Art criticism in Press

Holland Cotter received a Pulitzer Prize in 2009 for the category of art criticism. He was rewarded $ 10,000. Editorial staff of The New York Times, since 1998, was chosen because of "extensive review of art, from Manhattan to China, with accurate observations, the luminous writing, and dramatic storytelling.


Pulitzer is a leading journalism awards in the United States. Prestigious award is announced every month of April at Columbia University. A year after Joseph Pulitzer (1847-1911) died stood Columbia School of Journalism was the digagasnya. The first Pulitzer Prize awarded in 1917 under the supervision of a board of trustees who have given the mandate.

Pulitzer figures of his day recognized as a newspaper publisher skilled and powerful fighter for a rotten government. "The influence of a powerful Pulitzer Prize in the realm of journalism, literature, music, and drama based on a visionary perspective," said Seymour Topping, professor emeritus at Columbia University.

What about the life of journalism, art criticism precisely (way) journalism, in Indonesia? What is the greatest benefit of art writing in our mass media?

Not all Indonesian mass media reportage provides space for art. Of those few, Suara Merdeka daily attention to the visual arts discourse was fairly decent. Paper writing down two types of fine art, reportage and essays ie. The first kind are written by the journalists themselves (section Entertainment & Arts), while the second was written by a critic or observer of art (rubric Ferris).

Although written by a critic or a special writer art, art essays, published in the mass media is nothing but a journalistic art criticism. Type of criticism is quite simple since no free newspapers which includes writing a long-winded. However, there are significant differences between reportage or essay that art. Reportage writing contains only the elements essential coverage. Art essay is more inclined to side with the full analytical and opinion writers.

Journalist cum critic

Reportage or journalistic art criticism is useful, among others, for a closer understanding of visual arts (including art exhibitions, for example) and the idea of artists on one side with the public on the other side. In his research, Mamannoor (Publisher Nuance: 2002) found that the writing or art information in multiple media quite useful in helping the public to appreciate works of art or activity (63.44%).

This Setakat textual language, in situations or special interests, replaced by symbols or visual code. Variety of language that picture is believed to be a vehicle or with modern people communicate with each other. Therefore, knowledge of kesenirupaan necessarily required by people in the world filled with "explosive picture" it. In the words of Susan Sontag (Picador: 1990), "Today everything exists to end in a photograph."

Meanwhile, universities have art departments (especially in Central Java) keep the meetings, intentional or not, the results of teaching or research. The public almost never witnessed the birth of thinkers, or art critic from the campus. Unfortunately the social field of art we are less mengakrabi tradition of art criticism is discursive.

Lowongnya critic or art writer, in some ways, it should be replaced by a journalist with a special interest in the topic kesenirupaan. In practice, the relevant perhaps much more control of the social field of art which became peliputannya area. Cotter figures deserve the name as a journalist cum critic. Cotter role, or a particular journalist art, as well as a preacher of information, others do not function well as an assessment agency. Of the public they are entrusted eye-ear to get the information and understanding of the "right" about kesenirupaan aspects. We understand, figures like this, on the way, will have the knowledge and integrity are increasingly tested.

As a writer of art, such as Cotter figure is likely to give birth perspective, critical method, or a new teorisasi. Eye-ear constantly honed by directly observing the art works and activities of scattering. This is precisely one of the advantages of a journalist rather than an art critic. In this position, Rukardi, Suara Merdeka daily reporter with special attention to the discourse of art, have an important role. With independence, he observed and reported practices of a city kesenirupaan (Semarang) is intense. As Cotter, Semarang journalists did its function as an art critic, too.

Barometer

The problem is, how important the study of art for the mass media itself and for society readers. To that must be understood that the element of creativity is the main pillar in the creation of any work of art. Therefore, by reporting on the arts in depth, particularly on kesenirupaan, the mass media contributes to the construct of the creative industries being promoted by the government. About this creative industry, creative workers cultural diversity of Indonesia with a great opportunity as a supplier of ideas or the creation of high-value sale. On the other hand, the mass media that cares for discourse or artistic praxis will reap the rewards as the cultured medium, not as a greedy machine on profit alone.

The reality on the mass media requires a class to educate and provide wider opportunities to cultivate jurnalisnya art discourse seriously. Probably will be the barometer reportasenya practice or mirror writing for a particular art praxis. Ultimately benefit society that received his greatest.

One thing is important, the mass media, especially daily Suara Merdeka as big old media in Central Java, have assisted the birth of a tradition of writing or art criticism is "right" and dignity. The goal for the social field of art to avoid tuna-reference situations which would plunge many parties in khaostik situation with the possibility of financial loss on a large scale. Specifically, the expected daily becoming more widely to prepare pages for coverage or the writing of art in general.

