-in area depicts dunes' natural phenomenon in yogyakarta (parangtritis coast and parangkusumo beach). in southeast asia, dunes are only available in three countries, namely the philippines (la paz san dunes), vietnam (mui ne sand dunes), and indonesia (gumuk pasir yogyakarta). 17) plengkung gading picture 17. plengkung gading in yogyakarta international airport source: pt angkasa pura i b. fragrance the sensation of air freshener at yia uses a selection of fresh yogyakarta spices, namely wedang uwuh spices, consisting of herbs, bay leaves, lemongrass, ginger, kencur, lime leaves, and cinnamon. c. gamelan and javanese songs the sensation of passengers' sensory experience at yia with classical yogyakarta music strains through the javanese gamelan repertoire. this sound ambience is also applied to the binaural wave in gamelan music. the binaural 87 febriansyah ignas pradana, local wisdom in yogyakarta international airport wave is adapted to evoke a certain mood for the passengers. for example, beta wave increase energy, alpha wave induce relaxation. conclusion from those results and discussions, we can perceive that (1) the airport is one of the media, which can show the values of local wisdom of a region or area, and (2) that local wisdom is formed by ideologies contained in society and values of historical culture. in this research, we found three aspects of local wisdom contained in yogyakarta international airport. those three aspects are divided into eighteen branches in the main concepts of the jogja renaissance. jogja renaissance is a mega project of pt angkasa pura i and pt pp, under the authorised of the ministry of transportation. in its development, pt angkasa pura and pt pp has consulted jogja renaissance is planning with sultan hamengkubuwono x as sultan and governor of special region of yogyakarta (andika dannysia, open interview, september 17, 2020). we see a pool of field in aviation that has not been discussed in the research. we do hope this research can give a new perspective in the art and aviation industry. on the other hand, we have not talked about (1) the art perspective in airports' local wisdom, (2) the cultural effect in adding local wisdom in the airport, and (3) the philosophy of the local wisdom itself. those aspects run such an exciting role and full of novelty in their context related to interdisciplinary study. references cornock, m. 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(2015). purposeful sampling for qualitative data collection and analysis in mixed method implementation research. administration and policy in mental health and mental health services 88 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 research. https://doi.org/10.1007/s10488-013-0528-y steelyana, e. (2012). batik, a beautiful cultural heritage that preserves culture and supporteconomic development in indonesia. binus business review. https://doi.org/10.21512/bbr.v3i1.1288 sugiyono. (2015). metode penelitian. bandung: alfabeta. sutarso, j., & murtiyoso, b. (2008). wayang sebagai sumber dan materi pembelajaran pendidikan budi pekerti berbasis budaya lokal. jurnal penelitian humaniora. suter, w. (2014). qualitative data, analysis, and design. in introduction to educational research: a critical thinking approach. https://doi.org/10.4135/9781483384443.n12 timbul, s. (2016). bela negara dan kebijakan pertahanan. majalah wira. williamson, k., given, l. m., & scifleet, p. (2018). qualitative data analysis. in research methods: information, systems, and contexts: second edition. https://doi.org/10.1016/b978-0-08-102220-7.00019-4 89 volume 8 nomor 2, december 2021 p-issn 2339-191x | e-issn 2406-9760 p 89 – 106 the effectiveness of learning method drawing on the development visual language of children picture 6-9 years (case study elementary school bandung city) maya purnama sari1, dian rinjani2 1,2multimedia education majors, cibiru campus university of education indonesia jl. raya cibiru km.15, bandung 40393 e-mail: 1mayapurnama@upi.edu, 2dianrinjani@upi.edu abstract drawing learning methods have the aim to develop children's creativity, both formal and informal schools. observations made in elementary schools and creative studios have two different types of images, namely storytelling and patterned pictures. some of the images look engineered, so they do not look typical of children's drawings. the purpose of this study was to determine the effectiveness of drawing learning methods in children aged 6-9 years in formal schools and the suitability of the drawing results to the development of the visual language of children's drawings. the study used a mixedmethod, descriptive qualitative by collecting photos, videos, behavioral observations. quantitative by way of tabulating visual language to analyze the picture has a scheme in accordance with the development of the visual language of children's drawings. the theory used is the theory of drawing learning methods and the theory of visual language. the research findings namely, the method of learning to draw free and correlated expressions is very effectively used, because it focuses the child on the process rather than the result. the results of drawings in two schools have results that are in accordance with the stages of the development of the visual language of children's drawings. the method can be used as a reference in learning in formal schools to develop children's creativity. the direct method is not appropriate to use at the elementary school level because it makes the results of children's drawings not in accordance with the language development scheme. keywords: formal school, drawing learning method, children's drawing language efektivitas metode pembelajaran menggambar terhadap perkembangan bahasa rupa gambar anak usia 6 – 9 tahun (studi kasus sekolah dasar kota bandung) abstrak metode pembelajaran menggambar memiliki tujuan untuk mengembangakan kreativitas anak, baik sekolah formal maupun informal. pengamatan yang dilakukan di sekolah dasar dan sanggar kreatif terdapat dua jenis gambar yang berbeda, yaitu gambar bercerita dan berpola. beberapa gambar terlihat direkayasa, sehingga tidak tampak kekhasan gambar anak. tujuan penelitian untuk mengetahui efektivitas metode pembelajaran menggambar pada anak usia 6-9 tahun di sekolah formal serta kesesuaian hasil gambar terhadap perkembangan bahasa rupa gambar anak. penelitian menggunakan metode campuran, kualitatif desktiptif dengan mengumpulkan foto, video, observasi perilaku. kuantitatif dengan cara tabulasi bahasa rupa untuk menganalisis gambar tersebut memiliki skema yang sesuai dengan perkembangan bahasa rupa gambar anak. teori yang digunakan adalah teori metode pembelajaran menggambar dan teori bahasa rupa. temuan penelitian yaitu, metode pembelajaran menggambar ekspresi bebas dan berkorelasi sangat efektif digunakan, karena memfokuskan anak pada proses bukan hasil akhir. hasil gambar pada dua sekolah memiliki hasil yang sesuai dengan tahapan perkembangan bahasa rupa gambar anak. 90 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 metode tersebut dapat dijadikan acuan dalam pembelajaran di sekolah formal untuk mengembangkan kreativitas anak. metode langsung kurang tepat digunakan pada tingkat sekolah dasar karena membuat hasil gambar anak tidak sesuai skema perkembangan bahasa rupa gambar anak. kata kunci: sekolah formal, metode pembelajaran menggambar, bahasa rupa gambar anak introduction pictures for children are a play of the imagination. drawing activities become fun, wherever, whenever, and even with any media. the uniqueness of the child's drawing is a character because of its different development. some children have appropriate creative development, some are slower, and some are faster. a creative process is the goal of learning to draw, this becomes important. not just values in the form of numbers which are the goal of learning to draw for children. formal education at the elementary school level already has standard guidelines, namely the curriculum (sukmadinata, 2004). however, the curriculum can be developed by each school according to the needs of the school environment. based on preliminary observations that have been made at three formal schools and two creative art studios in the city of bandung, it shows that pictures of the first and second-grade children look expressive and tell stories. whereas in the third-grade children's drawings, there are patterns, especially in coloring the pictures. the appearance of this pattern is contrary to the scheme of developing children's visual language drawings. the process is the main thing in drawing; it indicates that some parts of the process experience different things. the development of the visual language of children's drawings from the fine language theory expressed by prof. primadi tabrani, regarding the characteristics of children's drawings from the age of 0-13 years is very in accordance with the characteristics of children's drawings so that it becomes a reference in this study because it looks more specifically at the results of scribbles of children, not on the psychological side of the child when drawing (tabrani, 2014). the results of this drawing are then adjusted to the drawing learning methods used by each teacher. the selected school has teachers with a background in fine arts education so that they have an in-depth understanding of art learning. from the presentation of the discovery of patterns in children's drawings, this study will focus more on drawing learning methods that can be in accordance with the scheme of developing children's visual language drawings, prof. theory. primadi tabrani. the sample of this research is public and private elementary schools throughout the city of bandung. the criteria sought are schools with an a accreditation value with exceptional teachers in fine arts education. four schools 91 maya purnama sari1, dian rinjani2, the effectiveness of learning method drawing … were obtained, including two public elementary schools (banjarsari 5 and isola) and two private elementary schools (kuntum cemerlang and upi laboratory elementary school). method based on the research problem, the research method used is mixed methods (quantitative and qualitative), along with the analysis used in each method. 1. the quantitative analysis method is by tabulating the visual language of the wimba and expressing it distinctively. to get the amount of wimba that is in accordance with the child's visual language development scheme so that an indication of the effect of the learning method can be seen. 2. the method of qualitative analysis by observing the behavior of the teacher for more detailed learning and observing the behavior of the child to determine the process of creation that occurs every time learning takes place 3. qualitative analysis method with in-depth interviews with teachers to get a lot of information on the reasons for implementing irregular and in-depth learning and interviews with children when drawing to find out the story of each picture made. image analysis the analysis carried out with visual language describes the image and its content in a unique way to determine its suitability with the development of the visual language of the child's image. like the analysis in the following picture: picture 1. butterflies descend on the garden (marlon, 6 years) table 1. description of events and content of image no incident fill in the image 1. butterflies descend on the garden 1 sun 3 clouds 1 green grass 2 large lower wings 2 small upper wings 92 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 table 2. wimba method analysis image name w-i w-ii wiii w-iv w-v 1 2 3 1 2 1 1 2 1 2 3 butterflies descend on the garden 3 3 2 1 2 1 1 4 1 4 scene butterflies fly in the garden with their beautiful wings inner expression (tata ungkap dalam) enlarged flying butterflies will stop in the garden during the day to rest enlarged lower wings and body to show that the lower part will reach the ground earlier black dots represent wing decorations. development of children's drawing visual language 6-7 years schemes develop along with the development of sensory integration, the development of the concept of space and time. land line, not yet perspective, simplified (stylized). various visual languages are used all at once, head-feet conclusion the image corresponds to the development of the visual language of the child at the age of 6 years table 3. explantion wimba method analysis source: tabrani, (2012: 12) wimba i retrieval size 1 enlarged 2 minimized 3 from feet to head ii take-up angle 1 various looks 2 x-ray iii scale 1 gigantic size iv depiction 1 incident 2 various looks 3 representative v how to see 1 direction see right to left or kinda 2 direction see top to bottom or kinda 3 direction see middle to edge 4 direction see edge to center 5 direction see with one another 6 direction see chase 7 direction see average 8 direction see get around 9 direction see visible from anywhere 93 maya purnama sari1, dian rinjani2, the effectiveness of learning method drawing … results there are two theories used in analyzing this problem: the theory of the method of learning fine arts and the theory of the development scheme of the visual language of children's drawings. theory of fine arts learning methods the learning method is divided into two groups, namely theoretical and practical; in the practical method of learning art de 'francesco (1958: 133-141) summarize four types of art learning methods used by elementary to high school levels. these methods include directed teaching, free expression (free expression), core teaching, and correlated teaching. the following is a discussion of the four methods. this method is appropriate when used in junior and senior high school education to teach techniques to create fine artwork and practice persistence appropriately. this learning method needs to be considered for the continuity of art learning, be it in elementary to high school levels, by paying attention to psychology on child development and reasonable goals for students. a. directed teaching the direct learning method is so rigid because the learning process occurs in only one direction. the position of the teacher is to provide a lot of knowledge, techniques and other things that dictate the details. meanwhile, students become objects to receive all knowledge from their teachers. the principle of direct learning is like the understanding of children's education tabula, where children are likened to empty vessels that must be filled and can be filled with all forms of knowledge, assuming the child does not know what is given. the methods used in direct teaching are modelling, stick figure, and global (model). direct teaching aims to expect and want their students to be able to master certain techniques to produce identical, perfect products. b. free expression method a free expression method is a teaching approach that leads to spontaneity from students, and teachers do not dominate everything that comes from itself. teaching methods by demonstration, exploration or demonstration-exploration and experimentation are used in this method. still, the teacher or coach who will apply this method must understand the aspects of the development of children's creativity and psychology to be able to place the word 'free' correctly. with this method, teachers distance themselves and do not interfere with the activities of their students. the process of implementing this method runs informally in the world of education. the presence of teachers has a very small role, even almost unnecessary. 94 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 this condition is very meaningful for students who have high motivation to learn, but for students who have low motivation, this condition can be misused for playing. this method is starting to be widely applied in creative art studios to develop children's personalities. c. core teaching teaching methods that prioritize problem solving, meet needs and want to change all attitudes and even certain social situations in a critical and creative way, so emphasize intelligence and intelligence to think on personal values. the form of artwork is not the main thing, but the development of creative concepts from artistic ideas is expected in the core learning method. so that there is a relationship between the development of core teaching methods from reading, writing and arithmetic with the core of skills, namely expecting to be able to solve various problems in people's lives. not just being a scientist but can be a creative scientist or vice versa not just an artist but can be a knowledgeable artist to be able to solve life's problems creatively. this learning method began to be given to the high school and advanced school children, so it was not suitable for elementary school children. theory of children's drawing visual language development children's drawings are unique with their stories and never a child's drawing is made the same. even though the development of visual language, pictures of each child are similar. at each stage, boundaries exist for definite differences but are not always clear, as some children experience slower, faster processes that overlap and are overlooked. the development of this child is adapted from biogenetic theory which explains the present period of child development (ontogeny) and the acceleration of the early days of humankind (phylogeny), in prehistoric times, the next growth period will be influenced by the environment and culture. the scheme described is the child's visual language development from the way the child only describes the story, not related to geographical or cultural differences. the following describes a scheme for developing children's visual language images. table 4. schematic of children's visual language development source: tabrani, (2012: 14) no. age image development development of visual language 1. 2-3 smudge meaningless. new is the sensation of finger imprints. 2. 3-4 the smudging starts to have meant. space, various times, various spaces. 3. 4-5 concerned with parts of the object. shifted, dynamic, looks typical, certain parts of the object are enlarged and others are ignored. 95 maya purnama sari1, dian rinjani2, the effectiveness of learning method drawing … 4. 5-6 simple schematic, top-down concept. top-bottom, bottom edge = dirt line. 5. 6-7 schema development, as sense integration develops. the development of the concept of space and time. the land line, there is no perspective, is simplified (distilled). various visual languages are used at once, head-foot. 6. 7-8 prioritize the objects that are concerned. the object of interest is magnified, x-rays. 7. 8-9 various time and space. background layer, plural earth lines, twins, multiple images, laying down, around, flat, decorative. 8. 9-10 the eye begins to function in more detail. more detailed details of the object being drawn. 9. 10-11 images other than the result of imagination, are records of events. seems to be a naturalist, but at the same time the various "wars" in the visual language are used. 10. 11-13 crisis period when there is a between the new eye senses and the other senses. feature: an image of overlapping space appears (children are confused between rwd and npm systems). curriculum in terms of this defined curriculum is the education unit level curriculum (ktsp) effective from the 2006/2007 school year. determination by the national education government (depdiknas) by providing guidelines for preparation or development, with the legal basis of uuri number 20 of 2003 concerning the national education system, republic of indonesia government regulation number 19 of 2005 concerning national standards education, regulation of the minister of national education number 22 of 2006 concerning standards contents for primary and secondary education units, national education regulation no. 23 of 2006 concerning graduate competency standards for education units and regulation of the minister of national education number 24 of 2006 concerning implementation regulation of the minister of national education number 22 of 2006 and number 23 of 2006 (diknas, 2014). feldman (1982: 21-45) in duncum, paul (2008), mentions inner varieties the curriculum used and should be able to be developed from time to time four types, including (1) technology, (2) psychology, (3) anthropology and history, and (4) aesthetics. however, in total the curriculum is applied according to its orientation, according to miller and seller (1985: 6-8), describing three basic orientations in implementation. learning as an activity in implementing the curriculum, namely (1) transaction orientation, (2) transaction orientation, and (3) transformation orientation. each school and teacher can apply an orientation to the needs of students or the goals of the school. 96 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 discussion the intensity of the four schools in applying the drawing learning method this data reduction was carried out to focus the teacher more intensely in applying the same learning method in the 16 learning sessions. the results will be found that three schools that more often use three drawing learning methods. the following are the results of the data obtained. a. banjarsari 5 elementary school the data results above show that elementary school banjarsari in class 1 uses 50% direct learning methods, free expression, and a correlation of 25%, respectively. in grade 2, direct learning methods and 50% balanced correlation. in grade 3 the application of the free expression learning method is 25% and 75% correlated. so, it can be concluded that the application of the correlated method in class 3 is more dominant than other classes, namely 75%. b. isola elementary school the data results above show that the application of direct learning methods and free expression is balanced by 50% in grade 1 and class 2. in class 3, direct learning methods apply 50%, while the free expression method and balanced correlation are 25%. so, it can be concluded that the application of the direct learning method is balanced in classes 1-3, and the application of balanced free expression in grades 1 and 2. so that there is no domination of the use of the chasing method in each class. c. kuntum cemerlang elementary school the data results above show that in grades 1-3, the application of the overall free expression method is 25%, in-class 1, the application of the direct learning method is 50%. in grades 2 and 3, the application of the direct learning method is more dominant, as much as 75%. so, it can be concluded that the direct learning method is more dominant in grades 2 and 3. d. upi laboratory elementary school the data result above indicate that the application of the free expression learning method dominates in grades 1-3 as much as 75%, besides that it is only applied. direct learning methods in grades 1-3 are 25%. it can be concluded that teachers in grades 1-3 mostly use the application of the free expression learning method. table 5. the intensity of the application of the drawing learning method no. school name method class result 1. banjarsari 5 elementary school korelasi 3 75% 2. kuntum cemerlang elementary school langsung 2 75% 3. upi laboratory elementary school ekspresi bebas 1 75% 97 maya purnama sari1, dian rinjani2, the effectiveness of learning method drawing … from table 5, it can be concluded that the school sample in this study was only three schools, namely elementary school banjarsari representing the correlated learning method in grade three, elementary school kuntum cemerlang representing direct learning methods and pilot upi laboratory elementary school. a) analysis of the application of learning methods banjarsari 5 elementary school correlated teaching methods free expression learning methods are applied by third grade teachers at banjarsari state elementary school, bandung. ktsp curriculum class 3, semester 2 • competency standards: 9. express yourself through works of art. • basic competence: 9.1 express yourself through imaginative pictures of the natural surroundings. • material: collaboration in the field of civic studies, natural knowledge and indonesian to be expressed in the form of drawing art. • presentation of material: starting with a discussion about friendship, mutual love, cooperation (citizenship), then how the forest is in the afternoon and evening complete with the animals in the forest (natural knowledge). • story contents: tells the story of three children playing marbles by a river near the forest in the afternoon. while playing with marbles, one child fell into the river and then they saw wild animals in the river such as crocodiles and snakes. • instructions: finish the story with their imagination on an illustrated image. • conditions: the media used are pencils, markers, and crayons. if you are coloring, use a gradient technique. the learning process in the third grade at banjarsari 5 elementary school is a development of the ktsp curriculum (depdiknas, 2014); the development is in the theme of the material and learning methods. the curriculum approach used is grassroots because it seeks to develop the existing curriculum and its implementation with a transmission and transaction orientation. the combination of these two curriculum implementations is more dominant in transactions. in teaching and learning activities, the teacher initiates the transmission process of various sciences, intending to add insight. then the implementation of transactions takes place so that students play an active role during learning. 98 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 table 6. banjarsari 5 elementary school drawing learning activities – correlation method no. activities information 1. the teacher tells a short story about taste love each other and please help fellow friends. the teacher talks about the forest and its types of wild animals in the forest. the teacher then tells the story with the title "three friends playing". 2. teachers pay attention to children when they are draw. 3. the teacher gives sample pictures on children who find it difficult to make image shape. the teacher provides examples of pictures, however. then the sample paper is taken back. 99 maya purnama sari1, dian rinjani2, the effectiveness of learning method drawing … picture 2. image results banjarsari 5 elementary school drawing learning activities correlation method b) upi laboratory elementary school free expression learning methods (free expression) free expression learning method applied by grade 1 teachers at the pilot upi laboratory elementary school bandung. ktsp curriculum class 1, semester 2 • competency standards: 8. express yourself through works of art • basic competence: 8.1 express yourself through expressive drawing art • material: insect animals • instructions: imagine what a butterfly would do. pictures of butterflies and current activities. • conditions: the media used in drawing books, crayons, and pencils. the learning process that took place in grade 1 at pilot upi laboratory elementary school is the development of the ktsp curriculum (depdiknas, 2014), the development is in the material theme and learning method. the curriculum approach used belongs to grassroots, because it tries to develop the existing curriculum and its implementation with a transaction orientation. teachers do not dominate much dialogue in teaching and learning activities; children play an active role in the teacher's stimulus. 100 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 table 7. drawing learning activities in upi laboratory elementary school – free expression method no. activities information 1. the teacher gives the drawing material's theme and invites children to imagine becoming an insect animal (butterfly). invite children to answer the question: what would you do if you become a butterfly? where are you going? whom are you going with? 2. the teacher invites children to draw. the teacher does not provide examples of pictures or shows an example of a butterfly shape. 3. teachers pay attention and provide stimuli to some children who feel confused by asking, giving butterfly traits, give input if the butterflies are in some places (parks, houses, streets). 4. after all the children have finished drawing, teachers provide opportunities to children to draw on the board and tell the picture he made. picture 3. image results drawing learning activities in upi laboratory elementary school free expression method 101 maya purnama sari1, dian rinjani2, the effectiveness of learning method drawing … c) sd kuntum cemerlang direct learning method (directed teaching) direct learning method, applied by second grade teachers at kuntum cemerlang elementary school, bandung. ktsp curriculum class 2, semester 2 • competency standards: 9. express yourself through works of art • basic competence: 9.1 express yourself through expressive images • material: simple perspective engineering drawings (far and near pictures). • instructions: to draw a forest scene. • conditions: draw objects with large and small sizes. the image is overlapping, there is an invisible part. the main object is made large. using paper media, pencils, and markers. the learning process in the second grade at kuntum cemerlang elementary school is quite far from the ktsp curriculum (depdiknas, 2014); the development is in the material theme, methods, and the goals of art learning. the curriculum approach used is included in demonstration. schools provide as complete facilities as possible for selfdevelopment in terms of instructional media, rooms. the selection of materials uses what the school considers necessary for the development of children in the future. implementation of the curriculum includes transmission orientation. in teaching and learning activities, children listen to information (the process of transferring knowledge); the teacher gives and waits for instructions, after getting active children's instructions but getting some references or provisions in drawing. table 8. drawing learning activities at kuntum cemerlang elementary school – direct method no activities information 1. the teacher provides explanation and understanding about drawing a simpler perspective with the term "far-near picture". 102 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 2. the teacher explains with a picture regarding horizontal lines. the teacher teaches comparisons, pictures with a largenear, small-far size. the teacher teaches erasing image objects which are on the back/invisible. the teacher gives suggestions for drawing large main objects with the aim of the paper filled in full. 3. the teacher gives some sample pictures different on the blackboard as a child's reference drawing with perspective techniques. 103 maya purnama sari1, dian rinjani2, the effectiveness of learning method drawing … picture 4. image results drawing learning activities at kuntum cemerlang elementary school direct method analysis of image results on suitability of visual language development this analysis is proof of the appropriateness of the application of the drawing learning method to the drawing results of each school and the suitability of the image results to the development of the visual language of children's drawings. a. kelas 1 – upi laboratory elementary school (free expression method) table 9. results of image analysis class 1 (age 6-7 years) upi laboratory elementary school no. students total age development of visual language 6-7 years 1. 8 students 6 years landline, not there yet. 2. 19 students 7 years perspective, simplified (stylized). 3. 27 students 6-7 years various visual languages are used. result 100% match from the results of the data above, it is found that with a total of 100%, the results of the children's drawings have conformity with the development of children's visual language in their age range. 104 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 b. kelas 2 – kuntum cemerlang elementary school (direct method) the number of second-grade students at kuntum cemerlang elementary school in one class is 25 people; the number of students entered is 21 because of their absence. the sample images obtained are 21 pictures. table 10. image analysis results for class 1 (7-8 years old) kuntum cemerlang elementary school no. students total age development of visual language 6-7 years 1. 4 students 7 years landline, not there yet perspective, simplified (stylized). various visual languages are used at once, head-to-toe important objects are magnified, x-rays. 2. 17 students 8 years 3. 21 students 6-7 years not all pictures have the characteristics of 7-8 years of age development result 9 students 12 students 42,85% match 57,14% not match from the results of the data above, it is found that 42.85% of the results of the children's drawings have conformity with the development of children's visual language in their age range. while the remaining 57.14% of the results of the children's drawings do not have a conformity with the development of the visual language of the children's drawings, then from the number of pictures, 57.14% of the pictures will be further analyzed on the factors that influence developmental discrepancies with the results of the images. c. class 2 – banjarsari 5 elementary school (correlation method) the number of students in grade 3 at banjarsari 5 elementary school in one class is 34 people; because of the absence of one student, the total sample of images obtained is 33 pictures. table 11. results of image analysis class 1 (age 8-9 years) banjarsari elementary school no. students total age development of visual language 6-7 years 1. 10 students 8 years landline, not there yet perspective, simplified (stylized). various visual languages are used at once, head-to-toe. important objects are magnified, x-rays. background layers, multiple ground lines, twin, plural images, laying down, walking around, flat, decorative. 2. 23 students 9 years 3. 33 students 8-9 years all pictures have the characteristics of 8-9 years old fine language development. result 100% match 105 maya purnama sari1, dian rinjani2, the effectiveness of learning method drawing … from the results of the data above, it is found that as a whole with a total of 100%, the results of the children's drawings have conformity with the development of children's visual language in their age range. conclusion the conclusion in this study shows that the learning method does affect the results of children's drawings, and this proves the importance of choosing the right drawing learning method for children to suit their developmental age. the method of learning to draw is closely related to the images produced by each child. the learning method reflects the learning outcomes. if the method is applied to free expression and correlation, the image created is more varied and expressive. however, if the imitation method is applied, the results of the children's drawings will not be so varied by adding a mock image object from the sample image created. choosing the right method and application for the child will result in the image's suitability with the development of the visual language of the child's drawing. learning methods for drawing that are effective for children aged six to nine include free expression and correlation methods. this is because this method is proven to have the potential to help children have the development of drawing according to their age in the theory of developing children's drawing visual language. in addition, this method is very effective in diverting children's attention to the objectives of the assessment or the final results achieved. the free and correlated expression method is able to position the teacher as a facilitator, motivator and innovator in building children's self-confidence when drawing. because basically drawing activities for children, is one way of telling stories in visual form. direct methods can be used for specific purposes in creating artificial forms, such as imitating nature, animals, plants or objects directly instead of imitating in the sense of prototyping creating image characters. attachment the appendix contains information about the terms in the visual language development scheme for pictures of children aged 6-9 years and the term wimba iv. no. development of visual language explanation 1. landline a line drawn at the bottom without a picture, usually only a small amount of space. 2. no perspective yet there are no visible dimensions or sharp spaces. 3. simplified changed with simpler lines. 4. head to toe depicted in its entirety. 5. enlarged the important part is enlarged. 6. x-ray the invisible inner image is depicted. 106 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 7. image layer a ground line separates each object. 8. plural landlines there is a picture after the line. 9. twins image important objects are described as equal and more than one. 10. plural images objects are drawn multiple to indicate movement. 11 flat image the image is made without the impression of dimensions. 12 decorative the picture is more patterned. 13 minimized the image is made smaller than other objects. 14 various looks can be seen from anywhere. 15 gigantic size the object is drawn the largest of the other objects. 16 incident tell a scene. 17 representative an image represents an object. 18 direction sees right to left or kinda. depicted from the right first then left or vice versa. 19 direction see top to bottom or kinda. drawn from top to bottom or vice versa. 20 direction see middle to edge. drawn from the center to the edge. 21 direction see edge to center. drawn from the edge to the center. 22 direction sees with one another. drawn from two directions together. 23 direction see chase. objects are drawn sequentially. 24 direction see average. the object is depicted as equal. 25 direction sees get around. objects are drawn around from all parts. 26 direction sees depicted from the right first then left or vice versa visible from anywhere. images can be interpreted from any direction references de francesco, i. l. (1958) art education, its means and ends. new york: haper & brother publishers departemen pendidikan nasional (2014). profil pendidikan provinsi jawa barat 2013-2014. bandung: subbag perencanaan dan program. duncum, paul. (2008). thinking critically about critical thinking: towards a post critical, dialogic pedagogy for popular visual culture. international journal of education through art, volume 4 number 3, 248-250. duqquet, p. (1953). “creative communication education and art”. [symposium]. paris: unesco. miler, j. p, dan seller, w. (1985). curriculum perspectives and practice. new york: longman. sukmadinata, n, s. (2004). kurikulum dan pembelajaran kompetensi. bandung: kesuma karya. tabrani, p. (2012). bahasa rupa. bandung: kelir. tabrani, p. (2014). proses kreasi-proses belajar anak. jakarta: erlangga. 161 volume 8 nomor 2, december 2021 p-issn 2339-191x | e-issn 2406-9760 p 161 – 173 the effect of mineral water packaging designs on level of consumer decision in purchase prayanto widyo harsanto1, jalung wirangga jakti2 1,2institut seni indonesia yogyakarta, jl. parangtritis no.km.6, rw.5, panggungharjo, kecamatan sewon, bantul, daerah istimewa yogyakarta 55188 e-mail: 1prayantowh@ymail.com; 2jalungwirangga@gmail.com abstract the function of packaging is to wrap or protect a product. it has a role in informing various things related to a product, such as the type of product, product quality, benefits, and product image. through packaging design, consumers are also assured that the packaged products are more secure, healthy, and safe. excellent and attractive packaging design can foster positive consumer perceptions of the product. this positive perception of consumers can have an impact on certain decisions on consumers. the emergence of various mineral water bottle brands is currently causing intense competition to win the hearts of consumers. various ways have been made to attract consumer interest, one of which is through packaging design. packaging design is considered one of the ways to shape perceptions and improve consumer decisions to buy. besides, the perceptions that have been formed can help improve or decrease the brand image. this study aims to determine consumer perceptions of the form of mineral water packaging design marketed in indonesia. through this research, the information will be obtained that can be used as a reference regarding packaging design and to determine consumer perceptions of purchasing decisions for a product. the method used in this research is a qualitative method, supported by quasi data (quantitative experimental) with an aesthetic approach (design). through packaging design elements such as color, shape, brand, and logo, illustration, and typography will form perceptions in the minds of consumers regarding the suitability of the product with the packaging. thus, packaging design has the power to introduce products to consumers, help improve purchasing decisions, and can provide correlated value to form a brand image in the eyes of consumers. keywords: packaging design; mineral drink; consumer perception; buying decision pengaruh desain kemasan air mineral terhadap tingkat keputusan konsumen dalam pembelian abstrak fungsi kemasan tidak hanya untuk membungkus atau melindungi sebuah produk, tetapi juga berperan mengomunikasikan/menginformasikan berbagai hal terkait dengan sebuah produk, seperti jenis produk, kualitas produk, manfaat, dan citra sebuah produk. melalui desain kemasan pula konsumen diyakinkan bahwa produk yang dikemas lebih terjamin keamanan, kesehatan, dan keselamatannya. desain kemasan yang baik dan menarik dapat menumbuhkan persepsi positif konsumen terhadap produk. persepsi positif konsumen ini dapat berdampak pada keputusan tertentu pada konsumen. munculnya berbagai merek minuman mineral kemasan saat ini menimbulkan persaingan yang ketat untuk saling merebut hati konsumen. berbagai cara telah dilakukan untuk menarik minat konsumen/pasar, salah satunya melalui desain kemasan. desain kemasan dianggap merupakan salah satu cara yang mampu membentuk persepsi dan meningkatkan keputusan konsumen untuk membeli. selain itu, persepsi yang telah terbentuk dapat membantu meningkatkan atau menurunkan citra merek suatu produk. penelitian ini bertujuan untuk mengetahui persepsi konsumen terhadap bentuk desain kemasan minuman mineral yang dipasarkan di indonesia. mailto:1prayantowh@ymail.com 162 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 melalui penelitian ini pula akan diperoleh informasi yang dapat menjadi rujukan terkait desain kemasan dan untuk mengetahui persepsi konsumen terhadap keputusan pembelian terhadap suatu produk. metode yang digunakan dalam penelitian ini adalah metode kualitatif, didukung data quasi (kuantitatif eksperimen) dengan pendekatan estetika (desain). melalui elemen desain kemasan seperti: warna, bentuk, merek dan logo, illustrasi, dan tipografi akan membentuk persepsi pada benak konsumen mengenai kesesuaian produk dengan kemasan. dengan demikian, desain kemasan mempunyai kekuatan untuk mengenalkan produk pada konsumen, membantu meningkatkan keputusan pembelian, serta dapat memberikan nilai yang berkorelasi membentuk citra merek di mata konsumen. kata kunci: desain kemasan; minuman mineral; persepsi konsumen; keputusan pembelian introduction this study departs from a researcher experience, but it may also be the experience of other people or families when shopping at a supermarket or store for their daily needs. when choosing a particular product, sometimes you face various brand choices, resulting in different choices and leading to discussions before buying. for example, when choosing a bath soap product, the choices of girls and boys can be different, and the choices of their mothers and their fathers are very different. the packaging on a product provides a visual perception and impact that is not simple when consumed by the public or potential consumers. perceptions, background knowledge, and references that a person has given a considerable contribution to one's behavior when viewing a product through its packaging. some are attracted by the shape, while others are attracted by the visualization of the labels on the packaging, others are attracted after seeing and reading the content. some consumers are fanatical and loyal to certain brands/brands regardless of the various forms and packaging designs. the radical development in the design world in 2020 has not yet reached its peak, but academic attention to the correlation between packaging design consumption and purchasing decisions is still minimal. an act of buying (consumption) is the goal of the producer's efforts in marketing its products. determining the business's strategy must be based on the ability to be oriented to the utilization of aspects with optimal methods. for this strategy to be successful, it requires an understanding of the environment and adaptation to environmental changes, the social, economic, political, and ecosystem (hartanto, 2009: 158). to achieve maximum sales results, producers make various efforts to attract customers, both economically (discounts, etc.) and in the design of advertisements and product packaging. various promotional actions are also carried out to make consumers interested in the products offered, so an interesting way of communication is needed. based on this, brand awareness is created (kurniawan, 2018: 43). brand awareness is the public awareness of a brand/brand (makmur, 163 prayanto widyo harsanto1, jalung wirangga jakti2, the effect of mineral water packaging designs … 2018: 12). the various efforts made by producers cannot be separated from the packaging design of the products they sell, both visually and ergonomically. besides, it also requires the attractiveness of products being sold with packaging as a primary trigger because it directly faces the target audience. therefore, packaging must be able to intervene with consumers to provide an incentive to buy. apart from being a product wrapper, the packaging is expected to provide an overview of the advantages of a product and make consumers feel that the product is worth buying. therefore, the packaging must have the ability to compete with its rivals. based on observations on phenomena, the sense of sight has a considerable role in making decisions. that is why graphic and ergonomic elements have a fundamental visual communication process. for example, equal drinking water with a packaging design in the shape of a wine bottle with a dark green color which reflects that the main ingredients of the product's maker are natural and very exclusive like wine, besides that the green color can also describe a soft and fresh feel. even though it is priced quite high, it is proven that the product can influence the target audience. drinking water is a primary human need; apart from being 80% of the human body consisting of water, water is always needed in a tropical country like indonesia, which has a reasonably warm temperature. the number of competitors results in more consumer choices to choose products that match their expectations. consumers become more careful in choosing products on the market to obtain the uses and benefits they are looking for. to be able to satisfy consumers, one of the advantages of competing is product quality. quality must be measured from the consumer's point of view of the quality of the product itself; therefore, the quality of the product must meet the needs and desires of the customer. this condition forces companies to maintain and improve quality to compete, resulting in the emergence of many bottled drinking water producers who compete with each other and win consumers' hearts. however, not all producers can optimize packaging design, both graphically and ergonomically. this research aims to identify indicators of attractive mineral drink packaging design according to consumers. analyze the elements of packaging design based on these indicators to improve the design quality to increase competitiveness. thus, through this research, the researcher can provide references related to packaging design to determine consumer perceptions of purchasing decisions based on the form of product packaging design. the quasi method in data collection in this study was chosen to obtain rich and fascinating data to be absorbed. experiments were conducted on 30 respondents who meet the criteria and have been determined with the arranged product conditions but do not forget that each individual is unique and has an unconditional character. 164 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 meanwhile, data analysis was carried out using an aesthetic approach (design), hoping that packaging design has the power to create a correlation with decisions. mixed methods like this have not been widely used, and researchers must present the data as informative as possible. this is both a challenge and an opportunity for society today. the emergence of various forms of packaging design with various types and brands of bottled mineral water products can cause competition, resulting in difficulty for a product to maintain itself as a market leader. to survive, it requires a packaging design that attracts consumers through packaging design elements such as color, shape, brand, logo, illustration, and typography. these elements will form perceptions in the minds of consumers. a good perception of potential consumers will certainly be able to influence purchasing decisions on these products. therefore, the research question is: how are the elements in the packaging design of mineral drink bottles that can attract the target audience. besides, this study also questions how consumers perceive purchasing decisions based on the packaging design of mineral water product bottles. methods and approaches 1. research methods the type of research in this paper is quasi-experimental with causality and descriptive format as a continuation with aesthetic analysis (design). causality research attempts to test the correctness of the causal relationship (cause-andeffect), namely the relationship of the independent variable (which influences) or the packaging design with the dependent variable (which is influenced), in this case, the purchase decision. this aims to test the truth of a hypothesis, which is carried out through quasi data collection (sugiyono, 2009: 57). 2. research subjects and objects a) research subject respondents are a population with specific characteristics defined by the researcher as the core of learning, which then concludes (sugiyono, 2009). the subjects in this study were teenagers in yogyakarta. b) research object the object of research is at the core of the problem in research (arikunto, 2006). the object of this research is the packaging design of 600 ml of mineral water products. 165 prayanto widyo harsanto1, jalung wirangga jakti2, the effect of mineral water packaging designs … 3. research variable research variables are all things that have been determined as the focus of research so that all the information needed to support the conclusion is obtained (sugiyono, 2009: 38). the variables used in this study are: a. the dependent variable in this study is buying interest in mineral water products (y) b. the independent variable in this study is the packaging design (x). 4. operational definition the operational definition explains the variables and terms used in research to make it easier for respondents and readers to interpret the research variables. 1) packaging design (x): a. graphic design (x1) graphic design is a form of visual decoration on the packaging surface. it consists of four dimensions, namely brand name, color, typography, and image. b. design structure (x2) the design structure is related to features and ergonomics in packaging construction, divided into three dimensions, namely shape, size, and material. c. product information (x3) in a package, some elements build a brand image in a communication business that provides information on products to help consumers make purchasing decisions. 2) purchase decision (y) according to kotler (2009), purchasing decisions are a series of elements that describe how consumers choose a product to buy. the definition of aspects of purchasing decisions proposed by kotler introduces the problem; information search, alternative assessment, buying decision. the author's post-purchase behavior is processed into aspects of variable consideration, namely: a. transactional (y1) transactional is an individual decision to buy a product. b. referential (y2) referential is an individual encouragement to provide product references for others. c. preferential (y3) preferential is a tendency towards preferential behavior in a product. d. explorative (y4) explorative is the tendency of individual behavior to deepen information about the product of their interest. 166 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 5. population and sample 1) population the population can be defined as an area of generalization: objects/subjects with specific causality or characteristics designated as learning resources. based on this understanding, the population in this study were teenagers in yogyakarta with adolescence. meanwhile, based on quasi research, the researcher will not control the respondents by default other than to give respondents the freedom in the hope of obtaining rich and accurate data. 2) samples the number of subjects taken in this study was 30 subjects considering that the sample size would indeed be better, but it required at least 30 samples (cohen, et al., 2007: 101). this is also supported by the statement (baley; mahmud, 2011: 159) that the minimum sample size in research with statistical analysis is 30. roscoe also stated that if the sample is divided into one category, it must have at least 30 sample members (sugiono, 2009: 91). a quasi-deep experiment was analyzed descriptively correlational with a minimum sample of 30 respondents (mahmud, 2011: 159). 6. sampling technique the sampling technique used in this study used a non-probability sample; that is, not all population members have the same opportunity to be a sample in the study (prasetyo & jannah, 2008). sampling was done by the purposive sampling method because the selected sample was based on specific characteristics or traits (prasetyo & jannah, 2008). the number of respondents used in this study amounted to 30 people who have the following criteria: 1. adolescents aged 20-26, 2. teenagers domicile in yogyakarta, 3. ever bought bottled water. 7. data collection technique the method used by researchers in data collection is a scale. the scale used is a closed scale, in which the researcher limits the respondent's response. while the question items will be asked verbally by the researcher after the experimental protocol has been implemented with questions that are processed based on the definition of the two variables. the purchase decision indicator used in this study is an indicator based on kotler, which is reprocessed. based on this, purchasing decisions are divided into four dimensions, namely: transactional, referential, preferential, explorative, which are reprocessed into questions as the scale of the research carried out. the empirical mean value is obtained using the following calculation: 167 prayanto widyo harsanto1, jalung wirangga jakti2, the effect of mineral water packaging designs … μ = σx: n μ = empirical mean σx = total value n = number of items meanwhile, to find the theoretical mean value, the following calculations are used: μ = theoretical mean i_maks = maximum item value i_min = minimum item value σk = number of stage items the theoretical mean that is owned on this scale can be stated after being implemented after the try-out. this value is obtained using the formula above with a minimum value of item 1, a maximum value of item 4 and a valid number of items. the number of items used is the number of statement items used after the try-out. the value on the scale is obtained according to the response given by the respondent to each statement. the value assigned is also determined by the type of statement on the scale. there are two types of statements in the scale of this research, namely favorable and unfavorable. response options on the scale are sts ("strongly disagree"), ts ("disagree"), s ("agree"), ss ("strongly agree"). researchers do not provide n (neutral) answer choices to avoid the tendency of respondents to fill in neutral choices, so that data on differences from respondents becomes less informative (azwar, 1999). 8. validity and reliability of measuring instruments 1) validity validity is the accuracy and precision of measuring instruments as a scale in providing measurement results and carrying out measurement functions by measurement objectives (azwar, 2012). 2) item analysis in item selection, the most crucial parameter is the item discrimination power. item discrimination power is the extent to which items can distinguish between individuals and groups of individuals who have and do not have the attributes to be measured. 3) reliability azwar (2012) explains that reliability is the consistency of measurement so that it can be trusted. measurements that have a high-reliability value can be said that measurements are reliable. 168 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 9. data analysis method before the data is analyzed, the data obtained will be processed statistically. after the data is obtained through the items submitted to the respondents, the next step is tabulation, or it can be interpreted as scoring by the system applied. scoring is done using a likert scale. 1. test assumptions besides, it is necessary to test assumptions as a form of accountability for the results obtained. a. normality test the normality test is a test carried out on research data to check the research data conducted by researchers from a normal distribution population (santoso, 2010). this normality test can be performed using the kolmogorov-smirnov analysis. b. homogeneity test the homogeneity test is a test carried out on research data to see whether the assumptions in the research variant are the same or not. this homogeneity test was carried out using the levene test analysis. if the variants in this study are the same, the t-test will use the equal variance assumed column value. if the variants in this study are different, the t-test will use the equal variance not assumed value. this is done by looking at the significant value in the t-test results. if the significance value is more than 0.05, it can be concluded that the data come from populations that have the same variant. in contrast, if the significance value is less than 0.05, it can be concluded that the data come from populations that have different variants (priyanto, 2012). 2. descriptive analysis descriptive analysis of the data obtained in this study will be processed comprehensively by researchers as professionals in visual communication and practitioners in the visual arts. an objective analysis with a comprehensive aesthetic approach is expected to reach a saturation point for research results and become a reference for both producers and consumers in criticizing mineral water products. results and discussion 1. respondent description before going into the field to collect research data, the researcher first conducts a literature study, observes potential respondents and ensures that respondents are willing to be involved in this research. meanwhile, the research respondents were randomly assigned with the snowball sampling technique. as for prospective research respondents, according to the criteria of respondents who have been determined. in researching adolescents aged 20-26 years, researchers 169 prayanto widyo harsanto1, jalung wirangga jakti2, the effect of mineral water packaging designs … continued to collect data orally to maintain the study's validity and the equality of treatment in the two groups of respondents. respondents in this study were 30 teenagers in the yogyakarta region. the number 30 is obtained from the requirements for quantitative experimental research to meet the research methodology requirements. group statistics group n n 30 2. test results a. normality test based on the kolmogorov-smirnov analysis using spss 22.0 in the overall research results, a significance value of 0.200 was obtained. the significance value (p) is more significant than 0.05, so it can be said that the data used are normally distributed. thus, the data collected can be ascertained to represent the sample population used. normality test one-sample kolmogorov-smirnov test buying decision n 50 normal mean 74.16 parametersa,b std. deviation 12.035 most extreme differences absolute 0.096 positive 0.096 negative -0.051 test statistic 0.096 asymp. sig. (2-tailed) 0.200c,d a. test distribution is normal b. calculated from data c. lilliefors significance correction d. this is a lower bound of the true significance. b. reliability test meanwhile, the results of the cronbach alpha test on the overall research results show the number 0.851. this figure is higher than the table with a significance of 1%, namely 0.361, and 5%, namely 0.279. thus, it can be said that the scale used in this study has been proven reliable. statistic reliabilities cronbach's alpha n of items 0.851 38 170 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 c. homogeneity test based on the homogeneity test results using spss 22.0 with the levene's test for equality of variances technique, a significance value of 0.943 was obtained. this figure is more significant than 0.05, so that the research data can be said to be homogeneous. thus, the data qualifies for the t-test. homogeneity test score levene's test for equality of variances f sig. equal variances assumed 0.005 0.943 equal variances not assumed 3. research data the results showed that the empirical mean in the group was 98.88, with a standard deviation of 10,826. the lowest total score obtained in the group obtained the lowest total score was 63, and the highest total score was 143. on the other hand, based on the calculation using the formula listed, the empirical mean of the two groups of respondents, which is higher than the theoretical mean, indicates that the group of respondents both have a high level of purchasing decisions due to the effect of packaging design. group statistics group n mean std. deviation std. error mean n 30 98.8800 10.82559 2.16512 product selection statistics product n of items male female 2 tang 1 0 le minerale 3 9 vit 0 0 oasis 2 0 nestle 2 1 ades 0 1 crystaline 2 3 club 0 0 aqua 4 1 prima 1 0 total 15 15 171 prayanto widyo harsanto1, jalung wirangga jakti2, the effect of mineral water packaging designs … 4. hypothesis testing it is testing the hypothesis in this study using the independent sample t-test method. obtained a significance of 0.111. the value is more significant than 0.05, so it can be said that there are no differences in scores between subjects. independent sample test t-test for equality of means t df sig. (2-tailed) mean difference std. error difference 95% confidence interval of the difference lower upper equal variances assumed -1.625 48 0.111 -5.44000 3.34833 -12.17227 1.29227 equal variances not assumed -1.625 46.747 0.111 -5.44000 3.34833 -12.17694 1.29694 from the respondents’ answers above, it can be used to determine the responses given by respondents to aspects of packaging design (graphic design; design structure; and product information) as factors that influence the purchase of bottled mineral water in yogyakarta. based on the data collected, the answers from respondents have been recapitulated and then analyzed to find out the description of each aspect. 