Public art we hope to read and learn from the writings of the luminous art, accurate, and dramatic as the work of Cotter. When will journalist Pulitzer prize-winning class was born from the womb of the daily Suara Merdeka? (Tubagus P. Svarajati)

[NOTE: This essay is sent to Suara Merdeka, Sunday, 17/05/2009. Essay not publish.]
Tubagus P. Svarajati, http://svarajati.blogspot.com/2009/05/kritik-seni-di-media-massa.html

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Indonesian Batik

Batik (or word Batik) comes from Javanese language "amba", meaning to write and "point". The word batik refers to fabric with patterns generated by the material "night" (wax) is applied to the fabric, so stop the entry of dye (dye), or in English "wax-resist dyeing".


Batik is a craft that has high artistic value and has become part of the culture of Indonesia (especially Java) for a long time. Javanese women in the past made their skills in batik for a living, so in the past, batik work is exclusively women's work until the invention of "Batik Cap" which allows the entry of men into the field. There are some exceptions to this phenomenon, namely that the coastal batik masculine lines as you can see in shades of "Mega Clouds", which in some coastal areas batik work is common for men.

Variety Batik style and color are influenced by various foreign influences. Initially, batik has a variety of shades and colors are limited, and some patterns may only be used by certain circles. However, coastal batik absorb various external influences, such as foreign traders and also in the end, the colonialists. Bright colors like red popularized by the Indonesians, who also popularized the style of the phoenix. European colonial nations are also taking interest in batik, and the result is a style of flowers that were not known (such as tulips) and the objects brought by the colonizers (the building or carriage), as well as favorite colors they like the color blue. Retain traditional batik coraknya, and is still used in traditional ceremonies, because usually each style has a representation of each.

Batik technique has been known for thousands of years ago. There is no historical information is quite clear about the origin of batik. Some suspect this technique comes from the Sumerian, then developed in Java after being taken by Indian traders. Currently batik can be found in many countries such as Indonesia, Malaysia, Thailand, India, Sri Lanka, and Iran. Besides in Asia, batik is also very popular in some countries in the continent of Africa. However, a very famous batik in the world is batik from Indonesia, mainly from Java.

Batik tradition was originally a hereditary tradition, so occasionally a recognizable motif batik originated from a particular family. Some batik motif can indicate the status of a person. Even today, some tadisional batik motif is only used by the family court of Yogyakarta and Surakarta.

Batik is the ancestral heritage of Indonesia (Java) that until now still exist. Batik is also first introduced to the world by President Suharto, who was then wearing a batik at the UN Conference.


History of Batik in Indonesia

History of batik in Indonesia are closely related with the development and spread of the Majapahit kingdom in the land of Islam Java. In some records, the development of batik is often committed in times of Mataram kingdom, then in the work of Solo and Yogyakarta.

So this batik art in Indonesia has been known since the time of Majapahit jobs and growing the kingdom and the subsequent kings. The start spreading this batik art belongs to the people of Indonesia and Java in particular tribe is after the end of the eighteenth century or early nineteenth century. Produced batik batik is all until the early twentieth century and printed batik is known only after the world war unity out or around the year 1920. The connection with the spread of Islamic teachings. Many areas in central Java is perbatikan areas Batik students and later became a tool of economic perjaungan by pedangan figures Muslims against the Dutch economy.

Art is the art of batik on fabric image for clothing that became one culture keluaga Indonesian kings of old. Batik initially done only in a limited course and outcome palace for the king and the family clothing and his followers. Because many of the followers of the king who lived outside the palace, the art of batik was taken by them out of court and be done in place of each.

Long batik art was imitated by the people nearest and further extends to the work of women in the household to fill his spare time. Furthermore, batik clothing was just a family court, then became a popular folk clothes, both women and men. White fabric that is used when it is woven themselves.

Materials were used consists dyes from native plants homemade Indonesia among others, from: mengkudu tree, tall, Soga, indigo, and flat materials made from soda ash, as well as salts made from mud.

Batik has become a culture in the kingdom Majahit, can be traced in the Mojokerto and Tulung Agung. Mojokerto is a region closely associated with the Majapahit kingdom during the first and the origin of the name have anything to do with Majokerto Majapahit. Relation to the development of original batik developed in Tulung Majapahit Agung is the history of batik development of this area, can be extracted from the legacy of Majapahit Kingdom era. At that time the majority of Tulungagung areas consist of swamps in the history of the area known as Bonorowo, which at the time of Majapahit bekembangnya area controlled by a Duke benama Kalang, and will not submit to the Majapahit kingdom.