172 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 the results of respondents' assessment of the packaging aspects of mineral beverage product design can be seen in the table above. based on the table above, it can be explained that of the 30 respondents, on average, they gave the most and highest ratings to le minerale. thus, it shows that the design aspects of mineral water products can provide a significant influence to assess le minerale as having an excellent visual appeal in yogyakarta. judging from the results of research results that have been obtained from the field, as stated by aaker (2004), it is said that the design on the packaging is an image of the brand which can be said to be a company promise to consistently provide certain values, benefits, and features for buyers. the packaging design in this study is an effort to build a company image in providing a perception of good quality that is easy for consumers to remember; the indicators can be seen in 1) the graphic design aspect is a visualization that is on the packaging consisting of brand name, color, typography, and pictures/illustrations; 2) the design structure related to features and ergonomics in packaging construction can be divided into three dimensions, namely shape, size, and material; 3) the product information aspect, where the elements that build the brand image in the communication business provide information from the product to help consumers make purchasing decisions. meanwhile, the purchase decision is a problem-solving in human activities to buy goods or services in fulfilling their wants and needs, which consists of identifying needs and wants, searching for information, evaluating purchasing alternatives, purchasing decisions, and behavior after purchase. according to kotler (2009), purchasing decisions are a series of elements that describe how consumers decide in choosing a product to buy based on variable considerations: 1) transactional is individual decisions to buy mineral drink products; 2) referential is an individual encouragement to provide product references for others; 3) preferential is a tendency towards preferential behavior in a product; 4) exploratory is the tendency of individual behavior to deepen information about the product of their interest. conclusion this research was carried out in conjunction with the covid-19 outbreak/pandemic situation so that it slightly impeded getting data in interviews to dig and get data. this technical obstacle is related to the implementation of research in the field and the relatively short period of the research implementation (effective time is only two and a half months/mid-june to september 2020). however, the research results show that there is no difference in scores between respondents, so it can be concluded that all respondents show a positive correlation between purchasing decisions and packaging design on mineral water bottles. meanwhile, le minerale was first with 13 voters, followed by crystaline and aqua, whom five 173 prayanto widyo harsanto1, jalung wirangga jakti2, the effect of mineral water packaging designs … respondents chose. these mineral water packages have an unusual shape in other packaging bottles, so this provides a point of interest on the mineral drink shelf and storefront so that potential consumers are interested in seeing and buying it. references amelia m, munandar j, udin f. 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(2012). panduan lengkap spss versi 20. jakarta: pt elex media koputiana. setia agustini. “studi peningkatan kualitas air minum dalam kemasan merek am untuk memperkuat daya saing”. [skripsi]. https://repository.ipb.ac.id/jspui/bitstream/123456789/68844/1/h14sag.pdf wirartha, i made. (2006). metode penelitian sosial ekonomi. yogyakarta: andi offset. http://repository.ipb.ac.id/handle/123456789/51466 https://repository.ipb.ac.id/jspui/bitstream/123456789/68844/1/h14sag.pdf 51 volume 8 nomor 1, june 2021 p-issn 2339-191x | e-issn 2406-9760 p 51 – 69 re-actualization balinese gamelan harmony1 for renewal knowlegde of the balinese music i ketut ardana program pascasarjana institut seni indonesia yogyakarta; jl. suryodiningatan no. 8,yogyakarta 55143 indonesia email: hottami.tut@gmail.com abstract balinese music has a variety of gamelan that develops in the community. balinese gamelan is a central object in the development of balinese musical knowledge. one of the most problematic is the harmony system. in the context of balinese music knowledge, the harmony system is an element that is often discussed its existence. the 'harmony system' has been recognized through the dualistic concept. this concept is the source of the technique for playing the balinese gamelan. knowledge of the harmony system with this dualistic concept is based on the object of research by gamelan gong kebyar. gamelan gong kebyar is indeed very closely related to the dualistic system. however, this system is not relevant to several other balinese gamelan, one of which is the gamelan gambang. therefore, knowledge of the harmony system in balinese music needs to be updated. this update is an actualization of knowledge about gamelan harmony. the problems discussed in this article are what is balinese gamelan harmony, what is the roles of balinese gamelan harmony and the concept of balinese musical harmony. this reaserch uses a mix method, namely qualitative and quantitative methods. musicology approach as a qualitative method while sound physics as a quantitative method. keywords: actualization, harmony, gamelan, karawitan re-aktualisasi harmoni gamelan bali untuk pembaruan pengetahuan musik bali abstrak karawitan bali memiliki ragam gamelan yang berkembang di masyarakat. gamelan bali merupakan objek sentral dalam pengembangan pengetahuan karawitan bali. salah satu yang paling bermasalah adalah sistem harmoni. dalam konteks pengetahuan karawitan bali, sistem harmoni merupakan unsur yang sering dibicarakan keberadaannya. sistem harmoni terepresentasi melalui konsep dualistik. konsep inilah yang menjadi sumber teknik memainkan gamelan bali pada umumnya. pengetahuan sistem harmoni dengan konsep dualistik ini berdasarkan objek penelitian gamelan gong kebyar. gamelan gong kebyar memang sangat erat kaitannya dengan sistem dualistik. namun sistem ini tidak relevan dengan beberapa gamelan bali lainnya, salah satunya gamelan gambang. oleh karena itu, pengetahuan tentang sistem harmoni dalam karawitan bali perlu dimutakhirkan. pembaruan ini merupakan aktualisasi pengetahuan tentang harmoni gamelan. permasalahan yang dibahas dalam artikel ini adalah apa yang dimaksud dengan harmoni gamelan bali, batasan harmoni gamelan bali dan model harmoni secara musikal gamelan bali. penelitian ini menggunakan mixmethode , yaitu metode kualitatif dan kuantitatif. pendekatan musikologi sebagai metode kualitatif sedangkan fisika bunyi sebagai metode kuantitatif. kata kunci: aktualisasi, harmoni, gamelan, karawitan 1 the term harmony in this study does not refer to the notion of harmony in western music. this term is indeed sometimes used by ethnomusicology researchers to refer to several game models that produce harmony, so that one of the implementation of harmony in good musical instruments is closely related to playing techniques. 52 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 introduction the tuning system dramatically influences the playing system, which eventually becomes the essential harmony in the concept of the balinese gamelan tradition. the tunes are deliberately tuned to create different frequencies for the same tone in the gamelan this is known as the ngumbang ngisep concept in the balinese gamelan "tone" system. ngumbang ngisep is a concept that creates variations in playing techniques, which ultimately represent the harmony in the balinese gamelan. sugiartha stated that harmony which has the same position as melody, rhythm, and frequency is the result of sound modification done by artists (sugiartha, 2015). therefore, the modification of sound through frequency in the tuning system has an important aspect in the context of balinese gamelan harmony. the balinese gamelan tradition gives freedom to each gamelan maker (pande gamelan) to interpret his taste in tuning the gamelan. other pande has their methods to making tone (tenzer, 2011). this tradition causes the harmonization system between one and another gamelan to diverse, both between the same type of gamelan (gong kebyar with the other gong kebyar) and the different types (gong kebyar with other gamelan: samara pagulingan, leluangan, bebarongan, gambang). so, this is causing the theory of harmony to be difficult to explain in musical practice. however, this is the special features of karawitan, including balinese gamelan. the practice of harmony is usually closely related to playing techniques, so that the diversity of gamelan results in a variety of techniques, that also at the same time, its results in a diversity of the concept of harmony. at present, the harmony in the context of balinese gamelan is explained through studies of the gamelan gong kebyar, so that other ancient gamelans such as gambang which has self-harmonized characteristics are not formulated in detail, ultimately people only know about the balinese gamelan harmony system represented by the gamelan gong kebyar. therefore, it is very important to update knowledge of balinese gamelan harmony by observing and researching the gamelan gambang. there is a gap between the knowledge of harmony contained in some literature and the practices of several types of balinese gamelan, one of which is the gamelan gambang. so that, it is necessary to formulate the concept and theory of harmony, which is applied by the musicians in the daily gamelan gambang practice. gamelan gambang is one type of balinese gamelan that has not been widely discussed and described regarding the study of text2 in detail. this gamelan is said to be one of the sacred gamelan, usually used to accompany religious ceremonies in bali (tenzer, 2011). based on its position as a sacred art, it is very natural that ethnomusicological discussions have colored many writings on 2 the study of the text in question is research that discusses explicitly tone, musical organization, tunings, patets, and even the gamelan gambang harmony system. 53 i ketut ardana, re-actualaization balinese gamelan harmony ... gamelan gambang. referring to the researcher's experience of listening and watching, the gamelan gambang is a typical gamelan with complex systems and techniques in balinese gamelan vocabulary. because of its complexity, gamelan gambang should have had systematic musical systems. even so, there are not many reviews about techniques and systems including the harmony system in the gamelan gambang which can be read, understood as a basis for playing practice and the development of sciences. therefore, it is important to conduct research that focuses on the harmony system. based on the above background, the formulation of the questions is as follows: what is called harmony in balinese musical instruments? what are the limitations of the science of harmony in balinese gamelan? how is the concept of the balinese musical harmony system found in the gamelan gambang? the purposes of this study are such as: to formulate an appropriate definition of harmony within the framework of balinese musical knowledge; formulating the boundaries of harmony in balinese musicals; finding a concept about the harmony system in balinese musicals. materials and method the research in the form of re-actualization of balinese gamelan harmony for the renewal of balinese music knowledge is classified as a combination of qualitative and quantitative research. qualitatively, this research uses the descriptive-analytical method which aims to obtain data about the basic concepts of harmony. the approach used in studying these objects is musicology. in balinese music, the musicological approach is closely related to musical elements: melody, rhythm, dynamics, harmony, tempo, and playing techniques. these elements are analyzed descriptively based on empirical data in the field. therefore, the main data in this study, which is about harmony, is not seen based on the theory of western music harmony. however, it is analyzed based on musical instruments because the harmony of western music in practice is different from that of karawitan. musicologically, the harmony system is closely related to the tones' high and low sound frequencies parallel between one tone to another. this frequency is analyzed quantitatively based on the sound physics approach. according to the researcher, the musicology approach aims to solve the problems of playing techniques, which are an important part of the term in defining harmony. this term includes a playing system that is the basis for various playing techniques contained in the gamelan gambang, the scale system, and the tuning system. a physics approach that aims to obtain measurements of the frequency of tones available in the gamelan gambang. this frequency becomes the basic foundation in determining the ideal combination of tones to be categorized as a balinese gamelan 54 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 harmony system. valid data will support the two approaches above to get the correct conclusions. research flowchart findings and results results chart 1. research stages 55 i ketut ardana, re-actualaization balinese gamelan harmony ... table 1. the information of figure 1 no name description 1. gambang pengenter gambang pengenter is an instrument that functions to play the ornamentation patterns of each song and has a pitch and low pitch based on the frequency of each note. 2. gambang pemero the gambang pemo is one of the four gambang that functions as an instrument that plays the ornamentation patterns of each song and has a different tone frequency from other gambang. 3. gambang penyelat the gambang penyelet is one of the four xylophones, which also functions as an instrument that plays the ornamentation patterns of each song. the xylophone diver also has a different pitch than the other four xylophones. 4. gambang pemetit the gambang pemetit is one of the four xylophones that plays the ornamentation melody patterns on each song and also has a different pitch tone from the other four xylophones. 5. gangsa gede gangsa gede is an instrument that functions to play a song frame in each song and has a different pitch than the xylophone instrument (schaareman, 1980). 6, gangsa cenik gangsa cenik is an instrument that also functions to play the melodic framework of each song (schaareman, 1980). figure 1. gamelan gambang instrumens source: author, 10 agustus 2020 56 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 discussion a. harmony sistem in the gamelan gambang harmony is not only a matter of music but also philosophy. especially in western music, harmony has been established as a science, although previously, there was a dynamic understanding of harmony, especially before the seventeenth century. gouk clearly states that harmony is about music, body and soul, and the universe (gouk, 2008). finally, after the seventeenth century, the harmony of music's harmony regulates the combination of tones, or a collection of tones played together (prier sj, 1989). in the discussion on the harmony of balinese gamelan, it is analyzed from the understanding that harmony is a combination of notes that are played simultaneously. the gambang harmony system is different from the other balinese gamelan systems (ardana, 2020). in particular, the gambang has its self harmony system. see figure 1, the pattern of laying out the tone arrangements on the gambang above, considering the concept of harmonization with good sound quality, produced when two notes are struck together. each gambang instrument has a tone position that refers to the concept of tonal harmonization by considering the aesthetic aspects of the sound. the pitch distance of each instrument is adjusted by considering the aspect of harmony so that when it is played it will immediately provide chords, kwints, and notes. the harmony playing pattern on the gambang is supported by the gambang bat (panggul) which has been set in such a way, all the gambang panggul has a different distance between the right and the left panggul (mariyana, 2019). the following is a picture of the pelvis for playing the gambang instrument: figure 2. the panggul gamelan gambang instrumens source: mariana, 2020 57 i ketut ardana, re-actualaization balinese gamelan harmony ... the panggul (instrument) above is played with two hands that are played equally between the right and left hands. referring to the shape of the panggul, every stroke of the right or left hand will always sound two tones. therefore, the two notes are simply applied as harmony. the purpose of the two notes being played simultaneously is also strongly influenced by the gamelan gambang tuning system which is different from balinese gamelan in general. the following is a recapitulation of the gamelan gambang tuning system which is recapitulated from figure 1: instrumen/tungguhan pengenter pemero penyelat pemetit hertz nada hertz nada hertz nada hertz nada 108.7 deng 117.8 ding 117 dong 125.9 dong 125.5 ding 132.9 dang 138.5 dong 142.2 dung 150.8 dang 147.4 dang 149.2 dang 166.5 deng 170.4 deng 165.5 dong 192.3 dung 189.4 dung 189.5 deng 222.8 dang 213.3 dang 191.3 dong 217.8 ding 231.7 dong 234.6 dong 214.3 ding 237.3 dong 255.5 ding 265.8 ding 240.4 dong 255.6 dang 266.7 dong 291.8 dong 266.2 dang 304.7 dung 305.2 dang 305.3 dang 288.3 dang 355.7 dang 354.5 deng 366.0 deng 289.1 deng 392.4 dong 389.0 dung 378.6 dung 318.2 dung 426.3 dang 429.4 dang 392.2 dong 485.3 dong 442.7 ding 527.3 ding 447.8 dong 579.3 dong 531.9 dang 569.3 deng 628.0 dung 721.0 dang information the colors symbolize the notes and the game system. the same color in one instrument category means notes of different frequencies are being struck simultaneously. the blue color is struck together with the blue and so on for the column on the other instruments. the data above is a recapitulation of the frequency of each tone on each xylophone instrument. each instrument plays two notes simultaneously (marked with the same color on each instrument). this playing technique has simply shown table 2. recapitulation of the frequency of each gambang instrument with a pair system 58 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 that every stroke always plays two notes with different frequencies. in the table, although playing the same tone, theoretically, it does not mean that the same note is an octave. for example, for example, the ding tone column (117.8 hertz) is always hit simultaneously with the ding tone (217.8). between the first ding note (117.8 hertz) and the second ding (217.8) is not an octave tone, such as do with high do. therefore, this simultaneous play will significantly produce sound characteristics which in the balinese musical concept is called harmony. this playing model is different from balinese gamelan in general so that the gamelan gambang has its own uniqueness. the following shows the differences in frequencies based on the same tone (ding tone with ding, dong with dong, and so on) but has different frequencies. nada pengenter pemero penyelat pemetit ding 117.8 125.5 265.8 214.3 dong 125.9 138.5 234.6 191.3 deng 108.7 166.5 170.4 289.1 dung 142.2 192.3 189.4 318.2 dang 132.9 150.8 213.4 266.2 ding 217.8 255.5 527.3 442.7 dong 165.4 138.5 291.0 240.0 deng 189.5 354.5 366.0 569.3 dung 304.7 389.0 378.6 628.0 dang 255.6 222.8 305.3 288.3 ding dong 237.3 231.7 485.3 372.2 deng dung 378.6 dang 255.6 305.2 429.4 531.9 ding dong 392.4 266.7 579.3 447.8 deng dung dang 355.7 426.3 721.0 the data in the table shows that none of the notes contained in the xylophone instrument are the same. this difference is part of the very dynamic gambang concept, meaning that each gamelan gambang has its own frequency size without having to follow other gambang. this difference in frequency, when played, will harmonize each playing. this is also a distinct difference from other balinese gamelan. as in the explanation in the previous section, the representation of balinese gamelan harmony can be seen from a playing system that combines two different tonal elements so that a characteristic sound color appears which is considered table 3. recapitulation of the same high and low notes on each gambang instrument 59 i ketut ardana, re-actualaization balinese gamelan harmony ... harmonic. the existence of this system is actually related to two things, namely the balinese gamelan tuning system and playing techniques. therefore, the explanation regarding the actualization of balinese gamelan harmony in this section is discussed through a simple tuning system (the result of a bid) and playing techniques. first, the discussion of the tuning system will be fluent in recognizing the shape and model of the instrument so that this model affects the way and technique of playing. the shape of the instrument and how to play it as shown above implicitly shows that the gamelan gambang is a manifestation of harmony caused by its tuning system. therefore, the tuning system: adjusting the high and low notes that do not have the same frequency in one type of tone is a concept of harmony, which can affect the playing technique so that it creates a variety of sound characteristics if all the xylophone instruments are played simultaneously. 1. ngembat as a representation of gamelan gambang harmony the gamelan gambang technique uses two hands to play each melody of the gending. in principle, the melody pattern consists of three models, each model uses a ngembat system to embody harmony. the following below is each model of the melody playing pattern with the ngembat system: the melody model above is a playing pattern performed by gangsa gede and cenik instruments. both are played by one player using two hands. the right hand plays gangsa gede and the left hand plays gangsa cenik. gangsa gede and cenik have the same sequence of notes. gangsa cenik is the ngembat tone (octave) of gangsa gede. both instruments are played simultaneously with the same pattern and the same notes so that there is a harmony which is manifested from the ngembat system. apart from the ngembat patterns, the notation above to point out that there is a rhythmic pattern that is the same at every 2 bars or gatra. this is a peculiarity of the gamelan gambang rhythm model. the rhythm is accurate from the first 2 elements to the last. the rhythm of this model is one of the characteristics of the gamelan gambang. the gambang rhythm pattern played through gangsa gede and figure 3. notation 1: harmony gangsa gede and cenik 60 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 cenik is different from the rhythm pattern played by other gambang instruments (pengenter-pemero and penyelat-pemetit). the rhythm pattern played by a gangsa instrument can be referred to as a "gangsa rhythm". the gangsa rhythm is also combined with the rhythm of other instruments, the following are the rhythm and melody playing patterns of the penyelat and pemetit instruments: the melody pattern above is played by penyelat and pemetit instruments. in the upper notation it is played by a pemetit instrument while below it is played by a penyelat. the principle of the game of both has the same pattern, but the second pattern is placed on a different beat, giving the impression that the two are different patterns. the pemetit pattern is played on a beat or half beat, while the penyelat is played on a quarter beat. two people play the pemetit and penyelat game patterns. pemetit played by one person and one person penyelat. the technique of playing this instrument uses two hands, namely the right and left hands. the right and left hands alternated, which aims to make melody patterns. the above notation clearly point out that the melodic play pattern is carried out with two hands and harmony is manifested from the ngembat system. the melody pattern played by the penyelat and pemetit instruments is a development of the main melodies of gangsa gede and cenik. musical development aims to fill the empty spaces between beats. the principle of this filling in the context of balinese gamelan is termed a gending ornamentation (pepayasan). the main and ornamentation melody of the music are played simultaneously. the integration of the two gave birth to a typical musical pattern characteristic in the gamelan gambang. just like the gangsa instruments, the pemetit and the penyelat also implicitly have a distinctive rhythm pattern and the rhythm is different from the gangsa. the rhythm length of the two instruments is only two styles (bars). this rhythm can be referred to as the "pemetit rhythm" because it is played by both pemetit and penyelat. thus, the gamelan gambang is harmoniously represented as a rhythm pattern. figure 4. notation 2: harmony ngembat pemetit and penyelat instruments 61 i ketut ardana, re-actualaization balinese gamelan harmony ... the above pattern is played by the pengentar and pemero instruments. top is the pengenter and bottom pemero. the pengenter and pemero melody is a unified pattern in the gamelan gambang, and it are model be called the triple melody. the principle of playing the melody of the two instruments also uses the ngembat system as a representation of harmony. the ngembat system is clearly visible on every note that is struck, which is always playing the low and high notes simultaneously. the melody pattern above also implicitly has different rhythm patterns from other instruments. the rhythm above is also known as the "pengenter rhythm", because it is played by the pengenter and pemero instruments. the rhythm contained in the instruments of gangsa gede, cenik, pemetit, penyelat, pengenter, and pemero can be concluded that this musical consists of three rhythm models. gangsa instruments (gede and cenik), pengenter, pemero, penyelat and pemetit all uses the ngembat system as a representation of harmony. in addition, the rhythm of each instrument has a different pattern so that the impression is more complex in harmony. the rhythm in the gamelan gambang plays an important role in enriching musical patterns to make them seem more complicated. harmonies manifested from rhythmic patterns are more complex than melodic ones. harmony is manifested in three different rhythm models, namely: the gangsa rhythm, the pemetit rhythm, and the pengenter rhythm. 2. polos-sangsih as a representation of gamelan gambang harmony see notations 10 and 11, the pattern to point out that the melody is played using the polos-sangsih technique. polos-sangsih is used in playing the pemetit-penyelat and pengenter-pemero instrument. the principle of the game of innocence is paired. polos is a game that fits the beat (onbeat), while sangsih, a game that 'does not fit the beat'. the principle of the melody pattern that is integrated between the polosfigure 5. notation 3: harmony ngembat pengenter and pemero instruments 62 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 sangsih is a model that is also developed in the gamelan gambang game. polossangsih is a way to realize gamelan harmony through playing techniques. b. the principle of harmony in balinese gamelan harmony is one of the manifestations of musical patterns in balinese musicals which are determined from the combination of tones in each musical composition. in general, in several books, what has considered a representation of harmony is a playing pattern combining two different tones, namely the first note with the fourth tone, so that in the playing, auditive characters that are considered harmonious will emerge. however, this concept is only played by instruments that function as ornamentation and are not played by instruments that play the main melody. this is one of the reasons that the concept of harmony in balinese gamelan and karawitan is not the same as western music; however, for the phenomena that have been mentioned, it can be categorized as the concept of harmony based on the philosophical concept of harmony (bandem, 1986). ngembat, ngempat, nelu as representation of harmoni ngembat, ngempat, nelu is a playing model in several balinese gamelan compositions which can be called harmony. in a musical organization, this harmony is a melodic playing pattern called a foundation, which is ornamentation (melody of development) of the main melody. this pattern is played improvisational by players of pemade, kantil, and riyong instruments. this choice is based on the interpretation of the player. however, the player cannot freely interpret the play of the melody of the foundation. the concept of musical organization in balinese musicals is a way of interpreting the ornamentation pattern with three models: ngembat, ngempat, and nelu. ngembat ngembat (octave) is a system of mixing lows and highs that are struck simultaneously to show that there are several different and harmonious sound colors as a musical organisation. more details can be seen in the notation below: figure 6. notation 4: harmony ngembat 63 i ketut ardana, re-actualaization balinese gamelan harmony ... ngempat theoretically, ngempat is an effort to harmonize the high sound and the lower sound in one stroke played simultaneously through two different instruments to produce a variety of sound characteristics. the playing of ngempat is played by kantil and pemade instruments. this playing is applied through a plain polos and sangsih system, meaning that in its application the playing of ngempat is played by two instruments of the same type (two instruments of pemade/pemade contributor). the concept of this playing is contained in the gamelan pelog five and seven notes. the ngempat system is a harmony model generated from a dynamic game of kantil and pemade. an example of a melody playing is as follows: the concept of ngempat from pemade pengumbang instrument is the same as pemade pengisep. this game is a harmony generated from the cooperative play between ding tones with dung tones, dong tones with dang, deng with ding, dung with dong, dang with deng. nelu third, the nelu playing system is a harmony pattern generated from two different tones played by the same type of instrument. here is the notation: c. practice harmony in the gamelan gong kebyar. the practice of harmony in this sub-section is reviewed based on practical experience found in the gamelan gong kebyar and so on. of course, this review shows the difference in the application of the harmony system both in practice and in the playing (technique) with the gamelan gambang. this comparison is important to explain so that the results of observations and analyzes of the harmony system in the gamelan gambang are different from balinese gamelan in general. figure 7. notation 5: harmony ngempat figure 8. notation 6: harmony nelu/telu 64 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 this difference will indicate a renewal of the harmony system that has not been disclosed scientifically and in detail so far. this review of the practice of harmony in balinese gamelan will use several case studies. the case study is the practice of playing balinese music, which has been developing and often presented by musicians. this piece is a traditional piece. the principles and practices are a fundamental concept in the playing patterns of balinese gamelan. therefore, the concept of the practice of playing harmony presented in it is something that is common and natural for every musician in bali. the practice of harmony in every balinese gamelan repertoire is played through several playing techniques. the technique is a way to create a melody. the practice of making melodies containing harmony in balinese gamelan can be played through several techniques: the twist technique, the norot technique. these two techniques have different concepts in a melody game. these two techniques are a way of weaving the ornamentation melody played by the pemade, kantil, and reyong instruments. implementation of harmony through the ubit-ubitan technique ubit-ubitan is one technique commonly used by musicians in presenting balinese musical repertoire (bandem, 1991). the application of this technique aims to obtain a composition that seems dynamic, complex, and aesthetically pleasing. this technique is used in case studies of certain repertoires only. an example of the application of this technique is in the accompaniment of pendet dance. in the accompaniment of pendet dance, the pattern of the ubit-circle game is played by instruments, kantil, pemade. these two instruments play with the concept of polos and sangsih. from this playing there are several horizontal harmony patterns. the following below is an example of the twirling game pattern and its concept of harmony. 65 i ketut ardana, re-actualaization balinese gamelan harmony ... in the pendet repertoire practice system above, the harmony application is played with the ngembat system. this harmony system is present in every beat because the application is played by all instruments, namely jegogan, jublag, ugal, pemade, and kantil. each instrument plays its own pattern (see the previous page). the musical above is a short example consisting of 4 bars and played repeatedly. each instrument has a different pitch value. jegogan as an instrument that plays a melodic framework, plays once in eight beats, namely on the first and eighth beat. the sound produced from the playing still has a vibration or vibration on the second, third, to the eighth beat. this means that on the second to seventh beats there is a sound resulting from the vibration of the jegogan instrument whose voice is dung in tone, while on the ninth beat to the fifteen beats it has a ding tone. these sounds or vibrations especially on beats two through seven and nine to fifteen are integrated with the other notes played by the jublag instrument and others (see notation above). the jublag instrument plays notes: dung, ding, dung, dang, ding, deng, dong, dang. the dung note is played on the first beat, even though the vibration is still vibrating on the second beat as well as the next note, meaning that the vibration plays every note on level 2 beats. based on the concept of play patterns and the resulting vibration effect, a harmony system occurs which can be seen in the table below: figure 9. notation 7: harmony of the ubit-ubitan technique 66 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 ket np nv nv nv nv nv nv nv np nv nv nv nv nv nv nv jg u u u u u u u u i i i i i i i i jb u u i i u u a a i i e e o o a a ket np nv np nv np nv np nv np nv np nv np nv np np see the table above which consists of 4 columns down. the top column is the description (ket for the jegogan instrument) which consists of 16 columns3 of np (struck tone4), nv (vibrational tone5). the striking tone is on the first and eighth beats, while the vibrational tone is on the second to seventh and ninth to fifteenth beats. next look at the second column from the top. in the column there is a symbol jg which means the jegogan instrument. in the next column there are 8 symbols u and 8 i symbols. symbol u means dung tone and symbol 1 means ding tone. the jegogan instrument plays dung notes as hit notes on the first beat and dung notes as vibrational notes on the second to seventh beats. on the eighth beat, the ding (i) tone is played as the striking tone and the ding (i) tone is played as a vibrational tone on the ninth beat to the fifteenth beat. in the third column there is a symbol of jb, which means the jublag instrument. in this column there are several notes that are played with the following symbols: u (dung tone), i (ding tone), a (dang tone), e (deng tone), o (dong tone). in the fourth column (vertical) there is a ket which means to explain the type of tone played by the jublag instrument. in this information, there is a hit tones for every odd and even beat. analysis of the harmony system contained in the pattern above is that at the first beat between the jegogan and jublag instruments there is a symmetrical harmony which is manifested by a combination of the tone u (dung) is lower and u (dung) is higher (ngempat) see beat one, two, five, six, eight, and nine. on the third beat, there is a combination of the tone u (dung) and i (ding), this means the concept of a combination that uses the nelu system. in the sixth and seventh beats, a combination of the tone u (dung) and a (dang) means using the siliran system. on beats ten and eleven there is a combination of tone i (ding) with tone e (deng), this means using the nelu system; on the twelfth and thirteenth beats there is a clause between the tone i (ding) and o (dong), this means using the siliran system. finally, 3this means that it consists of 4 bars. 4 columns are 1 bar. therefore, the 16 columns have 2 punch tones and 14 vibrational tones). 4this term is to describe the resulting tone being struck at the time of the 1st and eighth beats in accordance with the concept of playing the jegogan instrument. 5this term is to describe a vibration that is still present and heard at every beat even though the instrument strikes no tone according to the description above. table 4. harmony practical concept 67 i ketut ardana, re-actualaization balinese gamelan harmony ... on the fourteenth and fifteenth beats, a combination of the tone i (ding) with the tone a (dang) means using the siliran system. the harmony playing system in the example of the above can be concluded: a vertical and horizontal system. vertically it is applied through a system of ngembat, ngempat, nelu, siliran, while the horizontal harmony system is the movement of the change in the harmony model at each beat. therefore, the horizontal harmony of the above pieces is from ngembat to nelu, ngembat, siliran, ngembat, nelu, siliran, and siliran. of the 16 beats contained in the music above, several characteristics of the impression can be generated from the harmony playing above. according to the author, the character of ngembat tends to be happy, nelu tends to be restless, and siliran tends to be restless. implementation of harmony through the norot technique norot is a balinese gamelan technique that is often used to interpret a single frame of the melody and main melody (dibia, 2017). this technique is used to weave a development melody that is played by the pemade, and reyong instruments. the playing is manifested in a polos and sangsih system. this system is played by kantil and pemade instruments. apart from kantil and pemade, reyong also plays its role as a melodic development instrument by playing the norot technique in certain gending cases. reyong instruments are more complex than kantil and pemade. the norot technique found in reyong is played with four players by applying different melodies so that the harmony system contained in it is more complex. therefore, in the case of the implementation of the harmony system in the norot technique, it will be analyzed through the reyong game pattern in the case study of the first part of the musical instrument, tabuh telu sekar gadung. figure 10. notation 8: harmony of the norot technique 68 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 the pattern of the reyong playing above is played by four players in one instrument. the playing concept is divided into four patterns. all four are played simultaneously. at the same time with a different melody direction, produces harmony. a concrete explanation of each measure for each rickshaw player and the system can be shown in the table below: table 5. interpret reyong instrument musical on the first beat and the first bar jb dang (a) reyong 1 a (dang) e (deng) a (dang) e (deng) reyong 2 e (deng) i (ding) e (deng) i (ding) reyong 3 a (dang) a (dang) reyong 4 e (deng) i (ding) e (deng) i (ding) the table above consists of several columns which among them are intended to show the instruments and notes being played. the first column (at the top) consists of two columns: the left column shows the name of the instrument, namely the jublag instrument, while the right column is the basic tone played by the instrument. the tone played is the tone a (dang) which in the above notation is equated with the tone do. tone a (dang) is interpreted into four patterns of reyong play (can be seen in the second, third, fourth, fifth tables). each reyong plays different notes but is played simultaneously. the combination contained in the reyong playing is: the tone a (dang) is played simultaneously with the notes e (deng), a (dang high); tone e (deng) is played simultaneously with note i (ding). the playing of these notes simultaneously uses the nelu and ngempat and ngembat systems. the playing pattern above contains an example of just one tap. one beat can represent the play of the next beat. in essence, each beat with the basic tone played by the jublag instrument is interpreted using the nelu, ngempat, and ngembat system by the reyong instrument. this means that every root note will always be interpreted simultaneously with the nelu, ngempat and ngembat systems. therefore, the pattern of movement of the harmony system will always be the same horizontally. this is somewhat different from the harmony system that is played through the twist technique. conclusion referring to the research questions and the results of the discussion above, the re-actualization of the balinese gamelan harmony system produces three conclusions, namely: musical harmony is an activity of sounds that are interconnected between the harmonization system, musical patterns such as melody 69 i ketut ardana, re-actualaization balinese gamelan harmony ... (gending) and rhythm, and game technique. the three of them are tied to each other so as to produce harmony in the cohesiveness of the sound the restrictions that are elements in determining the harmony of balinese gamelan are the system of tuning, playing techniques and melody pattern models with the principles of ngembat, ngempat, and nelu. the principles of the game ngembat, ngempat, and nelu are very much influenced by game techniques and game techniques are also influenced by the tuning system. therefore, the harmonization system, playing techniques and melody models are integrally a unit that creates harmony in a balinese gamelan phenomenon. gamelan gambang has different forms of harmony with balinese gamelan in general, but the differences are not significant. the difference between the gamelan gambang in the representation of harmony is the tuning system and the melody model which only uses the ngembat system. in addition, the harmony in the gamelan gambang is also strengthened by a distinctive rhythm pattern. references ardana, i. k. k. (2020). representasi konsep patet dalam tradisi garap gamelan bali. resital: jurnal seni pertunjukan (journal of performing arts), 21(1), 11–27. https://doi.org/10.24821/resital.v21i1.4213 bandem, i. m. (1986). prakempa: sebuah lontar gamelan bali. bandem, i. m. (1991). ubit-ubitan sebuah teknik permainan gaelan bali. stsi denpasar. dibia, i. w. (2017). kotekan dalam musik dan kehidupan bali (pertama). bali mangsi foundation dan isi denpasar. gouk, p. (2008). the role of harmonics in the scientific revolution. in t. christensen (ed.), the cambridge history of western music theory (pp. 223–244). cambridge university press. mariyana, i. n. & at al. (2019). gamelan gambang kwanji sempidi kajian sejarah, musikalitas dan fungsi. kalangwan, 5(2), 119132. http://download.garuda.ristekdikti.go.id/article.php?article=1209586&val= 10275&title=gamelan gambang kwanji sempidi kajian sejarah musikalitas dan fungsi prier sj, k. e. (1989). ilmu harmoni. pusat musik liturgi yogyakarta. schaareman, d. h. (1980). the gamelan gambang of tatulangga, bali. journal of the society for ethnomusikology, xxiv(3), 465–482. https://www.academia.edu/34430078/the_gamelan_gambang_of_tatulin gga_bali sugiartha, i. g. a. (2015). bentuk dan konsep estetik musik tradisional bali. panggung, 23(1), 46–60. https://jurnal.isbi.ac.id/index.php/panggung/article/view/14/18 tenzer, m. (2011). balinese gamelan music (third). tuttle publishing. 143 volume 9 nomor 2, december 2022 p-issn 2339-191x | e-issn 2406-9760 p 143 – 154 semiotics studies in agan harahap's work: manipulation of reality on social media satrio hari wicaksono1, shidqi annas al haris sholih2 1,2fine art departement, visual art faculty, the indonesian institute of the art yogyakarta komplek alam citra e-20 jl. parangtritis km 7 sewon bantul yogyakarta correspondence e-mail:shwicaksono@gmail.com, satrio.wicaksono@isi.ac.id abstract digital-based media art is growing massively because it is in line with the existence and usefulness of digital-based devices, which are increasingly crucial in their function in society, such as photography which is not just for capturing moments and aesthetic needs but the need to offer information to others. it no longer presents the image as it is but can also deliver a 'fantasy' and appearance that does not happen in the real world through the editing process. the easier it is for virtual access to be obtained through devices in their hands, people are increasingly flooded with text and images with different content. to minimize misinformation, it takes public agility to sort out information and maturity in tracing cyberspace, mainly social media. agan harahap, an artist who uses the medium of photography as his language, often uses the process of editing photos to provide a representation of the 'new reality in his work. harahap, who is interested in this phenomenon, uses social media as a means of publication so that it can be appreciated and provide an overall awareness process. the method used in this study is a case study through a semiotic approach to reading the symbols used by harahap in his work. with the direction of the medium of photography and social media, harahap arouses people's awareness to be aware of the reality offered in a piece of information. keywords: agan harahap, semiotic, photography, pseudo-reality, social media kajian semiotika dalam karya agan harahap: manipulasi realitas pada media sosial abstrak seni media berbasis digital tumbuh secara masiv karena sejalan dengan keberadaan dan kegunaan gawai berbasis digital yang semakin krusial fungsinya di masyarakat. seperti fotografi yang tidak hanya sekedar untuk menangkap momen dan kebutuhan estetik saja namun kebutuhan menawarkan sebuah informasi bagi orang lain. tak lagi menghadirkan gambar apa adanya, namun juga mampu menghadirkan sebuah ‘fantasi’ dan tampilan yang sebenarnya tak terjadi di dunia nyata melalui proses editing. semakin mudahnya akses virtual didapatkan melalui gawai dalam genggaman, masyarakat kian dibanjiri oleh teks maupun image yang memiliki beragam konten. dibutuhkan kesigapan masyarakat untuk memilah informasi dan kedewasaan dalam menelusuri dunia maya, khususnya media sosial untuk meminimalisir informasi yang salah. agan harahap, sebagai seniman yang memanfaatkan media fotografi sebagai bahasa ungkapnya, acapkali melakukan proses pengeditan foto untuk memberikan sebuah representasi ‘realitas baru’ dalam karyanya. harahap yang tertarik dengan fenomena ini menggunakan media sosial sebagai sarana publikasi agar dapat diapresiasi dan memberikan proses penyadaran secara luas. metode yang digunakan dalam penelitian ini ialah studi kasus melalui pendekatan semiotika untuk membaca simbol yang digunakan harahap dalam karyanya. dengan pendekatan medium fotografi dan media sosial, harahap berupaya mailto:shwicaksono@gmail.com mailto:satrio.wicaksono@isi.ac.id 144 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 menggugah kesadaran masyarakat untuk mawas terhadap realitas yang ditawarkan dalam sebuah informasi. kata kunci: agan harahap, fotografi, pseudo-reality, media sosial introduction art is a product of a civilization, so what is represented in a work of art is a picture of the culture in which the work was created and the development of digital technology today. as media technology is developing rapidly, especially in computerization and digital technology, changes in society have occurred significantly. the effectiveness, benefits and operational convenience offered by new technology mainly make it easier for users to explore; of course, it does not take long for people to adapt and apply it in everyday life. changes in people's behaviour and lifestyle due to the influence of technological developments are then manifested into a new culture, a new media culture. then also influenced the development of media art today. digital-based media art is overgrowing because it is in line with the existence and use value of digital-based devices, which are increasingly crucial in their function in society. no wonder many artists are exploring digital media closely related to their daily lives, especially young artists. the flexibility to build new narratives and realities more specifically and complexly is easier to achieve with today's advances in digital technology (wicaksono, 2014). it is no longer tied to the reality that we often encounter in absolute terms but constructs a 'false' reality to awaken a new awareness of the reality that is happening. photographic mediums such as cameras have become a medium that is quite close to our daily lives and has even become part of our lifestyle. almost all intelligent devices now have these recording devices. it no longer presents the image as it is, but it can also present a 'fantasy' and a look that does not happen in the real world. the easier it is for virtual access to be obtained through a device in their hands, the more the public is flooded with text and images with a variety of content. the public's agility to sort out information and maturity in tracing cyberspace is undoubtedly needed to minimize communication or misinformation, but what happens in society, especially in indonesia, is that there is a lot of information defection that is used as a medium for herding trusted opinions and provoking negative responses on a massive scale. then tickled, agan harahap's desire to educate the public through his works. harahap is known as an artist who uses the medium of photography as his language, often carrying out the process of editing and manipulating photos to provide a representation of a 'new reality in his work, an image that transcends reality or expectations of society. this is what the author will try to put forward in 145 satrio hari wicaksono1, shidqi annas al haris sholih2, semiotics studies in agan harahap's work: … this paper, how harahap creates and produces information that puts forward pseudo-reality. not only limited to fine arts, harahap also expanded his works on social media and was responded to by a general audience from various aspects of society. it is exciting to see that not many artists can embrace all levels of society to appreciate and respond to their work, especially in indonesia. based on this, the author will try to examine the process of agan's creation in forming a false reality in his work. materials and methods in conducting a study, a method is needed to dissect it in more depth. this research uses a qualitative approach with a case study approach to see the phenomena produced in agan harahap's work in more depth. qualitative research is a form of interpretive research where researchers interpret what they read based on collected research data (purnomo, 2018). case study research is a type of qualitative research where researchers explore a single entity or a phenomenon in a certain period and activity and collect data with a system of specific procedures and methods (john w. creswell, 2013). detailed discussions in case study research are generally descriptive, explanatory and evaluative. the reading of the visuals of the work is carried out using a semiotic approach as a study to study in depth through visualizations and symbols present in work. in this study, the denotative and connotative semiotic approach developed by roland barthes became the choice for the author to explain the meaning contained in harahap's work, the denotative stage generally describes the visual that appears in work, and the connotative stage dissects the meaning contained in the visual presentation (barthes, 1977). results and discussion art and photography the study of photography as part of fine artwork is still undergoing a long discussion and debate. the development of media art, which has become an umbrella for unconventional media-based arts, has not been able to stop the debate about the position of photography in the art area. thomas munro expressed a view that photography can be categorized as a work of art in his book the art and their interrelations; he stated that photography could be included as a work practice of fine art because it requires the sensitivity of the human sense of sight, just like painting (perkasa, 2019). however, the philosopher roger scruton had a different view; he thought that photography could not be categorized as a work of art because photography did not have the 'ideal' quality of other works of art, for example, painting. according to him, the image in photography depends mainly on the subject presented and not on the photographer's intention, in contrast to painting, 146 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 where the subject seen in the work is a mediation of thought carried out by the painter and not a process of mechanization. the opposition prompted walter benjamin to study more deeply. his book, 'the work of art in the age of mechanical reproduction', provides a middle ground for the debate. according to benjamin, photography tries to touch the working area of art, but the quality of its presence and value shrinks because it can be reproduced so that its unique value is lost (benjamin, 2005). this photographic ability to produce reproduction also eliminates its auratic and authentic dimensions. suppose previously photography was criticized as a mechanical work process without involving the feelings and intentions of the photographer. in that case, this is then refuted and corrected with the opinion that in the process of creating a photographic work, a photographer certainly has an intention of producing a photo because it is not just displaying an image and a casual relationship; a photo work should have a specific message to convey (susanto, 2017). with the advancement of digital technology today, image manipulation is easier to do through various software on a computer, of course, the intention of the photographer becomes more complex because it requires imagination and creativity in constructing visual displays and symbols to present a specific message. the representation presented through the media of photos is then considered equivalent to the quality presented in a painting because it can bring the appreciator to enter the creator's intention. in the end, painting, photography, sculpture, installation and various other mediums are just tools to communicate the ideas and messages built by the artist. social media social media is a digital-based online media or networking space where users can participate, share, and create interactions between users (cahyono, 2016). social media grows along with technological developments, especially when smart devices are getting cheaper and more accessible to all levels of society. indonesia is a country with quite active social media users. according to we are social, in 2019, out of 268.2 million people in indonesia, 150 million people used social media, and the penetration rate reached 56%; this data shows an increase in public interest in indonesia every year in using social media (datubara & irwansyah, 2019) since the early 2000s, social media had multiplied when friendster became the platform that dominated social media. , social media has now become a living part of modern society. it is not uncommon for an individual's existence to be viewed from what is posted on his social media so that the construction of an individual's identity is shaped and may be manipulated in such a way as to look 'perfect'. the presence of an interaction space has a significant impact on society, both positive and negative. on the positive side, with social media, the boundaries of time and space are lost. the rapid dissemination of information and interaction 147 satrio hari wicaksono1, shidqi annas al haris sholih2, semiotics studies in agan harahap's work: … on a global scale is now easy; we can interact with people around the world at the same time at a relatively cheaper cost so that we can expand the network globally as long as the internet network can still be reached. like the two sides of a coin, the existence of social media also has a negative impact. there is a paradox when our interactions with the distant are getting closer, but the interaction with the people around us feels even away. intimate interaction through face-to-face tends to decrease in quality, not infrequently even being anti-social in the real world. in addition, the problem of internet addiction is increasing, the limitations of private and public spaces are increasingly biased, and the emergence of conflicts is due to maturity in using the internet, which is still relatively low. social media and the internet directly or indirectly change the general pattern and character of people's lives. the high intensity and magnitude of social media users in indonesia certainly make it easier for artists to introduce and educate the public through their artworks. connotative semiotics a work of art tends to have layers of meaning represented through signs and symbols. it took a particular method to interpret the signs that were later present in work, one of which was semiotics. semiotics is the study of signs and everything related to them: the way they function, their relationship with other signs, and their sending and receiving by those who use them (wicaksono & zuhri, 2020). in dissecting agan harahap's photographic work, the author uses roland barthes's connotative semiotics approach as a method to dissect the visual aspects present in work. barthes developed two marker-level systems classified in the denotation stage or first order of signification, which outlines the visual appearance that is present without being accompanied by additional meanings and feelings. the second stage is the connotation or second order of signification, where visuals are read in a meaning depicted from the visuals present in work (perkasa, 2019). in this second stage, barthes divides meaning into two subjects in his book mythologies; in addition to connotations, some myths refer to specific meanings that refer to historical and cultural values (wibisono & sari, 2021). generally, a myth develops over time and then disappears in the face of new myths that grow later. figure 1. connotative semiotic structures by roland barthes 148 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 semiotics studies in agan harahap's work: manipulation of reality on social media a reality is awakened from data collected, formed, then trusted and agreed upon by many people. there is no absolute truth or reality; reality tends to be dynamic, depending on the information available and how a person responds to the information; even the manipulation of information that occurs continuously and repeatedly can be believed to be a reality. this is what agan harahap is trying to play in his work. he tries to snuff out society by reconstructing another false and imaginary reality to invite the appreciator to see, correct and re-reflect the works with the reality that actually happened. harahap often reconstructs social issues around him to be responded to and reflected on by involving several public figures known to the broader community. ethical and civility issues are sensitive in a country with solid eastern customs and a large muslim majority. in mid-2019, there was a problem with an ad impression that was a shopee marketplace that was considered incompatible with the customs of intimacy. the vocals of the south korean group blackpink, featured in the ad, were deemed to be wearing clothes that were too sexy and not by the customs of intimacy until a petition appeared to revoke its broadcast and circulation license on national television. then it gave rise to polemics from a handful of people who agreed with the opinion and opposed it, especially blackpink fans. harahap then responded to this issue by uploading a work presenting a member of the girl group blackpink to respond to the growing social phenomenon. there are several uploads in the form of serial works uploaded by harahap to build a sequential narrative. the reading of each work is carried out by carrying out descriptions and elaborations by looking at the structure of each work as a whole. to dissect some of these ongoing works, the author will use connotative semiotic figure 2. blackpink in shopee ads source: screenshot on shopee ads 149 satrio hari wicaksono1, shidqi annas al haris sholih2, semiotics studies in agan harahap's work: … figure 3. harahap’s artworks blackpink #1 source: screenshot on instagram @aganharahap studies as a tool for analysis. the initial stage of analysis with this connotative semiotics approach is the description of the visual elements present in work by describing them in detail and accurately. in this first work, we will see the appearance of all four middle blackpink personnel sitting in the back of a pickup truck with a roof. all four were wearing dark or black coloured costumes, and all four stared at the camera. two men wear beige and dark green security costumes, wearing beret hats and knives hanging from the waist on the left. on the side of the truck is the inscription 'wilayatul hisbah' and the setting of the place depicted in the alleged nighttime image, which is marked with a dark atmosphere and a contrasting focus of light, which is thought to have come from the spotlight and focused on the four primary members of blackpink. besides the visuals that are present, there is embedded text that accompanies the upload. figure 4. harahap’s artworks blackpink #2 source: screenshot on instagram @aganharahap 150 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 in this second work, the four blackpink personnel are shown standing in a lined position and staring at the camera. the four wore matching white costumes and stood behind a brown desk on which was a piece of white paper, a card such as an identity card and a key. on the back of the four can be seen the words' bareskrim' and a yellow-red logo placed in a glass frame that is suspected to be a window. the setting of the place depicted is a room with brown walls and brown door and window frames. on the right side of the visual, you can also see the text that accompanies the visual. this third work depicts five figures standing in a row, where all four are members of blackpink, and in the middle, there is a mother who seems to be the mediator of all the members. all four wore clothes with islamic nuances, complete with hijabs and long clothes that covered almost the entire body of the five. no longer the same, the clothes worn by the five people tend to be different: some wear beige, pink, green, and grey clothes. the setting of the place is not clearly defined, where the background is plain grey with a colour transition from a slightly dark colour tendency at the top, towards lighter at the bottom. you can also see text that complements the visuals on the right. figure 5. harahap’s artworks blackpink #3 source: screenshot on instagram @aganharahap 151 satrio hari wicaksono1, shidqi annas al haris sholih2, semiotics studies in agan harahap's work: … in the last work, you can see a picture of five people on stage. all five wore muslim attire in a variety of colours. you can see the figure of mother at the front of the stage (right in the viewpoint of the picture) holding a microphone, while the other four blackpink personnel are seen posing similar movements that are suspected to be a dance. the setting of the place can be seen in a dark room, with three spotlights in the distance; the focus of the lighting is centred on the top of the stage. like the previous three works, there is a visual accompaniment text on the right, but it is nothing more than a short sentence without a detailed explanation. after describing the visible visual, the next stage is to analyze the meaning contained in the visual. reading the meaning is aligned with the facts of the field and the symbols used in constructing the visuals. in the first artwork, we will see a look at the four blackpink personnel sitting in the back of a pickup truck and seen being guarded or escorted by two people in uniform. in the text in the truck's body, we will recognize the man's identity in uniform; it is written that they are part of the 'wilayatul hisbah'. wilayatul hisbah is an official government agency that acts as an islamic sharia enforcement unit in nanggroe aceh darussalam province, a particular region that enforces islamic law. they act as institutions that have the authority to solve problems of violations and social control so that islamic religious values and norms can be enforced in society. suppose it is connected with the social issue when this work was produced and uploaded. in that case, it can be concluded that the context raised by harahap in this work is an attempt to describe the situation when wilayatul hisbah arrested blackpink personnel for wearing clothes that were figure 6. harahap’s artworks blackpink #4 source: screenshot on instagram @aganharahap 152 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 too sexy and not by islamic law. this is also reinforced by the text on the right describing the arrest process, which is said to have occurred while these personnel were making preparations ahead of the concert. the second artwork shows all four blackpink personnel standing behind a desk. on the back, we can see the words bareskrim, an acronym for the criminal investigation agency that deals with criminal problems in the police. from this, we can deduce the context of the place and situation that took place. if it is connected with the image of the arrest in the first work, then this is a follow-up narrative where the blackpink members are examining the police department. the text also reinforces this on the side, which states this is a process of a press conference and an explanation of the chronology of the arrests that occurred. in the following artwork, we see the appearance of the members of blackpink who are in the middle of a mother we know as a religionist and ustadzah named mamah dedeh. with the context where all blackpink members then dress modestly, introverted and religiously, it can be concluded that this visualization constructs a narrative that after being exposed to problems that highlight the way they dress that they feel too sexy, these blackpink members began to change their way of dressing to be more modest and religious thanks to the guidance and direction of mamah dedeh. the text beside him reinforces the constructed narrative, how harahap then constructs how the blackpink members' meeting with mamah dedeh led them to hijra wearing muslim clothes. and in the last artwork, we can see the appearance of the four members from blackpink and mamah dedeh on stage. it can be said that as a vocal group where the profession entertains the audience more by singing songs, it becomes normal when they come on stage and sing a song. a critical marker is the presence of mamah dedeh and the religious costumes worn by the members. it can be interpreted that there was a change in meaning presented by harahap, where later blackpink no longer sang the songs, they used to sing but now sing more spiritually nuanced songs, especially islam. from the four works uploaded in order, we can draw a common thread from the narrative that harahap is trying to build how the context of the issue of modesty of how to dress was then responded to by manipulation of information about the arrest of blackpink members to get then 'rehabilitation' to be more normative and polite in dressing. this is certainly in line with the desire of netizens who voiced to block the broadcast and reject the presence of blackpink, which is considered unable to bring culture, ethics of intimacy and islamic values, which are moral standards for the majority of muslims in indonesia. the value of the comedy presented satirically is harahap's attempt to mediate the situation of a society divided into two camps without providing a reasonably entertaining simulated offer. 153 satrio hari wicaksono1, shidqi annas al haris sholih2, semiotics studies in agan harahap's work: … conclusion one of the functions of art is to provide awareness to the community to reflect on the surrounding environment through the tension that occurs when responding to the work. the use of social media, which is used as a showroom by harahap, certainly provides unlimited access for local and global people to digest and appreciate his works, so it is not limited to the art community but the general public at large. the high level of social media users in indonesia who follow and respond certainly has a broader social impact and learning education than just exhibiting in conventional galleries. harahap's capable technical ability in processing photo visualizations presents a manipulation of 'reality' that can arouse the response of the people who see it. especially for some people who are reluctant to confirm, correct and re-check the situation that occurred. it takes foresight to peel information through the signs presented in the work to dissect the myths raised in harahap's work. the actuality of the social context raised in harahap's works is generally a response to the social friction that occurs in society. through the satirical parody approach shown in the work of this blackpink series, harahap seems to be hyperbolizing and dribbling the narrative that is 'expected' by the general public. by 'justifying' people's opinions through his manipulation work, harahap indirectly suppresses the friction while inviting people to reflect on the social symptoms that arise. with the increasing intensity of society in cyberspace, especially social media, it takes awareness and maturity to receive and respond to information. references barthes, r. (1977). elements of semiology. in hill and wang. benjamin, w. (2005). the work of art in the. 1936. cahyono, a. s. (2016). pengaruh media sosial terhadap perubahan sosial masyarakat di indonesia. publiciana, 9(1), 140–157. https://doi.org/https://doi.org/10.36563/publiciana.v9i1.79 datubara, b. m., & irwansyah, i. (2019). instagram tv: konvergensi penyiaran digital dan media sosial. mediator: jurnal komunikasi, 12(2), 251–263. https://doi.org/10.29313/mediator.v12i2.4778 john w. creswell. (2013). qualitative inquiry & research design choosing among five approaches. in sage publications. perkasa, m. c. (2019). kajian semiotika terhadap karya manipulasi foto agan harahap. seminar internasional riksa bahasa, 573–580. http://proceedings2.upi.edu/index.php/riksabahasa/article/view/916%0ahttp: //proceedings2.upi.edu/index.php/riksabahasa/article/download/916/829 154 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 purnomo, a. s. a. (2018). fotografi di era media sosial : studi “toko memorabilia” karya agan harahap. jurnal bahasa rupa, 1(2), 81–88. https://doi.org/10.31598/bahasarupa.v1i2.200 susanto, a. a. (2017). fotografi adalah seni: sanggahan terhadap analisis roger scruton mengenai keabsahan nilai seni dari sebuah foto. journal of urban society’s arts, 4(1), 49–60. https://doi.org/10.24821/jousa.v4i1.1484 wibisono, p., & sari, d. y. (2021). analisis semiotika roland barthes dalam film bintang ketjil karya wim umboh dan misbach yusa bira. jurnal dinamika ilmu komunikasi, 1(1), 30–43. wicaksono, s. h. (2014). the development of new media art in indonesia. bandung creative movement, 1(1), 1–8. wicaksono, s. h., & zuhri, n. a. (2020). karya-karya potret diri agus suwage. ars: jurnal seni rupa dan desain volume 23, nomor 1 januari maret 2020, 23. 115 volume 7 nomor 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 exploring self-existence through rajutkejut craftivism: a case study in penjaringan forest, jakarta sari wulandari1, guntur2, martinus dwi marianto3 1bina nusantara university, jl. kh. syahdan no. 9, jakarta 11480; 2institut seni indonesia surakarta, jl. ki hajar dewantara no. 19, surakarta 57126; 3institut seni indonesia yogyakarta, jl. parangtritis km 6,5, yogyakarta 55188 e-mail: 1swulandari@binus.edu; 2guntur@isiska.ac.id; 3mdwimarianto@gmail.com abstract rajutkejut is a knitting community in jakarta, indonesia, that has been doing yarnbombing activities since 2014. in 2019, jakarta arts council invited rajutkejut to collaborate with kampung air baja residents in penjaringan, north jakarta, in a program called young curator class: titik temu gembira. the program combines forces between rajutkejut and urban village residents to explore life from a different perspective, specifically through art activism. this program’s spirit helps residents have joyful independent lives with dignity through art that encourages life’s passion. the rajutkejut community shares its knowledge with residents on making necklaces from threads for their dance costumes. this research discusses how rajutkejut brings forward the passion of life through art activism. this research uses alyce mcgovern’s craftivism method, which dissects craftivism in personal, community, and political aspects. it shows the relation of art to the residents, how art can influence and raise an individual’s potential. the community aspect shows the relation of art and the residents and how art can restore the spirit of togetherness and cooperation. on the political aspect, the art facilitates statements of empowerment from the residents. through rajutkejut craftivism, the residents have the social capital to help them catch their breath for a while, stop their routines for a moment, and allow them to feel their existence as human beings who have expressions and feelings. keywords: craftivism, rajutkejut, activism, existence eksplorasi eksistensi diri melalui kraftivisme rajutkejut: studi kasus di hutan penjaringan, jakarta abstrak rajutkejut adalah komunitas merajut di jakarta, indonesia yang telah melakukan kegiatan ‘bom-benang’ sejak tahun 2014. pada tahun 2019, dewan kesenian jakarta mengundang rajutkejut untuk berkolaborasi dengan warga kampung air baja di penjaringan, jakarta utara, dalam program kelas kurator muda: titik temu gembira. program tersebut menggabungkan potensi komunitas rajutkejut dan warga kampung kota untuk mengeksplorasi kehidupan melalui perspektif yang berbeda, khususnya lewat aktivisme seni. semangat program ini adalah membantu warga untuk memiliki kehidupan mandiri yang menyenangkan dan bermartabat, melalui seni yang mendorong gairah hidup. komunitas rajutkejut berbagi pengetahuan kepada warga kampung kota, cara membuat kalung dari benang untuk kostum tari mereka. penelitian ini membahas bagaimana rajutkejut mendorong gairah hidup melalui aktivisme seni. penelitian ini menggunakan metode craftivism mailto:swulandari@binus.edu mailto:guntur@isiska.ac.id mailto:mdwimarianto@gmail.com 116 sari wulandari1, guntur2, martinus dwi marianto3, exploring self-existence through rajutkejut craftivism ... alyce mcgovern, yang membedah craftivism dalam aspek personal, komunitas, dan politik. penelitian menunjukkan relasi seni dengan warga kampung, bagaimana seni dapat mempengaruhi dan meningkatkan potensi individu. dalam aspek komunitas, menunjukkan bagaimana seni berelasi dengan masyarakat dapat mengembalikan semangat kebersamaan dan kerjasama. pada aspek politik, kesenian memfasilitasi pernyataan pemberdayaan dari warga kampung. melalui kraftivisme rajutkejut, warga kampung memiliki modal sosial untuk membantu mereka mengatur napas sejenak, menghentikan rutinitas sejenak, dan memberi mereka kesempatan untuk merasakan keberadaannya sebagai manusia yang memiliki ekspresi dan perasaan. kata kunci: kraftivisme, rajutkejut, aktivisme, eksistensi introduction most jakarta people are forced to do their jobs, day in and out, with minimal time to enjoy, especially the low-income urban settlers. as a part of their job, most people in the lower economic class are constantly required to produce parts of goods, and most of the time, they cannot even afford or enjoy the finished products. they are usually alienated from the product they are producing. most of the time, the wages’ value is not comparable to the value of the goods they help to produce. this condition becomes their daily routine, without them having any power or option to get out of the circle of poverty. the situation then makes them quickly lose their existence as human beings. they are often treated more as a means of production than human beings who have extraordinary lives and feelings. as social creatures, humans need a balance between the obligations that must be fulfilled and the rights that they deserve. one of the many aspects of life that people need is existence. however, many will feel that their existence is a luxury they cannot have due to fast and demanding routines. the condition of the low-class income earners living in jakarta’s urban villages presents the need for more and more people to get out of the crush of routines for a moment, as it is an important need to be fulfilled in order to maintain a balanced and healthy condition of mind and body. supported by the jakarta municipal government, at the end of 2019, jakarta arts council (dewan kesenian jakarta dkj) held an art project focusing on people who live the urban villages. the project aims to help people get out of their routines, even for a moment, through art. there is a hope that by bringing back feelings, which tend to be immersed and trapped in the prevailing systems, in the form of everyday works, people will be able to regenerate their self-existence as human beings and achieve a balance of mind and body. the project believes that art can interfere with having more balanced, productive, and happy lives. the project’s focus is aimed at people who live in the urban villages in jakarta, brought to life in the form of a village festival, and it is expected to be the medium to reach the objective. dkj feels the need to visit the villages and invites 117 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 the residents to have recreation through art. getting out of their routines will create a space for them to arouse, express, and restore their existence as physically and mentally healthy human beings. dkj, through a project called the curatorial work lab (laboratorium kerja kurator lkk), a project curated by enrico halim, responds to the current urban villages’ conditions by bringing up and doing interventions with everyday art, a contemporary art project that happens and exists in society’s everyday life, outside the art galleries, involves people across art mediums, ages, cultures, and economic classes. as a laboratory with experimental activities, lkk does many experiments while exploring new forms to break away from the formalism of art to explore the meaning of having feelings and what it would mean to be happy. the art experiments were done by stimulating and facilitating urban village residents. they gather and express the spontaneous, rich nuances and narratives in their daily lives. everyday art decided to call the project happy meeting point (titik temu gembira ttg). the art intervention encourages and further stimulates feelings and happiness, two things that become such rare items to find in most individuals who live in jakarta. lkk is a participatory art practice, expects that there will be many intense interactions between artists and the urban village residents. they will do the experiments together and realize that many things may occur outside of what was originally planned. lkk has chosen activation and participation methods in an art project. these methods are expected to be able to present and refine taste sensitivity and to stimulate imagination and creativity, while at the same time bringing out the potential of the urban village residents and their environment to make not only art but also the potential to create a better life. art is positioned as a trigger for interactions that may bring happiness as a collective work. for this reason, as an intervention program, various multi-media artists have been invited and involved in the program to stimulate and further encourage urban village residents’ artistic potential. penjaringan city forest park (taman hutan kota penjaringan thkp) has been chosen to be the site for implementing the ttg project. the park is widely used by the people from the urban middle economic class for sports and social activities, while the lower class people who live next to thkp relatively do not interact in this park. along with the penjaringan city forest park guard, located adjacent to pluit’s toll road bridge to soekarno-hatta international airport, there is an urban village – a slum located right under the bridge. the village is known as kampung air baja. some of the residents work as employees for companies that operate nearby, while others have opened small businesses in the area. by utilizing the area under the toll road bridge that can protect them from the rain, some residents also use the space as stalls for plastic bottles and cardboard collection. 118 sari wulandari1, guntur2, martinus dwi marianto3, exploring self-existence through rajutkejut craftivism ... for the ttg project, dkj invited rajutkejut to collaborate with the air baja village residents, among other artists. rajutkejut is a knitting community in jakarta. it has been doing the yarn bombing activities since 2014. in the project, rajutkejut collaborates with the residents to explore life from a different perspective art activism. the project’s spirit provides residents with art, leading to joyful, happy, independent lives with dignity. art encourages the passion of life. the program starts with rajutkejut yarnbombing the urban village and the forests located next to it with colorful knits. rajutkejut members are surprised to see that the residents, who generally work as factory workers, domestic workers, and conventional laundry workers, have the routine of serving orders directly from employers or consumers. their jobs need to be done, whether they like it or not. they believe that the condition can result in the loss of their self-existence that has reason and sense. as explained by sartre, that it is not being of the existent that reveals itself (being itself is elusive), but the phenomenon of being. “the world exists independently of consciousness due to the fact that consciousness encounters being of the existent as something accidentally (spontaneously) met, while the existent itself does not meet it at all, for its being is a constant relatedness with another existent. selfsufficiency of the existence of the existent is emphasized by the fact that a pre-phenomenal consciousness lies beyond relations of the existent and ontologically “cannot act upon anything”. … unlike the existent, being does not become explicit through notions and categories, but only through the description of the meaning of being of the existent that reveals itself in consciousness. a description of multiple immediate realities (man, world, relations) outlines the way to understand their underlying unity, which is being itself” (kuzin, makovetsky, and drikker, 2016). figure 1. kampung air baja village, penjaringan, north jakarta. source: wulandari’s documentation, 2019 119 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 therefore rajutkejut tries to invite residents, especially mothers who plan to do a mass dance, to make accessories that can beautify their dance costume. they hope that through the activity of working with crafts, they can again find out how to feel and how to gather their self-existence, which will bring joy and encourage a passion for life besides broadening their knowledge of crafts. by doing works with the full awareness that the work is done for themselves, it is expected that it can encourage consciousness in mothers' minds to bring out a sense of self-existence. one of the activities that can be done is making crafts in the form of tassel necklaces. craft, as explained by walker, means skills, especially manual skills, to make daily necessities through thought and feelings, which usually requires a relatively long time to complete (walker, 2010). materials and method the study's subject matter is residents of the urban village who make tassel necklaces for dance costume accessories. the research uses a qualitative data collection method through observations, interviews, and document reviews. the data is then analyzed by using mcgovern's craftivism method. according to strauss and corbin, qualitative research is a type of research whose findings are not achieved through statistical procedures or other means of manipulation but instead refer to people's lives, life experiences, behavior, emotions, and feelings, including organizational functions, movements, social, cultural phenomena, and interactions between countries. also, flick said qualitative research is very relevant for studying social relations, namely the plurality of the world of life. this plurality requires a new sensitivity to study empirical issues (guntur, 2019). the term craftivism was first founded by a crafter greer as one of 'engaged creativity, especially regarding political or social causes' (greer, 2007). this term was then developed further by fitzpatrick, who has expanded the definition, describes craftivism as: “…both a strategy for non-violent activism and a mode of diy citizenship that looks to influence positive social and political change. this uniquely 21st century practice involves the combination of craft techniques with elements of social and/or digital engagement as part of a proactive effort to bring attention to, or pragmatically address, issues of social, political and environmental justice” (fitzpatrick, 2019). in 2019, mcgovern described modern craftivism as: “…movement in more detail, and examine the practice within its broader, historical traditions. drawing on historic and contemporary examples, the chapter documents different examples of craftivism, from war craftivism to acts of craftivism that center on social justice and gendered violence issues. as the recent revival of craftivism must be understood as part of a longer history of the intersection of craft and 120 sari wulandari1, guntur2, martinus dwi marianto3, exploring self-existence through rajutkejut craftivism ... activism these examples, organized thematically, demonstrate both the continuity of craft as a protest weapon, as well as the range of issues that have been the focus of these protests across history. i summarize this overview of craftivist practices by proposing a framework i call the logics of craftivism, a venn diagram that maps out the intersecting and interconnected personal, community, and political logics that underlie craftivist actions. the diagram also serves as a point of reference for the later analysis of yarn bombing practices, and the factors that motivate yarn bombers and frame their engagement in the act” (mcgovern, 2019). this research uses the craftivism of mcgovern's analytical method with three related aspects in craftivism: (1) individuals, namely mothers as the tassel necklace makers; (2) the community, kampung air baja; and (3) pervasive political issues. in a chart drafted by mcgovern, it appears that these three are the research subjects, interconnect, and even intersect. thus, data selection and data validation will refer to these three aspects (mcgovern, 2019). the position of the researchers is as a member of rajutkejut in the ttg project. according to pedgley, the practice-led research approach involves a researcher who carries out a design (art) project, subject to the stated objectives and research objectives. the main motive of practicaloriented researchers is to discover and communicate new knowledge and theories from their design (art) practice. it requires researchers who are skilled designers (artists) and prepared to combine the two roles of scientist and designer, something known as an intellectual challenge. practice-led research is a research method in which design (art) practice is used to create necessary evidence against something demonstrated or discovered (guntur, 2019). figure 2. craftivism chart source: craftivism and yarn bombing, mcgovern, 2019. 121 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 results the researchers found that the value of happiness needs to be re-examined. a sense of happiness can be obtained not only through material possessions but also by non-material possessions. for example, an experience that provides a person with the opportunity to express their idea about their existence is one aspect that can make them happy. through craftivism’s analysis, the researchers found that by making craft with complete awareness, the makers will rebuild their feelings and encourage the emergence of many individuals’ potential. this could be seen in: (1) individuals, the residents who made the tassel necklaces; (2) kampung air baja community; (3) pervasive political issues. discussion individuals, the residents who make the tassel necklaces the residents who tend to have minimal options in their lives and whose egos always have to be suppressed often ignore the need for recreation. to them, recreation is considered a luxury they cannot afford. limited options happen due to limited individual abilities or limited opportunities available to residents. thus, they often prioritize the needs over the wants, especially food and shelter, which must be fought for from day to day with minimal conditions. practicing arts with the residents in their everyday life residence depends on the conditions there. when a plan is going to be executed on-site, many things can happen beyond the artists’ expectations. for this reason, it is essential for the artists to communicate and negotiate intensively with the residents, to explore the possible things that may exist or happen in the area, both physically and non-physically. they also need to develop empathy and be able to negotiate and compromise with residents. the things that are initially considered the ideal have to be changed or improvised because the conditions on the site are deemed inappropriate or impossible to be done in that given time. the negotiation seeks an agreeable meeting point between the conditions that are considered ideal and the reality present in the field and can be tolerated by each party. miscommunication and broken negotiation inevitably happen during the execution of the project. it happens among the residents, among the artists, and the residents and artists. there are a lot of potentials and energy that appear and explode together. intensive interaction, patience, open minds, open hearts, and empathy are needed. the whole process is exhaustive, but many subtle signals that enrich insights for better communication can be picked up through it. it is not uncommon for curators and co-curators to act as mediators, motivators, and facilitators and to keep focusing on the common goal, which is happiness. to achieve this, it is 122 sari wulandari1, guntur2, martinus dwi marianto3, exploring self-existence through rajutkejut craftivism ... necessary to have a more profound sense of empathy so everyone can feel the presence of joy. things like this become a challenge when artists are faced with non-technical problems in the field. the residents’ program, especially for the mothers, starts by flash mob performed by indonesia dances (indonesia menari im). im is initiated by indonesia kaya, an annual event sponsored by bakti budaya djarum foundation. the concept is a mass dance performance in some shopping malls. the participants will perform a mix of traditional and modern dance, following dance moves choreographed by talented indonesian choreographers chosen for this event. mrs. faidah accepts and agrees to the art experiment in the ttg project. the curator succeeds in touching mrs. faidah’s feelings and opening her mind that results in her initiatives to hold an aerobics class for the mothers in kampung air baja. aerobic activities are close to their daily lives, but they are usually done in quite a remote location. this time, the aerobics can take place out of its territory. the aerobic activities then continue with dance practice – for the im’s flash mob event. it is mrs. faidah’s brilliant strategy to put the dancing practice after the aerobics. it is easier to invite the mothers to practice aerobics rather than invite them to dance practice, as aerobics is easier to understand and do for them. however, it should be noted that the project’s main objective is not the ability to dance well but the happy process of doing it. the process of being happy, appreciating the work of art in the form of dance, effort to be able to dance, and being excited to present their dance at the im event, are the focus. the mothers feel the benefits of exercise and dance. apart from being healthy, it is also a way for them to gather and meet new friends between their routines, bringing them new excitement and joy. they agree to wear a bright yellow costume with high enthusiasm, marking their identity as dancer participants. the women of rajutkejut share their knowledge on how to make necklaces from threads, with the mothers of kampung air baja, as added accessories for their dance costume. the collaborative, participatory art practice that has always been carried out by the rajutkejut community is a form of art that makes art and leaves the arts at the location and invites residents to do craftworks together. with this enthusiasm and seeing the dance participants’ need to wear a costume for the event, they offer to hold training activities to help them make their tassel necklaces as their costume accessories. in this training, five rajutkejut mentors make preparations by choosing a necklace design that is easy to make but still attractive to wear as costume accessories. they also provide materials for the trainees to use. the material is made from a selection of yarns with various colors. this is to give the participants a wide range of options so they can choose their preferred color and can have the opportunity to manifest their expressions as desired. 123 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 the mentors initially offer a necklace design in a photograph, with a tapestry technique in natural color shades. the participants do not seem enthusiastic about this offer because it seems complicated, and the colors in the design; examples are not attractive to them, so this model cannot be executed. the mentors then offer another example of a necklace design with a tassel technique in bright shades, worn by a woman in a contemporary style. the participants are excited because they think it is not difficult to make, and the necklace comes in vibrant colors, so it is more attractive. the right reference has an important position in making a decision. this is in line with hume's explanation of taste, that beauty is no quality in things themselves: it exists merely in the mind that contemplates them; each mind perceives a different beauty. beauty and worth are merely relative and consist of an agreeable sentiment, produced by an object in a particular mind, according to that mind's peculiar structure and constitution (stradella, 2012). the participants usually spend their spare time watching soap operas on television. the consumption of drinks and snacks sold in the stalls around the residence is a daily snack for their children. all of these objects become their visual reference. the dance instructor also has an important role to play in the decisionmaking process. the instructor, who becomes a patron for the training participants, has a "power room" to determine what a group should do. for this reason, the rajutkejut mentors negotiate with the dance instructor as she has the position as an intellectual so that the references offered could be accepted. the mentors ask for the teacher's willingness to coordinate with the dancer participants. in this case, the researchers find that hegemony is working in a system, as gramsci explains that intellectuals perform a mediating function between class forces in the political struggle over hegemony, either as instruments of maintaining hegemony or as supporters subaltern classes promoting social change. intellectuals fulfill their function by organizing a group's social hegemony to exert domination over the state (bohm, 2018). the necklace is an accessory or decoration worn on the body. it has a special figure 3. rajutkejut mentors with the participants. sources: nugroho’s documentation, 2019. 124 sari wulandari1, guntur2, martinus dwi marianto3, exploring self-existence through rajutkejut craftivism ... meaning for the wearer. it is usually made of high-quality materials such as precious metals, but it is also possible that necklaces are made of natural fibers, such as fabrics and even threads. for the dance costume, necklaces are made from colorful threads. the yarn necklace training is divided into two sessions, with 20 people on each session. each of them passes on the training to other participants. the necklace material is prepared so that the participants can immediately practice under the mentor's direction, and the tassel necklaces can be made directly at the training location. the mentors give directions for making the necklaces with standard models and simple techniques while allowing the participants to improvise necklace styles. with this creative space, the participants are excited to create their necklace models, starting from combining colors and shapes to the number of tassels used. on the day, all the dance participants were ready to perform using their tassel necklaces, with various shape modifications. they discussed their work with each other and proud of their work. this condition is as explained by boon and pentney that craft opens up a productive space for complex and challenging conversations, in need of a process that allows actors not only to be able to listen in different ways but also to enable them to occur, learn in a different way (boon, sonja; pentney, 2017). farinosi and fortunati elaborate more on how craft is positioned: “…the urban knitting movement is that of handicraft. the current resurrection of knitting has grown out of the larger rediscovery of traditional handicrafts and, more generally, of diy practices, which include not only knitting but also activities such as canning, making homemade clothes, and so forth. these practices often originate in dissatisfaction with the current economic system and represent for crafters an act of critical opposition against big corporations and mass consumer culture, as well as an autarchic desire to be self-sufficient” (farinosi, manuela; fortunati, 2018). most people in the marginal communities of jakarta's urban villages, who work daily as laborers and mostly struggle with earning enough money to be able to feed their families, see art activities as a luxury, but through rajutkejut, art activism, the residents have a reason to catch their breath for a while, take a pause figure 4. the participants with their own necklace models. source: wulandari’s documentation, 2019. 125 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 from their routines, give themselves an opportunity to feel their existence as human beings who have expressions and feelings. this is in line with mason's opinion that craft can be understood as a vehicle for activism and social change (mason, 2019). kampung air baja community when seen in plain view, the conditions and the way of life of people in kampung air baja are below average and even arguably not feasible (houses from plywood, not all houses have their bathroom), but they can remain happy, joyful, they can even laugh now and then, even contribute to the city while still living with dignity. through what the mothers of air baja wrote in their stories and what the children draw, it appears that they have good character, and there is a potential for the residents to develop themselves more. for this reason, it needs to be sharpened and accommodated by artistic activities. a mother who has a healthy body and soul can educate her children properly. she is an important asset for community development. moreover, experiences in childhood have a huge role in determining human character in the future. this shared joy is manifested when around 200 women from penjaringan dance and have fun together at the im event at penjaringan city forest park. they get together, wearing costumes written with the words “gembira pangkal sehat (happiness is the foundation of a healthy life)” and the colorful tassel necklaces they make themselves. there is an interesting case where a member of the dance participants forgets her tassel necklace at home. when she realizes that she does not have enough time to get it, she expressively insists by phone that someone in her house should bring the necklace to her at the forest park. she must wear one and get ready to perform at the im event. the tassel necklace is like their identity on that day. identity, as explained by stuart hall: “since cultural diversity is, increasingly, the fate of the modern world, and ethnic absolutism a regressive feature of late-modernity, the greatest danger now arises from forms of national and cultural identity – new or old – which attempt to secure their identity by adopting closed versions of culture or community and by the refusal to engage... with the difficult problems that arise from trying to live with a difference” (solomos, 2014). pervasive political issues ttg has gathered many dimensions through art to create simple happiness among residents. while their day to day life forces them to go through their daily routine as workers who make products but cannot enjoy what they produce, by ttg project researchers see that they have another option to help the residents to produce something of their own that they can afford and enjoy. through this process, it is expected that it can build people's imagination and creativity and let them see that 126 sari wulandari1, guntur2, martinus dwi marianto3, exploring self-existence through rajutkejut craftivism ... happiness can be obtained in such a simple way, without losing their dignity. along the way, this program has tickled the flexibility of artists that activism artists should be ready to face unsure conditions in the field. the artists and the collaborators will produce artworks that may be surprising and beyond the artists' expectations. this is understandable, considering among them have different preferences, values, and culture. the existence of this collaborative work requires interactions, equality in meetings, and negotiations to work on the differences. according to piliang, work has a dialogue space where various signs, codes, and meanings come from various cultures and interact and intersect (piliang, 2017). this is in line with marianto's view that artworks must be viewed from two aspects: material and non-material aspects. “describing and analyzing are two of the various activities to observe the material aspect (the particles). in the context of semiotics, this activity is an attempt to identify, describe, and analyze in detail and overall the signifying aspects of a sign in a work of art. observing the non-material aspect is observing the wave aspect of the artwork, identifying its meaning, message, or value through interpretation and judgment. interpretation and judgment depend on how the work is positioned and viewed and how it is linked. observation of material and non-material aspects is equally important, as important as the complementary relationship between particles and waves” (marianto, 2017). no matter how difficult life is, the residents face it with a happy heart. many jakarta residents should emulate this mental attitude so that they do not complain easily, work hard, are grateful that they still have a good job, and can support themselves and their families properly, in a dignified manner. conclusion this research show many dimensions. the relation of art to the residents shows how art can influence and develop an individual's potential. this research shows how art can restore the spirit of togetherness and cooperation. on the political dimension, art facilitates statements of empowerment of the residents. let us look at the works of art produced by kampung air baja residents in this project. we might not be impressed, and some people might even underestimate them because, in a formal aesthetic, the artworks produced do not meet the criteria as a work of art. however, if we examine the essence of art as a form of expression based on the results of thought and feelings corresponding to the environment and bringing joy, it will be legitimate if we view it as a work of art, namely the work of everyday art. everyday works of art that can increase vitality. halim explained everyday art as: 127 ijcas | volume 7 number 2, december 2020 p-issn 2339-191x | e-issn 2406-9760 "everyday art is art that is intertwined in everyday life. everyday art is a matter of everyday human expression when acquainted with imagination and embraces it closely, without being haunted by administrative burdens shuffling around the meeting table. art located on the outskirts and along quiet alleys is usually not considered work, other than if it has been arranged, designed, in such an exhibition format that relies on the beams of gallery lights or a book on a contemporary design cover. art does not only belong to artists and visitors in the exclusive galleries and performances. art is everywhere. art that exists and lives together with everyday life" (halim, 2019). evaluating the ttg project that took place during september-november 2019 by responding to thkp and the residents living in the surrounding environment, it appears that art's role in bringing a real consciousness in the residents' minds in their life. in ttg's case, happiness can be embraced by expressing and doing a simple but authentic thing. it does not only bring joy but also hope. i hope that drives the spirit to continue to navigate life with dignity. at the end of its implementation, this interactive, experimental, and participatory lkk program produces a method that can be reused at the next everyday art project. if the urban village residents have many similar characteristics, it can be duplicated or adopted, or adapted by making various adjustments, depending on the village residents involved. pointing to the experimental and participatory method's character, the artists who are invited need to know how to interact intensively with residents in the village environment so that the project can further encourage the emergence of works of art which have an impact on society, shared happiness which can boost a healthy and productive society. acknowledgments researchers are very thankful to jakarta arts council and especially to enrico halim as curator, for allowing and encouraging researchers to participate directly in the project. references bohm, f. (2018). hegemony revisited: a conceptual analysis of the gramscian concept of hegemony in international relations theory. lund university: lund. boon, sonja; pentney, b. (2017). knitting the feminist self: craftivism, yarn bombing and the navigation of feminist spaces. in global currents in gender and feminisms (pp. 21–34). https://doi.org/https://www.researchgate.net/deref/http%3a%2f%2fdx.doi .org%2f10.1108%2f978-1-78714-483-520171004 farinosi, manuela; fortunati, l. (2018). knitting feminist politics: exploring a 128 sari wulandari1, guntur2, martinus dwi marianto3, exploring self-existence through rajutkejut craftivism ... yarn-bombing performance in a postdisaster city. journal of communication inquiry, 42(2), 138–165. https://doi.org/https://doi.org/10.1177%2f0196859917753419 fitzpatrick, t. (2019). craftivism: a manifesto/methodology. retrieved from tal fitzpatrick blog website: https://www.talfitzpatrick.com/ craftivismmanifestomethodology greer, b. (2007). craftivism: encyclopedia of activism and social justice. new york: sage publications. guntur. (2019). a conceptual framework for qualitative research: a literature studies. journal capture, 10(2), 91–106. indonesia menari. (2019). retrieved from indonesia kaya website: https://www.indonesiakaya.com/indonesiamenari/2019/faq kuzin, i.v.; makovetsky, e.; drikker, a. s. (2016). existential aspect of being: interpreting j. p. sartre’s philosophy. rupkatha journal on interdisciplinary studies in humanities, 8(1), 230–231. marianto, m. d. (2017). seni dan daya hidup dalam berpikir quantum. yogyakarta: bp isi yogyakarta. mason, v. (2019). craftivism. dissident objects and subversive forms. journal of modern craft, 12(2), 179–183. mcgovern, a. (2019). craftivism and yarn bombing: a criminological exploration. london: palgrave macmillan. piliang, y. a. (2017). hipersemiotika: tafsir cultural studies atas matinya makna. yogyakarta: jalasutra. solomos, j. (2014). an appreciation stuart hall: articulations of race, class and identity. ethnic and racial studies, 37(10), 1667–1675. stradella, a. (2012). the fiction of the standard of taste: david hume on the social constitution of beauty. the journal of aesthetic education, 46(4), 34. walker, j. (2010). desain, sejarah, budaya: sebuah pengantar komprehensif. yogyakarta: jalasutra. informan enrico halim, 51 years old. (2020). curator for titik temu gembira jakarta art council, jakarta. 139 eco art bamboo and silat spirituality in the integrated space design widya poerwoko program pascasarjana institut seni indonesia yogyakarta e-mail: ruasbambu@yahoo.com abstract today environmental damage has become an alarming issue. such a problem also occurs at sleman located in the foot of mount merapi, yogyakarta. illegal sand mining around settlements has resulted in shrinking plant populations and damage to land use, which has resulted in decreased groundwater and surface water. environmental damage begins with fragmentation in people’s worldview resulting from the emerging humanism-ecology, knowledge-values, and the body-spirituality separations. pencak silat, as an indigenous indonesian martial art that is subject to the harmony between humans and the natural environment in which they live, can inspire the awareness of local people to reconsider the habits harmful to the environment and nature. the integrated space design as an aesthetic manifestation of eco-art is an artwork created to address environmental problems occurring in the foothills of mount merapi by creating a space that bridges the interactions between humans, between humans and their artificial environment, and between humans and the surrounding natural environment by using bamboo plants as the main media, and silat spirituality as the primary inspiration the local community’s capacity of living, both ecologically and spiritually. keywords: bamboo, silat, nature abstrak perubahan iklim dalam fenomena global warming penting diperhatikan. meski peristiwa tersebut sulit dibayangkan oleh masyarakat pedesaan, namun faktanya fenomena tersebut telah mengakibatkan para petani mengalami kegagalan panen dan hampir tidak dapat lagi memprediksi waktu tanam. di luar fenomena tersebut, persoalan lingkungan juga terjadi di kaki gunung merapi, sleman, yogyakarta. penambangan pasir di pemukiman, telah mengakibatkan menyusutnya populasi tumbuhan dan rusaknya tata guna lahan, sehingga berdampak pada menurunnya permukaan air tanah dan air permukaan. kerusakan lingkungan berawal dari terpecahnya cara pandang orang akibat dari munculnya pembedaan antara humanisme dengan ekologis, pengetahuan dengan nilai-nilai, dan tubuh dengan spiritualitas. pencak silat, sebagai seni bela diri indonesia yang tunduk pada keselarasan antara manusia dengan lingkungan alam tempat hidupnya, dapat menggugah kesadaran orang setempat untuk mempertimbangkan kembali kebiasaannya yang dapat merugikan lingkungan dan alam. integrated space design sebagai manifestasi estetis eco art, merupakan karya seni yang diciptakan untuk menjawab persoalan lingkungan yang terjadi di kawasan kaki gunung merapi, yaitu dengan mewujudkan ruang, wadah atau ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 140 jembatan interaksi antar manusia, manusia dengan lingkungan buatannya dan alam seputar hidupnya, dengan menggunakan tanaman bambu sebagai medium utamanya, dan spiritualitas silat sebagai inspirasinya sehingga dapat melestarikan daya hidup masyarakat setempat, baik secara ekologis maupun spiritual. kata kunci: bambu, silat, alam introduction 1. the background of eco art creation in 2002, the un predicted that the lowland forests of kalimantan and sumatra, the main habitats for orangutans, would vanish by 2032. however, by 2007, researchers found that the rate of deforestation was actually occuring at a faster rate, which led to the conclusion that forests on both islands would be gone ten years earlier than previously thought. massive looting of forests in upper watershed areas has resulted in ecosystem degradation downstream in rivers on which people depend for their livelihoods. this has threatened the sovereignty of community life as well as the intrinsic values contained in the greater river ecosystem. according to hariadi kartodihardjo, a lecturer at the faculty of forestry, bogor agricultural institute, though there is a need for rehabilitation programs for critical watersheds, the current rehabilitation programs are virtually meaningless in the face of current policies implemented by regional authorities as the policies are often counter-productive and even exploitative. similar conditions exist along several rivers that flow through the city of yogyakarta, namely the winongo, code, and gajahwong rivers. while these rivers all have a close relationship to the cultural dynamics of yogyakarta and its people, all three watersheds are now subject to strong pressures from those who ignore the values of environmental sustainability. unfortunately, environmental damage is not limited to urban areas only, and rural areas in the foothills of mount merapi have also experienced degradation due to illegal sand mining that negatively impacts land use, irrigation systems, and water catchments. the widespread nature of environmental degradation indicates that people’s perspective, attitudes, and exploitative behavior towards natural resources no longer conform to a rural/urban boundary. 2. problem formulation eco art is a unification of two words: ecology and art, or in indonesian terminology, what is commonly referred to as seni berwawasan lingkungan (ecological arts). eco art seeks to bring back the coherence between the human value system and its view of nature. eco art is thus comprehensive because it widya poerwoko, eco art bamboo and silat spirituality... 141 must be so; it is a result of the awareness that people have no choice but to look at the world in a comprehensive, related, and global way. an integrated space design is an effort to regain self-awareness as well public awareness that all forms of art created by our ancestors and elders in the past are endless oceans of art to be understood, studied and then developed to benefit the local community. traditional arts are real examples of integrated art, the result of the long processes of creations inseparable their from cultural and environmental contexts. a key idea of eco art is to re-promote local knowledge as a foundation for understanding the importance of ecosystem sustainability. it is a response based on respect, love, and prudence exemplified by our ancestors to manage an environment that has been eroded or even almost destroyed. but to do this, we must ask what kind of creative concept can be built to realize an integrated design that accommodates a variety of interactions while at the same time revives the local community’s awareness of their potentials, either in the form of skills or of various types of bamboo plants growing in their area? table 1. basics of landscape philosophy no names symbols meanings 1 tao 1 origin 2 yin yang 2 balance 3 sam po 3 fusion 4 su sie 4 directions 5 ngo heng 5 elements 6 liok hap 3 fusions + 3 utilizations 7 cit sek 7 colors/senses 8 pat kwa 8 pieces/formulations 9 kiu tao 9 catasthropes/lucks source: notes from the dialogue of suhu subur rahardja and ws. rendra, 1973 within the context of survival silat as a form of martial arts can be found an alternative for people to foster awareness of their potentials, in both ecological and spiritual terms. silat is a science with which, through the body, people try to understand their existence of self in relation to nature. through martial arts, people are trained to understand the interrelationships between mind, body, and spirituality, or which is also often referred to as mind, body and spirit, which in ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 142 the taoist concept is called sam po. sam means three and po means pearl, which means that an individual’s actions or behaviors are the results of dynamic and complex interactions of the combinations of reflection, reaction, and action. since silat is much influenced by and from its geographical source, namely mainland china, taoism is a relevant concept to uncover the spiritual aspects of martial arts. taoism conceptualizes, nature as analogous to the human body, and the body is considered as a microcosmos, or what in javanese philosophy is called jagad cilik. for the purpose here, this is called the basics of landscape philosophy (the tao of silat), which consists of nine parts as depicted in table 1. the question then, is how to create an integrated space design as a manifestation of eco art using bamboo plants as the main medium and martial arts spirituality as the inspiration, so as to restore the ability of local people to survive both ecologically and spiritually, and in the process reconsider those habits that are harmful to their environment. materials and method 1. the basic idea of eco art the basic idea of eco art is how to integrate bamboo and silat spirituality into an integrated space design, as a manifestation of the eco-art aesthetic, to create a space of interactions between individual humans, between humans and their artificial environment, and between humans and the nature in which they live. this is to preserve the survival ability of local people both ecologically and spiritually. silat spirituality serves as an inspiration in this context in that the space design has the quality of human life, a design that has the courage to recognize the spiritual and transcendental dimensions of humans. the human body is a tao, a part of the body of nature, “i am present and flowing (tao), united in law with nature and subject to a dynamic balance (yin yang), with all the performance of my mind, body and spirituality (sam po), existent in space and time (su sie), in order to understand thy signs, in deep silence, i process the five elements contained in my body (ngo heng). now i am able to reformulate who i am (liok hap) and move continuously with thy direction to greet my surroundings. in the desire to capture thy divine values, i sharpen and refine the seven light waves of my senses (jit sek), with thy permission and blessing i join in the web of life (pat kwa), now i surrender without doubt, if it is thy will, whatever will be will be. catastrophe and luck are just the same (kiu tao).” the aforementioned nine taoist narratives are the order of art installations realized in the eco art landscape. widya poerwoko, eco art bamboo and silat spirituality... 143 2. the idea of form the form of space is associated with the relational sphere, namely relations between humans, human with the artificial environment, and human relations with immediate and present nature. the concept of integrated space design is developed in order to anticipate these three types of relations. in anticipating the problems that might arise, it is necessary to develop a new paradigm so that the design will be useful knowledge if it is no longer understood merely as an object of use, but as a system, a problem solving system. the public should be informed that the design output is not only in the form of physical objects as people have understood so far, but that it also takes the form of new activities and behavioral patterns in society. the idea of artwork is realized in the form of a place of worship where the design accommodates different religions in the world as many people assume that interaction with the creator only occurs in a place designated for it. the idea of a circular line as a symbol of dynamic cyclic movements is often depicted in the form of a sphere, so it makes sense if the roofs of worship places of various religions have a half-ball or dome shape. when you hear the word domelike roof, what comes to mind might be mosques, though in fact hundreds of years before islam, hindus, buddhists, christians and catholics were familiar with dome shape and used it as part of their architecture. 