Told that the police action carried out by Majapahati, Duke Kalang who died in fighting around the village reportedly said that now the Kalangbret. Thus the officers and soldiers of the Majapahit kingdom keluara settled and living area or the current Bonorowo named Tulungagung among others also carry original art to make batik.


History of Batik Pekalongan

Although no official records began to be known when the batik in Pekalongan, but according to existing estimates of batik in Pekalongan around the year 1800. Even according to the data recorded at the Ministry, batik motif was created in 1802, as a small tree motif of clothing materials.

However, significant progress could have occurred after a major war in 1825-1830 in the Mataram kingdom, often referred to by the Diponegoro war or a war of Java. With the war court is urging families and their followers who left the region many kingdoms. They then spread to the East and West. Later in the area - new area of the family and followers develop batik.

To the east of Solo and Yogyakarta batik style batik refine existing in Mojokerto and Tulungagung to spread to Gresik, Surabaya and Madura. Westward was developed in Banyumas batik, Kebumen, Tegal, Cirebon and Pekalongan. With this migration, the batik Pekalongan existing growing.

Over time, Batik Pekalongan experiencing rapid development compared with other regions. Batik in this area grew around coastal areas, namely in the cities and towns of Pekalongan Buaran, Pekajangan and Wonopringgo.

* Batik Pekalongan, between the Past and Today

BATIK pekalongan become very distinctive because it relies entirely on hundreds of small businesses, rather than on a handful of large capital entrepreneurs. Since many years ago until now, most of the production process of batik pekalongan done in homes.

As a result, batik pekalongan closely integrated with community life Pekalongan now divided into two administrative regions, namely the City and County Pekalongan Pekalongan, Central Java. Batik is a breath of life pekalongan everyday citizens Pekalongan. He lived citizen support and Pekalongan.

However, as with small and medium businesses in Indonesia, batik business pekalongan are now facing a transition period. The development of an increasingly complex world and the emergence of new competitors, such as Vietnam, challenging pekalongan batik industry to immediately transforms itself into a more modern direction.

Failed through this transition period, batik pekalongan may only be remembered by future generations the history books.

At that time, the pattern of batik artisans work is still greatly affected the agricultural cycle. We take the plant or harvest rice, they are fully working in the fields. However, between the planting and harvest, they work entirely as batik artisans.

Age has changed. Workers in Pekalongan batik is now no longer dominated by farmers. They are mostly from local youth who wanted to make a living. Their lives may be entirely dependent on batik work.

What pekalongan batik industry faces today is probably the same problem faced by other industries in Indonesia, especially those based on small and medium entrepreneurs.

The issue was, among other things, a decline in competitiveness as indicated by the product selling price is higher than the selling price of similar products produced by other countries. In fact, the quality of the product dihasikan better than competitor products Indonesian businessmen.

The cause of this problem varies, ranging from low productivity and skills of workers, lack of initiative entrepreneurs to innovate products, to support machine tools usangnya production process.


The development of Batik in Indonesia

History of batik in Indonesia related to the development of the kingdom of Majapahit kingdom and beyond. In some records, the development of batik is often committed in times of Mataram kingdom, then in the kingdom of Solo and Yogyakarta.

Art is the art of batik on fabric image for clothing that was one of the family culture of Indonesian kings of old. Batik initially done only in a limited course and outcome palace for the king and the family clothing and his followers. Because many of the followers of the king who lived outside the palace, the art of batik was taken by them out of court and be done in place of each.

In the development of batik art gradually imitated by the people of this and the next nearest extends to the work of women in the household to fill his spare time. Furthermore, batik clothing was only the royal family, then became a popular folk clothes, both women and men.


Batik developments in the Region

1. Banyumas

The development of batik in Banyumas Sokaraja centered in the area brought by the followers of Prince selesa-Diponegero after inya war in 1830, their most-ap menet Banyumas area. Followers that the time was famous and he developed Najendra dip in Sokaraja batik. Materials used mori homespun results and drugs used pewama tom trees, trees and mengkudu pace that gives the red color of yellow artificiality.

Batik gradually spread to the people Sokaraja and at the end of the nineteenth century was directly related to batik Solo and Ponorogo area. Region in Banyumas batik has been known since before the motifs and colors in particular and is now called batik Banyumas. After the world war started batik union also done by China in addition to their trade batik material.