3. the embodiment method this section reviews the three stages and six steps in the process of embodying integrative space design. it was inspired by the methods presented by gustami in the book proses penciptaan seni kriya: untaianmethodologi (craft artwork creation process: methodological strands), 2004. the three stages are a) the exploration stage, which in this context includes both pengembaraan jiwa (spiritual exploration) and theoretical basis development, b) the planning stage, which includes the steps of designing and model making or modeling, and c) the embodiment stage which includes the steps of creating the artwork and evaluating the results according to the purposes and the objectives of the artwork embodiment. based on the three stages and the six steps, the embodiment method is further elaborated in keeping with the integrated space design context. a. the exploration stage pengembaraan jiwa (spiritual exploration) as the first step in this context was a challenging phase in which the author was confronted with the reality of environmental damage in the foothills of mount merapi. further examination was carried out through interviews and interactions with the local community in order to ascertain behaviors harmful to communitiy members and the environment in which they lived. the intense interaction between the author and the local community and their environment allowed for increased awareness and a deeper ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 144 understanding of environmental damage in the target area. the author sought to broaden his own views by seeking out references from various disciplines’ perspectives to answer the question of why environmental damage occurs after which the study problem was then identified and formulated. b. the planning stage pre-designing was the third step in the process of transforming verbal descriptions of ideas based on the initial analysis into scaled sketches of basic forms of works within the two-dimensional design boundary. these sketches allowed for adjustments or modifications to the basc forms in accordance with the actual conditions in the field. because this artwork used plants as its medium, this pre-designing process was necessary to allow a space for possible accommodations and changes both in terms of form and dimensions. the predesigning process also included the designing of zonal division as the art landscape was located in surodadi hamlet was intended to be a part of the community life. designing, as the fourth step, was the process of selecting one of three alternative ideas or idea forms which was then translated into scaled engineering drawings along with the required detailed drawings. since artwork design consists of two types of planning, namely landscape design and art installation work design, a site plan was also needed in order to map out where the installation artwork would be placed in accordance with the author’s desired display narrative. c. the embodiment stage the process of embodiment as the completion step was carried out in the field and consisted of preparatory work including land clearing, measurement, and pegging. once the 'shape sketches' of configuration were designated in the field, the next process was digging planting holes following the 'shape sketches'. this was followed by planting bamboo plants as planned at the site. after the bamboo was established, the plants were arranged and maintained as needed, in order to direct and control the shape and growth of the bamboo plants, and avoid deformation and a resulting decrease in the artwork’s function. this work resembled the process of making a model in that if a model is made with a 1:50 scale, for example, then the actual work uses a 1:1 scale. gustami further explains that, for artworks with a practical function, the evaluation should be based on both functional and analytical criteria, and include the possibility of developing an exhibition in order to obtain responses from the user community. the evaluation is meant to criticize the quality of a work that involves both physical and non-physical aspects, including personal, social, and cultural functions. once the functional work criteria have been met, the work is ready to be produced and then released to the public. however, since the integrated space design is an ecological artwork, that is, an artwork that aims to widya poerwoko, eco art bamboo and silat spirituality... 145 answer the problem of environmental damage in an area, then this artwork cannot be duplicated without considering the ecological and environmental aspects, including the socio-cultural aspects of the local community. results nature, including human nature, is an organism, and an organism is an orderly system of anarchy. even though there is no 'boss' in it, nature can keep going in harmony even if it is permitted to run just the way it is. this is what is called tao, or jagad (the universe) in javanese language which is then developed into nggelar nggulung ngelar jagad, which consists of nine steps. these steps imply studying, understanding, and developing the potential of the human body according to its nature. however, instead of reflecting harmony, the form of the work as a whole reflects the disharmony of jagad (the universe) as a result of the schism in people's reactions to degradation and separation occurring in almost all aspects of life. the nine works realized in the area of art landscape were visualizations of the basic philosophy of the lanscape. it is a portrayal, depiction, embodiment, or representation of the spirituality of the human body, including tao, im yang, sam po, su sie, ngo heng, liok hap, jit sek, pat kwa and kiu tao. the title of the first installation work was tao (see figure 1), the shape of which resembles the dome of a sanchi stupa, a half-spherical place of worship made of bricks found in buddhist sites. this first tao is akin to the body of a new born, who is innocent, honest, and pure. because the brain is not yet 'active' in responding to various events, the body with all of its instruments naturally receives stimuli from its surroundings. therefore, the title of this particular tao's artwork became 'reborn.' to make it more digestible to the local community, the title was changed to 'orok,' which is another name for 'jabang bayi' (newborn baby), the developmental period of which, according to psychologists, is the shortest in the human life span. figure 1. the perspective of tao/orok figure 2. the perspective of im yang/sigar penggalih ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 146 the second work was called im-yang (see figure 2), the shape of which resembles the roof of the pohsarang church building in kediri, which looks like an upside down boat split or divided into two parts. this work functions as a performance room with a capacity for an audience of 50 people. im-yang is a pair of realities that inevitably have to be accepted as part of life. therefore the title the im-yang's art creation was changed into 'split off', meaning that people are trapped in a dichotomy of dualism of the mind that is spirituality alienated from the body. however, like the local naming of a specific plant, this work was given a name that would resonate better with the local community, 'sigar penggalih', a javanese phrase which means the splitting of a single view between the mind and human spirituality. figure 3 shows the third work entitled sam po, the shape of which resembles a pagoda tower. in the artwork context, sam po describes the human body which is a fusion of three elements: mind, body, and spirituality, which gives arise to human consciousness. in the context of silat, the tower is a symbol of gallantry, a unified body structure that is upright, strong and sturdy, but the deterioration in the tower's function inspired the naming of this particular sam po artwork as 'drunken tower'. it is a tower that is drunk and/or losing some of its consciousness, which in the local language is called 'mendem'. the term 'mendem' implies several meanings, among which is excessive euphoria or ‘mabuk kepayang’ which in local terms is commonly referred to as 'mendem kahanan’, being drunk while still conscious. another meaning of the word "mendem" is loss of consciousness, forgetfulness, infatuation or excessive lust, and therefore the title "drunken tower" was transformed into the local term "mendem kahanan." figure 3. the perspective of sam po/mendem kahanan figure 4. the perspective of su sie/suwung widya poerwoko, eco art bamboo and silat spirituality... 147 figure 4 shows the fourth work entitled su sie the shape of which resembles the dome of the sakirin mosque in istanbul, turkey. this space serves as the connector to other spaces around it. this particular work relates functionally to the first work. while tao/reborn/orok serves as a performance room, su sie serves as a mediation space, a space for dialogues between audience and artists, and musicians. in the context of art creation, su sie is described as four directions, or four angles, and correlates to the position of man on earth. with these orientations, being in space and time, life both influences and is influenced by the environment. in the reality of life, every individual should accept that he/she has a body, a mind, feelings, and desires. however, orientation, space and time are never wrong. it is humans that sometimes misplace themselves or lose their direction. therefore, the title of su sie artwork was changed to 'off side'. in javanese terms, this particular work was named 'suwung', a nickname given to a dazed individual who is jobless, is daydreaming, and confused from a lack of orientations and purpose. figure 5 shows ngo heng, the fifth artwork, the shape of which resembles a hollow stupa with a buddha statue similar to the large stupas of borobudur temple. in the context of this artwork, the stupa was turned upside down, making it conical upwards instead of downwards. ngo heng in the context of silat is a metabolic process of five elements or five main organs of the human body involved in the digestive process of food resulting from plant photosynthesis. the meaning to be conveyed by this particular work was that even when perfect metabolism produces 'vital energy', commonly referred to as chi, if not properly figure 5. the perspective of ngo heng/mo limo figure 6. the perspective of liok hap/lawang awangen ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 148 guided to access thepoint of human spiritual consciousness, the ‘vital energy’ will not go anywhere but to the genitalia. therefore the title of ngo heng art creation was transformed into 'suffering return'. this particular work was meant to represent the return of human suffering as a result of an inability to control the 5 (five) zests inherent in the body, which in javanese philosophy is called molimo. the origin of the term molimo is moh (do not want) limo (five), or not wanting to engage in the five misconducts, including mendem (drinking), main (gambling), madon (promiscuous sexual behavior), madat (drug addiction), and maling (stealing). therefore, the title of this particular work was transformed into 'mo limo'. figure 6 shows the sixth artwork named liok hap which consists of 'three fusions' and 'three uses', the phase where an individual must start moving all of his/her body elements to interact personally and stay in touch with all forms in the web of life. liok hap is a gate that resembles an archeological artifact of the majapahit kingdom called the wringin lawang gate in mojokerto. in the context of art creation, while gapura (gate) is commonly interpreted as the getway to an area, or the entrance gate to royal complex, the liok hap piece is the gateway to the idea of starting a new chapter in life, to read reality, capture information, and 'digest' these so as to become knowledgable enough to change one’s behavior. liok hap is the process of transforming the mind into implementation, but because the gate of the mind sometimes stands too 'gloriously', it is too often that an idea is pondered and embodied but not successfully implemented. therefore liok hap was then named 'mind gate', which in local terms was translated as 'lawang awangen', a combination of two javanese words lawang which means door and awang-awangen which means refrain from doing something because of reluctance, doubt, or fear of failure. discussion nggelar nggulung ngelar jagad in this context aligns itself with nature in an effort to solve the problem of ecological balance in order to engage the sensitivity of organisms in the web of life as more 'we' than 'me' in nature. nature, including the human realm, is an organism, and an organism is an orderly system of anarchy. nature can keep going in harmony even if it is allowed to run its course. art landscape is an ecological artwork which contains three aspects, namely (1) the aspect of function, which is judged based on its ability to accommodate human body activities to understand relations between humans, (2) the aspect of role, which is judged based on its abilities to build relationships between humans and their artificial environment, and (3) the aspect of meaning, which is judged by its widya poerwoko, eco art bamboo and silat spirituality... 149 ability to interpret the relationship between humans and the surrounding natural environment. 1. the function aspect of space the art landscape is a place or space for the interactions and activities of various groups of people or communities, including silat, art, peasants, bamboo, and surrounding communities. in addition, the art landscape has often been used by students from various higher education institutions to carry out training, discussions, and/or just sharing. art and cultural communities such as sawung jabo music group with its barock circus, teater dinasti, teater garasi, teater gajah mada, and omah panggung nitiprayan, either in groups or individually have used the space to practice music or even theater, perform general rehearsals before an actual performance, or carry out discussion activities, program evaluations, retreats or informal gathering. the local community group uses it as a regular practice site for the macapatan and cokekan traditions. 2. the role aspect of space the existence of the bamboo plants has perhaps been the strongest reason why most of the art landscape users choose this site as an interaction space, especially when people know, albiet in a limited fashion, that eco art is gradually showing its intended shape. some people begin to be feel ‘intrigued’ with the atmosphere of the space and feel provoked to comment on the nggelar nggulung ngelar jagad' artwork. one question that is often asked by many people is why bamboo plants have been used and what is the connection with silat spirituality. another frequent question is about the use of this space during the rainy season. questions arising from cultural circles include what the art landscape is used for, and to the extent of its usefulness to the local community. another interesting question from the local community is whether they can take the grass growing in the landscape art to feed their livestock. in general people assume that the artwork is not beneficial to them because aside from bending bamboo plants, the bamboo species used to make the artwork does not sell well in the market, so it does not provide direct economic benefit to the community. 3. the meaning aspect of space the most prominent human interaction with nature that came to life was apparent when the bamboo plants formed into artworks and spaces, 'luxuries' that cannot be found elsewhere. watching bamboo plants grow into a living building that continually refines its shape is a show in itself. nggelar nggulung ngelar jagad is a synthesis of bamboo plants and silat spirituality. it is the aesthetic manifestation of eco art that makes bamboo plants not only serve as the material to realize the artwork, but also as the medium, or the delegation of nature that requires study, understanding, and comprehension as the web of life. silat spirituality acts as a microscope on the one hand, and a telescope on the other, ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 150 both of which can be used to understand the web of life and the interconnectedness of cosmos. in the end, the space continues to serve as a bridge that reconnects humans, humans with their artificial environment, and humans with nature. integrated space design is not a design method intended for people who just want to enjoy short-term benefits, who cannot take into account their own survival and that of the generations to come, nor is it for people who only want to multiply capital. this is because the designing in this context is not merely building a building, rather, it is designing a space to awaken people from their long ‘unconscious state.’ given the many kinds of disintegrating influences in the reality of human life (that itself damages the essential elements of life), integrated space design integrates what has been scattered by quantifications of science, knowledge and human life. space in the context of eco art is a vessel, a bridge of interaction, and a point where logos and praxis meet and interact to improve the quality of life. conclusion the general conclusion of integrated space design as an aesthetic manifestation of eco art is that it succeeded in presenting nggelar nggulung ngelar jagadthemed artwork with accompanying installation works growing in it, using bamboo plants as the main medium, and silat spirituality as the inspiration. in accordance with the purpose and objectives, the art landscape is created to carry out its role as a space, a vessel or a bridge of interactions between humans, between humans and their artificial environment, and between humans and nature around their lives. today the presence of the art landscape in the region is starting to receive positive responses from the local community. this is indicated by the emerging collective idea to restore the function of the land formerly used for sand mining in accordance with its designation. this is where integrated space design can serve as an alternative solution to transform critically damaged land into conservation land. therefore, illegal mining must be stopped, which also means stopping other activities that can harm the environment to prevent additional losses and damage in the future. if illegal mining is not stopped, at least gradually, then the program is merely digging a hole to close another one in the real sense, which in the end will leave a debt to be paid by future generations. from the function aspect, integrated space design has proven to be capable of accommodating inter-human interactions as during activities with several silat, art, bamboo, and environmentalist communities held events in the forms of group exercise, informal gathering, workshops, discussions, refearsals for performances, or recreational activities. this was in addition to students from widya poerwoko, eco art bamboo and silat spirituality... 151 various higher education institutions which held similar activities in the art landscape. meanwhile, young people from the local community together with students from the faculty of psychology, yogyakarta state university often used this space as a place for practicing outbound activities and children’s games or what are commonly called dolanan anak by local community. from the role aspect, integrated space design has shown its ability to accommodate human interaction with the artificial environment when journalists, cultural observers, education and environment activists, both from local, national and international levels positively appreciated the living, organic space and artwork that uses bamboo plants, which themselves have significant meaning as a medium. bamboo plants, which have historically been considered as gendruwo (ghost nests) by the local community and also known to be used as hiding places for criminal gangs are now gradually gaining respect and even being treated as a glorified plant. in addition, the landscaping with the composition of building structures and the installation artwork growing on it serves to control erosion, create a nutrient blanket for the soil and as protection for the water catchment area. in terms of meaning, integrated space design has become a bridge for interactions between humans and the surrounding natural environement where artists, cultural observers, and international martial art communities appear to be so closely connected with the web of nature. they patiently wonder what aspects of the work will be shared with the local community. they are also concerned about people's impact on nature, and feel that bamboo works as a medium or 'antenna' to in bringing them together in the same space and time. nggelar nggulung ngelar jagad is a narrative of silat spirituality, driven into implementation, becoming a tangible and spatial narrative in the form of an integrated space design. it is born, grows and then unites with community life, culture and surrounding nature. another important aspect that supportsthe embodiment of integrated space design as an aesthetic manifestation of eco art, is if the artworks using bamboo plants as the main medium and silat spirituality as the source of inspiration are studied and consequently developed into a dissertation subject. such opportunity would allow people to learn how to 'refine' their spiritual experiences when greeting and 'dialogueing' with other living things called 'plants', because they grow around us. we even inhale the oxygen they produce and consume them to provide our bodies with important energy and nutrient as a necessary ingredient of spirituality itself. another supporting factor is the potential to reintegrate the specialized art science into eco art, so that students do not have to depart either from a box called applied art or pure art for it would be like separating interrelated knowledge ijcas vol. 6 no. 2, december 2019 | p-issn 2339-191x | e-issn 2406-9760 152 from one another. for instance, separating im and yang, separating men from women, separating the right brain from the left, separating theory from practice, separating ideology from art, which at the end will separate quantity and quality of life are all perspectives that contribute to environmental damage throughout the world. it is in the context of eco art creation where the author has the opportunity to reconcile one with the another, to integrate dualism in the human body which often causes symptoms of 'schizophrenia' to appear in the various elements of life. there were technical factors that both supported and inhibited the project that arose from the use of bamboo as the artwork media. the use of bamboo requires a longer time for the embodiment of the work to be complete, however, the extended length of time was also beneficial, and therefore became a supportive factor because it provided the author more time to record changes in the plants from various perspectives. these changes were both qualitative and quantitative, for instance, with the su-sie piece , which originally was called “off side”, and then integrated into suwung, and demonstrated that space is indeed inseperable from time. ecological art education can be an alternative to improve the ability of the local community’s ability to read, absorb, and understand the information displayed by bamboo plants regardless of their species and family, then mimic the patterns and the ways the bamboo plants preserve themselves. such activities are useful to foster new awareness considering that many people only understand the price but do not realize the value, understand the profit but do not realize the benefits, so that it becomes important to integrate ecoliteration-ecodesign into the lives of local communities in the surodadi hamlet area. ecoliteracy and ecodesign have been developed in universities in various developed countries with purpose of changing the way people think so that they will be willing to imitate the manner in which the web of life survives. taking waste from one organism to become the raw material for the lives of another organism is an example. we should not see rubbish as waste that must be disposed of, but as raw material for creating new products. this method was exemplified by our predecessors in traditional farming techniques where plants were cultivated to allow for alternate harvesting according to the season with some of the produce consumed, some stored for seed reserves, and some to feed livestock which in turn produce soil fertilizers. it was a cycle that enabled a pattern called the web of life. in the context of integrated space design, individuals, communities, or institutions that come to the site are seen as parts of a web of life that provide input for the survival of the art landscape area, be it energy, material, information or knowledge. therefore, an alternative perspective where improving the quality of life allows people to see a more complete picture of the interconnectedness of the web of creation. widya poerwoko, eco art bamboo and silat spirituality... 153 it is recommended to people who plan to use plants as a medium to create something to equip themselves with adequate knowledge of the plants they intend to use, where they grow and what role the plants play in the cultural life of the local community. such knowledge is derived from long experience with a plant where knowledge of it has been passed down through the generations. the planting media and the plants must be prepared in advance. through these preparatory steps, people will better understand the soil or the planting media needed as nutrition for the plants are required to realize the work. alternatively, the plants also provide information and can impart knowledge to the artists so that they understand the type of planting media needed by the plants to grow as hoped. in this way, the artists will be able to calculate the speed of growth of the plants against the time available to complete their studies. because the work will always be related to human life, it is necessary to work together with people from other disciplines, as partners or counterparts to help the artists obtain information and knowledge related to soil elements such as microorganisms and other knowledge related to habitats where a type of plant typically lives and develops. the ecological art landscape in surodadi hamlet area began to demonstrate success when some of local people responded positively to its existence and subsequently invited the author to join in designing and realizing works similar or related to eco art at the former location of sand mining. their goal was to establish a creative, recreational and educational space for the community, including both local people and the wider society. now the art landscape has 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beberapa jenis bambu. bogor: lembaga biologi nasional-lipi. setiono, kusdwiratri, johan s. mansjhur dan anna alisyahbana. 1998. manusia, kesehatan dan lingkungan, kualitas hidup dalam perspektif perubahan lingkungan global. bandung: penerbit alumni. shiva, vandana. 2002. water wars: privatization, pollution, and profit atau privatisasi, profit, dan polusi, terjemahan achmad uzair, 2003. yogyakarta: insist press dan walhi. siahaan, bastian. 1999. diversitas, pelestarian jenis, pengolahan dan pemanfaatan bambu di yayasan bambu lingkungan lestari, ubud, bali (laporan praktek kerja lapangan). fakultas biologi minat studi pengelolaan lingkungan universitas kristen duta wacana, yogyakarta. simpson, g.m. 1990. seed dormancy in grasses. new york: cambridge university press. skolimowski. henryk. 1981. eco-philosophy: designing new tactics for living atau filsafat lingkungan: merancang taktik baru untuk menjalani kehidupan, terjemahan saut pasaribu, 2004. yogyakarta: bentang budaya. soedarso, sp. 2000. sejarah perkembangan seni rupa modern. jakarta: studio delapan puluh. soedjono & h. hartanto. 1991. budidaya bambu. semarang: dahara prize. soemarwoto, otto. 2001. ekologi lingkungan hidup dan pembangunan. jakarta: djambatan. sony, kartika dharsono. 2004. pengantar estetika. bandung: rekayasa sains. sumardjo, jakob. 2000. filsafat seni. bandung: penerbit itb. takwin, bagus. 2001. filsafat timur: sebuah pengantar ke pemikiran-pemikiran timur. yogyakarta: jalasutra. wardhana, wisnu arya. 2004. dampak pencemaran lingkungan. yogyakarta: andi. watts, alan. 1995. the tao of philosophy atau tao filsafat, terjemahan saut pasaribu, 2003. yogyakarta: jendela. 107 volume 8 nomor 2, december 2021 p-issn 2339-191x | e-issn 2406-9760 p 107 – 121 depiction of pandemic in indonesia local election 2020 political advertising robby firmansyah1, martinus dwi marianto2 1universitas muhammadiyah bengkulu 1doctoral student of graduate school, indonesia institute of the art yogyakarta 2indonesia institute of the art yogyakarta e-mail: robbyfirmansyahmuish@gmail.com abstract in the last quartal of 2020, during the covid-19 pandemic, local elections were held in various cities and provinces in indonesia. as a result of the public awareness of the pandemic situation and the urgent need for solutions to its implications, the covid-19 pandemic became a suitable theme to be addressed on election campaign media. this paper aims to generate various patterns on how candidates utilized covid-19 pandemic imageries in their political advertising to establish their personal brand. thematic analysis was employed to identify the various patterns on how candidates utilized covid-19 pandemic imageries in their political advertising. 329 covid-19 related political advertisements from various candidates were reviewed to generate patterns on candidates’ personal brand establishment. the study found that promoting covid-19 safety protocols, candidates' strategies, and appreciation toward frontline workers became three major themes in depicting the pandemic in indonesia local elections 2020 political advertising. covid-19 pandemic-related imageries are employed to perform their informative functions and as a context in which political advertising can perform its persuasive function. keywords: pandemic, politics, advertising, personal brand penggambaran pandemik pada iklan politik pemilihan kepala daerah 2020 di indonesia abstrak pada akhir tahun 2020, di tengah merebaknya pandemi covid-19, dilakukan pemilihan kepala daerah di berbagai kota dan provinsi di indonesia. sebagai hasil dari kesadaran masyarakat terhadap situasi pandemi dan pentingnya solusi-solusi dalam menghadapi implikasinya, pandemi covid-19 menjadi tema yang sesuai untuk dibahas pada media kampanye. karya tulis ini ditujukan untuk membentuk tema-tema dari penggambaran pandemi covid-19 yang digunakan oleh kandidat pemilihan pada iklan kampanye dalam membentuk citra dirinya. analisis tematis digunakan untuk membentuk berbagai pola mengenai penggambaran pandemi covid-19 yang digunakan oleh para kandidat pada iklan kampanyenya. 329 iklan kampanye terkait pandemi covid-19 dari berbagai kandidat dikaji untuk menghasilkan pola-pola pembentukan citra diri kandidat pemilihan. kajian ini membentuk tiga tema dari penggambaran pandemi pada iklan kampanye politik pemilihan kepala daerah 2020 yang berupa: mempromosikan protokol keamanan covid-19, strategi kandidat, dan apresiasi terhadap pekerja garda depan covid-19. penggambaran terkait covid-19 pada iklan kampanye tidak hanya digunakan untuk menjalankan fungsi informatif iklan kampanye, tetapi juga untuk menjalankan fungsi persuasifnya. kata kunci: pandemi, politik, iklan, citra diri 108 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 introduction on december 9th, 2020, during the covid-19 pandemic, local elections were held in various cities and provinces in indonesia. as part of indonesia's democratic system, elections allow the public to practice their political rights directly and determine the leader of their region for the next five years. as ruled in its election system, candidates had been given 71 days from september 26th, 2020, to december 5th, 2020, to promote themselves and persuade the public to entrust their vote to a particular candidate through various means. continuous escalation of the covid-19 pandemic in indonesia had affected the 2020 political campaign process, which is distinct from any previous political campaign activities. considering various implications produced by the covid-19 pandemic situation, various political campaign activities that gather a mass of people and involve direct communication between candidates and voters, which used to be the norm of indonesia’s political campaign activities in pre-pandemic, were strictly permitted in the 2020 political campaign. furthermore, with the government’s sanction on the limitation of public mobility during the pandemic where each citizen is advised to limit their outdoor activities, outdoor advertising seems to be less effective to employed during the pandemic than what it used to be. the devastating spread of the pandemic forced each candidate to formulate alternate political campaign approaches that differed from typical campaign activities usually held in previous periods. as a result of public mobility limitation and stay-at-home order during the covid-19 pandemic, numbers of candidates shift from conventional outdoor media to a more personalized media—communication media that enable the candidate to convey information and idea to the public through communication devices that are used and own by the public individually. social media can establish communication between candidates and the public with slight limitation in terms of time and space. inevitably the usage of social media as a communication channel by the candidates had increased during the pandemic. specifically, instagram became a social media platform that election candidates frequently used as campaign media during the pandemic. the prominence of visual elements inherent in instagram as candidates had utilized communication media as a substitution for conventional outdoor media to establish communication to their potential voters. the limitation of time and space had become a significant problem in conducting political campaigns during the pandemic. regarding its implication, the covid-19 pandemic affected how candidates conduct their political campaigns and the content of campaign media itself. as a result of public awareness towards the covid-19 pandemic situation formed by various information directly or indirectly retrieved by the public, covid-19 109 robby firmansyah1, martinus dwi marianto2, depiction of pandemic in indonesia local election 2020 … pandemic discourse became a relevant topic to presented by candidates in their political campaign advertising. furthermore, the importance and urgency of means and solutions on dealing with pandemic situations became an opportunity for the candidates to exhibit their point of view, plan of action, and leadership quality to cope with the dire situation of the covid-19 pandemic to the public. visual elements play significant functions in advertising which could alter the relationship between audiences and the candidates (grabe & bucy, 2011), impression formation and persuasion (nagel et al., 2012), drawing an increasing audiences’ attention (fahmy et al., 2014). throughout campaigning during the pandemic, candidates portrayed their point of view and reaction toward covid-19 by utilizing visual signs within political campaign advertising posted on their instagram account. pandemic discourse visualized in political campaign advertising served as information that candidates should convey to the public and is also employed to influence how the public perceives and establishes candidates' brands. therefore, the establishment of a candidate’s personal brand during the campaign during pandemic not only could be achieved by representing general idea about him/herself (i.e., value, personality, expertise), but also can be established by specifically depicting candidate’s point of view, ideas, and reactions toward the devastating covid-19 pandemic in his/her political campaign media. this paper aims to discover various patterns on how candidates utilized covid-19 pandemic imageries in their political advertising to establish their personal brand. material and method 329 political advertising posted by candidates to their instagram account were reviewed to generate patterns on political advertising during the pandemic. those 329 covid-19 related political advertising were selected from thousands of political advertisings posted by candidates from various local elections. each political advertising that was reviewed must include at least one covid-19 related visual element. therefore, the selection process excluded political advertising that did not include any covid 19 pandemic-related visual imageries. political advertising that is being reviewed must be posted during the political campaign period from september 26th, 2020, to december 8th, 2020. the researcher also put the intensity of instagram usage as campaign media by each candidate as a consideration during the material selection process. covid-19 pandemic-related visual elements consist of any visual element within the political advertising which conveyed any explicit or implicit message that can be related to covid-19 pandemic discourse such as the depiction of a mask, pandemic protocol, or any activities that can be associated to the public health during the pandemic. 110 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 thematic analysis was employed to identify various themes of covid-19 related imageries from political advertising used by candidates to build their personal brand in public eyes. thematic analysis is a method for identifying, analyzing, and reporting patterns (themes) within data (braun & clarke, 2006). concerning image and social media research, thematic analysis was employed to identify patterns of social media users on posting and liking image behaviour (braun & clarke, 2006). concerning image and social media research, thematic analysis was employed to identify patterns of social media users on posting and liking image behaviour (lowe-calverley & grieve, 2018), and was utilized to identify the themes and underlying meanings of #fitspiration posts in social media (deighton-smith & bell, 2018). in this paper, thematic analysis was utilized primarily to assess visual elements in political advertising to generate patterns on the depiction of covid-19 pandemic imageries that candidates employed to establish their brand. although the verbal aspect was not the primary focus in this paper, the verbal aspect in political advertising was utilized to provide a more fitting underlying meaning of visual elements assessed. the inquiry process in this paper will follow the guide in conducting thematic analysis presented by braun and clarke (2006). the first phase involves the process where the researcher familiarizes himself with the data. the second phase, based on reading from the previous phase, will generate initial codes upon covid-19 related visual elements in political advertising reviewed. next, codes produced were then grouped into several initial themes based on the correlation between codes. in the fourth phase, initial themes then undergo reviewing processes conducted by reviewing codes in each initial theme to determine whether those codes established a coherent theme and the individual theme concerning the entire data set. as mentioned by braun and clarke (2006), upon completing the fourth phase, the researcher will obtain sufficient understanding to identify different themes, how each theme correlates to each other, and the overall narrative of the data. the fifth phase involves defining and naming each theme in which the researcher must identify the essence of each theme and the story narrated by each theme. results close reading on the material produced three themes on covid-19 related imageries that candidates used in their political advertising to establish their brand through the political campaign media amid the pandemic. 111 robby firmansyah1, martinus dwi marianto2, depiction of pandemic in indonesia local election 2020 … figure 1. themes, sub-themes, and codes of covid-19 related imageries in indonesia local election 2020 political advertising source: author, 2021 1. promoting covid-19 safety protocols campaigning during the covid-19 pandemic resulted in the importance of inclusion of the event that was directly experienced by the public. promoting covid19 safety protocols in candidate’s election campaign media not only showing that the candidate supporting the preventive measures advised by the government on dealing with covid-19 pandemic, but also exhibiting the point of view on the existence of covid-19 pandemic where public and candidate should take part to protect him/herself and everyone around him. 1.1 mask one of the most frequent covid-19 related visual elements used by candidates in their campaign media is the depiction of face masks. face masks have become one of the items that highly correlate with the covid-19 pandemic. it is currently acknowledged that the covid-19 virus can spread directly from human to human through droplets from the nose and mouth and indirect contact with a contaminated object and airborne contagion (lotfi et al., 2020; shereen et al., 2020; who, 2020). the instruction to wear at least a mask while doing outdoor activity ruled by the government as a preventive measure to cope with the spread of the 112 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 covid-19 pandemic resulted in wearing a mask as a new norm in daily life during the pandemic. therefore, depicting masks within election campaign media became a relatively more straightforward attempt to associate candidates to the covid-19 pandemic and the public. some campaign media depicted the candidate or others wearing a mask, candidates helping others to wear a mask, candidates giving a mask to other people, or only portraying a mask in election candidate's campaign media. it needs to be noted that, although face mask became one of the most visible covid19 related visual imageries in election campaign media, however, there are campaign media that depicting election candidates did not wear it properly. some campaign media depict candidates carrying the mask in their hand while doing campaign activity in the public and wearing a mask under their chin that does not cover their mouth and nose. figure 2. depiction of covid-19 safety equipment sub-themes: mask, face shield, and ppe sources: www.instagram.com/official_udin_undun, 2020; www.instagram.com/appi_mika, 2020; www.instagram.com/bajo.untuksolo, 2020 1.2 face shield even though not as frequently depicted as masks in election campaign media, some candidates depict themselves or others wearing face shields along with face masks in their campaign media. popular media, television especially, play a significant role in establishing the relation between face shield and covid-19. the participants in various t.v. programs were shown to wear a face shield when broadcasting during the pandemic. 1.3 personal protective equipment (ppe) personal protective equipment (ppe), along with face masks, before pandemics, was commonly associated with health workers and patients in the hospital. during the pandemic, ppe symbolized the need to protect oneself from the virus and how easy for the virus to infect and spread from one person to another. compared to other safety equipment, the depiction of ppe in election campaign media can create a more severe and dark note toward the pandemic. depicting health workers or volunteers wearing ppe in election campaign media exhibited the http://www.instagram.com/official_udin_undun/?hl=id http://www.instagram.com/appi_mika/?hl=id http://www.instagram.com/bajo.untuksolo 113 robby firmansyah1, martinus dwi marianto2, depiction of pandemic in indonesia local election 2020 … candidate's point of view on the problematic situation and devastating implication caused by the covid-19 pandemic. 1.4 physical distancing apart from safety equipment sub-theme as covid-19 related visual code in election campaign media, the theme of promoting covid-19 safety protocols also included advising physical distancing protocol. physical distancing protocol in election campaign media was shown by advising people to stand apart and depicting campaign activity where the participants stand or sit apart from each other with measured distance. along with wearing a mask, during the pandemic, the public is advised to distance him/herself from other people when they are in the public space to minimize the risk of covid-19 virus transmission (pratomo, 2020; dewi & probandari, 2021). similar to the case of wearing a mask, reading on the material found that there are candidates that depicted themselves in their campaign media breaking physical distancing protocol especially when they are conducting their campaign activity in the public. figure 3. depiction of physical distancing, temperature check, and washing hands visual codes sources: www.instagram.com/bajo.untuksolo, 2020; https://www.instagram.com/eva_dwiana, 2020; www.instagram.com/official_udin_undun, 2020 1.5 washing hands although quite scarce in terms of exposure, some election campaign media employed imagery that suggests or reminds people to wash their hands as a preventive measure toward the spread of the covid-19 pandemic. these imageries convey through visual icons that portray the action of washing hands. 1.6 temperature check similar to the depiction of washing hands, only a few election campaign media portray the action of measuring a person's body temperature when holding campaign activity as a preventive measure. the association between measuring body temperature and the covid-19 pandemic could be established by the current http://www.instagram.com/bajo.untuksolo https://www.instagram.com/eva_dwiana http://www.instagram.com/official_udin_undun/?hl=id 114 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 regulation needed by someone to enter public buildings such as markets, restaurants, governmental buildings, hospitals, universities, etc. 2. candidates’ strategies toward pandemic considering that the candidates must exhibit their expertise to the public as an attempt to convince the public that they have the leadership and ability needed to run the government, campaign media become a channel that provides the opportunity for the candidate to exhibit the vision and plan of action to tackle various challenges and public concerns. implications brought by the covid-19 pandemic upon society become one of many challenges that elected candidates to have to deal with. how candidates reacted to the covid-19 pandemic became a theme generated from election campaign media exhibiting their ability to deal with challenging situations. 2.1 promoting workouts maintaining health and immunity and implementing covid-19 safety protocols have become one of the various ways to protect ourselves from the covid19 virus. during the campaign period, some candidates exhibited their vision on dealing with pandemic situations by advising the public to do some workouts such as playing football, jogging, and cycling, which are pretty popular and accessible sports for the public. while football is one of the most popular sports in indonesia even before the pandemic, cycling gains its popularity during the pandemic. promoting exercising such as playing football, jogging, and cycling to the public showed how the candidate can provide another suggestion or plan to deal with the covid-19 situation apart from the existing regulation, namely covid-19 safety protocols. 2.2 promoting healthy food within the sub-theme of promoting a healthier lifestyle and promoting workouts/exercise, some candidates also promote the consumption of healthier food to the public as a suggestion to maintain public health while dealing with the covid19 situation. this visual code was depicted by including the sources of nutrients that can help the public maintain their health. 2.3 arranging covid-19 taskforce to deal with the pandemic situation, some candidates organized their volunteers, or the covid-19 task force. some campaign media depicted a group of volunteers assembled by a candidate to help the public deal with the pandemic. some candidates also portrayed the task forces that they assembled spraying disinfectant on citizen houses. like promoting a healthier lifestyle, arranging covid-19 volunteer or task force exhibited the candidate's strategy on dealing with 115 robby firmansyah1, martinus dwi marianto2, depiction of pandemic in indonesia local election 2020 … covid-19 pandemic that hopefully will be able to enhance public perception toward the candidate in terms of how the candidate deals with real-life challenges. 2.4 campaigning during pandemic conducting a political campaign during the pandemic becomes a challenge in itself. some candidates utilize visual elements to illustrate how they conducted their campaign activity during the pandemic to assure the public that they conducted their campaign activities appropriately considering situations caused by the covid19 pandemic. this explanation becomes vital to answer the questions regarding the safety of campaign activity held by the candidate and whether candidates implement many things they suggested to the public. this explanation can be conveyed by depicting the candidate implementing covid-19 safety protocols and conducting his campaign activity with a virtual meeting. figure 4. depiction of promoting workouts, healthier food, and arranging covid-19 taskforce visual codes sources: www.instagram.com/sugiantoedyofficial, 2020; www.instagram.com/mahyeldiaudy.id, 2020; www.instagram.com/ladubcenter, 2020 3. appreciation toward frontline workers another theme generated from covid-19 related imageries in election campaign media is appreciation towards essential workers who play a significant role to help the public to deal with the covid-19 situation. 3.1 appreciation toward health workers during the pandemic, health workers become the first group in the line to deal with the covid-19 pandemic. through their campaign media, election candidates exhibit their support toward the health workers and their pivotal roles in assisting the public to deal with the pandemic situation. most of the campaign media that show candidates' appreciation toward health workers published around the national health day and national doctor day that happened within indonesia's local election campaign period. http://www.instagram.com/sugiantoedyofficial http://www.instagram.com/mahyeldiaudy.id http://www.instagram.com/ladubcenter 116 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 3.2 appreciation toward volunteers as health workers, appreciation toward the covid-19 volunteer could also establish an association between candidates and volunteers' positive attributes such as empathy and willingness to help other people. 3.3 appreciation toward delivery service workers during the pandemic, with the government suggesting that the public limit their outdoor activity and mobility, delivery service workers play a significant role to help the public fulfilling their daily necessities. unlike health workers, especially doctors that can be categorized within the upper-class group in society in terms of their income, delivery service workers primarily consisted of the lower-class workers. showing appreciation toward delivery service workers can convey the idea of the candidate's inclusiveness toward the lower-class group of society which is a big part of the society. figure 5. depiction of appreciation towards frontline worker’s theme sources: www.instagram.com/gibran_rakabuming, 2020; www.instagram.com/dpramdhanpomanto, 2020; www.instagram.com/mahyeldiaudy.id, 2020 discussion the covid-19 pandemic-related imageries presented in indonesia local election 2020 campaign media can be categorized into three themes: promoting covid-19 safety protocols, candidate's strategies, and appreciation toward frontline workers. looking into each theme closely, we will be able to see the function of each theme to enhance the candidate's brand and the overall narrative formed by the correlation between each theme as a unit. promoting covid-19 safety protocols through visual elements in election campaign media can be seen as an attempt from the candidate to convey their point of view toward the covid-19 pandemic situation and support covid-19 pandemic regulations ruled by the indonesian government. russmann et al. (2019) characterized this message content as broadcasting—instagram postings that http://www.instagram.com/gibran_rakabuming http://www.instagram.com/dpramdhanpomanto http://www.instagram.com/mahyeldiaudy.id 117 robby firmansyah1, martinus dwi marianto2, depiction of pandemic in indonesia local election 2020 … convey stances, performances, opinions, and ideas to the followers. advising other people to implement covid-19 safety protocol by utilizing visual elements in campaign media will be able to form an association between candidate and the construct of universalism value—understanding, appreciation, tolerance, and protection for the welfare of all people, and the personality trait of friendliness— concern and sensitive towards others and their needs (caprara et al., 2006). it could be concluded that utilizing covid-19 related visual elements to promote covid-19 safety protocol served to inform and remind the public to implement safety protocols and could enhance the candidate's brand. regarding the candidate's strategy’s theme, along with enhancing his universalism and friendliness in terms of personal value and personality trait respectively, showing his/her reaction apart from promoting covid-19 safety protocols will exhibit the candidate's competency to deal with challenging situations. expertise (montoya & vandehey, 2009) or competency (rampersad, 2008) is one of the aspects of personal brand establishment. exhibiting the candidate's plan of action and reaction toward pandemic situations through campaign media can illustrate how the candidate deals with challenging situations. a glimpse of the candidate's capability to deal with a challenging situation will establish the public's expectations toward the candidate. furthermore, suppose the plan of action provided by the candidate is perceived to be beneficial for the general public or segmentation of it. in that case, the candidate's brand will likely be perceived more positively by that segmentation of the public. the theme of appreciation toward frontline workers can be seen as an attempt to exhibit inclusiveness. inclusiveness in a sense that every part of the public plays a role to deal with the pandemic situation, and also the candidate as a part of those who took an action on dealing with pandemic situation for the better of the whole society. hopefully, by reaching out to health workers, volunteers, and delivery service workers, we will be able to create a symbolic relation between candidates and those who play a pivotal role in public life during the pandemic. reaching out to other parts of society, especially delivery service workers, will portray a populist narrative—the candidate as one with the people (grabe & bucy, 2011). by conveying appreciation toward frontline workers, the candidate will be able to depict him/herself as part of the mass public and attempt to create a positive relationship with the public. the depiction covid-19 related imageries in election campaign media were able to convey the narrative in which portrayed the candidate’s belief of the existence of the covid-19 pandemic and its various threats and implications, and also portraying candidate’s empathy toward public health and safety, which become of the biggest concern during the pandemic. candidate’s belief or value—what is considered as important and serve as guiding principle of life, and personality 118 ijcas-vol.8 no.2, december 2021 p-issn 2339-191x | e-issn 2406-9760 traits—the tendency of patterns of thought, feeling, and action to describe what people are like (caprara & vecchione, 2017), become two important aspects on establishing his/her personal brand (montoya & vandehey, 2009). considering the similarity-attraction paradigm and voting as an expressive role for the voter, candidate personality (trait and personal value) can draw voters with a similar personality (caprara et al., 2006). regarding the candidate's empathic feeling toward public health, goodwill—to be recognized positively—becomes one criterion on the personal brand establishment (rampersad, 2008). exhibiting the gesture of caring and willingness to help will help the candidate establish a positive public image. santilli (1983) suggested that advertising performs two functions which are the informative and the persuasive function. however, emamalizadeh (1985), commenting on santilli's work, argued that advertising performs only one function: persuasion. persuasion is defined by o'keefe (2016) as a successful intentional communication effort to influence others' mental state; or as a symbolic process where the communicators utilize a form of language to influence other people attitudes and behaviours (perloff, 2017). it is important to note that the candidate does not only utilize covid-19 related imageries within election campaign media to inform the public on how the public should react and how the candidate reacts to the covid-19 pandemic situation but also serve as persuasive tools for the candidate as an attempt to draw voters' support to increase candidate's electability—utilizing covid-19 discourse, along with many other discourses, as a context to exhibit candidate's value, goodwill, and inclusiveness through visual elements in election campaign media can also be seen as an attempt from the candidate to enhance their personal brand and to influence voter's decision-making process so that the voters' willing to give their vote on one particular candidate. the study found some contradictions within the campaign media that, on the one hand, the candidate was advised to implement the covid-19 safety protocol. on the other hand, their campaign media depicting themselves did not implement their advice or did not do it properly, especially wearing a mask and social distancing protocols. the contradiction depicted by candidates' campaign media could be caused by the friction between purposes of their campaign media. on the one hand, candidates want to depict themselves supporting the covid-19 safety protocols. on the other hand, campaign media also must play their role to establish public awareness toward the candidate so that the public can quickly identify them. hence, sometimes they depicted themselves wearing a mask improperly so that the audience could recognize their face. similarly, breaking social distancing protocols could be caused by the friction between candidates who wanted to depict themselves as supporters of social distancing protocols and the need to depict themselves as open and friendly people, 119 robby firmansyah1, martinus dwi marianto2, depiction of pandemic in indonesia local election 2020 … enhancing their perceived public image. lastly, the study also found that the depiction of covid-19 related imageries in indonesia local election 2020 was portrayed in a more positive approach than other media outlets such as news coverage. upon reading on the material, the study did not find any covid-19 related imageries that depicted the grim and devastating implication of pandemic situation in election campaign media, unlike the imageries that can be frequently seen in news coverages. considering that something is communicated could affect the audience's perception of the communicator, depicting the covid-19 pandemic more positively and encouragingly will establish a more positive public image than depicting the covid-19 pandemic as a hopeless and grim situation. conclusion on the surface level, we could see covid-19 related imageries in indonesia local election 2020 campaign media utilized to perform advertising informative function that inform the public on many aspects of the covid-19 pandemic situation. advising the public to implement covid-19 safety protocols, promoting a healthier lifestyle, caring and supporting each other, and especially those who play a pivotal role during the pandemic becomes a piece of encouraging information and reminders for the public on how to deal with the pandemic situation. along with it, considering the persuasive function of political advertising, the covid-19 pandemic is utilized by candidates through their election campaign media as a context where each candidate exhibits their value, personality, and capability to enhance his/her personal brand as an attempt to influence voters’ decision making. covid-19 pandemic became one of many contexts in election campaign media utilized by candidates to persuade the voter to lend his/ her vote to him/her. references braun, v., & clarke, v. 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(2021). covid-19 risk factors and health protocol compliance among mall employees and officers in yogyakarta. berita kedokteran masyarakat, 37(1), 21. https://doi.org/10.22146/bkm.59065 emamalizadeh, h. (1985). the informative and persuasive functions of advertising: a moral appraisal: a comment. in source: journal of business ethics (vol. 4, issue 2). fahmy, s., bock, m. a., & wanta, w. (2014). visual communication theory and research: a mass communication perspective. palgrave macmillan. grabe, m. e., & bucy, e. p. (2011). image bite analysis of political visuals: understanding the visual framing process in election news. in e. p. bucy & r. l. holbert (eds.), the sourcebook for political communication research: methods, measures, and analytical techniques (pp. 209–237). routledge. lotfi, m., hamblin, m. r., & rezaei, n. 