2. Ciamis

Batik was known in Ciamis about nineteenth century after the completion of Diponegoro war, where followers of Diponegoro much left Yogyakarta, heading south. Some areas there is settled Banyumas and there is a continuing part of the journey to the south and settled in Ciamis and Tasikmalaya now. They are wandering in and keluargany a new place and settled into the population continue to live and procedures work. Some of them are experts in crafting batik as domestic work for women. Eventually this work can be developed on the surrounding residents due to everyday social intercourse or family relationships. The materials used for weaving the fabric of the paint itself and the material is made from trees such as: mengkudu, tom tree, and so on.

3. Batik in Jakarta

Batik in Jakarta known and growing along with batik areas other that is roughly the late nineteenth century. Batik was brought by immigrants, immigrants from Central Java and they live mostly batik-regional area. Area known batik in Jakarta scattered near Tanah Abang, namely: Rubber, Dam and Udik Ilir, Kebayoran Lama, and the Mampang Prapatan and Tebet.

Jakarta since the pre-war union world has become inter-regional trade center with its port Indonesia Fish Market now. After the war finished the first part, where the batik process has become a popular brand, increased production of batik and batik traders looking for new marketing areas. Regional markets for textile and batik in Jakarta, which is famous for: Tanah Abang, Jatinegara and Jakarta City, which is the largest since the Tanah Abang market from past to present. Batik-batik production district of Solo, Yogya, Banyumas, Ponorogo, Tulungagung, Pekalongan, Tasikmalaya, Ciamis and Cirebon and other areas, meet at the Tanah Abang market, and from here the new post kedaerah outside areas of Java. Batik merchants is that many Chinese and Arab nations, the Indonesian people and a small bit.

4. Outside Java batik

From Jakarta, the objectives of merchants outside of Java, batik is then developed around the major cities in Indonesia outside Java, West Sumatra, for example, especially the Padang area, is a remote area of central-city batik Javanese town, but the batik can develop this area.

West Sumatra including consumer area batik since the days before the union world war, especially the production of batik-batik Pekalongan (saaingnya) and Solo and Yogya. In West Sumatra who first developed the industry's famous hand-woven "weaving Silungkang" and "weaving plekat". Batik began to grow in the Valley after the Japanese occupation, which since the dissolution of the relationship between Sumatra with Java when the Japanese occupation, the batik supplies available in batik merchants and consumers is up to batik clothing for their daily. Plus after the independence of Indonesia, where the relationship between the two islands grew difficult, due to blockade-Dutch blockade, the batik traders usual relationship with the island of Java to find a way to create their own batik.


Variety Batik

There are some views that classify into two groups batik batik art, batik the palace (Surakarta and Yogyakarta) and the coastal batik art.

Motif batik art palace has many philosophical meanings, full of meaning of life. Drawing complex / subtle and most have a few colors, blue, pale yellow or white. Ancient motifs such as pattern standard palace (14th century), gringsing (14th century), created kawung Sultan Agung (1613-1645), and machetes, as well as motifs woven tirta sratumarga.

Then the coastal batik motif shows another picture with the palace batik. Batik coastal freer and rich motifs and colors. They are more free and not bound by rules of court and has very little meaning philosophy. Coastal batik motifs in the form of many plants, animals, and environmental characteristics. Vibrant color to make it more attractive customers.

* Differences Batik Tulis and Cap

1. Batik Tulis

Working with the canting tool made from copper which was formed to accommodate the night (wax batik) with a tip of a funnel / small pipe to discharge the night in the early image forming on the surface of the fabric. Form of images / designs on batik there is no clear repetition, so the image can appear more flexible with the size of the line pattern can be relatively smaller than the printed batik. Batik pictures can be seen on both sides of the fabric appear more flat (see-through back and forth) specifically for the delicate batik. Basic color fabrics generally younger than the color of the stroke pattern (putihan batik / tembokan). Each piece of the picture (decoration) which is repeated on the cloth would not normally have the same shape and size. Unlike the printed batik is likely to be exactly the same between one image with another image. The time needed for batik making relatively longer (2 or 3 times longer) compared with printed batik making. Workmanship delicate batik can take 3 to 6 months. A canting tool is relatively cheaper price ranges from Rp. 10.000, - to Rp. 20,000, -/pcs. Batik selling price is relatively more expensive, because of the generally better quality, luxurious and unique.