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(1983). the informative and persuasive functions of advertising: a moral appraisal. in source: journal of business ethics (vol. 2, issue 1). shereen, m. a., khan, s., kazmi, a., bashir, n., & siddique, r. (2020). covid-19 infection: origin, transmission, and characteristics of human coronaviruses. in journal of advanced research (vol. 24, pp. 91–98). elsevier b.v. https://doi.org/10.1016/j.jare.2020.03.005 coronavirus disease (covid-19): risks and safety for older people. (2020, may 8). world health organization (who). https://www.who.int/news-room/q-a-detail/coronavirus-diseasecovid-19-risks-and-safety-for-older-people https://doi.org/10.1016/j.jare.2020.03.005 35 volume 8 nomor 1, june 2021 p-issn 2339-191x | e-issn 2406-9760 p 35 – 49 non-random sample strategy in qualitative art-related studies eslam y khalefa1, sri nurhayati selian2 1faculty of arts and architecture (derna), omar al-muktar university, bayda, libya 2faculty of psychology, universitas muhammadiyah aceh, banda aceh, indonesia-23123 2doctoral student of educational psychology, university of malaya, kuala lumpur, malaysia-50603 e-mail: 1atai.khalefa@yahoo.com; 2seliansrinurhayati@gmail.com abstract non-random sampling has widely become a prominent issue in art-related phenomena and is more complicated than ever due to the heterogeneity of the study population. however, the foremost justification of this paper was the identification of several gaps of literatures in the selection of samples that usually lead to misunderstanding. this is because literatures mostly are not related to arts. the misunderstanding includes sample design and representative sample selected size determination. nevertheless, there is a wide variety of techniques, different styles and trends that influence the field of contemporary art. confusion is created when many researchers rely on a random sampling strategy that relies heavily on artists rather than works of art. the aim of this study is to explain how to select a representative sample of a heterogeneous population in art-related research. the investigation provided a new vision to select samples of artists, art works and art lovers. this study used an inductive approach through reading books, articles, newspapers, and opinions of philosophers and scholars in the field of research methodology. the most important result of this paper is that non-random sampling is better and more effective than random sampling strategy in art-related studies as it provides beneficial results for heterogeneous populations especially with regard to artists, works of art and art lovers. keywords: non-random sample, data collection art, qualitative art study, contemporary art strategi sampel tidak acak dalam studi terkait seni kualitatif abstrak pengambilan sampel tidak acak telah secara luas menjadi isu yang menonjol dalam fenomena yang berkaitan dengan seni dan lebih rumit dari sebelumnya dikarenakan heterogenitas populasi penelitian. namun justifikasi utama dari makalah ini adalah identifikasi beberapa gap literatur dalam pemilihan sampel yang biasanya menimbulkan kesalahpahaman. hal ini karena kebanyakan literatur tidak berkaitan dengan seni. kesalahpahaman mencakup desain sampel dan penentuan ukuran sampel yang dipilih secara representatif. namun demikian, ada berbagai macam teknik, gaya dan tren berbeda yang mempengaruhi bidang seni rupa kontemporer. kebingungan tercipta ketika banyak peneliti mengandalkan strategi pengambilan sampel acak yang sangat bergantung pada seniman daripada karya seni. tujuan dari penelitian ini adalah untuk menjelaskan bagaimana memilih sampel yang representatif dari populasi yang heterogen dalam penelitian yang terkait dengan seni. investigasi memberikan visi baru untuk memilih sampel seniman, karya seni dan pecinta seni. penelitian ini menggunakan pendekatan induktif melalui membaca buku, artikel, surat kabar, dan pendapat filsuf dan sarjana dalam bidang metodologi penelitian. hasil terpenting dari makalah ini adalah pengambilan sampel tidak acak 36 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 lebih baik dan lebih efektif daripada strategi pengambilan sampel secara acak dalam studi terkait seni karena memberikan hasil yang bermanfaat bagi populasi yang heterogen terutama yang berkaitan dengan seniman, karya seni dan pecinta seni. kata kunci: sampel tidak acak, seni pengumpulan data, studi seni kualitatif, seni kontemporer introduction the arts-related study has been a study that depends on the visual arts or audio arts data collection. in order to explore and analyze artists' activities, we need to select some artworks of their creative experience. this work of art is called a sample of the study, and the purpose of the sample is to collect data and analyze data to access new concepts in art. the early art-related studies began with following social science research methods. they developed through the relationships among early researchers and their creative processes and believed that relationships let the research and creativity unfold. although the studies had ever changed and developed into several different forms, the typologies present as forms of arts-related study still use media to provoke questions in audiences. this is in philosophical and methodological positioning – the arts-related study sits within and across post-modernism, constructionism and constructivism (savinbaden & wimpenny, 2014). data collection and its processing are an essential part of any study, be it qualitative or quantitative study. most studies rely on collecting data through various media such as interviews, questionnaires, observation and sampling in various fields. however, samples have different ways between study fields to select. samples are one of the essential tools used to collect the data. in this study, the discussion should be a focus on the use of samples in art-related studies. in art-related studies, samples are usually selected from three sides, artists or artworks or art lovers. the critical question to ask is, what is a sample meaning in art-related studies? the term sample means part of the whole, or some of all, or part of the study population. at the same time, it represents the population, whether the sample size is large or small. according to the oxford dictionary, a sample means "a small part or quantity intended to show what the whole is like". according to art perspective, the term sample is a selected number of group of artists or art lovers of art or artworks. the problem of the study the art has a wide variety of variations from one field to another. for example, when the research population is either artists or artworks or art lovers, it should be heterogeneous. the differences among the population depend on the 37 eslam y.khalefa; sri nurhayati selian, non-random sample strategy in qualitative art-related studies technical work and style of the artists used and the point of view of art lovers. interestingly, the most important thing is its ability to generalize results from the population, which will ensure a representative of sample selection (salah murad & fawzia hadi, 2002). however, the heterogeneity of the population has created difficulties to prevent the generalisation of results on the research population. therefore, any mistakes in selecting a sample of the population will be affected by describing the results. why is it essential in art-related study? there is a divergence of views on determining representative sample size and the sample design. accordingly, the need to select samples is sacrosanct because it is hard to reach all the population (salah murad & fawzia hadi, 2002). a study sample should be determined after selecting the population or according to the research problem, questions and objectives (suheir rizk diab, 2003). it should not aim to be a comprehensive inventory because it is impossible to study the whole population due to time and resource-constrained. in other words, when the population is homogeneous, the sample will be selected efficiently (salah murad & fawzia hadi, 2002), and findings will be generalized to the research population (marshall, 1996). for example, the representative sample should be selected non-randomly from artworks as a population to be part of the whole artwork. this is because most artworks have been influenced by mixing multiple styles, art movements, and schools. however, it becomes difficult to classify them (marshall, 1996). this means that the difficulties the researchers do face to classify artworks is called heterogeneous of population. however, artworks classified and have the same artistic characteristics; then, the population will be homogeneous. many strategies have been differently selected. it is still important to determine the perfect strategy for selecting the representative sample of the population. it will be easy for researchers to examine and analyze the study sample. the existence of various technical styles and different schools of arts, styles, and various trends in contemporary arts puzzled researchers to select sample strategy and size and classify the population. what is more important is the artworks and art lovers. artists themselves become challenging to categorize and judge their directions because they are based on many mixed styles and ideas as technicalities are used. this resulted in many difficulties to determine the artistic identity of artworks and art style. there is no specific strategy to select the sample in the art-related study. moreover, it needs to be clarified to determine the appropriate strategy for selecting the representative sample. this is because the findings will directly influence it in terms of generalization to the research population. in addition, most of the sample strategies may not be suitable to use in the art-related study due to multiple sampling procedures and a heterogeneous research population. 38 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 overview of literatures several studies have attempted to conclude the significant categories of samples and provide practical information on selecting a general study sample but did not focus on the art-related study. the kinds of literature pay attention to social science, humanities, economics, and sciences, which are important roles to the said field. however, virtually almost no art-related study is critical and significant of this research (abrams, 2010). moreover, several suggestions and concepts were based on selecting a sample from studies in different areas (devers, kelly & richard, 2000). the sampling strategy is one of the stages that come from the forefront of the research design itself. although each strategy has its own design, it conforms to most general sample strategies (saleh bin hamad al-assaf, 1995). this helps to answer the research questions (rachid zerouati, 2002). in 1996, goodman and blum studied the effects of non-randomized sampling for diminishing subject matter in longitudinal research. it was found that the effects of subject depletion on their data by assessing the presence of non-randomized sampling using multiple logistic regression. they developed the procedure using data collected from a random sample of adults working in the united states regarding job satisfaction, job characteristics, demography, and mood (goodman & blum, 1996). this study focused on management, demographics, and sample mood but was not explicitly classified around sampling in the arts. they encountered the research methodology of the management directly and not specifically on the arts. however, this study can help answer the questions of the current study in terms of its approaches and concepts of sampling strategies that it has already provided. however, mcpherson (2001) had written mainly directly about sampling strategies arts-related. he mentioned several issues facing the operation of a selected representative sample of art and analysis. he also mentioned many essential advantages of using probability sampling in the art-related study. he was found that the super mesh sampling method has significant advantages, but it is not quite suitable for all purposes. however, the main drawback is that very rare entities will not frequently appear in a prospective sample of individuals. this study took the position that the advantages of the possibility of sampling far outweigh the disadvantages. he was closely discussed in the current study but the difference in terms of topic. however, he did not highlight the classified population and sample selected in the study of related art in terms of artworks, artist, and art lovers. it is essential to classify the art population before selecting a sample because it will influence the results and theoretical framework. the tongco wrote purposive sampling for informant selection in 2007. he discussed informant selection of highly relevant ethnobotanical research, as 39 eslam y.khalefa; sri nurhayati selian, non-random sample strategy in qualitative art-related studies people were constantly looked upon for knowledge and information (tongco, 2007). he scientifically focused on how to select people willing to impart their knowledge and experiences with plants. in an ethnobotanical study, the fact that humans are involved necessitates the use of informants, and methods in informant selection need to be actively discussed. purposive sampling is a practical and efficient tool when used properly and can be just as effective and even more efficient than random sampling (tongco, 2007). the study has directly related to botanical studies, although it offered an appropriate way to select a study sample. however, selecting a sample of population has various characteristics related to various fields such as art, design, music, drama, and others not presented by this study. abrams (2010) discussed the issue of many qualitative studies that suggested practical guides on hypothesising, employing, and keeping a sample to achieve the purposes of a provided research. this study presented qualitative sampling involving its major hypotheses, organisational beliefs, common qualities, and judgment criteria. it was mostly based on examples related to incarcerated youth and discussed in relieving the evaluation of quality (abrams, 2010). this study was specifically focusing on social humanities' issues. nonetheless, this study has made a substantial contribution in adding better methods to reach the population easily in qualitative studies related to social sciences and humanities. emerson (2015) studied convenience sampling, random sampling, snowball sampling, and how sampling affects the validity of the research. the study purposed of determining parameters or characteristics of the whole population. when researching with people (adults or children) who are visually impaired, a low-incidence disability, sampling is a major issue (emerson, 2015). this issue entitled orientation and mobility skills and outcome expectations as predictors of employment for young adults with visual impairments (emerson, 2015). etikan, alkassim, and abubakar in 2016 have a research paper under title comparison of snowball sampling and sequential sampling technique. this study found that sampling can be whichever statistical or non-statistical. in statistical sampling (probability sampling technique), calculating the probability of getting any sample, workforce, time, and money highly limits most random sample selected represent the whole population. non-probability sampling techniques subjectively select unit that represents the population under study (etikan, alkassim & abubakar, 2016). both snowball and sequential sampling are nonrandom samplings because not every element in the population has an equal chance of being selected as the sample. here, the dissection of sample strategy 40 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 was general speech and did not highpoint which sample is suitable for qualitative study related-art. carlisle (2017) wrote a survey study on data fabrication and other reasons for non‐random sampling. it aimed to discuss the distribution of baseline means corresponded to the expected distribution. data corruption was discoverable by the new statistical techniques in those papers/authors retracted (carlisle, 2017). this study discussed using non-random sampling through the statistical example of a medical journal. at the same time, the current study focuses on non-random strategy and the possibility apply it to art-related study. even though previous studies played a major role in addressing many essential suggestions in a fundamental issue that contributed to the classification and comparison of samples. there is still a need to clarify the best sample to test the results and the negative aspects of the samples and their advantages. moreover, those studies put great importance on sampling strategy. this is because past kinds of literature did not address the issue beforehand. for instance, the question with regards to what sampling strategies do art-related study use? how to select a sample as well as determine a representative sample? on this note, the use of sampling strategy to collect data in the art-related study was not available in most of the previous research methodology. this investigation determines the tool of data collection using strategies sampling to collect information for the art-related study to give the field of visual and auditory and the creative arts the new method to collect data according to the artistic classification. research method this article will explain the methods of sampling and the primary variations between the strategies. to achieve the study objective, there is a need to explain why the sampling strategies used are not convenient for the various art-related studies. the investigator thought so much about the problems relating to sample size and sample procedures, which aided to determine representative samples in the art-related study and showing the rules with examples. the purpose of this investigation is to determine the suitable sampling strategy of the population in the art-related study, as a result of a multiplicity of technical style of contemporary trends such as realism, symbolism, brutality, cubism and expressionism and others. moreover, there is almost no record of this issue. this study will cover sampling strategies and procedures to determine a representative sample as a tool to collect data in an art-related study. the research questions for this study focus on two areas. 41 eslam y.khalefa; sri nurhayati selian, non-random sample strategy in qualitative art-related studies 1. how to select a suitable sample from a heterogeneous population in the art-related study? 2. how should the art-related studies follow the procedures to select representative samples? non-random samples (non-probability) in an art-related study, selecting a specific sample from the heterogeneous community of artists, artworks, or places is according to the subject or problem of the study. it is also on specific methods to determine the purpose of the study, determine the community, and a representative sample before choosing an appropriate sample. there are two main types of sample strategies that can be used for the art-related study. sampling strategies are classified into two main categories: random samples (probability) and non-random samples (non probability) (obeidat, 1983). this study focuses on a non-random sample strategy as a suitable strategy to select a representative for an art-related study. therefore, the sample of non-random strategy should be selected according to several standards. the researcher himself determines the standards. this means an intervention ought to decide in selecting the sample to select and neglect the research population. one of the practices is the technical standards of artists' fame and artistic quality of artworks. for example, the artist may not have enough fame in the artistic world, or the artwork itself may have lost the technical quality standards, and it is not fit for the art-related study. many essential nonrandom sampling strategies can be used as a tool to collect data in an art-related study. the first type of non-random samples is the quota sample. it is also called a gradual sample or a stone because the population is divided into categories according to its main characteristics. each category represents its presence in a population (saleh bin hamad al-assaf, 1995). “quota sampling is often used in surveys and opinion polls, where the total number of people to be surveyed is typically decided in advance and divides it into the strata used was sex, age, working status, residential location, housing tenure, and ethnicity. thus, strata are combined in a hierarchical structure” (sedgwick, 2012). this is selected from the beginning after dividing the population into categories. after that, the researcher selected several individuals from each category who were commensurate in terms of size. the sample selected should be similar to the stratified sample to divide the population into categories and select numbers corresponding to each category. there are two kinds of quota sampling: proportional and non-proportional. proportional quota sampling should represent 42 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 the major characteristics of the population. for instance, a population with 40% women and 60% men needs a total sample size of 100 respondents. this implies that the researcher should continue sampling until he gets the actual percentage representing the larger sample (suheir rizk diab, 2003). it is quickly selected and at lower costs, both in-sample planning and data analysis completion (talaat hammam, 1984). this kind of non-random sample in the art-related study is meant to follow the same example above. at the same time, there is a need to change this type of population. the population that selects artists should divide the groups into equal categories, whether female artists or male artists. this also applies to the division of works of art in terms of schools, trends and techniques. the second type of non-random samples is a coincidence sample. the researcher selects several individuals who encounter a coincidence without planning, such as choosing each passer in a specific area or within a given hour. this sample cannot be accurately represented by the population (salah murad & fawzia hadi, 2002). this strategy can be used effectively in the art-related study that depends on the sample of artists and art lovers. the researcher stands in the streets, where the artists are located though he does not know whom to meet. however, it will be by coincidence as the researcher may not meet all artists, but he only meets the artists linked to the study. it can be applied successfully to art lovers and in exhibitions and museums, which the researcher does interview them through coincidence. the third type of non-random sample is the purposeful sample (judgment sample). purposeful sampling is a widely and commonly used sample among researchers. a selection sample is related directly to a researcher's mind (benoot, hannes & bilsen, 2016). sampling artworks are more useful in the art-related study than sampling selected artists and art lovers in the purposeful sample. this is because it is selected according to what study needs of the selected sample. this is the major reason why it is purposefully selected because the sample is based on achievement of the purposes of his study. in this case, the researcher should select his sample through free choice according to research needs and personal opinions. this sample represents the study population and will achieve the purpose of the study (salah murad & fawzia hadi, 2002). a sample selection in contemporary or modern artworks is certainly needed in a period. the sample should be selected from the artists in that period. that is to say; artworks have been drowned in that period. selecting a sample of arts in that period is known in order to be able to give information that is useful to reach the rich results of the study. the fourth type of non-random sample is a snowball sample. it is usually selected when the research population has been the tiny size of individuals. “the term snowball sampling has likely been in informal use for a long time, but it certainly predates coleman 43 eslam y.khalefa; sri nurhayati selian, non-random sample strategy in qualitative art-related studies (1958) and trow (1957). the earliest systematic work dates to the 1940s from the columbia bureau of applied social research, led by paul lazarsfeld” (handcock, 2011). in this strategy, the study shows its first subject to determine another possible subject after gathering its criteria. this sample hardly represents the population as a result of its selection. it is based on precise individuals through the valuable information that the individuals provide. after that, the researcher decides who the person is. it is chosen to complete the required information and observations (etikan et al., 2016). this sampling strategy is generally used to study the categories of participants who are not displaying their secret behaviours or do not show their behaviour to foreigners because it makes it difficult for the researcher to prepare a list of names of the participants (salah murad & fawzia hadi, 2002). especially when the researcher does not have the clarity and knowledge of the individuals to whom data and information should be collected, he should start to collect data from artists serially. according to their technical expertise, this should be according to their technical expertise, such as starting with famous artists and then the least famous for reaching the emerging artists. then, he can collect data by taking information from artists without following the sequence as a basis. he further continues to collect the data by selecting a particular artist to collect the information from him. finally, there is a need to ask whether to nominate another artist or complete the data (salah murad & fawzia hadi, 2002). the fifth type of non-random sample is the convenience sample (intention). it is the most common of all sampling strategies. it is selected because it is accessible to the researcher. the subject is selected simply because it is easy to recruit. it is considered easiest and cheapest and least time-consuming. it also is called intentional through experience. inconvenience sample, the study selects several museums and aided to know all representative museums, thus signifying that the selection is deliberate (saleh bin hamad al-assaf, 1995). it is the lower strict strategy because it is including the choosing of the most accessible themes. in conclusion, it is lower expensive to the investigator regarding the period and effort and financial cost. however, it might produce poor outcomes that strongly impact data quality as it lacks a scientific secretariat (marshall, 1996). it can be summarised that the selection of a non-random sample strategy varies according to the objectives and purposes of the study as well as the population should be non-homogeneous and should have included procedures for their application in art-related studies. 44 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 sampling procedures and sample size the basic idea of sample design and processing aims to make a good plan or a new formulation strategy in the art-related study because it is not so rigidly prescribed as in another field and because it is determined according to problem and objectives, and type of research population. in an art-related study, most researchers resort to the problem of the study to determine the sample, and it depends basically on two main factors. classify the population and determine the size of the representative sample. firstly, classify the heterogeneous population in the art-related study. it can be easy to list and select a sample of the list in the homogeneous population. however, a heterogeneous population is a difficult sample because of differences in population characteristics such as artists' directions, artworks styles, and art lovers' level test. so, classifying the population should be according to artistic standards and quality such as orientations, calligraphy, painting, sculpture and textiles, music, architecture, and others. it cannot be listed and a select randomly number of them because the population is heterogeneous. even it has the same characteristics. therefore, it will be different in terms of selecting a sample strategy despite having different art characteristics. for problem is related to the artwork itself, it needs to determine all artworks that related to the problem as population after that select non-randomly sample of it. then, available artworks will be explicitly determined by the number, whether big or small. on the other hand, available artworks should classify according to art school or movements based on such as realism, surrealism, impressionism, abstractism, futurism, cubism, conceptualism, etc. while there another classify, that is related by the technical use in artwork like watercolor, oil color, mixed techniques or computerbased technologies. this procedure facilitates the selection of sample artworks. nevertheless, if the study selected a sample of an artist, in this case, it follows the same procedure, meaning the artist is classified according to his artistic direction that is related. however, sample strategy has many differences in terms of the issue of study and objectives and hypothesis, where they are usually changeable and depend on continuous changes and conducted serially; it means that choices on sampling depend on data selected. secondly, determining the representative sample size is not easy to select when the population is heterogeneous. because the sample of artists is based on different styles between each other's, the artist is heterogeneous. in this case, it is difficult to classify and determined size. therefore size should determine according to the issue of study. at the same time, the study should give justification for each artist why he selection. for example, general information on artists likes their professional art, cultural and artistic style, and educational level 45 eslam y.khalefa; sri nurhayati selian, non-random sample strategy in qualitative art-related studies of art. although it cannot be applied to all artists' samples, the problem is that the new sample should represent the whole population as much as possible (talaat hammam, 1984). nevertheless, the representative sample in the art-related study is not necessary to determine the sample size. it can be small or large. in order to do not make mistakes during select the representative sample, and there is no bias, the sample should not select a sample randomly, especially when the population is heterogeneous. because of this, the researcher must know all the characteristics of participants' study, which is not possible, especially in complex qualitative studies (marshall, 1996). so, it is not necessary that the representative sample in the artrelated study can be small or large. it depends on the objectives and hypothesis or research question that are determined. furthermore, it should be included all artworks and artists without prejudice. it includes the technical characteristics of the artworks too and the artistic expertise of the artists. moreover, it should not select by preference and favouritism of the researcher for the artworks or artists (marshall, 1996). while for an art-related study that relies on the visual analysis of artistic phenomena, the sample should be determined through the artistic style, directions, or movements based on the artwork's technique, which is different from the ethnic races. therefore, the selection for the sample of paintings, statues, and decorations should be classified according to time, place and technique, and style. in qualitative research, the selection of the sample represented based on a demographic seems a problem whit both the achievement of the information and the sample size. currently, there are many ways to eliminate sample selection based on gender and the traditionally under-represented participants (sandelowski, 1995). selecting the size of samples depends on the nature of the problem of study. for instance, when the problem of the study is related to art lovers (connoisseurs) of the arts, the sample will select a large sample to examine the artistic taste of the tasters to identify the value of beauty. however, studying artists as samples of study will be selected with a small size. at the same time, a large or small sample size can select paintings that select as a representative sample of the study. the rules stipulate that the larger the sample size, the fewer errors will occur during the random sampling process. however, in the qualitative study, the situation is different. even though sampling mistakes are inversely proportional to the size of the selected sample, a small number just can be taken from vast samples. so, the sample size based on artworks is expected the size of the variations in the results between the samples groups (marshall, 1996). first of all, the study population should be specific in clear and precise in terms of the label and the features and characteristics that distinguish its members 46 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 from the others. so, it can show the size of the community and the extent of homogeneity because it affects the number of respondents and the quality of the sample that will be chosen. secondly, the population members must be specific for studying and arranged in tables of figures, if possible, because it is easy to choose a representative sample of society better. thirdly, determine the appropriate number of sample members depends on several criteria presented by researchers, such as homogeneity or population variance. for example, when homogeneity is increasing among community members, the number needed to represent less society, and vice versa, the greater the contrast was the necessary number to represent the community more. no specific number identifies the sample, but as it deems appropriate and justified researcher (uprichard, 2013). conclusion and suggestions this study found insufficiency in the non-random sampling strategy position was defended by the multiple credible sources related to sampling strategy. nonetheless, the data and results from several sources have reflected on this issue within the framework of the crucial suggestions contributing to this project. the present study summarised examples of non-random sampling strategies in studies arranged by art to select the representative sample. nevertheless, the classification and comparison of samples, and the clarification of how to deal with sampling strategies in studies related to art, as well as the negative aspects of the samples and their advantages. although these multiple credible sources have reflected the importance of sampling strategies, they did not address the sampling strategies for art-related study. they selected a sample and selected a representative sample. however, selecting an appropriate strategy has a significant impact on the study by representing sample sizes, which may have implications for the credibility of research results. non-random sample is more effective particularly with a factor of a heterogeneous population. in the non-random samples, especially quota is more useful when samples are based on artists and the division of the artist's population into generations or categories such as category a, category b, and category c with selecting a sample of each category agree in characteristics. on the contrary, when the sample depends on the sample of artists and art lovers, where the researcher stands where the artists are located though he does not know who will meet. however, the researcher may not meet all artists but only artists who are linked to his study. non-random sample applies to art lovers in exhibitions and museums, which the researcher does interview them through coincidence. meanwhile, the method can be selected purposively through the scope of time, spatial and objectivity studies. selecting the artists who worked in the field of study in that era known can give 47 eslam y.khalefa; sri nurhayati selian, non-random sample strategy in qualitative art-related studies helpful information and precise results. in addition, the investigator should smartly select the most fruitful and effective samples to answer research questions and achieve an objective. the non-random sample strategy is more effective than another strategy, mainly when the sample is related to paintings. it is based on quality, not quantity, to determine a sample represented with a heterogeneous population. similarly, it is more useful when a study is in foreign countries where does not know much about its population. it is the lower strict strategy; it is including the choosing of the most accessible themes. it impacts strongly on the quality of data as it lacks a scientific secretariat. non-random sample that is selected purposively is the most effective to achieve better results and can be applied to a heterogeneous population. the results obtained and can be generalised to the population. it can be selected according to an artistic standard to achieve the research objectives and answers questions quickly. for this reason, the distributions of the results are based on technical concepts or technical trends or technical technology. this is based on the type of study. the sample can be used, and its size depends on the quality of the research population and the requirements of the research. so, a group of artists and the distribution shall be in accordance with the basis of technical reconstruction or technical concepts. however, the distribution of artworks shall be in accordance with artistic technique or style. many sampling strategies can be applied in an art-related study, but only one strategy can be more effective. in the art-related study, samples should be selected non-randomly according to achieve the study's objectives and depend on researcher knowledge. it is without being restrictions or conditions as it deems is appropriate in terms of efficiency or qualification or competence or the other. the representative samples of all art population in the study are considered a solid foundation for scientific analysis and a primary of information suitable for the researcher about the study. this study strongly suggests that the non-random sample should be selected through several standards. the sample of artists, artworks and art lovers should not be analysed or studied by other researchers rather than to develop its own artrelated sample. more importantly, it should not be selected based on the personal identity of artists, which will result in bias and favouritism. this will enable the samples to be selected according to the objectives and achieve the purpose of the study. finally, samples should be selected according to the techniques of artwork and its artistic and aesthetic values of composition. 48 ijcas-vol.8 no.1, june 2021 p-issn 2339-191x | e-issn 2406-9760 references abrams, l. s. 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(2012). proportional quota sampling. bmj, 345, e6336. http://www.forum.ok-eg.com/show.php?main=1&id=25063 http://link.springer.com/book/10.1007%2f978-94-6209-815-2 http://link.springer.com/book/10.1007%2f978-94-6209-815-2 49 eslam y.khalefa; sri nurhayati selian, non-random sample strategy in qualitative art-related studies suheir rizk diab. (2003). manahej al-baheth al-elmy, scientific research methodology (مناهج البحث العلمي), al-quds open university, palestine, pp89. talaat hammam, (1984). q & a on research methods ( سين وجيم عن مناهج البحث .first edition, dar ammar, amman, jordan ,(العلمي tongco, m. d. c. (2007). purposive sampling as a tool for informant selection. ethnobotany research and applications, 5, 147-158. uprichard, e. (2013). sampling: bridging probability and non-probability designs. international journal of social research methodology, 16(1), 1-11. 1 volume 9 nomor 1, june 2022 p-issn 2339-191x | e-issn 2406-9760 p 1 – 12 nurturing sanity through rajutkejut craftivism sari wulandari1, guntur2, rob goodfellow3, martinus dwi marianto4 1visual communication design, school of design, bina nusantara university, jl. kh. syahdan no. 9 jakarta, 11480, indonesia, swulandari@binus.edu 2faculty of fine arts and design, indonesia institute of the arts surakarta, jl. ki hajar dewantoro no. 19 surakarta, 57126, indonesia, guntur@isi-ska.ac.id 3adjunct fellow and researcher humanitarian and research development initiative (hadri), western sydney university, new south wales, 2751, australia, r.goodfellow@westernsydney.edu.au 4faculty of visual arts, indonesia institute of the arts yogyakarta, jl. parangtritis km 6 yogyakarta, 55188, indonesia e-mail corresponding author: 4mdwimarianto@gmail.com abstract as people in almost all countries in the world, indonesians are currently struggling to deal with the covid-19 pandemic by making their activities more selective and prioritizing their needs based on needs. mental health is also a priority, and more attention needs to be paid to personal and environmental hygiene issues. the rajutkejut community is a group of female crocheters who ‘yarn bomb’ in public spaces using crochet works. given pandemic conditions, where most activities are limited, and loneliness and social isolation have become major concerns, this group remains connected using advanced digital technology to share news, views, and stories. and in doing so, they have supported each other in the best possible way: through an activity characterized by meditative nuances practised in a quarantined atmosphere. thus, a new space for both contemplation and reflection has been created. this has preserved the quality of the community’s work but it has also resulted in other benefits as well. for example, the body's immune system can be strengthened by maintaining good mental health and especially by generating feelings of happiness and joy. to this end, the community has held yarn bombing activities in their respective neighbourhoods and then shared their collective and individual experiences. the research question that arises then is, how can a communal craft-related activity like crochet raise awareness and understanding of the human condition amid a pandemic? this study uses the phenomenology of perception developed by maurice merleau-ponty as an analytical method to better comprehend the world of the rajutkejut community, with special reference to the current pandemic. amongst other observations, this research illustrates that the pandemic has encouraged many people to look to the past and, in doing so, realize that their existence in the present can be defined by structured craft projects, which caused them to make better-informed decisions about the future. in this process, human beings begin to chart their existence using their bodies and, in doing so, awaken mindfulness of self. keywords: rajutkejut, craftivism, covid-19, mindfulness memelihara kewarasan melalui kraftivisme rajutkejut abstrak seperti halnya di hampir seluruh negara di dunia, masyarakat indonesia saat ini sedang berjuang menghadapi pandemi covid-19, mengharuskan membatasi aktivitasnya lebih selektif, dan memprioritaskan keperluan berdasarkan kebutuhan. mailto:swulandari@binus.edu mailto:guntur@isi-ska.ac.id mailto:mdwimarianto@gmail.com 2 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 kesehatan mental juga menjadi prioritas, selain masalah kebersihan pribadi dan lingkungan. komunitas rajutkejut adalah sekelompok perajut perempuan yang melakukan ‘yarn bombing’ di ruang publik menggunakan karya rajut. dengan kondisi pandemi, di mana sebagian besar aktivitas dibatasi, kesendirian dan isolasi sosial menjadi perhatian utama, komunitas ini tetap terhubung satu sama lain dengan memanfaatkan kecanggihan teknologi digital, untuk berbagi berita, pandangan, dan cerita. dan dalam melakukannya, mereka berusaha untuk saling mendukung dengan cara terbaik: melalui aktivitas bernuansa meditatif yang dipraktikkan dalam menjalani karantina. dengan demikian, terbentuk ruang baru untuk kontemplasi dan refleksi. hal ini telah menjaga kualitas kerja masyarakat di samping menghasilkan manfaat lain. misalnya, sistem kekebalan tubuh dapat diperkuat dengan menjaga kesehatan mental yang baik dan terutama dengan membangkitkan perasaan bahagia dan gembira. untuk itu, komunitas ini mengadakan kegiatan ‘yarn bombing’ di lingkungan masing-masing dan berbagi pengalaman kolektif dan individu. pertanyaan penelitian yang kemudian muncul adalah, bagaimana kegiatan terkait kraf komunal seperti merajut ini dapat meningkatkan kesadaran dan pemahaman tentang kondisi manusia di tengah pandemi? studi ini menggunakan pemikiran fenomenologi persepsi yang dikembangkan oleh maurice merleau-ponty sebagai metode analisis untuk lebih memahami dunia komunitas rajutkejut, dengan referensi khusus pada pandemi saat ini. melalui pengamatan, penelitian ini menggambarkan bahwa pandemi telah mendorong banyak orang untuk melihat ke masa lalu dan dengan melakukan itu, menyadari bahwa keberadaan mereka di masa sekarang dapat ditentukan oleh proyek kraf yang terstruktur, sehingga membawa mereka dapat membuat keputusan yang lebih tepat tentang dunia masa depan. dalam proses ini manusia mulai memetakan keberadaan mereka dengan menggunakan tubuh, sehingga membangkitkan kesadaran diri. kata kunci: rajutkejut, kraftivisme, covid-19, kesadaran introduction in jakarta, there is a crocheting community called rajutkejut. one of its activities is yarn bombing. the community was founded in 2014 by five mothers: harjuni rochajati, yulina achrini, wahju hardjanti, vidhyasuri utami and elisabeth tata. these individuals are all from the middle class. they are also aware of current social issues. and they love to crochet. this has inspired the yarn bombing project. the group yarn bomb using the crochet technique to respond to objects found in various public spaces. over time, this community’s membership has been fluid and open. the result has been the participation of hundreds of crocheters throughout indonesia (wulandari et al., 2020.) at this time, rajutkejut’s activities mostly involved political statements related to the 2014 presidential election but,’ then expanded to incorporate more universal humanitarian projects. at the same time, they began to use social media platforms such as instagram and to organize online crocheting events (wulandari et al., 2021.) in the process then began to advocate ‘craftivism.’ the term craftivism was first introduced by betsy greer in 2007. it describes a form of activism and third-wave feminism centered on the ‘domestic arts.’ the term is well defined by tal fitzpatrick in her book craftivism: a manifesto/methodology (fitzpatrick, 2018). 3 sari wulandari, guntur, rob goodfellow, martinus dwi marianto, nurturing sanity through rajutkejut craftivism the work of the rajutkejut yarn bombing community is characterized by the production of relatively small crocheted modules which are then spliced and combined into one large collaborative work. these modules are knitted together at the place of an ‘initiator.’ (they call this kopi darat or meeting up.) then the huge artwork is installed in an open public space. during the pandemic, with all its restrictions, rajutkejut could not carry out yarn bombing as usual. the first case of covid-19 was discovered in depok jakarta on 28 february 2020. the jakarta provincial government then closed schools and workplaces and restricted public events. (this was known as pembatasan sosial berskala besar, psbb.) this severely limited activities to prevent the spread of covid-19 (covid19.go.id, 2020). indonesia has now entered the third year of the pandemic. in march 2021 this has resulted in a spike in cases of the delta variant (sofa, 2021). as the pandemic situation has changed so too have members of the rajutkejut community who now utilize the google meet platform. according to aryan torrido, the covid-19 epidemic has not only produced changes in the health status of the global population but fundamental economic conditions as well. significantly, the latter has been driven by profound changes in personal consumption. this has forced people everywhere to adjust their domestic consumptive activities and in doing so shift the patterns of their lives from material self-actualization (a characteristic of modern humans) to a more needs-based pattern. in part, this is a response to managing the stress associated with the pandemic within a restricted social environment characterized by long-term feelings of uncertainty (torrido, 2021). the indonesian psychiatric medicine specialists association (pdskji) conducted an online survey on mental health issues from april to august 2020. some 1,552 respondents were asked to reflect on three psychological problems: anxiety, depression, and trauma. most respondents were women (76.1%) with a minimum age of 14-years-old and maximum age of 71-years-old. a total of 64.3% of respondents reported that they had experienced a psychological problem with 63% suffering from anxiety and 66% experiencing depression (71% women and 29% men) (fauziyyah et al., 2021.) as established, an individual’s immunity can be improved with a positive outlook and a happy mood. according to world health organization (who) guidelines, there are many ways of addressing the stress and anxiety associated with the pandemic. some of these are related to the venting of negative feelings by engaging in communitybased activities that also serve as a broader source of support in helping manage difficulties faced by individuals and families (kaligis et al., 2020). in support of the who guidelines, clinical psychologist sustriana saragih wrote in koran tempo that positive engagement in a hobby has been proven to treat mild depression. the personal pleasure associated with such activity has been shown to reduce feelings of psychological hopelessness and physical weariness so 4 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 often associated with the condition. her study suggests that hobbies can reduce depressive symptoms by 30%. in this way, crocheting is proving to be a practical option to support mental health, both individually and collectively (korantempo.co, 2021). a craft teacher, kiki puspita, again writing in koran tempo, said that when she started online crochet classes it was confirmed that many of her students were involved for therapeutic reasons, especially to help them feel more mentally stable during the pandemic. completing a crochet served as a source of personal motivation and happiness. despite the uncertainty associated with the pandemic, the number of class participants increased significantly with most being beginners (korantempo.co, 2021). this context has further refined the research question: how can engagement in the production of communal craft create a better understanding of the individual and their social environment? how do the concepts of body and consciousness affect the way we understand ourselves and others? the answers to these questions show how this process not only builds awareness of self but brings joy to the lives of participants which, in turn, boosts natural immunity. method the subject of this research is the rajutkejut community with the object being craftivism. this study employs a descriptive qualitative method with the perceptual phenomenological analytical approach created by maurice merleau-ponty. here bodily experiences help people to better understand their world, especially during these difficult times. merleau-ponty’s thinking reveals the original relationship between man and the world he or she lives in. it is through an understanding of the body that the world is perceived as being-for-itself and being-in-the-world. as stated by thomas hidya tjaya, in merleau-ponty's view, the body is the anchor for human consciousness because, in the absence of a body, human existence cannot be understood. merleau-ponty’s view is that the body makes human consciousness of self always focus on the world and its objects, including other people, as it moves to access the past, realize the present, and project into the future. the concept of the body and the existence of consciousness affect the understanding of self and others, including the shared world (m-ponty in tjaya, 2020). data obtained through interviews with crocheters and associated literature show this work in progress. results and discussion the pandemic has impacted on the mental health of the entire community. for many, the body felt 'imprisoned' at home, producing a feeling of both torment and depression caused by limited interaction with the outside world. this included 5 sari wulandari, guntur, rob goodfellow, martinus dwi marianto, nurturing sanity through rajutkejut craftivism meeting other people or transacting with natural or cultural objects as a form of recreation. these feelings of stress and depression appear in the mind of human beings when they are prevented from connecting with the world. given all these limitations, human beings must restrain the ego and rather choose the essential first and then, prioritize needs over wants. according to novita siswayanti, in javanese culture, the proverb eling lan waspodo, warns one to be mindful of this by always being aware of every action, move, step, word, and deed (siswayanti, 2013.) advances in information and communication technology have then been utilized by the rajutkejut community as a device to share news and tell stories about people’s circumstances, but also, of course, to organize online crocheting events (such as making masks) and in turn, bombing their neighborhoods with crocheting works while sharing stories about the positive impact this has had. this includes discussing health tips, sharing the benefits of good nutritional intake, exchanging news from sick family or friends, and explaining the various symptoms experienced and vaccines. this is in addition to issues that are generally discussed during 'kopi darat' such as sharing crochet patterns and telling stories about individual projects and domestic matters. significantly, rajutkejut also discussed several yarn bombing projects conducted in their respective local areas to coincide with world yarn bombing day on 11 june 2020, valentine's day 2021, and the celebration of indonesian independence day 2021. figure 1. world yarn bombing day with rajutkejut source: rajutkejut – june 2020 6 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 figure 2. valentine’s day with rajutkejut source: rajutkejut – february 2021 7 sari wulandari, guntur, rob goodfellow, martinus dwi marianto, nurturing sanity through rajutkejut craftivism research into rajutkejut’s projects for world yarn bombing day 2020, valentine's day 2021, and the celebration of indonesian independence day 2021 using craftivism have shown that rajutkejut’s works strengthen social connection, enhance community resilience, and build awareness of self and the environment, which in turn has brought joy to the lives of members which has boosted their immunity against covid-19. collaborate/co-create. rajutkejut relies heavily on collaborative work using volunteering crocheters. this is not only to support the realization of the work but also to spread fresh ideas through cooperation. for this reason, rajutkejut carefully manages each project, especially in terms of the involvement of volunteering crocheters whose numbers are now expanding throughout indonesia. with the active involvement of volunteer crocheters, and given the membership’s diverse profiles, members invariably produce works of varying quality. qualified works are used immediately, meanwhile, other works will be adjusted by experienced crocheters. anyone who can crochet can join even those who are completely new to the craft. this is achievable because it uses a system module system to create works. the module can be easily completed, even for a beginner. for those who have no crocheting skills but want to get involved, rajutkejut figure 3. celebrating indonesian independence day with rajutkejut source: rajutkejut – august 2021 8 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 accommodates them to engage during the installation. (the more help, the better and the faster the project is completed). in addition to open donations, rajutkejut also provides free training in some projects for those interested in crocheting to extend new networks and human resources in supporting its activities and future projects. rajutkejut also often collaborates with other artists. apart from the need for other skills, it also considers the potential for wider dissemination of the narrative with the followers of collaborating artists, which also brings mutual benefits. as explained by fitzpatrick: “do-it-together creates unique opportunities to engage and collaborate with others. it is possible to maximize the impact and scope of craftivism projects, as well as develop more ambitious projects. a few things you need to consider include how your collaborative projects will be managed, what is expected of each collaborator, and how you are going to manage questions of authorship and ownership ethically” (fitzpatrick, 2018: 17). indeed, the world outside rajutkejut appreciates rajutkejut's existence. rajutkejut exists because of its members. the world outside rajutkejut indirectly respects rajutkejut's crocheters. appreciation is important to positively raise selfawareness, self-existence, others’ existence, as well as the world’s existence. according to merleau-ponty: “i understand the other person through my body, just as i perceive “things” through my body. the sense of the gesture thus ‘understood’ is not behind the gesture. it merges with the structure of the world that the gesture sketches out and that i take up for myself. the sense of the gesture spreads across the gesture itself – just as the signification of the fireplace in perceptual experience is not beyond the sensible spectacle nor beyond the fireplace itself such as my gaze and my movements find it in the world” (tjaya, 2020:191-192). people who participate in rajutkejut also enjoy references that are varied due to the historical experience of each member. this condition enriches rajutkejut. moreover, the crocheting concept has broadened how rajutkejut perceives a crocheters’ differences and diverse backgrounds as a power. this is in line with what merleau-ponty says: “there are neither any natural signs nor any purely conventional signs ... gesticulation is not merely the gesture that is contingent concerning the bodily organization, it is the very manner of meeting the situation and of living it … having the same organs and the same nervous system is not sufficient for the same emotions to take on the same signs in two different conscious subjects. what matters is how they make use of their body, the simultaneous articulation of their body and their world in the emotion … just like words, passionate feelings and behaviors are invented. even the ones that seem inscribed in the human body, such as 9 sari wulandari, guntur, rob goodfellow, martinus dwi marianto, nurturing sanity through rajutkejut craftivism paternity, are in fact institutions. it is impossible to superimpose upon a man both a primary layer of behaviors that could be called ‘natural’ and a constructed cultural or spiritual world. for man, everything is constructed and everything is natural, in the sense that there is no single word or behavior that does not owe something to mere biological being” (merleau-ponty & landes, 2012:193-195). the crocheters can better understand themselves (self-knowledge) when they interact with the crocheting setting, namely, not only rajutkejut’s world but, any world around them, including interacting with crocheting objects and people in the rajutkejut's environment. according to merleau-ponty the world (self) is a way to express relationships with objects (intentional relations.) therefore, self-knowledge can only be achieved through action which is interaction with any objects in the world, including with other subjects (tjaya, 2020:135). take your time. the activity of ‘making’ something manually gives awareness and builds confidence that participants are capable of making something, and making social change in a creative, different, and acceptable way. works that are formed slowly give awareness to the rajutkejut crocheters and this change may happen through a slow yet consistent process. for this reason, rajutkejut realizes the need to carry out routine activities as a continuous effort to activate the community and narrate the aspirations of the initiators through their projects while providing space for the expression of its members. rajutkejut also believes that the small, passionate, and sustained contribution made by crocheters produces tangible results. therefore, rajutkejut’s work often surprises the public, not only because the work suddenly appears in a public space, but also because of the quality and the patience exhibited by working projects. this surprising effect steals the public's attention so that it has the potential to become a medium for conveying many messages. according to fitzpatrick, the process of making something by hand provides us with the time and space necessary to think deeply about the issues we are concerned about. audiences can recognize the time and care one invests in craftivism projects, meaning that the time and care is taken in making craftivist objects becomes embedded in the finished piece (fitzpatrick, 2018:13). making works in the form of objects then gradually creates a sense of ‘making’ as an activity that builds awareness where people become acquainted with their world, interact with their world, and understand their world. by patiently making works step-bystep, people realize that every work is formed through a journey, some stages are passed, and each stage is part of a process that should be appreciated. play. the rajutkejut community is made for fun, yet it builds and improves communal social sensitivities. works are done in a group in an enjoyable situation that is experienced together. this joy attracts crocheters to join in and be involved. 