2. Batik Cap

Working with a stamp (a tool made from copper which is formed in accordance with the picture or pattern desired). For making a batik stamp handle length and width dimensions: 20 cm x 20 cm it took an average of 2 weeks. Form images on the printed batik design there is always a repetition of the obvious, so the image appears again with the same shape, the size of the line relatively greater motive than batik. Images printed batik is usually not transparent to both sides of the fabric. Basic color fabric is usually older than the color of the scratches motive. This is because printed batik do the closing at the bottom of a more complex pattern as common practice in the batik process. Correlation is by pursuing the sale price is more expensive and time faster production. Time required for a printed batik fabrics ranging from 1 to 3 weeks. To create a variety of printed batik motifs, it can take a lot of cap. While batik cap prices are relatively more expensive than canting. For the price of batik cap on the size of the present 20 cm x 20 cm ranges from Rp. 350.000, - to Rp. 700.000, -/motif. So from the beginning of printed batik capital is relatively more expensive. Usage period batik stamp in good condition can reach 5 years to 10 years, with a record not broken. Repetition of copper batik stamp to pemakainnya almost unlimited. Printed batik selling price is relatively cheaper compared to batik, due to be numerous and usually have other common and not a unique, not special and less exclusive.

How To Make Batik

Here are tools and materials should be prepared to make batik:
o Kain mori (can be made from silk or cotton)
o Canting as a means of forming patterns,
o Gawangan ('menyampirkan' place for cloth)
o Candle (night) which melted
o pot and a small stove to heat
o dye solution


As for the stages in the process of batik pembutan this:

The first is to make 1.Langkah batik designs commonly called molani. In determining the motive, usually each person has different tastes. Some prefer to make their own motives, but others prefer to follow the general motives that have been there. The motive is often used in Indonesian batik itself is divided into 2: classical batik, a lot of playing with symbols, and batik pesisiran with natural characteristics such as pictures of flowers and butterflies. Make a design or pattern can use a pencil.
2.Setelah finished molani, the second step is to paint with (wax) night using canting (caged / dicantangi) by following the pattern.
Next 3.Tahap, cover with wax night parts will remain white (no color). Canting to the fine, or a brush for large parts. The aim is to ensure that the immersion into a solution of coloring materials, parts that were not exposed layer of wax.
Next 4.Tahap, the first coloring process on the part that is not covered by the wax with a cloth dipped in a certain color.
5.Setelah dyed, the fabric is in drying and dried.
6.Setelah dry, return to the batik process of painting with wax using canting night to close the section will be maintained on the first coloring.
7.Kemudian, followed by immersion process of the second color.
Next 8.Proses, remove wax from fabric that night by putting the cloth in hot water over the stove.
9.Setelah clean cloth from wax and dried, can be re-closure process of batik with wax (using a canting) to hold the first and second color.
10.Proses opening and closing night candles can be done repeatedly in accordance with the number of colors and complexity of the desired motif.
Next 11.Proses is nglorot, where the fabric has changed the color of boiled hot water. The goal is to remove the wax layer, so the motive which had drawn previously apparent. You do not need to worry, this dye will not make a pattern that has been affected by the color of your image, because the top of the fabric is still shrouded in a thin layer (wax does not completely fade). Once completed, the batik is ready for use.
Last 12.Proses batik is washed and then dried them with dried before it can be used and used.

Batik Caring Tips

In order to color silk batik and fiber does not fade fast, durable and still looks beautiful. Washing batik cloth by using hair shampoo. Previously, shampoos used to dissolve no longer part of the thickened. After that new dyed batik cloth.

You can also use a special laundry soap for batik cloth on the market. At the time of washing batik not polished. Do not use detergent. If batik is not dirty enough to be washed with warm water. Meanwhile, if dirty, such as food stains, can be removed with soap when bathing or filthy, such as exhaust emissions affected, stains can be removed by rubbing the skin with soap lemon or orange peel on the dirty part.

You should also not batik cloth hanging in direct sunlight (shade). Batik cloth should not be washed with a washing machine. No need to squeeze batik cloth before it dried. However, at the time of drying, the edge of the fabric rather slowly withdrawn so that fibers are folded back as before.

But avoid 'penyeterikaan'. If too wrinkled, spray water on the cloth then place a cloth pad on top of new batik ironed it. So, the other fabric to be ironed is placed on top of batik cloth.

It is advisable to store batik in plastic to keep moth-eaten. Do not be camphor, because the solid is too hard that could damage the batik. Instead, store cupboard where batik given pepper wrapped in a tissue to get rid of moths. Another alternative use fragrant roots which had previously dipped into hot water, then dried, then dipped again into hot water and dried. After the roots dry fragrance, a new use

You should also not spray perfume or cologne directly to the fabric or clothing made from natural berpewarna silk batik.