10 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 crocheters yarn bomb simply to fulfill their desire to create works in public spaces. during the pandemic, rajutkejut made works in public space collectively, with participants happily responding to rajutkejut's invitation to yarn bombings in their respective neighborhoods and individually. there is, for example, a sense of joy in the creation of a fun childhood playroom. participants can choose the shape, pattern, or color that they like and that looks challenging to try. there is also space to experiment, apply new techniques or new patterns, share on social media, and talk about this. this is explained by fitzpatrick: “play is a type of exploration, a methodology for learning, that people of all ages, backgrounds, and abilities can engage in. you can make changing the world seem like fun both for yourself and for others, then more people are likely to engage with your work. craftivism enables us to physically play with materials and provides us with endless opportunities. making use of craft’s inherent playful logic is an effective way to disarm audiences and to spark their curiosity” (fitzpatrick, 2018:14). rajutkejut’s work is driven by the intention of making a beginning on something. therefore, the work is the result of the expression of an aesthetic that manifests when the crocheter responds to external conditions. meaning can then be depicted in the work and the work becomes the external existence of meaning. this condition can be explained through merleau-ponty's view that the crocheters use the body as a way of engaging in the world, perceiving the world, and expressing themselves in various gestures. merleau-ponty also argues that the body is not a tool attached to oneself so that one can use it for any purpose. the body is rather a way of expressing thoughts, feelings, hopes, and desires (tjaya, 2020:137). the body is the origin of all expressive space. it also gives birth to objects that are the result of the body's work. thus, it can be considered that the work is an extension of existence that has its journey, as merleau-ponty said, our body is not merely one expressive space among all others, for that would be merely the constituted body. our body, rather, is the origin of all the others; it is the very movement of expression, it projects significations on the outside by giving them a place and sees to it that they begin to exist as things, beneath our hands and before our eyes (tjaya, 2020:147). since work activities (as a result of expressive activities) are successfully carried out, the impression on the crocheter (as well as the crowd) is not only in the form of memory, the expression (work) significantly exists as an object (it becomes concrete) at the core of the work and opens a new dimension of experience for both crocheters (and the crowd). it attaches a new meaning in that crocheters are given the freedom to determine their work. this is in line with what merleau-ponty said that freedom shapes the sense of existence to be concrete and 11 sari wulandari, guntur, rob goodfellow, martinus dwi marianto, nurturing sanity through rajutkejut craftivism realize themselves as free human beings to choose, decide to act, and determine their history (tjaya, 2020:141). within the crocheter lies a free spirit that is eager to play without judgment and prejudice, like a peaceful childhood (tjaya, 2020:152). social media. rajutkejut uses social media in the majority of their activities. regardless of their ages and maturity, the imitators are reliable in utilizing social media, not only for posting images with captions and replying to comments but also for utilizing simple instant research tools. rajutkejut always mentions those who are involved in a project be it on social media or in the exhibition catalogue. likewise, during the pandemic, social media has assumed an important part because invitations are issued and work exhibitions are held on social media as well. the crocheters upload their works on their personal instagram accounts, along with tags, mentions, and hashtags under rajutkejut’s direction. afterward, these works were reposted on rajutkejut’s instagram account embedded with acknowledgment of people who participated in the project. as explained by fitzpatrick social media also enables craftivists to take part in critical conversations that enrich the practice of craftivism and in turn consider how one can most effectively use online tools and social media platforms to engage, connect, document, and share the practice of craftivism practice (fitzpatrick, 2018:20). conclusion getting through the pandemic with the support of crocheting activities in a quarantined atmosphere has created a space for reflection and contemplation. this makes people look to the past and realize their presence today and then project themselves into the future. through works that are made consciously through body activities, people then realize that they can fulfill their own needs and desires so that self-awareness and self-existence are awakened as something valuable. this shows with confidence that they can live in their world. doing this together with the community strengthens the feeling that one is not alone. many people value their existence and care about themselves. a feeling of security is then awakened. the result is that they accept their existence. this makes them feel comfortable continuing work. this is very much in line with what, merleau-ponty states, that feelings can define self-existence. the appreciation of self and others is different. it is important to foster both to continue to develop within the wider community the awareness of the existence of individuals within their respective conditions as subjects communicating with each other to build their world. crocheters are comfortable being with rajutkejut because they can feel themselves and their world as an inseparable unity. as 12 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 expressed by merleau-ponty crocheters feel comfortable because they understand the world where they live in. they know their existence in the world is real by interacting with the world. it is then that they realize the world understands them (tjaya, 2020:107). craftivism in the pandemic supports and maintains mental health by making creative works for both personal pleasure and peace of mind – individually and collectively. therefore, there is an understanding among crocheters that by sharing feelings and encouraging each other, thinking positively, and expressing joy together, and by amplifying a positive spirit of togetherness the rajutkejut community is defined through a process of cooperation, encouragement, and support. through the qualities found in craftivism, individuals can better live their days and understand themselves and their world as something that can be, despite the covid-19 pandemic, emotionally stable. references covid19.go.id. (2020, april 2). peraturan pemerintah republik indonesia nomor 21 tahun 2020 tentang psbb. https://covid19.go.id/p/regulasi/pp-no-21tahun-2020-tentang-psbb-dalam-rangka-penanganan-covid-19 fauziyyah, r., awinda, r. c., & besral, b. (2021). dampak pembelajaran jarak jauh terhadap tingkat stres dan kecemasan mahasiswa selama pandemi covid-19. jurnal biostatistik, kependudukan, dan informatika kesehatan, 1(2), 113. https://doi.org/10.51181/bikfokes.v1i2.4656 fitzpatrick, t. (2018). craftivism: manifesto and methodology. the commons social change library. kaligis, f., indraswari, m. t., & ismail, r. i. (2020). stress during covid-19 pandemic: mental health condition in indonesia. medical journal of indonesia, 29(4), 436–441. https://doi.org/10.13181/mji.bc.204640 kompas.com. (2020, march 3). fakta lengkap kasus pertama virus corona di indonesia. https://nasional.kompas.com/read/2020/03/03/06314981/faktalengkap-kasus-pertama-virus-corona-di-indonesia?page=all korantempo.co. (2021, august 22). dari hobi jadi terapi. https://koran.tempo.co/read/cover-story/467308/menikmati-hobi-sembariterapi-di-masa-pandemi merleau-ponty, m., & landes, d. a. (2012). phenomenology of perception. routledge. siswayanti, n. (2013). pendidikan karakter dalam tafsir al-huda. edukasi: jurnal penelitian pendidikan agama dan keagamaan, 11(2). https://doi.org/10.32729/edukasi.v11i2.435 sofa, a. (2021, july 2). covid-19 varian delta dan hal-hal yang harus kamu perhatikan. https://corona.jakarta.go.id/id/artikel/covid-19-varian-deltadan-hal-hal-yang-harus-kamu-perhatikan tjaya, t. h. (2020). merleau-ponty dan kebertubuhan manusia. kepustakaan populer gramedia. 13 sari wulandari, guntur, rob goodfellow, martinus dwi marianto, nurturing sanity through rajutkejut craftivism torrido, a. (2021). penanganan dampak sosial dan ekonomi pandemi covid 19 melalui pendekatan kewirausahaan sosial studi: pemberdayaan usaha kecil menengah (ukm). jurnal penelitian kesejahteraan sosial, 20(1). https://doi.org/10.31105/jpks.v20i1.2464 wulandari, s., guntur, g., & marianto, m. d. (2021). “merajut keberagaman” as a rajutkejut craftivism. ssrn electronic journal. https://doi.org/10.2139/ssrn.3799895 wulandari, s., guntur, & marianto, m. d. (2020). rajutkejut art: participatory knitting installation artwork in public spaces. iicacs : international and interdisciplinary conference on arts creation and studies, 2, 69–75. https://doi.org/10.33153/iicacs.v2i1.17 13 volume 9 nomor 1, june 2022 p-issn 2339-191x | e-issn 2406-9760 p 13 – 30 exploring dance aesthetic in contemporary choreography at universitas negeri gorontalo riana diah sitharesmi universitas negeri gorontalo, jl. jenderal sudirman 6, kota gorontalo, gorontalo 96128 e-mail: javanesedancer@gmail.com / rdsitharesmi@ung.ac.id abstract in contemporary society, the creative concept of indonesian choreography encounters the digitalisation and commercialisation, that can be both challenging and frightening. while young choreographers in gorontalo are adjusting themselves in learning contemporary, they too need to appreciate traditional dance aesthetic, so they will have a clear concept while using ethnic elements in creating dance. one of the embodiments of north sulawesi’s dance aesthetic is dana dana, developed in a limited way in bolaang mongondow. the similar dance is also existing in gorontalo under the same name but slightly different in some components. as dance aesthetic is essential to construct the regional dance style, it is necessary to look further how the aesthetic of bolaang mongondow’s dana dana brings the distinctive features in the forms of choreographic development. using a phenomenological approach integrated with creative-based choreographic, this research examined how the experimental and explorative works enrich the student’s experience to produce genuine vocabularies, and the embodiment of cultural values in their creation. through a circle of observingfeeling-imagining-manifesting-forming, the concept of contemporary choreography embraces new artistic understanding that bring the transcendental realm of creativity. keywords: contemporary choreography, dance aesthetic, dana dana, exploration mengeksplorasi estetika tari pada koreografi kontemporer di universitas negeri gorontalo abstrak dalam masyarakat kontemporer, konsep kreatif koreografi indonesia menghadapi tantangan digitalisasi dan komersialisasi, yang sekaligus menakutkan. pada saat koreografer muda di gorontalo sedang menyesuaikan diri dan mempelajari kontemporer, mereka juga perlu menghayati nilai-nilai budaya seperti estetika tari, sehingga mereka akan memiliki konsep yang jelas saat menggunakan elemen etnis dalam mencipta tari. salah satu wujud estetika tari daerah sulawesi utara adalah tari dana dana yang dikembangkan secara terbatas di bolaang mongondow. menarik, karena tarian serupa juga ada di gorontalo dengan nama yang sama namun sedikit berbeda di beberapa komponen. karena estetika tari sangat penting untuk membangun gaya tari daerah, maka perlu dilihat lebih jauh bagaimana estetika tari dana dana bolaang mongondow menghadirkan ciri khas dalam bentuk pengembangan koreografi. menggunakan pendekatan fenomenologis yang terintegrasi dengan koreografi berbasis kreatif, penelitian ini mengkaji bagaimana kerja eksperimental dan eksploratif memperkaya pengalaman mahasiswa untuk menghasilkan kosakata gerak sejati, dan memberi wujud nilai-nilai budaya dalam penciptaannya. melalui proses melingkar mengamati-merasakanmembayangkanmewujudkan-membentuk, konsep koreografi kontemporer diarahkan untuk merengkuh pemahaman artistik secara baru yang membawa kreativitas pada ranah transendental. kata kunci: koreografi kontemporer, estetika tari, dana dana, eksplorasi mailto:javanesedancer@gmail.com mailto:rdsitharesmi@ung.ac.id 14 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 introduction the regional dances, both traditional and creative, bring their cultural significance through symbols and cultural codes underlie their nature of existence. it is crucial, especially because the life of multicultural society came along with the spirit of assimilation. traditional dance carries the entire knowledge and culture of the past, where thoughts, habits and beliefs are passed down from generation to generation, from ancestors to posterity, which usually take place orally (murgiyanto, 2004, p. 10). these habits of inheritance foster the codification or the value system that from time to time develops into a certain rule that underlies the presence of regional dances. it is these rules that distinguish one dance from another, as well as the dance style throughout the archipelago. regional dance styles create an understanding of the dance’s tangible form and the appreciation of the embedded soul and spirit. such appreciation allows people, especially dance performers, to be aware of the presence of their own dances. the dance students in academic sphere learn not only their local dance but also some traditional dances from other regionals. the dance students in art institutions are provided with various dance genres both indonesian and overseas, experiencing three or more different dance styles that may enhance their insight of the aspect of history, cultural code, social background, and the supporting society of the dances. it is because dance is always contextual that its performative, bodily, and expressive aspects should be learnt as well as its formal forms and technical aspects. it is emergent for the dancers, especially those who are more towards the area of dance creation, to direct their understanding of being wider and more complex: not merely capable to dance technique and imitating the repertoire, but may elaborate their insight upon philosophy and other interrelated dimension (ramadani, 2018). in that way, the awareness of the presence of other ethnic dances could be actively and dynamically established. the creativity of today’s indonesian choreography encounters the digitalisation and commercialisation that can be both challenging and frightening. many indonesian dances today tend to mix ethnic elements in passing, do not have a clear basic concept and somehow irrational (murgiyanto, 2018, p. 4). this phenomenon is actually triggered by the awakening of millennial dance creators' awareness to explore the principles of previous art and dance styles. the young creators like to manifest them through experimental techniques and concepts. such concept is often a kind of trial and error project, using different artistic media and deconstructing theory, to pursue spectaculars for new forms of expression (sitharesmi, 2019a, p. 105). however, the manifestation of cultural elements was failing into a mere showcase rather than internalising the values within the concept of “newness” in dance creation. for that matter, it is imperative to bring to front the ethnic values as a local 15 riana diah sitharesmi, exploring dance aesthetic in contemporary choreography … content in the creative process of choreography. to supporting universitas negeri gorontalo’s strategy of strengthening cultural values in the application of science and technology for regional-based innovation, my research attempts to contribute the dynamic resilience of cultural values of gorontalo and the surrounding areas through exploring the dance aesthetic. i suggested the dana dana, one of bolaang mongondow’s traditional dances, as a prime material for kinaesthetic design of contemporary choreography class in prodi pendidikan sendratasik (the department of performing art education). completing the previous research, the aesthetic sphere of the dance could be specifically valued in representing and initiating the efforts to find dance styles of eastern part of indonesia. it is also to reveal the codes of beauty and aesthetic dimension of the bolaang mongondow’s dance. the content of philosophical values that will provide references to the dance style of bolaang mongondow is the capital for the concept of preserving, developing, and creating dance in gorontalo, bolaang mongondow itself, and other surrounding regions within the tomini bay area. reciprocally, the concept of contemporary choreography can profoundly explain the meaning of the bolaang mongondow’s dana dana in the production of imaginative sensory effects. this concept needs to be integrated into the learning process of contemporary choreography, so the students’ creativity can be focused on revealing the unique sides, otherness and hidden possibilities implied from the reality of dance’s existence. it is in this way that contemporary dance becomes important to show the complexities of life through an ever-renewing understanding, as a metacognition that continuously reconstructs the nature of cognition itself (sugiharto, 2013, p. 35). accordingly, through the choreographic praxis, the students’ consciousness upon the presence of other ethnic dances is active, dynamic, and positive. the problem is the lack of both students’ basic technical skill and knowledge upon the variety of other regional dances may bring up the boredom of monotonous vocabularies. through imposing the aesthetic of dana dana in choreographic exploration process, i am looking for the generic and organic motion phrases grow up from students’ somatic and cognitive construction. materials and method the aesthetic elements of bolaang mongondow’s dana dana are revealed prior to a practice-based research, through ethnographic qualitative research methods of arts field. the fieldwork was conducted in bolaang mongondow to produce emic data on the characteristics of bolaang mongondow’s culture. the researcher resource person interaction is participatory and interactive, for the resource person is not just a passive object who answers questions, but is an active participant who conveys his knowledge and experience in discussing the material. 16 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 following the opinion of keesing and bleicher, subjectivity has a central role in cultural studies which is an interpretive and contextual area, so that interpreters' subjectivity often includes reception, sensitivity, common sense, and open cultural depictions (endraswara, 2003, pp. 20–21). a literature study as a vital phase come from unreported magazines, newspapers, reports, letters, manuscripts, and office documents. the exchange of views between cultural owners and researcher is a form of inter-subjectivity that is crucial for art, culture, and philosophy research to achieve scientific objectivity. the concept of interpretation refers to as part of “local interpretation” offered by the experts and resource persons through extensive discussions and conversations is a way of recording and direct representation that provides wide space for inter-subjective relations. it is so that all information can be better captured and communicated (fountein, 2014, pp. 58; 65). the realm of “local interpretation” for wider inter-subjective relations is then developed on to the concept of creating contemporary dance for the needs of enriching traditional content and local values. as the imperative of the research, the choreographic process itself is practical-based research that is experimental in nature and strengthens artistic exploration of the aesthetic of the dana dana. within the studio investigation, a practice-based research embodies not only physical-psychomotor activities but also integrated with methodical experiments in a learning subject of contemporary choreography (also read as a non-traditional choreography in the prodi pendidikan sendratasik of universitas negeri gorontalo). it is an effort in responding a problematic query upon an epistemological issue of dance practice, about how dance practice develops the original insight, its dissemination and contribution to choreographer-researcher’s claim that choreographic research as equivalent status as other more traditional forms of academic enquiry to generate a distinctive form of knowledge (pakes, 2009, p. 52). ten dance students’ participants are provided a treatment as young choreographers to conduct the practice-based research in making dance. observing the video recording of the dana dana (sanggar komalig & vidya potabuga, 2020) is choreographic analysis process for the student to convey her connection to the dance. this observation is synchronized with the on-going aesthetic hypothesis of the dance constructed by me, so the students (choreographers) have been sharing their perception to accomplish the intersubjective understanding. this type of the intersubjective understanding also accommodates gadamerian hermeneutics in the process of inter-textually interpreting the related research materials. the intersubjective shows the validity of the research itself, as emphasized that phenomenological analysis is always a formidable task to present the validity of something that is not an object. therefore, subjective attainment must be returned to its essential activity, which is transcendent – which clearly confirms the horizon 17 riana diah sitharesmi, exploring dance aesthetic in contemporary choreography … of universal consciousness. the transcendentally reduced subjectivity is the source of all objectification (gadamer, 2004, pp. 239–240). the activity of exploring the dana dana’s aesthetic is the process of back and forth between developing the chosen dana dana’s dance phrases and reading my research report as well as other supporting literatures. in the context of dance composition, exploration is an experimental act of choreographer within a wide range to fully familiar with the movement and the feeling/meaning connoted. in exploring, the choreographer consciously or intuitively experience the expressive aspects of the movement, opening the potential of the idea that can provoke the composition, while the improvisation is required to experience the various ways of treating the movement from feeling to knowing – knowing what the movement is – analyzing it and capturing the complex to start creating a dance (smith-autard, 2010, pp. 90; 94). the choreographer’s subjective upon the aesthetic elements of the dana dana can be understood through evaluating the way she responds the unique and develops them into generic phrases: the dictions (of movement), the dynamic, the clarity, and the intention. every phase of evaluation reaches the accumulative experiences of the choreographer, so that she become closer to the progress of creating dance. results the dana dana of bolaang mongondow and its aesthetic the traditional bolaang mongondow’s dana dana (hereinafter referred to as dana dana bolmong) is a dance that grows and develops among the people of kopandakan village, lolayan district. this dance began to be known along with the entry of islam in bolaang mongondow around 1917, marked mainly by the tradition of sholawatan with the accompanying the performing of hadra. islam was strengthening in this region along with the growth of the spirit of nationality among the kings who saw the islamic character as representing the “bangsa bumi putera” (assagaf, 1996, p. 206). the other similar dance forms are that we knew as zapin (north sumatra and riau), dana (jambi, south sumatra, and bengkulu). the people of lampung developed it into bedana, while the santri of east java named it zafin or hajir marawis (bondowoso). other names are jepin (kalimantan), jippeng or jepen in sulawesi, dana dani (nusa tenggara), and dana dana (gorontalo and north maluku). the original dana dana bolmong was presented during momosad. the word from mongondow’s language which consists of the syllables mo (go) and mosad (garden) can be interpreted as "going to the garden". this word can also be interpreted as mutual cooperation and togetherness for the activities in the garden. when the people of bolaang mongondow “go to the garden”, they did not only 18 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 bring the tools such as hoes, sickles, and other garden tools, but also gambus and marwas (small tambourine). these musical instruments were played along with rhymes of poetry, while two other members of community complement the dynamics and rhythm of the ensemble with modana, demonstrating the agile footwork and ‘spinning’. the presentation of dana dana bolmong in the midst of gardening activities entertained the people who are resting, while it entertained and trained the dexterity of the performers' reflexes. the component of dance is observed, analysed and investigated to identify specific dimensions within a "sufficient" horizon of knowledge, a kind of preliminary competence to be able to bring the dance analysis process into an organic nature. to understand art, one must learn to see, to hear, and to feel, consciously and intentionally, to be personally involved with art and artistic experiences (rohidi, 2011, pp. 74–75). the aesthetic component of the dance can be traced by analysing more observantly (discerning) the form and structure of the dance or its presentation. the "dynamic image" itself is an aesthetic factor that can be seen, heard, and felt through the integration of dance components which basically consist of movement vocabulary, dancers, visual sets, and aural elements. the structure of dana dana bolmong is quite simple in terms of its movement material, but actually has a complex presentation technique, especially in relation to the accompaniment of the music and pantun. this dance is essentially presented by two male dancers and can be grouped as a type of study dance that cultivates footwork techniques in ‘spinning’ and circular spatial patterns. the movement vocabulary is dominated by lifting of the legs, and by swinging with minimal forearm swings. overall, the dana dana bolmong has six motional motifs (or phrases) which are completed in twelve stages, namely ragam dasar (the basic), ragam hormat (the gesture of salute), ragam variasi (the variations), ragam ombak-ombak (to depict the waves), ragam sorong-sorong (to depict the shoving activity) and ragam hayun (the closing). the two dancers of dana dana bolmong are expected to perform identical movements in terms of motional technique, the accuracy (of tempo), dynamics, floor patterns, and costumes. at the time when momosad still existed, the dana dana bolmong as a mo-dana activity was carried out in the gardens on the grass or on the flat ground. today, this dance can be presented at various events with kinds of conditions where it is presented. the dance basically requires a space that does not necessarily be spacious, because of the need for the composition and the floor pattern only reverses direction in one linear line. in rustic and casual events, it is enough to perform the dance on the veranda, or in the middle of living room, but rarely on a conventional stage. during the performance, the dancers dressed up in bolaang mongondow ethnic clothe. at first, the costumes were daily regional clothes that were usually 19 riana diah sitharesmi, exploring dance aesthetic in contemporary choreography … worn when bolaang mongondow people attending the event, which consisted of a koko top-shirt, trousers, sarong, and a skullcap. in its development to this days, the dana dana bolmong’s performers, both dancers and musicians, wear bangiang (tops-shirt and trousers with the same type of fabric and color), bintol (woven cloth, songket, or sarong), and kupiah (cap). the dana dana bolmong is presented with the accompaniment of bolaang mongondow ethnic music consisting of gambus, marwas, and a rhyme of poetry (pantun). marwas is a kind of small tambourine, which usually consists of three pieces or more for each performance. it is sounded in an ensemble with the strumming of gambus and the rhymes. the gambus player is also the pantun chanter. the rhymes or the poetry differ from one presentation to another, to be adapted for the purpose of the event. in more secular events, the poems deliver some funny and witty stories or sentences for the intimate occasions or folk parties. while at the events such as aqiqah and circumcision, the poem mostly contains advices and prayers (potabuga, 2020). performed by only male dancers is the principle of the dana dana and it has not changed until today. the form of the duet male dancer is also a part of the influence of islamic ethics, in accordance with the ethical and moral reasonableness in indonesian muslim society which separates men from women in several contexts, such as places of worship, events, and even workplaces. the dana dana shows its nature of abstract through symbolic movements, a linear structure with gradual dramatics without narrative tendencies, complicated but subtle steps and loops, and the formation of vague. it manifests the presence that is organic and spectacle-free from artificial elements of modern life. the abstraction process in dance is ‘…to remove, separate from … isolates and refines such essences from life. there is no intention to copy external reality … from a comprehensive macrocosmic world, the artist singles out a specific facet and works with it, exploring its subtleties and shadings, organically forms it, and presents it to the viewer (blom, 1989, p. 125). the overall structure of dana dana is really focused on the kinesthetic response, so that this dance is so intensively processing the movements of the legs and feet to embody the pattern of alternating back and forth. abstraction is made significantly by the presence of pure motion, as well as the emphasis on the design and composition which – to borrow the term blom & chaplin – “against” the dramatic content, negates plot, avoids emotional tones and representational forms (blom, 1989, p. 126). the ethnic music ensemble accompanying the dana dana is a major aural aspect to convey the ultimate aesthetic. the rhyme of the poetry, however, will change according to the purpose of the event. the beats of marwas jerk occasionally, creating the rhythmic and dynamics, while the strumming of gambus and the rhyme more moving within a flat-monotonous tones. the abstract of the dance becomes the most settled part of the presentation, intensifies the 20 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 chanting of the poems into a kind of prayer rite whose meaning penetrates into the inner movement of the dancer in steps and turns. the intensity of rotation, and the back and forth in straight-line space always ends in the forward and backward directions. some variations produce the profile poses that are only momentary because they are immediately greeted with a full or a half twist of steps and the body. this reminds us upon the spiritual dimension hidden in the typical of the sufi dance; the dervish or whirling dance, where the spin dominates the whole dance and composition. the loops in the dana dana are constructed through the gestures that play the tension space between the lift and the footsteps within the link of marwas beats and gambus’ melodies. the integrity of this form of presentation is the best achievement of inner expression. in its nature of abstraction, the dana dana continues to embody the human relationship between the quality of motion in the processing of space, time, form, and the culture and social conditions of the bolaang mongondow. in the structure of movement and the simple form of the dance, the personal style of the actors, both dancers and musicians, is very crucial. the personal style supported by a certain competence in executing the movements elevates the abstract of the dana dana bolmong into its unique characteristics – familiar but exotic at the same time. internalizing the aesthetic through conceptual exploration in contemporary choreography in teaching choreography, i always try to encourage and direct young choreographers to find their own significant organic forms in creating dance. the studio process of preparing contemporary dance is guided towards new experiences using alma hawkins’s methods that is implemented along with the hermeneutic realm to embrace the ontological aesthetic. it is an integral, experimental way for creating dances and analyzing important aspects of the choreographic process. hawkins' concept focuses on the creative process that puts forward the experience, as a physical process integrated with philosophical, psychological, and lesson plans through choreographic stages that define sensitivity, meaning, and inner understanding as the main stimulants for creating dance. the class is designed to be an integral learning space, where students use their cognitive and praxis for the creative process of making dances. learning activities through this method aim to provide an environment that can motivate individuals to find themselves in dance creations that have "content" while it is also aesthetically satisfying. hawkins believes that creativity of the dancers, especially the beginners, can be fostered by encouraging them to explore their inner sources and become aware of the forms and meanings of concepts. in this way, choreographers are motivated to develop further motion ideas, determine their respective directions, and organize their own creative activities (2003, pp. 88–89). 21 riana diah sitharesmi, exploring dance aesthetic in contemporary choreography … this method parallels the gadamerian aesthetic conceptualized from his philosophical hermeneutics. like hawkins, gadamer believes that human creativity has always been a mystery that should be treated as a challenge to artistic development. creativity is a continuous process of search and discovery, which involves the complexity of human experience as a circle of self-existence (dasilva gusmao, 2012, p. 94). the visual structure of dana dana bolmong is analysed to find its aesthetic values, while the transcendental dimension brings the aesthetics into intrinsic and ontological terms. in this way, the understanding of dana dana bolmong’s aesthetic is managed through a creative process circle which consists of observing (and feeling), deep understanding, imagination, manifestation, and formation. as i found that referencing hawkins is not always sufficient in tutoring young choreographers within provided time, i simplify the choreographic operation or to reconnect with the more familiar model: improvising, developing, evaluating, and assimilating (idea). following lavender, i emphasize that the idea is not a method of creating dance, and by doing the circle means that the choreographer must experience the artistic work as an intrinsic operation of dance making, preparing to each of which challenges would have been arise at any time, rather than imposing the rigid progress of stages (lavender, 2009, pp. 171–172). in their respective individual tasks, the students reach each own progress depends on their responses to the dana dana, whether she/he can embrace the intrinsic values of the dance or more involved in kinesthetic processing. within the exploration space is directed, the “play” between hawkins’ instruction and lavender’s model allows the students to discover their tendencies. this research limits the choreographic process to the initial formation stage, to see the development of the work concept in its most practical form. this is done within the consideration on implementing the subject of koreografi tari 3 in the odd semester starting in september 2021. the choreographic process only lasted eight meetings which were conducted semi-intensively in three to four hours each session. the meetings are also held under the conditions of medium-scale covid19 social restrictions, which recommended the implementation of blended learning through offline and online. however, some significant artistic processes are executed in the studio basis that require direct interaction between researcher/lecturer and the choreographers, and amongst the choreographers as they are aware about the interdependence on each other as dance students. in every session of learning, each student must have completed series of tasks to show the progress. although they help each other outside the class, and even they often overcome some technical problem together, the results of exploring the same dance material more reveal the variety of movements rather than the similarity. it is because the centered kinesthetic stimuli provide the rich 22 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 development of movement vocabularies through exploring the aspects of space – time – effort. the choreographer must choose three phrases from the overall phrases of dana dana. she/he then develops each original phrase from its aspect of space, aspect of time, and aspect of effort, so there will be at least nine generative phrases that are different yet have significant character in common. as these nine generative phrases are again explored and elaborated, the student finally collects the derivative phrases that can be constructed into sequences. afterwards, she/he intuitively think about the theme, exploring the theme and makes a proper structure of it. the process probably seems less ideal to be claimed as an art project or choreographic project as it should be. nevertheless, such process is contextually worthwhile for my students to arise self-confidence in truly “moving” their bodies, while at the same time they consciously internalizing the aesthetic value of the dance and living in it through dance structure. to enrich the students’ sight towards the contemporary concept, i direct them to do the improvisation and exploration out-of-door using the gardens and courtyards. it is also to bring their feelings closer to the original context of the presentment of dana dana bolmong. for some reason, only three of the six phrases of the dana dana are succesfully explored, as shown by figures below: figure 1. the original presentation of dana dana bolmong, taken by dr. kaulder waltren (swedish ethnographer) while visiting bolaang mongondow around 1913 – 1917 source: document of tegela, kotamobagu, 2020 23 riana diah sitharesmi, exploring dance aesthetic in contemporary choreography … figure 2. exploration based on the original presentation of dana dana bolmong in the context of the garden environment as a studio source: document of sitharesmi, desa huntu gorontalo, 2021 figure 3. the basic phrase of dana dana or ragam dasar, the dominant movement performed at the beginning (opening) and repeated in each transition to the next movement. source: document of sitharesmi, gorontalo, 2021 figure 4. some poses developed from ragam dasar to represent or simply articulate the ‘journey’, which is favorable to imply the variety of spatial design source: document of sitharesmi, gorontalo, 2021 24 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 figure 5. ragam hormat (the gesture of salute), becomes the favorite phrase to explore. this gesture is intended as a symbolic tribute to all whom present and involved in the event. source: document of sitharesmi, gorontalo, 2021 figure 6. some poses of movement development from the ragam hormat (the gesture of salute), which is the most dominant in students’ exploration source: document of sitharesmi, gorontalo, 2021 25 riana diah sitharesmi, exploring dance aesthetic in contemporary choreography … the choreographers are strongly advised to accompany their work with a “choreographic diary” (rather than a ready-read manuscript), which implies the background, improvisational experiences, and artistic tendencies, as well as the attitude to life from which the ideas of their works originate. this is to underline that the human mind and body are one unit, so that a choreographer is not only skilled in moving and dancing, but also able to think reflectively. within a work process like this, choreographers are able to create artistic and innovative works that can also make meaningful changes for themselves, the community and the environment where they live (murgiyanto, 2018, p. 256). although the research does not enforce the ready-made dance piece, each student-participant produces a complete structure of a 7-minute dance presentation. surely the presentation is a raw model to elaborate in further artistic works, but it is done for now as they show their ‘new’ understanding on the concept of contemporary choreography. using digital camera and practical editing tool such as capcut, power direct, and vegas pro, the student submits their works online. figure 7. some poses of movement development from exploring the essence of ‘spinning’, which bring the initial articulation of spiritual realm – a sufi dance like source: document of sitharesmi, gorontalo, 2021 26 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 discussion the nature of art is always related to what causes it to "exist", which is manifested through the integral bond of the faculties of the artists, works of art, and audiences (supporting communities). thus, the freedom of inspiration itself must meet the social world in which the artist and his work are rooted. emphasizing on gadamer's ontological aesthetics, siswanto (2016, p. 66) believes that art is not a world that is isolated and separated from life, but a world bound by the context of the wanderings of human history. gonçalves asserted that art at the level of deep understanding is very likely to be used as a space of relations, whose effects can work well when produced and performed in a neutral arena. the power of understanding through and in art can emerge one's emotional sharpness and critical thinking in building relationships with the world around (2016, p. 9). the harmonious relationship between the soul (inner depth), mind (analytical power), and body (practical health) should be the foundation in building relations between the world of education and the arts. it confirms the intercultural experiences that can make educational institutions the correct context for learning, and to understand the existence of humans as global citizens. figure 8. four of the ten students’ final assessment, show what has been accomplished through the process of new understanding upon the concept of contemporary: organic dance movements, using environmental space rather than conventional, and the attempt of personal features source: document of sitharesmi, captured from video submitting, gorontalo, 2021 other works can also be accessed at https://youtu.be/cjwqveanrlk, https://youtu.be/6uumuvohoie, https://youtu.be/ecn7pcgz3im, https://youtu.be/teyldbwspfe https://youtu.be/cjwqveanrlk https://youtu.be/6uumuvohoie https://youtu.be/ecn7pcgz3im https://youtu.be/teyldbwspfe 27 riana diah sitharesmi, exploring dance aesthetic in contemporary choreography … the current reality is that art education in indonesia often deviates from its concept. one of them is domination towards the students because the educators do not apply the right method for the art learning process. instead, they present themselves as “masters” who always know everything, and treat the students as obedient objects (as an obedient subordinates) (rachmat, 2017, pp. 41–42). art educators with certain agendas often emphasise structural hegemony and superiority including bringing religious advice and beliefs but providing not enough space for creativity and the experience of artistic activity itself. this is where the function of art is treated pragmatically and understood only at a superficial level, because the character of the students is directed to become a generation that is religious and obedient, but far from being smart and critical. hegemony, mainly due to dogmatic doctrine in the learning process, gradually fades personal identity, which will eventually disappear altogether. art education institutions only produce art teachers with low skills and less competent in "art", which is far from understanding the universality of art, including ethics and aesthetics. whereas art should be at a neutral level of deep understanding, based on the praxis and thinking of humanism. art is very likely to be used as a space for multicultural relations whose effects can work well, only if it appears in an arena that is free of dogma and hegemony. the power of understanding through and in art can bring out a person's emotional sharpness and critical thinking in building relationships with the world around them. the harmonious relationship between the soul (inner depth), mind (analytic power), and body (practical health) must be the basis in building a relationship between the world of education and the arts. thus, affirming intercultural experiences that can make educational institutions the right context for learning, and for understanding human existence as global citizens. it is important to point out the hermeneutic strategy to embrace more contemporary forms of practice and how to understand practice based on the intentions and the idea of the artist (atkinson, 2002, p. 35). the aesthetic value presented by dana dana bolmong contains an orientation of extrinsic meaning and value that actually opens its intrinsic aspect which was originally hidden. the interpretation towards tradition is dynamic and dialectical, in which the hermeneutical relation allows the students to interpret the work of art, and not retrieve the artist’s original meaning. in their own works in creating dance, they are involved in the production of new meaning, which also evoked by their historical, social and cultural positioning. thus, more than developing skills and technique, they are engaged in a creative dialogue and extension within their local making contexts. the concept of contemporary choreography in gorontalo is aimed at embracing the essential aspects of tradition, history and the nature of the dana dana bolmong material with a new artistic understanding. contemporary forms are expected to become a hybrid manifestation 28 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 that absorbs the intrinsic value of the dance so that its existence moves forward towards new direction. understanding the contemporary concept itself is achieved through an artistic work process that is not oriented to the final form as a result. the contemporary dance embodies the concept of choreography that presents a continuous unified understanding upon the aesthetic value of traditional dance, so that it becomes contemporary by itself (sitharesmi, 2019b, pp. 217–218). the aesthetic codes of the bolaang mongondow regional dance can become the forerunner of the dance style at the northern part of sulawesi. the dance style will be a sympathetic presence for the uniqueness and regional characteristics in multicultural relations and communication. furthermore, the dana dana bolmong's transcendental dimension brings aesthetics into the intrinsic and ontological realm. such traditional dance’s essentials must always be “updated”, revived within a fresher breath, one of which is by continuously exploring their development potentials, while still presenting the noble values of cultural heritage that should be preserved. in this way, appreciation of local arts, traditions, and culture can be circular, the end point at the top of the circle is reconstructed and becomes the starting point for the next circular process. and so on. conclusion the aesthetic value of dana dana bolmong is presented through the dance component and the form of its presentation, which can only be understood in the context of an aesthetic experience as well. the bolaang mongondow community itself is not necessarily able to directly recognize the aesthetic dimension of dance which has been representing the existence of islam for hundreds of years in this archipelago. internalizing the aesthetic value of the dance into a creative-based learning of making contemporary dance not only allows the studentschoreographers to recognize and understand the existence of this dance. it is also introducing and advocating the aesthetic value of became the main stimulus for the concept of creating dance as well as facilitating the space for the student’s creativity. the students can fairly learn on tradition and to actively appreciate the local culture. the aesthetic of dana dana brings the distinctive features in the forms of choreographic development, enrich the student’s experience to produce genuine vocabularies, and embraces new artistic understanding, which can then lead to the transcendental realm of creativity. through the studio process, although only halfway through due to the covid-19 restrictions, the students have been able to recognize and identify each component of the movement that will soon become a solo dance piece. the students are also able to give meaning to the term "contemporary", which refers to an understanding of the sustainability for every creative work process. the work 29 riana diah sitharesmi, exploring dance aesthetic in contemporary choreography … involves relational aspects amongst individuals within the cultural background. this will be more understood by the end of the process when the final product is successfully achieved. the creation does not have to be in the form of a ready-made, or a product intended for aesthetic performance on a conventional stage. however, the concept of choreography will still be accountable. the creative process itself will be the principle of the validity of the basic competencies to be obtained in the learning achievement plan. in additional, the manuscript of the work that is included will also be a complement to the validation, not only to be worthy of being called “scientific”, but rather to train the students, these young aspiring choreographers, to be able to explain the background, beliefs, artistic tendencies, and way of life from which the idea of creating dance comes from. through this, students are able to underline that the mind and body is a holistic unity that makes a person both dancing and thinking critically and reflectively. references assagaf, a. (1996). transformasi nilai-nilai keagamaan etnik bolaang mongondow: dari sudut pandang islam. in r. . & m. . m. ointoe (ed.), bolaang mongondow: etnik, budaya dan masyarakatnya (pp. 201–211). yayasan bogani karya. atkinson, d. (2002). art in education: identity and practice. in liora bressler (ed.), landscapes: the arts, aesthetics, and education (vol. 1). kluwer academic publisher. https://doi.org/10.1080/0305764810110204 blom, l. a. & l. t. c. (1989). the intimate act of choreography. in nuevos sistemas de comunicación e información. dance book ltd, university of pittsburgh press. dasilva gusmao, m. . (2012). penggagas hermeneutik modern yang mengagungkan tradisi. penerbit p.t kanisius. endraswara, s. (2003). metodologi penelitian kebudayaan. gadjah mada university press. fountein, j. (2014). doing research: anthropology and etnographic fieldwork. in n. kanopinski (ed.), doing anthropological research: a practical guide (pp. 55–69). oxon & new york: routledge. gadamer, h. (2004). truth and method (second, re). continuum publishing group. gonçalves, s. & s. m. (2016). art and intercultural dialogue. in s. & s. m. gonçalves (ed.), angewandte chemie international edition, 6(11), 951– 952. sense publishers. hawkins, a. (2003). bergerak menurut kata hati. mspi. lavender, l. (2009). facilitating the choreographic process. in j. and l. w. butterworth (ed.), contemporary choreography: a critical reader (pp. 169–205). routledge taylor & francis group. murgiyanto, s. (2004). tradisi dan inovasi. penerbit wedatama widya sastra. murgiyanto, s. (2018). pertunjukan budaya dan akal sehat (cetakan ke). penerbit 30 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 fakultas seni pertunjukan-ikj. pakes, a. (2009). knowing through dance-making: choreography, practical knowledge and practice-as-research. in jo butterworth and liesbe (ed.), contemporary choreography: a critical reader (pp. 51–76). routledge taylor & francis group. potabuga, v. (2020). tari dana dana tradisional desa kopandakan kecamatan lolayan kabupaten bolaang mongondow. rachmat. (2017). pendidikan seni: mobilitas kesadaran kritis menuju transformasi. in d. irawan (ed.), paradigma pendidikan seni (pp. 33–50). thafa media. ramadani, s. (2018). eko supriyanto berbagi opini tentang seni tari indonesia hingga koreografi upacara pembukaan asean games ke-18. whiteboard journal. //www.whiteboardjournal.com/ideas/eko-supriyanto-berbagiopini-tentang-seni-tari-indonesia-hingga-koreografi-upacara-pembukaanasian-games-ke-18/ rohidi, t. r. (2011). metodologi penelitian seni. cipta prima nusantara. sanggar komalig & vidya potabuga. (2020). dana dana tradisional bolaang mongondow. siswanto, j. (2016). horizon hermeneutika. gadjah mada university press. sitharesmi, r. d. (2019a). membaca kembali kontemporeritas seni. in w. . et. al. parta (ed.), tupalo: kata dan rupa gorontalo (pp. 102–108). buku litera. sitharesmi, r. d. (2019b). the ontological aesthetic for choreography learning a case study of undergraduate dance students in the performing art education at gorontalo state university. proceeding of the 7th icapas, 213–225. smith-autard, j. m. (2010). dance composition : a practical guide to creative success in dance making. sugiharto, b. (2013). seni dan dunia manusia. in b. sughiharto (ed.), untuk apa seni (pp. 15–43). matahari. 105 volume 9 nomor 2, december 2022 p-issn 2339-191x | e-issn 2406-9760 p 105 – 116 virtual choir: to sing together, individually indra kusuma wardhani indonesia institute of the arts yogyakarta, jl. parangtritis km 6 yogyakarta, 55188, indonesia e-mail corresponding author: indrakusumawardani@isi.ac.id abstract the pandemic has forced choir practitioners and enthusiasts to shift from in-person rehearsal and performance to online and virtual choir performance. the virtual choir is seen as an alternative to choir activity during the pandemic. however, it also generates another concern related to its inclination to reduce the role of the conductor, singers, and social interaction in achieving musical targets and enhance the so-called social skills, empathy. the study employs two conductors in an in-depth interview to understand the condition and dynamics of online rehearsal and virtual choir performance. the exploration of the data emphasized three important themes: (1) the role of virtual choir to choir continuity, (2) the impact of virtual choir technology in reducing individuals’ role, and (3) the absence of inperson social interaction in empathy enhancement. keywords: choir, virtual choir, empathy paduan suara virtual: bernyanyi bersama, seorang diri abstrak pandemi memaksa praktisi dan penggemar paduan suara untuk beralih dari latihan dan penampilan live menjadi skema latihan online dan pertunjukan virtual. paduan suara virtual dipandang sebagai alternatif untuk tetap menjalankan aktivitas paduan suara di kala pandemi. namun, paduan suara virtual juga memunculkan keprihatikan dan perhatian khusus terkait kecenderungan untuk mereduksi peran konduktor, penyanyi, dan interaksi sosial dalam mencapai target musikal dan juga peningkatan keterampilan sosial, salah satunya empati. penelitian ini berupa wawancara terfokus pada dua konduktor paduan suara yang bertujuan untuk menggali pemahaman terkait kondisi dan dinamika latihan daring dan pertunjukan paduan suara virtual. hasil ekspolasi data dan analisis menunjukkan tiga tema penting yakni (1) peran paduan suara virtual untuk keberlanjutan aktivitas paduan suara, (2) dampak teknologi yang digunakan dalam paduan suara virtual terhadap reduksi peran humanis, dan (3) ketiadaan interaksi interpersonal secara langsung dan dampaknya terhadap peningkatan empati. kata kunci: paduan suara, paduan suara virtual, empati introduction the choir discourses have evolved widely from using singing techniques to achieve certain choral sound quality to the social and psychological benefits of choir singing amongst singers and the conductor. much contemporary research focuses on how choir as musical group activity be potential to provide a safe space in terms of socialization and inclusion for refugees (marie schuff, 2014), homeless men (bailey & davidson, 2002), marginalized singers (bailey & davidson, 2005), homosexuals (latimer, 2008), disadvantaged people (dingle et al., 2013), also people with mental health disorders (clift & morrison, 2011). this musical group 106 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 activity is also claimed to be explicitly beneficial for psychological well-being (boldt, 2015; clift et al., 2010; clift & morrison, 2011; livesey et al., 2012) further, the happiness and socio-emotional wellbeing also happened to adults participating in choir that is related to the activity and individual’s motivation (maury et al., 2022). the idea of a choir as a place of social interaction is also highlighted by research focusing on social skills enhancement through choir and musical group activity. empathy is considered to be important in the communication (luca et al., 2001) process, and teamwork is one of the social skills that is highly researched concerning a musical group activity. the thought drives the assumption of the choir's potency to foster empathy that choir involves social interaction and mental simulation, as explained in theory of mind. meanwhile, the idea that music has the potency to promote empathy is based on the thought that music encompasses both cognitive and affective functions as it is in empathy processing. it resonates with the main idea that is brought by rabinowitch et al. (2013) in their research. the definition of empathy can vary widely, but generally, it is connected in certain senses, such as a mental state that is affected by another’s mental state and how it adapts to the other’s mental state while responding appropriately (baroncohen, 2009; goldstein & winner, 2012; greenberg et al., 2015; hoffman, 2008). hoffmann identified empathy to be generated in five modes: mimicry, conditioning, direct association, verbally mediated association, and perspective-taking. the first three modes tend to be involuntary and moved by surface observation. it is like our reflex to make a particular facial expression of pain when seeing a person in such pain. meanwhile, the latter two modes require higher cognitive function to proceed. for example, in verbally-mediated association, a person needs to transform specific verbal language stimulation into visual imagination before he/she can feel another’s feelings and empath in a specific way. the last mode even requires higher brain function to imagine the position, condition, and what others went through to be in their current mental state. the theory of mind, famous under the name of mentalizing and mind-reading, explained the more mechanistic explanation of empathy. in its development, the theory of mind has two streams of thoughts, namely the theory of mind (tt) and simulation theory of mind (st) and the hybrid of those (shanton & goldman, 2010; zahavi, 2010). the st emphasizes the human brain using itself as a simulation or a model to understand another’s mental state. the view supports the idea of modeling or simulation generated by the brain in neuroscience, where the human brain is mentioned to have this so-called mirror neuron (shanton & goldman, 2010) meanwhile, tt argues that understanding the other’s mental state mainly depends on an individual’s intellectual process, starting with our conclusion to others. 107 indra kusuma wardani, virtual choir: to sing together, individually many researchers from different perspectives explain the assumption of musical activity’s potential to foster empathy. for example, rabinowitch et al. (2013) emphasize the role of elements in musical group interaction, namely imitation, motor resonance, and entrainment, which are prominent in enhancing empathic skills such as face recognition and inclination of simultaneous bodily movement. meanwhile, parsons et al. (2014) states that musical training in childhood affects adult pitch recognition ability, which is influential in identifying an infant’s distress and being empathetic. the primary notion of the relation between music and empathy is based on the understanding that the two both attributed to cognitive and affective processes simultaneously (greenberg et al., 2015). based on hoffman (2008) explanation of empathy generation modes, we can try to applied it into choir practice context by relating it into gonzo (1977) concept of vocal choir learning. gonzo divided the way choir conductors teach and correct the singer into three modes: a direct explanation using literal speech, modeling, and metaphorical figural speech as a psychological device in communication. the explanation mentioned by gonzo is mainly cognitive. it requires the singer to solve the task using their exact understanding of music, for example, the execution of beat and vowell-consonants. the modeling requires singers to imitate what other person is doing and apply it to themselves. meanwhile, the last mode requires a higher cognitive function that involves visual imagination and understanding what the conductor wants and doesn’t want. the way gonzo elaborates on the modes in choir teaching is more or less similar to the empathy generation modes explained by hoffman. gonzo emphasized imitation in modeling. manternach (2012) also showed that mimicry is essential in choir singers, who tend to imitate the conductor’s facial expression to control their vocal production. the two last modes of empathy generation mentioned by hoffman, verbally-mediation association and perspective taking, resonate with gonzo’s notion of visual imagination, literal and figural speech, and the use of metaphor during choir practices. wardani (2019) also mentioned the relationship between empathic abilities and the musical aspect of the choir is reciprocal. the reciprocality is that empathic ability can help singers to achieve the musical target of the choir; meanwhile, by doing the musical activity and its interpersonal interaction, the singers can enhance their empathic ability. it is agreeable that the interpersonal interaction of singers in a choir is prominent in promoting empathic ability, and the enhancement of empathic ability in singers can be beneficial for the choir to achieve their musical targets. things became completely different when the pandemic of covid-19 forced many choirs to stop their regular rehearsal and concert swiftly into a virtual scheme. the virtual choir became more popular during the pandemic of covid-19 because of the limitation of social and physical interaction. the emergence of the virtual choir is 108 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 unavoidable since the prevention of covid-19 has become priorities in many countries. further, as a group activity that requires interaction in a relatively contiguous place, choir rehearsal is vulnerable to transmitting covid-19 viruses among its member (charlotte, 2020). meanwhile, this virtual choir concept is not new if we look back to eric whitacre’s virtual choir concert in 2008 that involved thousands of singers worldwide performing lux aurumque (galván & clauhs, 2020). it is important to understand that in-person choir and the virtual choir generated different effect to its singers. grebosz-haring et al. (2022). since the emergence of the virtual choir, researchers have examined the influence of this practice on individuals and how it is compared to an in-person choir setting. grebosz-haring et al. (2022) did a naturalistic study to find the impact of in-person singing and virtual choir on individuals' psychological and biological aspects. regarding the study, an in-person singing setting has a greater impact in reducing momentary stress, increasing calmness, and giving higher social contacts compared to a virtual singing setting. regarding social contact, the singers in virtual singing settings might feel less connected to the team because they don't interact physically. whereas strong group dynamic and a sense of belonging to the team can help reduce stress. daffern et al. (2021) also explain the difference between in-person and virtual singing through a cross-sectional online survey of uk choir members and facilitators. the study generated six main themes regarding the comparison between in-person and virtual singing. the virtual choir setting cannot be seen as advantageous or disadvantageous. still, it is important to understand the broad spectrum of possibilities brought by these two schemes of rehearsal and performance. in the study, daffern showed how virtual choir is efficacious in providing choir continuity through flexible and affordable rehearsal and performance schemes. it also forces the facilitators to be creative in designing an alternative way of vocal teaching and rehearsal. in contrast, the virtual choir scheme is also prone to eliminate a vast amount of social interaction, affecting not only the social aspect but also the musical achievement of singers. not to mention the technical issues that might be occurred during the teleconference and recording. galván & clauhs (2020) showed the challenges of the virtual choir that might emerge from technical issues such as the high variability of recording quality caused by diverse equipment used by singers. this sound latency complicates the rehearsal and recording for the singer and the difficulties of audio editing for complex choral works with many layers and voice parts. the biggest challenge regarding the absence of social interaction is the vulnerability of singers to a lack of ownership toward the team and the difficulties for them to sing individually without the support of other singers. 