If you want to give fragrance and softener on batik cloth, do not spray directly on fabric. Previously, the cloth used to cover the paper, a new spray deodorant and liquid fabric softener.

http://pesonabatik.site40.net/index.html

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STUDY interdisciplinary, IMPLICATIONS paradigmatic

RESEARCH AND ART implementation in Visual ART

Abstract

The study of art world requires approaches from various disciplines are linked, because the world of art is intrinsically shows a broad perception content and complexity of the problem. As a necessity of life, now art has penetrated into various fields of life, and becomes a need as important as other needs. Research on art works and aspects related to it requires a methodical scientific approach to interdisciplinary study. This paper will elaborate on how the paradigmatic implications and its implementation in the study of art from these interdisciplinary studies.

1. Introduction

Understanding of art, particularly art, which only relies on one's perspective seems to have felt a lot of people did not satisfactory. Fine art is now not merely seen as a work of art, human expression is associated with lines, colors, and fields, as well as aesthetic principles alone, but as proposed by a historian, Yudoseputro (2000: v-vi) that "essentially the art world is basically content showed a broad perception that reflects the identity that is not a single profile so that every answer of the problem which led to a variety of substances hook-mengkait". Furthermore, dikemukakannya that especially in the study of art in Indonesia with the community and diverse culture, has now felt how necessary openness of the various disciplines; contemporary art discourse always expect a solution based on a thorough knowledge of culture, intact, and depth.

On the other hand, attention to contemporary art seem more open and widespread, and no longer monopolized only by institutions that conventionally higher education in the field of visual arts course. Attention to fine art as a matter of research in scientific disciplines, such as anthropology, sociology, psychology, and history is growing. Studies conducted in various fields of science, of course, is paradigmatic done by using theories, concepts, and methods that are typically become conventions in the relevant field of science in mind, namely an approach that is monodisipliner; that because it is monolithic nature. In addition to pure research conducted by scientists who pay attention to issues of art, some study done for the sake of writing a thesis (S1), thesis (S2), even (S3) (see: Havet, 1978; Gray and Pirie, 1996 ).

Higher education institutions in the Indonesian art, which is seeking its form as a professional educational institutions and academic, has sought to strengthen the science of art start (science of art) as a vehicle for formulating a new paradigm of flexible, supple, berasas cross-sectoral, and multidisciplinary . The need to formulate a new paradigm is very urgent, especially after the establishment of educational programs stratum 2 (S2) and stratum 3 (S3) program specific art and design at leading institutions in Indonesia, such as Master and Doctoral Program in Art and Design at the Institute Teknologi Bandung (ITB), Performing Arts Studies Program at the University of Gadjah Mada (UGM), and this year opened a course in Art Creation Institut Seni Indonesia (ISI) Yogyakarta. Certainly, too, this also becomes the demand for the universities (which had IKIP) in the opening program S1, nonkependidikan Arts Program (pure).

This paper tries to present a discussion of interdisciplinary studies, paradigmatic implications, and its implementation in art research. This paper is expected to also be an alternative answer in an attempt to confirm the field of visual arts as a discipline that has a body of knowledge of his own. To discuss this issue with a more fundamental then the inevitable to explain the basis for his thinking, by way of tracing and placing art in the framework of the development of science-knowledge in general. Then, as he considered logical reasons, tried to discuss the fact ontological and epistemological paradigm for the study of art, as an interdisciplinary study.


2. Platform Thought: Development of Science

Starting from the mind of Copernicus, and continued with Galileo Galilei to Newton, - who insists that the earth around the sun on its axis -, the revolutionary view that greater emphasis on scientific objectivity has been knocked out empirikal mystical view of the universe that previously held.

Approach that emphasizes the mind is a better place again in the view that echoes Descartes' cogito ergo sum. Emerges then a view that relies on the power of consciousness and the human mind, the formulas must be strict in solving a variety of natural phenomena which the human face (Lavine, 1984; 125; Mahoney and Lyddon, 1988: 192).

This view is emphasized by the positive rationalistic thoughts of Auguste Comte, who has a very large role in the history and development of modern science, whose influence is very strong so far (see eg, van Peurseun, 1985). Comte argued that development should be directed to the advancement of significance for him positively.

Comte's view that affirm a line of development towards progress, not only applies to the historical process of human life, but also in the process of development of the human soul and the individual as a whole. Development connotes consolidate the progress it has a sense of optimism or a myth that has arisen since the time of Aufklaerung about mankind's future is bright. Thanks to the philosophical positivism born models of science that 'positive' laws and their common and declared valid to all things, apart from the speculative load (see: Wibisono, 1982).

Basic beliefs are rooted in positivism 'ontological reality', the guidelines used to answer questions about the nature of reality and how to explain that something that in fact working. The point, namely that beyond the humanitarian aspects existing in humans, there is a reality (with different dynamics) is driven by the laws of nature, standing alone, the existence and dynamics were not for human intervention. Thus, science activities, according to this view, in fact, is to find the truth and the nature of reality to explain how the actual truth of nature or laws that work.

A number of scientists from the disciplines of science and physics from the University of Vienna trying to develop a view called 'neopositivisme' or 'logical positivism'. This view is strongly influenced by Auguste Comte's view of the positive nature of knowledge. Circle of Vienna tried to unify the diversity of science with language and the workings of the natural sciences. The unification of the so-called science of integrated (unified science or einheitswissenschaft). Integrated science was described in neopositivisme view the contents of which affirm that: (1) only one source of experience, the experience that comes from senses, (2) the logical and mathematical propositions are useful for the processing of sensory data, (3) or line of demarcation boundary between meaningful statements (meaningfull) the statement is meaningless (meaningless), (4) reject metaphysical statements expressed with language that is not meaningful, and (5) philosophy of science is seen as the science of logic (the logic of science).

Although several subsequent generations of thinkers (see, eg, Karl Popper, 1959) to criticize neopositivisme view, but the undeniable impact of formal logic view is very strong on the development of science in general.

Thus, the various disciplines of knowledge belonging to the science-natural science ontology adhere strictly to that fact. Science-natural science, ultimately, be a reference for the science-social science and humanities in the context of confession "keilmiahannya". Even for decades, as has been pointed out above, science, natural science (science) is not only a reference to determine criteria for scholarship, but also dominating feature ontology of science-social science and humanities.

Leksono-Supeli (2000: 31) asserted that the transition to the 20th century was marked by positivism reached the top of the monopoly of interpretation of reality. Times were methods of natural science kemutlakannya recognized. Sainstisme-which is now obsolete (bottom line of the author) - to spread ideas about scientific beliefs to himself. This means that we understand it is not enough natural science as one form of knowledge that may, but need to identify all the knowledge in the natural sciences. The method of science that all science must be guided to success for the benefit of mankind can be guaranteed. The world needs an integrated science.

However, in recent decades, Thomas S. Kuhn (1962 and 1970) had opposed the ontology of science-natural science - the opposition is widespread support from scientists, especially social knowledge. He said that the development of science does not occur gradually (evolution) based on the results of the discovery of natural laws, but through a 'revolution' or the rapid changes and paradigm-a fundamental paradigm. "When paradigms change, the world is also changing with", such assertion.

The first of Kuhn's ideas is he tends to put science in a historical context. He said, the advance of science is revolutionary. Therefore, in the history will appear in a new perspective that grew into 'new vision' is called a paradigm. Thus, ditegaskannya that the incidence of 'new paradigm' because of the historical process. He said that:
Led by a new paradigm, scientists adopt new instruments, and look in new places. Even more important, during revolutions scientists see new and different things when looking with familiar instruments in places they have looked before ... Nevertheless, paradigm changes do cause scientists to see the world of their research-engagement differently. In so far their only recourse to that world is through what they see and do, we may want to say that after a revolution scientists are responding to a different world (Kuhn, 1970: 111).

Unlike the laws of nature is in fact natural, 'paradigm' or a fundamental point of view that it was in self-researchers or scientists themselves. Thus, the 'existence' and 'validity' natural law does not depend on the facts of nature, but rather depends on the 'paradigm' is owned by the researcher or scientist concerned.

In this regard great works in science read, appreciated, criticized, shaken, or praised, because one of the main soul is paradigm. Moreover, if the paradigm that brings something new, so-called new paradigm that could improve, remodel, move, add, or make a revolution for the 'old paradigm' which has been in power. Thus, the natural laws of nature antargejala relationship becomes present again, if there is a new paradigm that produces a natural law that is more perfect to describe the nature of the relationship between the symptoms of the same nature which had gone before.

The second idea, of Kuhn, is the existence of historical cycles in the development of science. Historical cycle that goes through four stages, namely:

(1) pre-paradigm stage; in this stage will appear heuristics, namely how to find something new in science activities.
(2) paradigmatic phase, ie stage when the paradigm guiding scientific activity in normal science (real science); in other words, paradigmatic stage shows that run in a normal science.
(3) phase of crisis, namely the crisis in science. Scientists find some difficulty in carrying out his research and found a variety of symptoms that can not be explained by the theory. That's called 'anomalies'.
(4) Phase scientific revolution, when scientists began to question again the paradigm that has been worn it; with so scientists have been out of normal science. To overcome the crisis can be re-scientists at scientific activities with a rival paradigm that can solve both problems and subsequent research.