109 indra kusuma wardani, virtual choir: to sing together, individually now that we can map the potentials of both in-person singing and virtual choir, we need to dig more into how the absence of social interaction and the domination of technology infers the singers in the way they create music and how it affects the way singer empathize to other singers in their team. is it still possible for a choir to employ activities related to empathic abilities and achieve social skill enhancement through virtual choir? method to understand the way virtual choir changes the musical learning and social interaction in a choir group, wardani conducted qualitative research on in-depth interview to two choir conductors with different choir team background. the first interviewee is a conductor of a university choir and an independent choir with mostly singers are adults. meanwhile, the second conductors are a conductor of children and teenager choir. both conductors were actively participated, involved, and produce virtual choir during the pandemic times. the interviews were done by teleconference due to convenience since the interviewee lived in a different city from the researcher. the interviews were focused but not limited to examining the practices during virtual choir such as the learning process, the interpersonal interaction among singers, the challenges, the adjustment, and approach used by conductors, and things related to empathy manifestation in virtual choir. the data collected during interviews were transcribed and analysed to identify the themes generated. this analysis process including data coding, code classification, code elimination, and data interpretation. results 1. choir continuity through virtual choir the first theme elicited during the analysis is “choir cintinuity” that refered to any potential in maintaining the choir as a social group and a group of of musical activity. no matter the condition and circumstance, it is seen that maintaining the choir continuity is very important. this importance is emphasized through these statements: “rehearsal is the core of the organization (choir) so that this (the rehearsal) needs to be maintained. the singers come to the group for the rehearsal, everything else will come afterwards. without any rehearsal, then nothing’s left” (bsu) it is also said explicitly that virtual choir is an alternative for choir continuity, even it enables the group to rehearsal space for members of a choir that is out of the town: “at least we keep singing together. the virtual choir provided us a space to do it, even it ables to gather the singers from other cities. you know, the perks of technology” (bsu) 110 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 nevertheless, this advantage of teleconference comes with its own challenges. the biggest one is the importance of continuity of the learning process may override the musical aspect of the singing in the first place: “but, indeed, i can’t force them with similar target as regular rehearsal. you know, it is hard for me to check, to control the voice production. the devices might be vary between singers. the (internet) connection, the environment of the singers, so many things that are not ideal. but again, it has to keep going” (bsu) 2. singers’ behaviour as an impact of learning materials adjusment the condition of virtual rehearsal is not easy for both conductors and singers. hence, it is so common to find conductors and or coach to adjust and downgrade their learning materials to meet singers’ condition: “the online rehearsal can only accommodate small amount of singers to make sure it wont lead into any chaos. so that it is nearly impossible to focus on choral sound. but i think it is the time for me to focus on the individuals. like i can go to the details to each singer, yaaa like a vocal course” (jfa) “they sing with midi as their guide, literally singing together with the midi that we prepared. it needs to be understood that by listening the midi, it is like dismissed the sight singing aspect. usually, we visualise the pitch in our mind when we sight singing, now they refered to the guide. not really sight singing” (bsu) “…and no target that is as high as usual. im going with the bare minimum, as long as they are progressing. the standart. we negotiate. usually, we refer to competition standart. like fidelity to score is possible to do, but choral sound is another thing. nearly impossible” (bsu) “indeed, we can not work on choral sound and things around it. blending, balancing, all the things that need collective singing to achieve is on another dimension when it comes to virtual choir (giggle). so that, we focused on individual singers…. try to make them sound like similar, approximately similar.” (jfa) the changes of learning materials and the goal in the virtual rehearsal is also seen to generate different behaviour and responses from the singers. “it’s so mind blowing to know my singers change the way they response to rehearsal and tasks. high-achieving and professional singers tend to be bored once they involved in two or three virtual projects. they tend to give and do the bare minimum. maybe it’s less challenging for them? but it is so different with student choir that are new to choir. i think they are interested and passionate to sing and record their voice and excited to listen to the final result (when their voices are compiled).” (bsu) “i think they become more independent. i mean, they are by themselves in their room when we are practicing. they have to take their own notes and listen to their own voice. it seemed to make them lesss dependend.” 111 indra kusuma wardani, virtual choir: to sing together, individually 3. empathic ability and the alteration of social interaction it might be predictable to find out that social interaction is the most affected aspect of virtual choir and this leads into some different conditions. “our singers sing in a smalll group, like, five people maximum. it makes them feel strange to the singers outside their small group. even if we sing together in a virtual project. they seemed shy and awkward in our first meeting of live rehearsal” (jfa) “indeed! they seemed awkward to each outher in our first offline meeting. doesn’t seem like they’ve been singing together in a various virtual choir project. but we have committee, in our choir team, to approach the members that seemd to be hideous and hard to mingle with others” (bsu) the social interaction in virtual scheme tends to work differently, espescially in the sense of empathic ability. here is some statement under the context of live rehearsal as a comparison: “to sing as a group, everything is done collectively. you can achieve the dynamic of forte by unting the singer’s high energy or hold the volume together to achieve the piano dynamic. you can’t achieve it by just one or two singers, it’s not a work of individuals. teamwork.” (bsu) “they just accustomed to practice by themselves in the rehearsal break, like i don’t need to ask them to do so. they simply want to do extra because they like it. like, singing to practice the difficult part, try to make it easy, and helped each other during the rehearsal break, it was great.” (jfa) meanwhile, things become different once the singers don’t interact in person: “no, there is a team (that will help and approach if someone find any difficulties of practice), it’s not the other singer itself” (bsu) the statement above showed that in the virtual scheme, there is a committee that is designed to identify and evalute singers’ progress. this means that the move to help singers’ difficulties is based on duty and task and not a move that is come generically based on concern. when we are talking about emphatic trait and the abilities around it, it will brinng us into the idea of facial expression and gestures recognition. the statements below will show how these two things appear during online rehearsal: “at the first of our (online) rehearsal, it seems difficult for the singer to understand my gesture. i can understand it, to read the gesture in a monitor that might be not in a good resolution due to internet connection, or may be i’m not well portraited-proportionally, or simply because we don’t really explore the gestural instruction durung online rehearsal? or maybe they didn’t know me long enough to understand 112 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 me… but overall, it is difficult to conduct online. it is simply disproportionate” (bsu) “the singers that knows me well, sing with me long enough, tend to know me.. my body gesture and facial expression better. yeah, it is logical. but it is hard for the online singers who barely knows me, never see me in person, to follow my conducting once we rehears live” (jfa) “indeed, i’m using body gesture during the online rehearsal, just to help them imagine the voice production. it’s part of the learning method. but it not the conducting in details.” (jfa) further, the irony comes to the peak when technology override the role of social interaction in achieving sound production. “it was the singers positioning and spacing that act as our approach in achieving choral sound. it is also create a kind of perception in their mind about their singing skill and their role in a choir to provide certain sound production. i mean, there is like a general understanding when you’re in this position, you should support the singer in front of you, or listen the singer in another position” (bsu) “it is hard to move together in virtual choir since we don’t really sing together. the intonation, that’s the only thing that is able to be chased. and maybe a little dynamic and some detail. but never more that that.” (bsu) “i facilitate them to acknowledge the team, that they are the part of the team. no particular social interaction that is arroused during online rehearsal, it is minimalistic, i guess. and indeed, we can’t chase for the blending or balancing. like we do the bare minimum” (jfa) “it’s audio editor now. no more positioning, no dominant role of my singer and me to control it (the sound production)” (bsu) “live rehearsal has the singer blocking, yet the virtual choir can simply mute unwanted voices” (jfa) here is some final statement that summarize the interviewees views on virtual choir after the harms and benefits: “nope, it’s not ideal, i guess. the energy, i just don’t feel i get the energy from the singers. i always think the energy of ther singers is what moves me, and i give them the energy, they give it back over and over during their performance and rehearsal. it is unreal in online rehearsal. it is different. but yes, it accomodates a more flexible rehearsal” (bsu) “it’s still a good opportunity to be more detail in voice lesson. i mean for the individuals. but it never the detail for a choir as a music activity. and yes, technology plays a big role” (jfa) discussions 113 indra kusuma wardani, virtual choir: to sing together, individually the choir is not only a place to sing and produce beautiful sounds but also a place to socialize and develop individuals' sense of social skills. the data showed the reduction of musical aspects in choir during an online rehearsal during the pandemic, such as the downgrade of lesson materials and musical targets, the inability to achieve a choral quality that used to be a standard, and even the role of technology that overrides the singing itself. to perceive a virtual choir and its online singing scheme as an alternative for choir continuity is a well-said point of view, especially when it can accommodate rehearsal for many singers and go beyond the location boundaries. nevertheless, we need to be scrutiny when it comes to the missing experience of in-person socialization, interaction, and the group dynamic that is potent to promote specific social skills. some researchers may promote the role of virtual reality (vr) in promoting empathy (bertrand et al., 2018; rueda & lara, 2020), but we need to understand that the virtual word in a virtual choir is different from the one in the virtual choir. virtual reality technology requires the sense of being in a different place that specific sensory experiences can support. the virtual choir is more of a multimodal creative production emphasizing methodology and form of choral performance (bendall, 2020). by observing the virtual choir and online rehearsal, we can see how it reduced many aspects of social interaction. thus, we must rethink how it can alter the singers' emotional and social aspects in enhancing their musical practice. the internet connection, the diverse device being used, and the environment of the singers have been mentioned to be reasons behind the adjustment and downgrade of learning materials. even though it is said that by reducing and adjusting the learning materials, we can focus on individuals development, it is still important to attribute the singers with a skill that is essential in choir singing: the ability to understand individuals' roles proportionately during the choir singing (sublett, 2009). this understanding may lead them to use the proper way of singing and increase individuals' sensitivity to musical aspects, which is also beneficial in moving them as a team (bailey & davidson, 2002; ferrell, 2010; müller & lindenberger, 2011). the choir's spirit as a social team will gradually be missing when this important aspect of singing together is neglected. wardani (2019) showed in her research that the achievement of musical aspects and the enhancement of social skills is reciprocal and that both need to be the focus of the activity. it is also mentioned that voice adjustment is part of empathic listening and is important to achieve the blending and balancing of a choir. now that the virtual choir provides a big space for the technology to play this role, it must be observed. previously, singers needed to listen consciously to how they and their surroundings sounded. it can be a skill to train both their hearing musically and their listening empathically. the missing opportunities to do this practice result 114 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 from technology that easily offers "panning" to provide a balanced sound as desired by the music director. in more detail work, the audio editor can correct the intonation or mute the unwanted voices. it needs to be considered that with the sophistication of technology, the prominent role of the human in choir singing can easily be replaced or at least be reduced, and with the big probability of action that audio editors own, is it too exaggerated to address the choir competition as the competition between editors and not the choir or musician itself? the unique characteristic of any musical group activity is the individuals and their interaction that generate social dynamics with its advantage and disadvantage for the music itself. the genuine interaction in a choir that employs understanding, perspective-taking, and mind-reading is why the choir is assumed to promote empathic skills in individuals. meanwhile, in the virtual scheme, bsu mentioned that the interaction of individuals is more like a duty and task instead of a natural concern, such as what the committee does to the singers in difficulties. regular rehearsal may also have an organized mechanism with a committee to identify and help singers with musical problems. however, in a more natural setting, another singer may interact related to these difficulties and problem-solving based on teamwork. based on the data and literature, we need to reconsider the virtual choir as a choir when we also project social skills as an important part of musical activity. the virtual choir might be erased the space for advanced training in facial expression and body gesture understanding when it is said to be prominent in singing and empathic enhancement (fuelberth, 2004; goldstein & winner, 2012; gonzo, 1977; hoffman, 2008; zahavi, 2010). here we can conclude that virtual choir might be beneficial as an alternative for choir continuity and activity during a pandemic. however, it will never be the same as the live choir rehearsal because it can provide social space to enhance social 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(2010). empathy, embodiment and interpersonal understanding: from lipps to schutz. inquiry, 53(3), 285–306. https://doi.org/10.1080/00201741003784663 47 volume 9 nomor 1, june 2022 p-issn 2339-191x | e-issn 2406-9760 p 47 – 68 the scientist, the artefact, and the exegesis: challenging the parameters of the phd tara brabazon1, narelle hunter2, jamie quinton3 1,2flinders university, bedford park, adelaide, south australia 3massey university, aotearoa/new zealand e-mail (corresponding author): tara.brabazon@flinders.edu.au abstract a phd in science demands rigour, repeatability, and accountability. epistemological, methodological, and ontological expectations flood the policies, procedures, and practice. one mode of doctorate has existed beyond the typical parameters of science: the artefact and exegesis phd. most commonly positioned in the creative arts and creative writing, how could this mode of doctorate be deployed in the sciences? this article, written by three academics who shared this innovative supervisory space, reveals the strengths and challenges that emerge from this innovative form and content for research. our goal is to open out transformative spaces for doctoral education through diverse disciplines. keywords: doctor of philosophy, artefact, exegesis, creative research ilmuwan, artefak, dan eksegesis: menantang parameter phd abstrak gelar phd dalam sains menuntut ketelitian, pengulangan, dan akuntabilitas. harapan epistemologis, metodologis, dan ontologis membanjiri kebijakan, prosedur, dan praktik. satu mode doktor telah ada di luar parameter khas sains: artefak dan eksegesis phd. paling sering diposisikan dalam seni kreatif dan penulisan kreatif, bagaimana mode doktor ini dapat digunakan dalam sains? artikel yang ditulis oleh tiga akademisi yang berbagi ruang pengawasan inovatif ini mengungkapkan kekuatan dan tantangan yang muncul dari bentuk dan konten inovatif untuk penelitian ini. tujuan kami adalah untuk membuka ruang transformatif untuk pendidikan doktoral melalui beragam disiplin ilmu. kata kunci: doktor filsafat, artefak, eksegesis, penelitian kreatif introduction completing a phd is a remarkable achievement. only 1.1% of the world’s population between the ages of 25 and 64 hold a doctorate (rowe, 2021). what is clear from this unusual and powerful qualification is that ordinary behaviours –the normal practices and patterns of our daily lives – cannot summon the extraordinary. all phd enrolments require a change in our identity, questioning what we take for granted, and configuring a new meaning system around time and value. through this personal transformation, the idea of the phd – the purpose of a phd – is also mailto:tara.brabazon@flinders.edu.au 48 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 twisting and transforming. sharon sharminin and rachel spronken-smith asked if the phd was “out of alignment” or “fit for purpose” (2020, 821). the phd is situated in a volatile context, and it is “culturally determined” (kelly, 2017, 1). through personal, professional, and institutional complexity, scholars, students, and citizens must grasp the diverse threads and trajectories of the phd, from popular culture, policy, social media, and the lived experience of phd candidates and supervisors. divergent national governments have varying requirements of phd students. yet the phd is always promiscuous. it transcends and transforms in response to the needs of students, supervisors, employers, and the economy. the phd students own their thesis and the journey to its completion. while supervisors/advisors may wish to colonize this knowledge for grants or coauthorship rights to enhance their google scholar metrics, it is important to remember and focus on the student, their needs, aspirations, and goals. these imperatives may be distinct from economic necessities or the needs of employers. phds activate aspirations, hopes, disappointments, despair, and storytelling. these narratives must be unsettled, contextualized and dynamic. the phd is not efficient. it does not build easy alignments of desire, motivation, behaviour, and outcomes. noting this precariousness, this article aligns the aspirations and outcomes of two supervisors/advisors and a student on an unusual path through a sciencebased phd. this story of supervision narrativizes the limitations of methodologies and epistemologies, and probes how the expectations of ‘creativity’ and ‘experimentation’ can inhibit learning and teaching. this team of scholars are academics that teach (brabazon, quinton, hunter, 2020), and have ‘survived’ the pandemic while completing a thesis. this is a productive story to share. doctoral education in difficult times (tara brabazon) research into higher degrees before the pandemic confirmed that the doctoral experience was unsettling, ambiguous, disturbing, and liminal (acker, 2015). mental health concerns were pervasive, as was the fear of precariat employment during and after the candidature (sharmini, 2020). the “well-being” of higher degree students has been studied (velardo and elliott, 2021), with “research culture” being a “barrier to success” (2021, 1536). then sars-cov-2, aka covid-19 emerged, and the post-pandemic phd literature started to feature titles like, “illuminating the liminality of the doctoral journey: precarity, agency and covid-19” (atkinson, 2021). that article, written by 12 australian phd students, appeared in october 2021. however, the pandemic only confirmed the already existing disappointments, confusions, worries and complexities of doctoral education in anti-intellectual times. these emotions revolve around one simple question: what is the point of a phd? the neoliberal tropes and policies of our times, focused on skill development, industry-ready graduates, and graduate 49 tara brabazon, narelle hunter, jamie quinton, the scientist, the artefact, and the exegesis: … attributes, do not slot cleanly into the doctoral space, nor do they cater for the diversity of students. this article reveals one of the many futures for doctoral education, summoning research methodologies that do not fit the requirements of national research assessment exercises, disciplinary gatekeepers, or subject categories. too often ‘creative research’ as a phrase excludes science and scientists. similarly, the minor mode of phd – the artefact and exegesis thesis – is isolated to the creative arts. but this article offers a vista of intellectual courage and radical interdisciplinarity if scholars and students wish to walk into, through and beyond the policies and procedures that truncate the experience and parameters of doctoral research. higher education is searching for a vision, purpose and meaning, as thousands of academic and professional staff have been ‘restructured’ out of universities. this article summons the interpretations of two supervisors – from the ‘hard’ sciences and the ‘high’ humanities – and a phd student who chose to create knowledge differently. the goal of this article is to open transformative spaces for doctoral education that ponders the modes of research through diverse disciplines. this article is a proudly post disciplinary treatise, occupying and activating present experiences and expertise for future plurality, diversity, accountability, and transparency. thinking about creativity in the science disciplines (tara brabazon) so often – too often – there is a pull between creating art and building research. this is an inelegant and unhelpful binary opposition. the artefact and exegesis model of doctoral education attempts to transcend and transform this pull between the creative and research. for higher degree students, the goal is to build meaning and knowledge. for supervisors/advisors, the goal is to achieve a timely candidature completion while creating career and research opportunities and managing risk. the reason for this risk mitigation is that the artefact and exegesis mode of doctorate has an unstable pathway through examination because expectations are not clear for students, supervisors, or examiners. split decisions – divergent results – are frequent in this mode of doctorate. there is a reason. the artefact can be diverse in its formulation: music, soundscapes, architectural design, furniture design, creative writing or an art installation are a few of the more common ‘objects’ developed for this mode of thesis. the exegesis – the ‘explanation’ – is the written component that is composed of between 30,000 to 40,000 words. between these two textual events, there is space. this is a multimodal space, where ambiguity and confusion can emerge for students, supervisors, and examiners. 50 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 a thesis is not passed or failed on the artefact or the exegesis. it is the combination that matters to the determination of the grade. it is not being assessed as an original contribution to art. a film, soundscape, or novel in and of itself is not a phd. the original contribution to knowledge must be proven through the research, building an alignment between the two modes of research. the problem is that scholars do not confirm the difficult translational work required between the components. this issue is revealed in arts-led research, which is where the majority of artefact and exegeses theses are currently situated. for example, jenny wilson stated that, the focus of artistic research is ... on embodied and enacted forms of knowledge and understanding – forms of knowing and understanding that cannot easily be translated into or transmitted by language (2018, vii). the concern emerging from such a statement is that there is the assumption that ‘art’ is universal and – simultaneously – blocking a translation into other signifying systems. such statements – by default – block ‘art’ leading into ‘research.’ such interpretations ensure that the studio is separated from the lab, clinic, field, or desk research. the errors i have seen as an examiner in this mode of doctorate include the exegesis merely retelling the narrative of the creation of the novel or film, the exegesis emphasizing the ‘how’ – the method – of the design, rather than the ‘why’ – the theory – that contributes to knowledge. further, the exegesis does not connect to the wider research context and literature. the artefact is left to float outside of knowledge. that is one suite of problems. then there is the confusion over the determination of the artefact. in theatre, drama and performance doctorates, the question remains what is the examinable artefact: the live performance or the video of the production? there needs to be clarity on what is the artefact, particularly its parameters and frame. the overarching problem is the assumption that the artefact speaks for itself it, embodying knowledge or creativity. the scale of this difficult is captured in louise ravelli, brian paltridge and sue starfield’s 2014 edited collection, doctoral writing: the creative and performing arts (2014). each chapter offers a differing ‘blend’ of creative practices and ‘conventional’ research (ravelli, paltridge, starfield, 2014, 1). the challenge remains that the terminal degree for creative practice in north america in particular has been the mfa, the master of fine arts. therefore, the doctorate had little role in the credentialling of the creative arts. yet teaching and research has changed, as has the proliferation of doctorates in areas of the university where it was not required, such as law and medicine. therefore, the terminating degree for all disciplines has been rendered more uniform. the question is how the diversity of epistemologies, methodologies and ontologies is recognized and managed so that standards are upheld without 51 tara brabazon, narelle hunter, jamie quinton, the scientist, the artefact, and the exegesis: … crushing the diversity of disciplines. this current article does not value and validate siloes, but instead heightens the importance of intellectual courage and mobility. to manage this ambiguity, when i occupied the role of dean of graduate research, i changed the language through which we describe our modes of doctorate at flinders university. that is why the terminology the artefact and exegesis thesis was used to describe the doctorate, rather than default to methodological phrases, such as practice-led, practice-based, creative-led, and creative-based. methodology alone is not research. it is – alongside epistemology and ontology one part of any research project. this meant that methodology had to be aligned with epistemology and ontology. fascinating, once this change in terminology was made, the artefact and exegesis mode of doctorate moved through all six colleges at flinders including science and engineering, medicine, and nursing and allied health. this is not arts-based research. it is a mode of doctorate that is used strongly in the arts-based disciplines but is now used throughout all subjects and disciplines. the word creative is so ambiguous in its meaning that it is useless when creating policies and procedures for research. it has replaced raymond williams description of ‘culture,’ as one of the two or three most complex words in the language (1976). the methodologies to study creativity require understanding the three ds of technology – digitization, disintermediation and deterritorialization and uneven globalization (brabazon, 2014). then the pandemic must be considered. the coronavirus has offered a profound reminder – if we needed one that creativity is required to deliver solutions that are yet to exist. ‘believe the science’ is a cliché or a trope, but through covid-19 what researchers realized is that the science is not enough to enable societal change or an informed citizenship. science literacy matters. creativity is always sociocultural, activating new learning, new knowledge, new ways of teaching, and new ways of creating research. if australia – and the political systems around the world are to recover, then definitional rigour in the determination of creativity in research will be crucial. szabo’s “creative ecologies model” matters (2021). creativity – through research builds, supports, and shares systems of change and disseminates disciplinary vocabulary and literacies. this article summons the complexity and ambiguity of the word ‘creative’ and widens this discussion beyond the humanities. this is not an issue of the creative arts. the artefact and exegesis mode of doctoral thesis is composed of an object that can be digital or analogue, visual or sonic, and an exegesis – which from the greek means explanation – which is between 30-40,000 words in length. the artefact can be in written form (novel, novella, poetry, script), design (architecture, some tech, graphic or interior design to name a few), sonic (sonic architecture, sonic art, popular music, podcasts) or visual (fine art, film, screen arts, mixed media 52 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 installation). the diversity of possible modes and platforms is staggering and important. the most important part of research and the characteristics of the best doctoral theses is that the researcher focuses on the why the why of the research rather than the how of the research. the emphasis is on epistemology rather than methodology. there is a reason – a powerful reason – why this multimodal research exists. more conventional research methods cannot answer an array of research questions. when i teach creative and practice-led research methods, i used the following analogy. conventional methodologies can only take research and researchers to a certain point. there is a necessity to make a leap or jump beyond the literature, beyond what a logical or accumulative method for knowledge generation can summon. therefore, after configuring the research questions and the literature review, the limitations of the research are known. to create an original contribution to knowledge, an artefact can form and frame the original contribution to knowledge. the artefact operates ahead of the research. i always described this as throwing a rock into a pond. existing knowledge moves researchers to the edge of the water. the artefact throws knowledge ahead through the momentum of that object. from this – metaphoric – perturbation in the pond, the goal of the exegesis is to connect the shoreline – the limitations of knowledge with the object thrown in advance of knowledge. this is a surprising, volatile, and exciting mode of research. it does move knowledge forward in interesting and unpredictable ways. that is why – in difficult times – this mode of research is important. however, it is crucial to recognize the key challenges, particularly in the context of this article, and the disciplinary literacies that enable it (lent, 2016). verifying the rigours of scholarship accountability, transparency and repeatability – is challenging. that is why the word ‘creative’ can be constricting and damaging. the assumption is that the artefact is art, and that art is – intrinsically – knowledge. that slippage in terminology is epistemologically unproductive. actually, the object is just an object. scholars must prove, frame, and shape the research around it. higher degree students have to prove the original contribution to knowledge through the object, the artefact. the artefact means nothing in the context of a higher degree programme. students move into problematic terrain when they assume that the film, the play, the novella, the exhibition is research. actually, a film is just a film. it is not research. a novel is a novel. it is not research. a design is just a design. it is not research. making a film, writing a novel or constructing a design is important, but it is not intrinsically or inevitably research. higher degree students are creating an original contribution to knowledge. therefore, the object – the artefact – is that stone in a pond. it moves the debate ahead of contemporary research. in the exegesis, researchers must push knowledge 53 tara brabazon, narelle hunter, jamie quinton, the scientist, the artefact, and the exegesis: … into a new terrain. montserrat castello, anna sala-bubare and marta pardo stated, “research writing is a mediator of knowledge creation and epistemic discussion, as well as of research development” (2021, 480). that is where words like ‘art’ and ‘creativity’ become obstructionary in doctoral education. there is no intrinsic quality in the artefact, and even if there was, ‘artistic quality’ has nothing to do with research. being enrolled as a phd student requires different expectations and outcomes. there is a need to justify the methodological selection. why was this unusual mode of doctorate selected? what does the artefact and exegesis thesis enable for knowledge? these questions are complex, powerful, and important. they also serve to challenge the simplistic strategies for thesis completion. for example, michael fennell set his book – surviving the phd: a student’s perspective – around frequently asked questions. in this ‘guide’ for doctoral education, the process is described as, a year to read, a year to collect data, a year to write up – [is] oft cited and then chanted. on induction day, we heard about reading and the literature review – how this comes first, the foundation for the year of collecting data (2013, 27). this paint by numbers approach to doctoral education is inappropriate for most research strategies but has no operational foundation for an artefact and exegesis thesis. this mode of thesis is iterative, delicate, and complex. it is a weaving of knowledge between what is and what could be. to demonstrate these trajectories of scholarship beyond the arts and the humanities, narelle hunter shows the capacity of this doctoral mode. preparing (for) the experiment (narelle hunter) my phd began as with many other students in science education, supervised by excellent educators with a background in the sciences. in fact, i would have argued i was better prepared than most postgraduate students, as my supervisors and myself all had many years of experience in both traditional scientific and educational research, all having already published in both fields. i prepared to investigate how students developed their written communication skills in undergraduate science programs. i was acutely aware that to garner the respect of my scientific peers, i would need to demonstrate a scientific approach to the research as well as presenting my findings in a way that was consistent with other science doctoral theses. i felt that i needed to speak to fellow scientists in a way they recognised and were comfortable with to have them listen to me and embrace the findings of my research into their teaching practices. as scientists, we learn to read and write in a particular fashion, being comfortable with the genres to which we are exposed. however, the intersection between science and education is difficult to navigate. the language between the 54 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 two fields rarely crosses over, and the way research is both conducted and presented differs greatly. i am a scientist at heart. therefore, as i began my research, i adapted scientific methods to an educational context and planned to present my thesis in a traditional scientific format, as is the norm in the field. i set about designing and testing innovative curricula that allowed students to develop their understanding of various scientific genre in preparation for associated assessment tasks. online modules enabled students to work at their own pace through a variety of examples and helped them to structure their own written pieces, with a focus on understanding the needs of the audience. students developed skills in using the appropriate language for a variety of audiences and worked through aspects of structure and form in a range of writing activities. the intention for the project was to collect data related to any impact of the curricula on student writing, using an analysis of assessment criteria as well as investigating the influence on overall writing structure. this would give me the much-needed scientific data that i planned to use to build my thesis. with online modules completed and well into the data collection phase of my research, my candidature entered a pivotal moment. as a part-time student, fulltime equivalent to one year completed, both of my supervisors secured new positions outside of the university, no longer able to formally act in a supervisory capacity. for several months, they were able to provide support remotely and the project continued. i was hesitant to settle for a new supervisor who may not understand my project. therefore, i took several months and sought someone who i felt would be able to provide support and constructive feedback that i needed to fulfil the project. both of my original supervisors were experienced educational researchers. however, both were scientists, and this strongly influenced their approach towards my project. a scientist myself, i needed a supervisor who would understand my audience and bring a scientific background to our discussions and understand the scientific culture that is the audience for my research. additionally, i needed support and advice from outside of the sciences, someone who could offer an alternate perspective and creative approach. in finding a new supervisory team, i also found perspective. bringing together the experience of traditional science, education and cultural studies allowed a different view of the project that changed its trajectory and ultimately resulted in a project that speaks to both scientists and educators alike. in fact, the new supervisory perspective enabled me to translate the research to be valuable in any context where communication was involved – in other words – everywhere. professor jamie quinton and professor tara brabazon provided their perspectives on what i had already developed. a phd is made up of a series of experiences, ideas, mistakes and most importantly, learning from those mistakes. at this point in my candidature, i had 55 tara brabazon, narelle hunter, jamie quinton, the scientist, the artefact, and the exegesis: … put an immense amount of work into material that my assessors would never see. certainly, they would see the results of implementing the online materials that i had created, but they could never grasp what they contained or how students used them unless they could see them in action. in a traditional mode of thesis, this would not be possible, meaning that a great deal of the work and learning that i had put in would potentially go unrecognised. in some ways, this is similar to the experiences of many phd candidates, spending hours in the lab or in the field, which is then distilled into tables and figures in their theses. the experience of the student is never fully articulated to the assessor. one of the most important moments in my candidature was a conversation with my new supervisors about how these online materials could be incorporated into a mode of thesis called an artefact and exegesis, a term i had never come across before. the online materials would be presented as the artefact and the accompanying exegesis would explain the research. this creative mode would allow my assessors to be immersed in the experience that i had designed for students and understand their perspective with authenticity. this was beyond description. this was analysis, punctuated by creative approaches to multimodal information sources. however, would this mode of thesis be accepted by my scientific peers? the intersection between science and education is challenging for many reasons, not least of which is the differing approach each field takes to research. kantrowitz (2014) typifies the views held by science researchers that educational research can only be made rigorous by replacement with scientific methods. as both a scientist and education researcher, i strive to bring these fields together in ways that value and strengthen both fields rather than pit one against the other. ultimately, my goal is for scientists to take up the information that i can provide through an educational lens. to do so, i must use experiences and language with which they are familiar. i must speak the language of science so that i can introduce new ideas to my scientific colleagues. thus, presenting my thesis as an artefact and exegesis was potentially risky as it was challenging the norms of a traditional thesis in the sciences. in order to counter this, i decided that i would approach the exegesis from a scientific perspective, incorporating data analysis and interpretation as would be found in a traditional thesis, while still keeping the structure and purpose of the exegesis true to the genre, explaining and telling the story of the research behind the artefact. my explanation had to be clear to ensure that my audience would be accepting of my unusual choice of mode. my research combined creative-led inquiry and social science research methods, applied to the field of natural sciences. this unique approach allowed me to address the problem of accessibility of the discipline using a disciplinary literacy framework. e-learning modules became the artefacts of my thesis creation and were supported by a thorough analysis of the impact on student learning and confidence 56 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 in developing disciplinary literacy skills within biology, bringing together design, education and scientific research. three e-learning modules form the artefacts and, together with the exegesis, formed the objects of examination. the artefacts embody the theoretical ideas presented throughout the doctoral thesis and therefore it was important that both parts were examined together to demonstrate the full scope of my research. as the design of the artefacts was integral to my research, it is fitting that they formed a key part of the thesis. they are not ‘examples.’ they are not an ‘illustration.’ instead, the exegesis loops from the artefacts, summoning the relevant research literature, and then proceeds to loop once more into the artefacts for new insights. the exegesis serves as companion to the e-learning modules that investigate the development of disciplinary literacy in undergraduate students. the artefacts produced for examination include the three e-learning modules that were produced for and trialled in first year biology units. for examination, the artefacts were presented exactly as they were delivered to the students, to allow my examiners to view and consider the learning support configured for the students in their most authentic contexts. this was facilitated by embedding links directly into the exegesis that granted access to the e-learning modules held on a file sharing site. i understood through my research that writing tasks must be meaningful, designed to challenge, and engage the learner rather than simply reiterate rote content. some writing skills will move between genres. however, students must learn the value of the different genres and develop the skills to be able to think and perform in a variety of genres. the artefact directly addressed this dilemma by focussing on the key aspects of writing within the discipline of science. each elearning module focussed on a different genre within the field of biology. by making the relationship between reading, writing, and thinking visible the artefact provided a point of access for those without the necessary disciplinary literacy to read, interpret, and contribute to scientific literature. the artefact opens the door to scientific literacy by scaffolding writing within the discipline. therefore, to demonstrate their use they needed to be visible to my examiners. in addition to direct access to the e-learning modules, the exegesis described and explored various aspects of the artefact throughout each chapter. my examiners could navigate the e-learning modules just as my students did as well as diving deeper in the analysis within the text of the exegesis where i could focus on various aspects of the modules and describe how these were used in my research. the exegesis enabled the unpacking of each element of the e-learning modules as shown below, not leaving the examiners to determine the importance of each part but allowing me to guide them through the process of creation and analysis to demonstrate my own learning through research. 57 tara brabazon, narelle hunter, jamie quinton, the scientist, the artefact, and the exegesis: … figure 1. excerpts from the scientific writing assignment e-learning module depicting activities to use appropriate language for the genre and orient students in reading and interpreting texts within the discipline. the different perspectives offered by jamie quinton and tara brabazon were integral in ensuring that the exegesis spoke to a wide audience and was welltied to the artefact and the creative process of my research, an aspect that is often missing from a more traditional supervisory relationship. whilst it is natural to seek guidance from experts within the field of research that a candidate is studying, the merits of casting a wider net for supervision or feedback should be explored more often. in the words of sir mark walport, uk government chief scientific adviser (2013-2017) “science is not finished until it’s communicated” and the discussion of scientific research with academics in other fields allows ideas to cross creative boundaries and understand how these may be communicated more broadly. in other words, we learn to understand the boundaries of our own disciplinary literacy and that of others and create ways to have research conversations in new and innovative ways that lead to new and exciting discoveries. with such differing perspectives, each of my supervisors was able to offer understanding and critique from their field, which enabled me to delve into creative approaches that would otherwise not be 58 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 explored, allowing my artefact and exegesis to be truly transformative in the field of science education. science is a creative endeavour, yet the communication of ideas is limited by narrow expectations of genre in undertaking a phd by traditional thesis. while there is a place for the traditional thesis, it is time to consider the variety of modes that are available to express the range of ideas in the sciences. by encouraging creative approaches that are common in other disciplines we can foster a community of researchers that are open to new methods and further develop their creativity, leading to better science that is also better communicated. managing the challenges of the artefact and the exegesis (tara brabazon) narelle hunter confirmed the strengths of this mode of thinking and presentation for science theses. further, she shows that the traditional thesis poses an array of challenges. but when diverse modes and platforms of information are presented, ambiguity and complexity emerge through the multimodality (brabazon, 2018). the relationship between form and content is intricate, and researchers must write the argument between and through information presentation and knowledge dissemination. a phd is a particular genre of writing. when an object, such as performance or exhibition, is a part of the thesis, then a discussion of this mode must be conveyed to examiners. an overt discussion is required to explore the interface and modality of a design. is the examiner assessing a product or output, or the iterations of the artefact through its design history? for narelle, the artefact was clearly framed as curricula design. the nature of the artefact – and why it was chosen – must be revealed. for example, with a performance-based thesis, is the examiner assessing a video of the performance, or the performance itself? if the performance is recorded with a single camera, then how are the low production values to be managed? is this lack of editing assessable by examiners? therefore, the key determination remains, what are the parameters of the object, and how is it to be framed by the research. the limitations of the artefact – its status as a bounded research object – remain key in demonstrating the knowledge within it. any ambiguity – in rationale for the object or the boundaries of it – impact on the credibility of the process. higher degree theses have policies and procedures. the artefact and exegesis thesis are assessed as research which makes an original contribution to knowledge. whether or not it is art, let alone quality art, is not being assessed. that is why the word artefact is a constant reminder of its function in knowledge, rather than any assumptions of cultural value as art. this recognition remains important as the examiners read the exegesis before engaging with the artefact. the greatest mistake that students make is the assumption that examiners are thrilled – excited 59 tara brabazon, narelle hunter, jamie quinton, the scientist, the artefact, and the exegesis: … to read their novel, watch their film or listen to their sonic installation. examiners read the exegesis, so they have an explanation for the research project, and why the artefact was required. this is the frame, and a demonstration of the research within the artefact. the artefact and the exegesis are not weighted. when combined with care, they offer a frame for knowledge. if examiners do not see the research in the artefact, and how the artefact moves forward knowledge, then students will fail. narelle hunter – cleverly – ensured that the artefact arched into the exegesis through hypertext links. the most effective way to establish this framing is to focus on ‘the why’ of the research, rather than ‘the how.’ the problematic exegesis explains how the novel was written, or how the film was made. ‘how’ is needed. that is the method if not the methodology. but the emphasis of research must be on ‘the why.’ poor exegeses focus on the how. the challenge is to show the examiner why the artefact was necessary to answer research questions and enhance knowledge. a multimodal thesis must reflect on why a particular mode most effectively develops research and an original contribution to knowledge. therefore, it is important to not move the same content through diverse forms, without a clear specification about how the material is transformed and knowledge created through the movement. research methods are active, enabling the daily decisions of researchers (kevin, vialle, howard, herrington, okely, 2016). these decisions include ethics, choice of research area, representativeness, and generalizability. but these decisions also require – for all researchers – an understanding of multimodality. as jamie quinton specifies in this article, the gift of the artefact and exegesis thesis to all doctoral education is that it necessitates students configuring an overt and clear connection between the artefact and the exegesis. the two modes of information presentation and knowledge dissemination must not be marinated in ambiguity or assumptions. the student provides instructions to the examiner – even implicitly – about how the artefact, exegesis and their relationship is to be assessed. while students often lament that only a few people will read their thesis – which is untrue if a strong dissemination strategy is actioned for the research – it is important to remember that the thesis is being written for examiners. if the examiners are forgotten in the construction of a thesis, then the research will not pass effectively through examination. students must not make assumptions that examiners will follow the argument between the two modes of the thesis. difficult, intricate, and reflexive work is required to connect each mode of research presentation. therefore, let us explore the nature of supervising these modes of doctorate in the sciences. 60 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 the scientist supervising a creative phd in science (jamie quinton) when one embarks on the supervision of a creative phd for the first time, supervisors will enter it with some trepidation and concern as it is a different mode of phd than that met in any traditional form of doctorate. this is particularly true for a scientist who is eminently aware that their credibility, integrity, and reputation are paramount to their and their research group’s potential future success. it requires some bravery and confidence to even entertain the idea, as many colleagues would instantly discount the notion of any mode of phd other than the way it has always been done as an afront to the homological ideals that they have been trained to unquestioningly follow. when narelle approached me to supervise her science education phd, i was honoured that a respected and valued academic colleague from my college was willing to entrust me with the role of principal supervisor of her phd program. prior to this, we had a few discussions around teaching strategies and experiences, when i was involved in teaching and learning leadership roles in our former faculty of science and engineering. although our discipline backgrounds were from different areas of science, i was confident that i could advise narelle with the expertise, respect, and compassion that she would need to help her complete her degree while working full time and raising a young family. with a value for knowledge creation and desire for learning, along with an open mind that knows that no phd journey begins with a guaranteed picture of what it will appear to be at the end, i agreed to undertake the supervision of narelle hunter’s phd. given the nature of the research area spanning education, i asked tara brabazon, former head of the school of teacher education at charles sturt university and at the time dean of graduate research, to co-supervise narelle’s phd. tara has experience with the supervision of artefact and exegesis phds and has published widely on the subject. given narelle’s work in producing e-learning tools, tara introduced narelle and i to the notion of the creative phd as a possible mode of presentation and dissemination. what passes through a supervisor’s mind at the start of such an undertaking? the first requirement is the need to have a strong understanding of what a creative phd entails. the creative phd is an artefact and an exegesis, comprising an ‘object’ that is created as a product of the research and a ‘narrative’ around how the research informed that creation, but also the significant original contribution to knowledge (sock) that has occurred as a result. the creative phd is rather different to a ‘technical’ scientific phd project, which relies on discovery as the mechanism for generating that sock. however, to appreciate how the creative phd approach could work within any context – in this case that of scientific educational research – one must have a clear understanding of what a phd is in its most general sense. science scholars 61 tara brabazon, narelle hunter, jamie quinton, the scientist, the artefact, and the exegesis: … tend to not think about this beyond focusing heavily on the soundness of the methodology adopted. science phds activate an investigation, collecting data sets, and revealing a depth of understanding. these are demonstrated within the frame of discovery to illustrate the sock. the credibility in many ways comes down to methodology. indeed, many phd theses have been passed or failed simply on the alignment of the methodological soundness and expertise exhibited in the work with those expected by the examiner. the creative and technical phds are methodologically different to each other, and to be different is to be distrusted. in asking the question, will the different mode have afforded by the creative phd lead to the same or an even better outcome, an astute awareness of the phd itself is critical. as a scholar who is dedicated to a life of learning, i believe in the continual development of my own skills to ensure that the quality of my work is the best it can be. i therefore take professional development and training quite seriously and embraced the opportunities that are created in this different approach. i should also add that, as a scientist, i expect to be incorrect and continually test my hypotheses and assertions to see if i am in fact, mistaken. this is a direct consequence of the intrinsic falsifiability requirement of any scientific hypothesis, theory, or law, as described by karl popper (1959) and thomas kuhn (1996) who modernised empiricism to form the current paradigm that underpins the methods of scientific research in the 21st century. all phd journeys share commonalities. the scholar needs to understand and demonstrate epistemology, methodology and ontology to an international expert in a field. in practice, this means that they need to become familiar with the research field in question and develop sufficient expertise to be able to identify a sensible research question and the best methodology to attempt to answer it in a way that leads to a new and significant contribution to knowledge. the thesis then must demonstrate the knowledge generated by enacting the methodology, and then scaffold that new knowledge to that extant in the research field. in a creative phd, the ‘thesis’ comprises an artefact and an exegesis. the artefact is a deployable object of some kind, whether concrete, such as a tool or device or abstract, a model or theory of interwoven complex concepts, which is constructed by the scholar with the expertise gained from the research. the exegesis is an expansive dissertation that describes the motivation and background research that have led to the construction of the artefact. with the creative phd, the need for academic rigour remains. there still needs to be a deep dive into literature, recognition of a research problem and an original contribution to knowledge that is not about the artefact itself, but rather how it is a tool that can be deployed to gain traction under the frame and lens of this new knowledge, and the ontological scaffolding of the sock that is created through its construction and deployment to existing knowledge in the field of research. 62 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 my role as the dean of science was to uphold standards and champion the cause when all others have buckled under the impetus for rationalisation for workload reduction, or simply compromised in the spirit of innovation. i take this responsibility very seriously, and especially so in the case of the doctorate. these were firmly in mind as i considered this radically different approach to that which lies in my comfort zone. however, it is important to invert the frame and ask the question: how would one alter a creative phd thesis in the sciences to form a standard thesis? this question triggers the realisation that in a standard science phd thesis, the data set created by the investigation and the complex rationale of the interpretation of that data, along with the limitations to that interpretation imposed by the subtle nuances at the edges of the methodology, is in fact what forms the artefact. most engineering theses are designed around a physical object or a method for creating one, in mathematics a new theory or proof, in computer science a new language or algorithm that offers a new functionality proposed by the scholar would form the artefact. indeed, one could argue that most phds are in fact creative phds in disguise. it is merely the notion that the artefact is embedded within the standard thesis and is separated in the creative phd, the two modes are rendered equivalent. the scientific method is not compromised if the journey of artefact development as knowledge is gathered is captured in the exegesis. provided that the examiner of a creative phd can appreciate this perspective, they can still deploy their expertise to critically assess the scholar who is adopting it. the two modes of thesis therefore have the same requirements – the epistemological foundations and ontological scaffolding of new knowledge created remain as they always have. they are merely different in their methodologies and the international standards required theses at phd level is sound. additionally, the creative phd offers one distinct advantage. the explicit need to produce the artefact provides a point of focus and a mechanism for ensuring progress. in a standard science phd, the artefact typically appears through the act of discovery, of seeing new data and new interpretations appear as the investigation occurs. that is not to say that discovery is not a part of the creative phd. on the contrary, discovery is inherent in the recognition of all new knowledge, irrespective of the mode adopted. however, one could argue that the creative phd is easier to supervise as a result. the planning, processes, and machinations inherent in completing via the creative phd mode are slightly different due to the ordering of concepts, but it remains iterative in that the artefact and exegesis require development and adjustment in unison because they must form a cohesive pairing in order to make the compelling case that is required. when it comes to supervision, my attitude has always been that for the engaged supervisor, each hdr supervision is a learning journey too. this was 63 tara brabazon, narelle hunter, jamie quinton, the scientist, the artefact, and the exegesis: … especially so in narelle hunter’s phd. we summoned the supervision with great enthusiasm and found it to be a natural, organic process that was different to every other phd that i have supervised in the past. admittedly, that may have occurred because narelle chose non-obtrusive research methods that meant she had no need to go into any laboratory to conduct her investigations, although we did discuss data interpretation and the formation of models in the same way that i would in a standard lab-based phd. however, being an academic, narelle’s skillset set her up for success. she read widely and rapidly developed her expertise with forefront ideas and a deep understanding – she knew how to develop the foundations of her research which she did quite quickly. the role of advisor was rendered to that of a questioner that kept asking about perspectives both in the middle and at the edges of the frame of the research question as needed. in the formation of the artefact, supervision was again quite straightforward in that narelle created a suite of digital objects to deploy in classrooms that made students aware of the extent of their disciplinary literacy and more importantly, included them in the background thinking of their own educational development. with an awareness that each scholar needs to develop disciplinary multiliteracies, the responsibility is handed to the student to realise that the journey is more complex, but also more effective, if they see their own development as an important part of their learning journey rather than leave that responsibility with the teacher. that alone transforms students from passive learners who google everything into active learners who are crusaders for knowledge. for the exegesis, the key concepts required to ensure that a compelling case for world-class expertise is demonstrated are to ensure that the epistemological foundations are established, and relevant literature critically reviewed, thus leading to a research aim and a need for the generation of the artefact. the artefact is then introduced but its role in answering the research aim and knowledge creation and development are asserted, then linked with the research field. as a supervisor, all of my actions were focused on helping narelle achieve these objectives. overall, i cannot speak highly enough of the privilege and experience i obtained in supervising narelle’s phd candidature. the extent of commitment and support of her family, in combination with effective use of all time she dedicated to the tasks required to conduct and finalise the thesis were running at full speed. i think these elements, combined with narelle’s clear understanding of each element required and perhaps the efficiencies afforded by the artefact and non-obtrusive research methods led to the expediency of her candidature. narelle completed her phd in 24 months and submitted within 12 months of her confirmation of candidature review. that is not only incredibly impressive, but phenomenal and inspirational. 64 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 would i supervise another creative phd or recommend it to others? absolutely and without hesitation. comfort and confidence in being able to assist a student complete their phd via this underutilised, alternate mode is quite possible through understanding how it sits in the international phd space and can demonstrate the requirements of the phd award. narelle’s phd was a potent and powerful journey into science education. i look forward to the challenge of this mode of doctorate with a lab-based project at some point in the future. why would a student consider completing an artefact and exegesis thesis? (tara brabazon) narelle hunter and jamie quinton confirm the benefits in moving this mode of doctorate into the science-based disciplines. yet there is no doubt there are still concerns to address within the humanities-housed artefact and exegesis theses. considering the challenges, the problems, the worries, and effort required for an artefact and exegesis, why would any student – in any discipline – make this selection? firstly, and what is most intriguing and is the foundation for this current article, the traditional theses are starting to incorporate more elements from creative theses. as confirmed by narelle, she originally modelled her research in the traditional or standard form of 70,000-100,000 words. indeed, these traditional theses are now featuring multimodal attachments, and porous boundaries to the conventional written text. references and dissemination strategies are arching to podcasts and videos, asynchronous conference presentations, and posters. kevin tavin, gila kolband jusso tervo confirmed the scale of this transformation, with their 2021 book, post-digital, post-internet art and education: the future of all-over. they confirmed the importance of convergence and positionality of the research and the researcher. this convergence is (at least) two decades in the making. hypertext was incredibly important for research – structurally and metaphorically for two decades, enabling research accountability. hypertext shows how simple and powerful it is for ideas to arch beyond our universities. our references – just like our ideas are not positioned on a shelf in a university library. they move and with open access imperatives in place can contribute to citizenship. positionality – of the researcher and the research – is crucial to this mode of thesis. that positioning allows researchers to express doubt, alongside the historical and theoretical legacies, barriers and inconsistencies that frame our work. positionality also allows us as researchers to be honest, confirming what our research can achieve, and what it cannot achieve. the best of doctorates state – clearly – what is integral to the thesis, and what sections, topics and tropes are not part of the thesis. these statements must also be tempered by what nick srnicek described as “platform 65 tara brabazon, narelle hunter, jamie quinton, the scientist, the artefact, and the exegesis: … capitalism” (2016). the proliferation of platforms for conveying sound and vision has meant that meaning is not the issue. interpretation and analysis are key. the phd has an andragogical imperative. researchers can summon the legacy of past researchers and reorganize and revision it for the next generation. these skills and abilities must not be under-estimated. the key skills for the post pandemic phd involve how to manage fear, how to manage uncertainty, and how to manage disruption. standpoint theory confirms that we are what we see. we are also what we do not see. we know what we know. we rarely know what we do not know. disciplinary gatekeepers only increase our ignorance, our capacity to not know what we do not know. moving beyond the ‘business as usual’ phd (tara brabazon) all research is culturally situated, summoning originality into being. as i write these words and this article is published, i have just resigned from my term as dean of graduate research at flinders university. my priority through my term was to ensure that the student was not ‘blamed’ for their ‘failure.’ attrition must not be individualized. that individualization of student blame needs to change. today. this ‘individual problem’ of attrition has seen up to 50% of those who start a doctoral programme withdrawing from their degree (lovitts, 2001). lovitts describes attrition as “the invisible problem” (2001, 1). the students that leave universities are wiped from our institutional stories, but these attrition rates are higher for women, citizens with disabilities and students of colour. the completers and non-completers have been shown to be equally able intellectually (lovitts, 2001, 6). therefore, the reason for attrition is not the selection of candidates, but the shape and structure of graduate programmes. in moving beyond personal responsibilities and blame, a different future form the doctorate can be summoned. the creative researcher aligns the knowing and the knower, values and the valuer. work such as presented in this article ensures that doctoral studies and the scholarship of supervision (sos) are part of the suite of higher education studies and the scholarship of teaching and learning (sotl). daniel saunders, ethan kolek, elizabeth williams, and ryan wells argued that too much of higher education studies is dominated by “functionalist approaches” (2016, 1), using quantitative methods and survey data. quantitative methods enable particular neoliberal decision making. knowledge creation is political, and doctoral studies, as terminal degree education, is saturated in the quantitative mantras of job-ready graduates and graduate skills. neave described this, “entrepreneurial utilitarianism” (2013). while the focus remains on employment and employability, the risks of un/employment are unevenly distributed. as adsit, doe, allison, maggio and maisto stated, “precariarity is unevenly distributed in today’s corporate university” 66 ijcas-vol.9 no.1, june 2022 p-issn 2339-191x | e-issn 2406-9760 (2015, 21). therefore, the injustices of the past – where the supervisor and student relationships festered with inequalities, disempowerment, and exploitation – has been extended. now, supervisors cannot protect their students, as even the tenured academic must suffer and/or manage waves of restructuring. the profound issues with the senior leadership of higher education – particularly with regard to the disconnection from teaching and research (brabazon 2021a) – ensure that the higher degree programme is marginalized or invisible when institutional restructures emerge. doctoral programmes are rarely profitable. in the current australian model – enabled through the research training program legislation – governments fund universities for student completions, not student load. therefore, the capacity to complete a phd student, for a supervisor, is the valued key performance indicator. yet this imperative to completion is undermined by the waves of restructures that have rendered supervisors redundant. therefore, one of the characteristics of the neoliberal university is irrationality (brabazon, 2016): removing the senior academics that can supervise students to completion. the characteristic of students that finish their theses is a continuity of supervision. a stable labour force enables student completion. yet a stable labour force also maintains a wage bill. therefore, in the determination of a university budget, higher degree students become a minor inconvenience, a liability, that is lost through waves of restructure, and rendered invisible by attrition. this article is situated and saturated in a tough time for international higher education, university work, learning and life. yet the solutions offered are not popular. they are not carolled by gatekeepers or journal editors. in claustropolitan times (brabazon 2021b), the capacity to explore, to experiment and to stretch in our universities are being lost. yet the artefact and exegesis phd expands the options for teaching, learning and doctoral supervision beyond disciplines, and beyond the accustomed parameters of knowledge. references acker, s. and haque, e. 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(2021). post-digital, post-internet art and education: the future of all-over. cham: springer. velardo, s. and elliott, s., (2021). the emotional wellbeing of doctoral students conducting qualitative research with vulnerable populations. the qualitative report. 26(5): 1522-1545 williams, r. (1976). keywords. london: croom helm. wilson, j. (2018). artists in the university: positioning artistic research in higher education. singapore: springer. 85 volume 9 nomor 2, december 2022 p-issn 2339-191x | e-issn 2406-9760 p 85 – 104 an iconographic study of sultan mohammad naqash's painting called "masti lahouti nasutii" seyed mohammad taheri qomi phd in comparative and analytical history of islamic art, iran, tehran, university of tehran, fine arts campus employment institute: isfahan university of the arts address: isfahan, shahid keshvari complex, bustan boulevard, bustan 5, naz 4 complex, unit 83. phone and fax: 031-31318551; contact number: 09123514710 e-mail: mehromah2006@gmail.com abstract the painting called “lahouti (divine) and nassotti (worldly) intoxication”, has been drawn on a page in divan hafez by sam mirza, whose painter was sultan mohammad naqash, a tabriz safavid school painter, who is regarded as one of the shining examples of pictorial icons for the creation of a mystical, symbolic, and theatrical atmosphere as well as visual attractions. the present study is a theoretical one and has been conducted through a descriptive-analytical method, analyzing the iconography used in the above-mentioned painting by collecting images and information using the library method. by utilizing a historical and semantic approach to hafiz's poetry as well as the artistic style of sultan mohammad, this study aims at decrypting the mystical and narrative concepts in this painting. the main research question raised here is: "what are the philosophical, mystical, lyrical and mythological concepts behind the relationship between icons and the visual atmosphere dominating the image?" review of literature was conducted on hafez's life as well as semantics and stylistics used in his odes as well as the history of the turkmen and tabriz safavid painting schools and the style of sultan mohammad naqash, recorded in articles and books by iranian and foreign authors. the above-mentioned resources were studied, and it was concluded that sultan mohammad’s exaggerated, and humorous style matches hafiz's quick-witted outlook and it is appropriate to divide the painting into three distinctive parts from top to bottom and consider the appropriate icons for each of the sections through a mystical and separating perspective as nassott, malakut and lahout. keywords: icon, iconology, painting, sultan mohammad, divan hafez kajian ikonografi lukisan sultan muhammad naqash berjudul "masti lahouti nasuti" abstrak lukisan yang berjudul “lahouti (divine) and nassotti (worldly) intoxication”, digambar pada sebuah halaman di divan hafez oleh sam mirza, di mana pelukisnya adalah sultan mohammad naqash, seorang pelukis sekolah tabriz safawi, yang dianggap sebagai salah satu contoh cemerlang ikon bergambar untuk penciptaan suasana mistis, simbolis dan teatrikal serta atraksi visual. penelitian ini bersifat teoretis dan dilakukan melalui metode deskriptif-analitik, menganalisis ikonografi yang digunakan dalam lukisan tersebut dengan mengumpulkan gambar dan informasi menggunakan metode kepustakaan. dengan memanfaatkan pendekatan historis dan semantik pada puisi-puisi hafez serta gaya artistik sultan mohammad, kajian ini bertujuan untuk mendekripsi konsep mistik dan naratif pada lukisan. pertanyaan penelitian utama yang diangkat yaitu: "apa konsep filosofis, mistis, liris, dan 86 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 mitologis dibalik hubungan antara ikon dan suasana visual yang mendominasi gambar?" tinjauan literatur dilakukan pada kehidupan hafez serta semantik dan gaya yang digunakan dalam syairnya serta sejarah sekolah lukisan safawi turkmenistan dan tabriz dan gaya sultan mohammad naqash, yang dicatat dalam artikel dan buku oleh penulis iran dan asing. melalui sumber yang didapat maka disimpulkan bahwa gaya sultan mohammad yang berlebihan dan humoris cocok dengan pandangan hafez yang cerdas dan pantas untuk membagi lukisan menjadi tiga bagian yang berbeda dari atas ke bawah dan mempertimbangkan ikon yang sesuai untuk masing-masing bagian melalui perspektif mistis dan terpisah sebagai nassott, malakut dan lahout. kata kunci: ikon, ikonologi, lukisan, sultan mohammad, divan hafez introduction the theoretical sciences which are concerned with the visual arts are increasingly growing in the present era due to historical achievements, ranging from renaissance scientific studies to a wide range of philosophical and aesthetic theories, which have expended from the enlightenment era embracing various theses, antitheses, and syntheses. in the meantime, interdisciplinary studies, as well as theories that have eliminated the lines between the theoretical foundations of art and believe in unity among them, are more welcomed than any other method among artists, and people who study and are art-lovers. among these studies is the science of iconography, which is the outcome of the accomplishments of art historians, mythologists, and semioticians, and has, in a way, made the interpretation and understanding of works of art easier and more scientifically based on the historical and cultural context of the time of the creation of the work. taking into consideration the cultural, social, historical, and artistic backgrounds of the time and place of the creation of artworks leads this interpretive approach towards an objective method and even goes beyond the subjective intentions of the artist. iconology is currently considered as an effective instrument to explain and interpret iranian paintings as a reliable method of decoding and perceiving the paintings. it also offers a way to examine and interpret the iconography of these works, utilizing the rich literature and extremely meaningful iranian literature that has been referred to in many noble works of this country, it paves the way for the semantic analysis and decoding of literary works related to the themes of the paintings. the present study revolves around a painting called “lahouti (divine) and nassotti (worldly) intoxication”, which was drawn on a page in divan hafez by sam mirzaii, whose painter was sultan mohammad naqash. this painting was depicted during the monarchy of shah tahmasb safavid in the 10th century ah. considering the unique way, it uses to visually interpret hafiz's ode, it is a precious painting, worthy of being investigated. the way the hidden meaning in the ode is illustrated in the painting by using the iconography and images and symbols related 87 seyed mohammad taheri qomi, an iconographic study of sultan mohammad naqash's painting … to the characters' moods led the author to search for an answer to the following fundamental question: "what are the philosophical, mystical, lyrical and mythological concepts behind the relationship between icons and the visual atmosphere dominating the image?" research methodology the present study is a theoretical one and has been conducted through a descriptive-analytic methodology using library resources. this study aims at finding a pattern and system of relations between the themes and concepts embedded in the painting and it tries to assess how the poet influenced the painter qualitatively and quantitatively. review of the literature in his paper, "iconography and iconology: an introduction to the study of renaissance art," erwin panofsky (2009) proposed and introduced the iconological studies of works related to the field of visual arts as a scientific method. in the preface of his essay, he defines iconology as a branch of art history and deals with the content and meaning of artwork as a counterpoint to form. marzieh piravi vanak (2010), in a study called semantic analysis of the term ‘icon’ looks at the etymology and terminology of the term “icon” and investigates its application in art history, and then points to the contextual relationship between icon and images and symbols. in “an introduction to iconology”, nahid abdi (2012) looks at the origins of iconography during history and ervin panofsky's theory, and has introduced its three stages, expanding the application of iconology in describing and explaining iranian painting works. also other scholars, such as mahyar asadi and hassan balkhari (2014) in their article called "feasibility of using iconology in interpreting abstract artworks", bahar mokhtarian (2014) in her article called "the tiger of expression and anahita jami buri ", marzieh alipour (2015) in the "iconographic visual effects in supplicating to imam reza (as) in painting", and sernaz parishanzadeh, abolghasem dadvar and maryam hosseini (2016) in "analyzing the themes of the world's myths" each tried to use panofsky's proposed method to expand the methodology of semiotic studies through various explanatory and interpretive approaches based on historical evidence. considering the fact that this branch of theoretical studies is quite new in the field of visual arts in iran, as well as its various potentials in interpreting iranian paintings, the present study deals with the two-way relationship between content and form by looking into the imaginative view of iran’s literature and its mysticism and its relationship with the symbolism which is manifested in the images displayed in the noble iranian painting and it also investigates the way we can perceive the contextual meanings through analyzing images. original iranian painting deals with 88 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 the two-way relationship between content and form in one of the leading paintings in iranian painting history and examines how perceptions of text meanings are understood through icons. lyrical and narrative characteristics of hafiz's odes hafez is one of the highly respected poets among the grand figures of iranian literature. the characteristic that distinguishes him from others, especially in terms of odes, has earned him a worldwide reputation and has made it possible for most of the people from the past to the present to understand his poems. perhaps among the iranian poets, hafiz has benefited most from the works of his predecessors, such as khaqani, attar, sana'i, sa'adi, nizami, and his master, kamaluddin ismail esfahani. these characteristics of different poets and artists have turned hafiz into a distinguished poet. in a systematic classification, bahauddin khorramshahi points out hafiz's privileges over other literary figures: his creation of heroes, his quick wittedness, his virtues and cultural status, his mysticism and ethics, thoughtfulness and philosophy, his ability to create social reforms, his power of speech and craftsmanship, his revolutionizing of odes, his musical approach, the interpretability of his poems, sense of humor and the joyfulness, and his thematicism combined with the semanticism (khorramshahi, 1993: 25-24). each of these traits alone is sufficient to evaluate a prominent poet. what if they all came together in one artist and made him the one, we know today as shamsuddin mohammad hafez shirazi, one of the most accomplished poets in iranian and world history. but among these features, those who are most influential on the subject of the present study, and can be interpreted and applied in the field of art, are: his creation of heroes and myths, his quick-wittedness, his mysticism, and philosophy the interpretability of his poems, sense of humor and the joyfulness, his attention to thematicism combined with the semanticism. hafiz is a myth-creator who, unlike other poets, who create myths based on an external reality or a priori legacy, create exemplary and abstract myths. as khorramshahi points out, exemplary beings such as: pir-e-moghan (a combination of pir-e-tarighat and pir-emey), deir moghan (a combination of khaneqah and kharabat), mey (combining three literary, mystical and physical forms of wine), rend; the combination of the complete sufi man and the beggar), the master, winebearer, the sufi, the monastery, the mosque, the bar, and other concepts used in his poetry are all mythological aspects. the immortal view of hafiz and the examples mentioned above always make his poetry everlasting and places. hafez's quickwitted look is the result of these contradictory compositions created by him which, in addition to the mythological aspect, suggest his satire. he uses his quick-witted worldview as an antidote to hypocrisy and hopelessness and despair, using the 89 seyed mohammad taheri qomi, an iconographic study of sultan mohammad naqash's painting … compositions he makes with the word "rend", he makes the reader avoid having a superficial review and asks him to have a critical view of acceptable approaches in the society. the mystical view of hafiz is also unique and does not conform to the principles of khaneqah’s mysticism but is critical of it, believing that the sufi tradition opens the way for hypocrisy. therefore, relying on his own myths, he adopts his own mystical style. on the other hand, hafiz follows a wise path based on literary existentialism, and deals with the meaning and depth of philosophy of life in the poetry of his poems. his ability to create such imaginary settings provides the painters with valuable opportunities to depict pictures based on the meaning hidden inside the forms after having completely pictured them in his mind. in general, hafiz’s poems are both about heaven and earth. therefore, they play an important role in reflecting different worlds and explaining the influence of divine world over the material and physical one. that is why his poems create a wonderful opportunity for the artists because they create imaginary settings which are sometimes abstract, and all created by combining real and unreal imagination. in iranian painting history, presumably several versions of the hafiz divan have been illustrated by various painters in various periods, the most prominent of which is the hafiz divan by sam mirza's in early safavid era, which will be discussed in the following. introducing the painting the present painting is a portrait of hafiz’s book of poems by sam mirza, belonging to the collection of louis cartier, illustrated in tabriz around 934 ah, by sultan mohammad naqash. this painting, in addition to a full representation of the tabriz safavid style of painting, illustrates in a good way the aesthetic value of the paintings of sultan mohammad. paying attention to human feelings and moods and reflecting their dramatic aspects as a vehicle for conveying the mystical and quick-witted outlook of hafez as the main theme of the painting is quite interesting. also, sultan mohammed’s sense of humor corresponds to hafiz's intended quickwittedness. the notion of "wine and drunkenness” inspired by hafiz's dual view of worldly and wine drunkenness, as well as the mystical and allegorical drunkenness, can be seen in the upper and lower parts of the work. "basil gray views this drunkenness as a sufi masterpiece, and the painting is an allegory. but others have described it as just a completely funny scene with a sympathetic and compassionate view of the "victory of bacchus (god of wine)" (rahnavard, 2013: 135) (figure 1). a more detailed description of the painting will be given in the iconographic analysis section of the work. 90 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 a semantic explanation of the ode related to the painting taking into consideration the poem written on the top of the painting (the angel of mercy (the perfect murshid) took the cup of delight (ma'rifat); (and) from the dregs, on the face of hur and of pari {seekers of god), rosewater, dashed.), as well as by investigating the overall meaning of the ode, which will help the researcher to be able to infer the meaning of the icons in the picture, we will read the verses of this ode and investigate it briefly. the door (threshold) of the magians' house was swept and water-sprinkled: (at the door) the pir sat, and too old and too young, salutation gave. in his service, the cup-lifters (topers) all loinsgirt. but, with the cap-crown, the canopy above the cloud was fixed. the splendour of the cup and the goblet (holy travellers, possessed of excellence) concealed the light of the moon (the qualities of the young magians, sakis of the tavern); the path of the young magians to the sun (the splendour of the glory of unity) the cheeks (of the holy travellers, possessed of excellence, joined with the qualities of god), waylaid. from the grace and the strife (in state of restlessness) of the sakis (the seekers possessed of excellence) sweet of work, sugar broke asunder; (its petals), the lily shed; (its cords), the harp snapped. in that chamber of privacy, notwithstanding all her graces, the bride of fortune; and, on the tress of (dark, fragrant) musk, musk shed. figure 1. masti lahouti and nassotti, 931 ah, divan hafiz by sam mirza, louis cartier collection, harvard university source: kevorkian & sicre, 2012: 103 91 seyed mohammad taheri qomi, an iconographic study of sultan mohammad naqash's painting … the angel of mercy (the perfect murshid) took the cup of delight (ma'rifat). (and) from the dregs, on the face of hur and of pari {seekers of god), rose water, dashed. (to the bride of fortune), salutation, i made; and, with laughing face, she spake: saying: " o sufferer of wine-sickness, poor, wine stricken! holy travellers possessed of perfection. the agent to " waylaid " is " cheeks." . in the magians' splendid dwelling, even the radiant bride of fortune renewed the dark indigo on her eye-brow; and the fragrant musk on her hair. she renewed her graces. saying :-o certain one, who art possessed of such qualities! who hath made thee so miserable and despicable, that, out from the corner of the house, thou hast gone; and on ruin pitched thy tent? " who doeth this that thou, with weak judgment and reason, hast done? " from the treasure (wine-) house, thou hast gone; and thy tent on the waste hast pitched. " thee, union with wakeful fortune, i fear that they (fate and destiny) will not give; " for thou art asleep in the embrace of fortune, sleep stricken/' the sky is the led-horse leader of king nasratu-d-din; come; his hand in his stirrup, behold the angel hath fixed. so that, perchance, the shoe of his steed it may be, the new (slender, crescent) moon, from the vault of the ninth heaven, a hundred kisses on his ground cast. for the sake of gaining honour, wisdom, that is inspired of the hidden, from the vault of the ninth heaven, a hundred kisses on his majesty cast. hafiz! to the winehouse, come that to thee, i may present of those whose prayers are answered a hundred ranks arrayed describing the mood dominating this ode of hafiz, muhammad estelami writes: “the imaginative picture of the mystics and quick-witted before pir moghan is one of the most amazing paintings created by hafiz in which two quite different moods are intermingled (este’lami, 2003: 1088). irrespective of the interpretation and explanation of each line in the ode which cannot be done in this article, we focus on elaborating some of the key words which are of overriding importance in inferring the general meaning of the ode. • saraye moghan: also called deir moghan which, in the eye of hafiz, is a combination of a pub and monetary and a worship place which generally refers to as symbolic pub. 92 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 • pir moghan: which, for hafiz, refers to the perfect master and a shining example of perfection of human beings (este’lami, 2003: 1098), a master who helps him understand the truth and, in this ode, he is sitting at the top of the gathering and calls the free, either young or old, to the feast. based on the meaning of this verse, pir moghan is so highly respected that all the wine bearers and the drunks are ready to serve him and the splendor of the cup and the goblet (holy travelers, possessed of ex cellence) concealed the light of the moon, indicating his grandeur and his spiritual significance. • shoa’ jam: it is defined as light and the indescribable spirituality of the wine cup whose ray has covered and hidden the moon. moghbachegan: is one of the terms highly used by hafiz. after islam became the wide disparate religion wrong, the zoroastrians, jews and christians oversaw making and distributing wine and terms such as “mogh bache” and tarsa bache” were used by hafiz to talk about the young who served wine in the pub este’lami (2003: 1089). however, as it was mentioned earlier, the mythical intended meanings of hafiz do not only cover characters appearances or their real personality but also, they include spiritual and divine meanings. moghbachegan has been used to describe a group of people whose responsibility was to cheer the crowd up and increase their spirituality by serving them wine. kasmeh: it refers to a piece of hair which is shaped in the form of a curve placed on the face which is also called picheh (khorramshahi, 1993: 1040). aroos bakht: it is a metaphor for the fortune accompanying pir moghan and all the mystics in the feast. also, hejleh refers to the house of moghan which was mentioned earlier in the beginning of the ode. fereshteye rahmat: (angel of mercy) which is defined as the compassion and mercy god has over the spiritual and drunken feast of the mystics in the house of moghan which is in charge of bringing down the mercy of god to this house and the angels themselves are enjoying their time at the feast by a spiritual drinking and are splashing rosewater on the faces of beautiful women and fairies. shahid: it has been defined as a symbol of beautiful creatures indicating the beauty of creation and they tried to cheer the crowd up by performing pleasant dances, courting, distributing sweets, pouring down flowers and playing musical instruments. ganjkhaneh: it refers to a special world which is open to wise mystics and none of the worldly drunks can enter it and as it has been pointed out in this ode, pir moghan reprimands for not having been allowed to enter this place because of his weak willpower and poor thinking and still being a worldly drunken. in the next verse, he invites hafiz to the spiritual pub to show him a line of answered prayers. here, the poet has tried to criticize materialism and asks the reader to travel into the spiritual, pure and honest world of drunkenness because of the unity wine. 93 seyed mohammad taheri qomi, an iconographic study of sultan mohammad naqash's painting … it seems that the two last verses have been added later to the ode and perhaps they have been composed to pleased shah yahyaiii (see khramshahi, 2003: 1141). speaking generally, it can be concluded that in this ode hafiz seeks to describe a drunken and a spiritual feast which is held in the house of moghan and led by the grand master described as pir moghan inviting them to experience real passion and the spiritual drunkenness to worship god and on the other hand there are some angels of mercy bringing down god’s compassion to the feast and there are also beautiful ladies and wine-bearers who have added to the excitement of the feast. even the worldly drunks all present at the feast at a lower level, but pir moghan reproaches them by asking them to struggle harder so that they can enjoy the wine of unity in the upper levels of divine love. investigating the iconology of the painting a. a formalistic description of the visual icons the painting under study is composed of three parts or areas in terms of composition. the dividing factor of these three areas is the architectural and construction space, which is referred to as deir moghan and is divided into sections: the exterior area (lower part of the picture), the interior area (middle part of the picture) and roof (upper part of the picture). in each of these three sections, a group of figures is depicted, which, considering the different space, moods, and gestures, have taken different forms. in general, we can divide the groups of figures into the following categories according to the layout: 1. exterior and lower figures of the painting: musicians, dancers, quirky humanlike creatures, drunk figures, and wine bearers. 2. interior and middle figures: beautiful ladies, sommelier, the lying master (pir moghan) 3. figures on the roof of the building and the top of the painting: angels due to the bottom-up composition of the image, it seems that from the lower part to the upper part of the work, the diversity and the number of the figure groups has decreased. it is also important to note that the lower part of the painting is depicted with more variety in terms of exaggeration and deformation than in the upper part. figure 2 shows some examples of the exaggerated and caricaturized approach of the painter towards displaying the figures in the lower part of the painting. in addition to being depicted exaggeratedly in terms of the head and body ratio, these figures are much more diverse than their neighboring ones. the gestures of the dancers in the form of sufi hanging sleeves which are drawn to the bottom left of the image depict a pleasant scene. in the upper section, there is a group of musicians, which, according to the activity they perform, are divided into the figures of robabiv player, a drummer, and a flute player. among them, there are three figures resembling 94 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 figure 4. comparison between demons drawings by mohammad siah qalam (right) (source: kevorkian & sicre, 2012: 29) and sultan mohammad (in the picture tahmours kills the demons, shahnameh by shah tahmasbi) (left) (source: ajand, 2005: 152). demons or demonic creatures (figure 3), which differ in terms of both the anatomy of the face and the outfits they are wearing. however, like other works of sultan mohammad in shahnameh tahmasebi and even earlier works, which tried to represent the deev (in the literal sense of monsters), they have neither horns nor tails and are more similar to human anatomy. here, the artist seems to have intended a humorous portrayal of human beings in a mundane condition, and this has been achieved by exaggeration in the form and appearance of these characters' faces and their outfits depicting a degrading status of human beings which is somehow closer to those of the animals. figure 4 shows a comparison between these creatures and the demons depicted by sultan muhammad, as well as the demons by muhammad siah qalam, which in turn illustrates the profound differences between these figures and the demons in the structural and anatomical form. figure 2. figure 3. part of masti lahouti and nassotti source: kevorkian & sicre 95 seyed mohammad taheri qomi, an iconographic study of sultan mohammad naqash's painting … figure 5. part of masti lahouti and nassotti painting figure 6. part of masti lahouti and nassotti painting figure 7. part of masti lahouti and nassotti painting figure 8. part of masti lahouti and nassotti painting in the lower right of the picture, two sleeping figures are shown, one in a sitting position and the other lying on the ground and asleep (figure 5). but just above them, there are two figures of musicians (one is playing flute and the other one is playing the drum) and there are two other figures one of which is kissing the other on the foot and the other is holding a glass of wine and moving his forward to be kissed. his cheerful facial expression is a reflection of his indescribable joy and the power of music on him. 96 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 on the porch of the building, which is still considered as the part of the exterior area, the movements and vitality of the figures are fewer. but the exaggeration in size as well as the anatomy and proportions of the bodies can still be observed. in this section, the two figures on the right side of the painting are drinking, and beside them is another one performing a sufi dance similar to the one performed by the figures in the lower part of the painting, while a cupbearer is offering him a glass of wine. the surprised look of the cupbearer as well as the caricaturist exaggeration used in drawing this figure are among the interesting points to note in this part of the painting. (figure 6) on the left side of the picture, a drunken figure stumbles out of the doorway into the building, while a goodlooking cupbearer grabs his arm and helps him out. in the upper left-hand corner of the painting, there are also two drunk figures, who appear to be responsible for the transfer of wine sticks from the upper balcony of the building (figure 7). the inscription on the entrance hall of the building also bears the signature of sultan mohammed which says, "by sultan mohammed" (figure 8). in the middle area of the building, which actually represents the interior, there are three groups of figures. the lower two figures show a sheikh, who is giving a book to a good-looking young man beside the wine containers while he is holding a glass in his other hand (figure 10). in the upper part of the painting, a lying old man is seen boys sitting in his own special place, holding a book under is a glass of wine in front of him (figure 9). figure 9. figure 10. part of masti lahouti and nassotti source: kevorkian & sicre 97 seyed mohammad taheri qomi, an iconographic study of sultan mohammad naqash's painting … this state of affairs has given this figure a state of calmness, wisdom and contemplation. on the left and on the balcony of the building, two figures can be seen, one giving a cup of wine to another, and the other near them has a canopy over his head and has tied a wine container with a string, sending it down. and finally, on the highest part of the painting, a group of angels with crowns on their heads, and luxurious, imprinted, colorful clothes are seen drinking. at the far end of the painting, the calligraphic inscription, which depicts one of the verses of the ode related to the image, refers to the presence of angels and somehow places more emphasis on the high positions of the angels than other parts of the painting (figure 11). the composition atmosphere of the work is enclosed with the frame line and, unlike many of his contemporary paintings, it is not related to the surrounding margins (figure l2). figure 11. part of masti lahouti and nassotti painting figure l2. comparison between sultan mohammad's "masti lahouti and nassotti" (right) and mir mosawer’s "zahak’s nightmare" by shah tahmasbi's shahnameh (left). source: kevorkian & sicre, 2012: 107 98 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 another important point in this section is the presence of a variety of hats or caps on the figures of the paintings. some of them are wearing a turban and a araghchin, and some others are wearing a cape, and the group of angels are wearing a crown, and one of the supernatural triple figures in the lower left of the image also has a cone-shaped cap; these hats and handkerchiefs have been instrumental in creating a symbolic image of a particular community. in terms of color composition, cool colors are also dominant in the image, and a wide variety of blue, turquoise, and blue-violet colors are applied. of course, to balance the color, the painter has tried to use colors such as red, yellow, and gold. here we have a gentle and subtle color composition that displays a relaxing harmony despite the use of relatively varied colors. b. analyzing iconographic of the symbolic and semantic implications of the painting and the ode the distinctive, yet connected, aspects of all three areas or essential parts of the "lahuti and nassuti drunkenness" painting have some symbolic reference to the world of nassout (earth) malakut (heaven), and the world of jabraut (world of truth and a spirituality). as the viewer looks at the painting bottom to top, investigating the varied forms on the exterior of the building and the lower part of the composition, up to the middle and finally the upper part of the building, which is home to the angels, is somehow the artist's spiritual journey and consequently, it requires the viewer to ultimately consider the unity despite the variety and divisions. on the ground floor and in the lower part of the picture, the cartoonish exaggerated display of characters depicts a reproaching feeling of weakness in willpower and lack of reasoning that is discussed in hafiz's poetry: i said hello to the wine mugger and laughed at me. the tents have been torn down by the treasure chest so that you can do it poorly. here, with the interpretation of hafiz's interpretation, which speaks of pir moghan's embarrassing word as an exemplar of the underworld and munitions of grapevines, the faces and figures belonging to this class and area are necessarily from the visual aspect must also be painted in a way that symbolizes the evil of thought and impurity and impurity; therefore, the figures with inhumane composition to the body or even to the awe of creatures not quite like human beings, but in between human and demon (or human and animal) are depicted. the reference to the role of dormant figures is also derived from the poet's words in this verse: (to the bride of fortune), salutation, i made; and, with laughing face, she spake: saying: "o sufferer of wine-sickness, poor, wine stricken! 99 seyed mohammad taheri qomi, an iconographic study of sultan mohammad naqash's painting … saying: o certain one, who art possessed of such qualities! who hath made thee so miserable and despicable, that, out from the corner of the house, thou hast gone; and on ruin pitched thy tent? in this part of the painting, by applying hafiz’s wordings, who speaks of the scathing remarks of the pir moghan regarding his worldly drunkenness or others who are miserable and wine-stricken individuals, the figures in this area had to be painted as symbols of wrong choices and impurity of thought. that is why most of the figures lack the right proportion in their bodies and heads and in some cases, they have been depicted as human-like creatures (human and beast). the painter also has tried to illustrate the concept of “lying figures” in the statements of the poet: "thee, union with wakeful fortune, i fear that they (fate and destiny) will not give; "for thou art asleep in the embrace of fortune, sleep stricken/' despite all the benefits for a healthy life, sleeping and resting is considered as ignorance in islamic teachings which might make a person lose divine opportunities and blessings. in bahar-al-anwar, the holy prophet of islam (pbuh) has been quoted as saying: “the people of the world are asleep, and they wake up when they die.” (majlesi, vol. 4 :43). based on this narration the holy prophet of islam believes that people are sleeping their whole lives in a state of ignorance, and it is death that can reveal the truth before their eyes and hafiz himself believe that being awake in the middle of the night or at the dawn was one of the ways to enjoy divine blessings, for instance, he writes: at dawn, i was rescued from all the sorrows in the dark of the night, i was given the water of life now if you look at the painting and most of specifically at the sleeping figures in this lively feast, we can truly understand the symbolic concept intended by the creator of this work in depicting the ignorant who are wasting their lives and losing the opportunities to enjoy heavenly blessings which is defined as a spiritual and love wine. another important thing that should be mentioned about the musical instruments in the hands of the musicians illustrated in this painting is that the painter has used both the poem and their meanings in islamic mysticism and rituals. the musical instrument called “rabab” which is a lute like instrument (with bow and strings) is in the hand of the central figure in the lower part of the painting (figure 13) and has been inspired by the poem: for all the cheering and shouting of the beautiful all the wine cups broken, wine spilled, and rabab playing 100 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 figure 13. part of masti lahouti and nassotti painting figure 14. the evolution of rabab instrument source: azarsina, 2001: 25 amid persian dictionary defines “rabab” as one of the musical instruments resembling tar with a smaller bowl which had two strings in its original form, and it was played while robbing the bow on the strings. also, dehkhoda dictionary defines rabab as: "-one of the musical instruments whose other name is tanbour. (nizam dictionary) instrument to be played (aqrab al-mavared) -one of the musical instruments which is played using strings (taj al-arus) in the book of moarabat, rabab has been defined as rawadeh meaning a sad song, and rawad refers to a saddening song and it is like a large string with a short stick and instead of a board, a piece of the skin is used to cover it and it has four strings. " (dehkhoda, 1982: 148) also mehdi azarsina, the author of the book "how to play a fiddle” defines rabab in this way: "rabab has been used as an old instrument in iran, and instead of wood a piece of skin is used as a board on the bowl and because of other things that it has in common with a fiddle, such as the handle’s position and bar beneath the bowl and the use of a bow to play the instrument, it is presumably the original form of the bow. ” (azarsina, 1992: 23). in figure 14, an example of rabab instrument is given which is quite like a fiddle. other instruments such as a flute and a drum are also included in this section, of course they are not mentioned in the text of the poem, but regarding the semantic and symbolic compatibility with the mystical atmosphere of the painting, they were illustrated by the painter. the figure 101 seyed mohammad taheri qomi, an iconographic study of sultan mohammad naqash's painting … kissing the foot of the player can be regarded as a symbol of worldliness, shortsightedness, and ignoring spiritual realities. the two figures on the left side of the painting, who are carrying wine containers and glasses are the servants serving the guests at the feast. here they receive the wine containers by a rope from the upper floors, which indicates that the main source of moghani's spiritual drunkenness is the high world, and it is the result of heavenly blessings, which quenches the thirst of the people at the feast. this somehow points to the celestial and divine origin of the spiritual drunkenness and its divine origin in the eye of hafiz: in the beginning of the time, the wine bearer of your lips gave me a glass about which i’m still baffled and drunkv it is noteworthy that in the middle of the painting the is a sheikh holding a glass of wine, who, with the other hand, is presenting a book to a young good-looking man, who is standing beside wine containers and bottles, and seems to be a guardian of the containers (figure 7). given the appearance of the man with the book, it is likely that the book is a symbol of rationality and wisdom, which the lower-class people have no access to and in its poetry, hafiz as describes pir moghan reproaching them. this possibility is reinforced by looking at the upper class in which the sheikh is lying with the book in his hands. but the sheikh is pictured, exchanging a book for a glass of wine. "in the middle of the painting, there is a man who seems to be hafiz himself, who has a book in his hand, possibly his own collection of poems, and is donating it to a young man for a wine cup" (azand, 1384: 123). of course, the body posture of the youngster indicates that he has a cup in his hand and dipped it in the container to get the wine out of it and pour it into the poet's cup to have the book. the eager look on his face implies his enthusiasm for the book. the lying old man, as emphasized by hafiz in his poem, and his significant position in the painting and its composition, must be pir moghan or the grand master. the door (threshold) of the magians' house was swept and watersprinkled: (at the door) the pir sat, and too old and too young, salutation gave. in his service, the cup-lifters (topers) all loinsgirt. but, with the cap-crown, the canopy above the cloud was fixed. the splendour of the cup and the goblet (holy travellers, possessed of excellence) concealed the light of the moon (the qualities of the young magians, sakis of the tavern). the old man who was described above is both holding a glass of wine and a book and is also the only figure in the composition of the painting who is alone, contemplating in a personal space. the angels of mercy who oversee bringing down 102 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 figure 15. the ascension of the prophet (pbuh) source: sultan mohammad, khamseh nezami figure 16. comparison of the crowns of angels in two paintings by tahmasebi, 950946 ah, british library, london. (top) and "lahouti and nassotti intoxication" (bottom) source: kevokian & sicre, 2012: 43 the blessings of god are also drinking and having fun in their own world above his head. as it was mentioned earlier, at the top of the painting there are some angels, who are depicted on the basis of the main verse of the painting, which is engraved on the painting and also on the inscription (figure 12). the angel of mercy (the perfect murshid) took the cup of delight (ma'rifat); (and) from the dregs, on the face of hur and of pari {seekers of god), rose-water, dashed. the crowns placed on the heads of the angels are intentionally similar to the crown of angels in painting on the ascension of prophet muhammad, painted by sultan muhammed belonging to tahmasbi's khamseh nezami (figure 15). figure 16, it is alleged that the crown was granted to them as a symbol of their divine position and their heavenly status, and also in this painting, the same symbolic concept has been used to depict the celestial and divine status of these holy messengers, as well as the varying quality of their drunkenness and intoxication. 103 seyed mohammad taheri qomi, an iconographic study of sultan mohammad naqash's painting … the final interpretation of the painting in sum, sultan mohammed, in his painting called “lahouti and nasuti drunkenness” has depicted different groups of human beings and various figures as well as applying the symbolic states and circumstances to each of them, and somehow he has attempted to imply some kind of separation and connection of the three levels of creation (nassut, heaven, and jebraut), but he considers all three areas to be the eternal light of the heaven and expresses his mystical understanding of hafiz's poetry. while utilizing common artistic traditions in the tabriz safavid school and borrowing from turkic figuration and spatialization, the painter, uses a language of humor and exaggeration in imagery to somehow attempt to characterize and reveal the intentions and true nature of the pained characters. having emphasized the transparency of the figures’ modes, their motions, habits and shapes and movements of the figures, he tries to reflect the realm of meaning, and reveal the masks human beings are wearing. to do so, he boldly depicted characters as strange and grotesque-like creatures. in sum, this style of portraying mystical and lyrical scenes, along with their biased emphasis on the sufi concepts, has become a form against traditionalism in iranian painting history, has taken the definition of this type of art far beyond symbolic and mythical art. conclusion sultan mohammad's "lahouti and nassotti drunkenness" is one of the few paintings in iran that itself is considered as a school. the seemingly contradictory approach that connects the belief in the former traditions of painting and, at the same time, the departure from some of the common styles and theories of time in any painting, has made this painting a unique work. of course, given the abstract and mystical theme that dominates the ode based on which the painting was depicted; the painter's work in depicting it also seems extremely demanding. however, the creation and placement of figures and spaces in the painting to imply the concepts stated in the poem, is what has made sultan muhammad an audacious and artist with his own style. at first glance, it may be difficult for the viewer to understand the individual roles and philosophies of their application and the quality of their presence in the painting and in its overall composition. but thanks to the application of iconography knowledge, decoding of the icons and the final interpretation of the work will be possible, depending on the audience's initial knowledge and understanding. the comparative and evasive view of paintings, texts, hadiths and other reference or parallel sources has a prominent role in the process and appears to be instrumental in the interpretation of the work. generally speaking, sultan mohammed, in his painting, emphasizes the mystical conduct in different levels of the world, and reflects hafiz's mystical and 104 ijcas-vol.9 no.2, december 2022 p-issn 2339-191x | e-issn 2406-9760 romantic vision in explaining the eternal and everlasting a spiritual drunkenness by the unity wine. he believes that everybody, depending on his spiritual level, can enjoy the blessings of heaven. by this painting, he passes on the advice of pir moghan expressed in the poems of hafiz asking all the creatures of the world to join the spiritual drunkenness in the divine feast after many centuries. references ajand, j. 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(2005). persin dictionary, by azizollah alizadeh and mahmoud nameni. tehran: namen. panofsky, e. (2009). iconography and iconology: an introduction to the study of renaissance art, in the art of art history, preziosi, d. (2nd ed.). new york: oxford university press inc. piravi vanak, m. (2010). semantic analysis of the term “icon.” journal of metaphysics, 3(11). rahnavard, z. (2013). iranian art history in the islamic period: painting. tehran: samt. i . divine and worldly intoxication ii . abul nasser sam mirza safavi (945 896 solar calender / 974 923 ah) is one of the descendants of king ismail i, an art lover who compiles tazkere sami, or sami commentary, on poetry and poets. in the field of calligraphy, his works are also remarkable. (bayani, 1363: 252 350) iii . nusratuddin shah yahya (744 795) is one of the rulers of the mozaffarian dynasty and shah shoja’s nephew. iv . an old instrument played by a bow. v. verse 47 of hafiz’s book of odes.