2. Characterization of Sciences

Scientific Revolution by Thomas Kuhn has encouraged the efforts of philosophers of science to see the back of ontology, epistemology, and methodology applicable in science, particularly on links between science, natural sciences (natural sciences) with the social sciences and humanity (human sciences). The fundamental difference between the two study groups were due to differences in the paradigms of each science is.
Science-natural science departs from the paradigm that underlies pengkajiannnya goal of 'natural phenomena' as an attempt to discover or uncover the laws that are the essence of the relationships between natural phenomena such. The goal is solving the problem of the 'puzzle' that is embodied in, and from, the relationships between natural phenomena under study. Object, in this case, shown by category numbers, space, time, and mass.

On the other hand, human sciences paradigm stems from the underlying objective assessment of the 'human phenomena' as an attempt to understand human behavior and expression, and therefore the design of the interpretive or hermeneutic. The basis of thinking is that humans are basically the object of study is a creature that thinks, feels, and can interpret themselves and their environment, and therefore also called the subject (see: Suparlan, 1999: 20).

Characterization of polarization as described above, the problem seems too simplistic, because it has been ignored is the fact that continuum, and especially the influence of science, natural science of the human sciences that have occurred so far, especially against a group of science-social science.

Science, in line kontinumnya, conventionally categorized into three groups, namely science, natural science at one end, and humanities (humanities) at the other end, was in the midst of the science-social science (social sciences) . Kubu science is fundamentally bersetentang between science, natural science with the humanities, because it seems each group has a paradigm that can not be reconciled. Being in the middle of the continuum line is the science-social science.

On the one hand knowledge of the social sciences have features that try to be like science, natural science, and therefore the character of positivistic. With positivitik view of social phenomena and humanity are treated the same as natural phenomena. Starting from the view that the methods used and studies produced by social sciences, aims to discover the laws that generally applicable objective (universal). In addition, the research techniques used are measurements, and therefore the resulting theory is a form of trends. Studies such as this, in the social sciences known as the study of the use and develop 'quantitative approach' (see: Suparlan, 1999: 21).

On the other hand, in science, social science is also growing steadily 'qualitative approach' that is interpretive, as it exists in the paradigm of the humanities. The emphasis of this qualitative approach is on understanding (verstehen or understanding). The emphasis of this approach is more emphasis on the everyday experiences as study material by applying the reception, expression, and understanding. In a qualitative approach, there are no restrictions on the experience of the experimental conditions as in the controlled observation of natural science.

In the history of science so far, a quantitative approach that has dominated positivistic science, social science, and only in the last decade, qualitative interpretive approach indicates its existence as a methodology, and even as a new paradigm called constructivism (constructivism) and pascapositivisme ( post-positivism) (see eg Miles and Huberman 1994; Denzin and Lincoln, 1994).

4. Paradigm in Science

Each group was divided again science in disciplines different. In general can be mentioned among others, physics, biology, chemistry and sciences that empirical Eg non-human objects are classified into the sciences of nature, psychology, sociology, anthropology, political science and communications, classified into sciences social knowledge, while the history, philosophy, and art can be classified into the cultural sciences or humanities.

Differences of each scientific discipline is also
caused by fundamental differences in the paradigm. Paradigm in each discipline of science that is supported by theoretical tools and concepts, methodologies or approaches and methods used in scientific activities (Suparlan, 1999: 23). Thus, the key concepts used in science pembidangan, as well as in the classification of knowledge, is the paradigm.

In general terms, a paradigm is understood as a model to be followed or imitated. Paradigm can also be interpreted as an underlying belief or point of view how to view and symptoms meperlakukan targeted studies included in the scope of issues of concern. Kuhn (1970) asserted that the paradigm be a reference to a specific scientific Komuniti, whose contents are the rules, methodologies, and theories that must be followed, the instruments should be used, the issues become the focus of the study, and assessment standards of research activities.

Paradigm can be viewed as a system of theories, methods, and fundamental approaches and / or affect the way of thinking, world views, and how to do something. He is a belief system embodied in a model of theory, concepts, and methodologies agreed upon, and is used by a group of people to solve various problems encountered in the system of natural science and social science. Paradigm of the essential positions, especially when viewed as a cluster of systems, theories, concepts, methods, and approaches that underlie and guide the direction of the attitude of doing or put something; ie something to be chosen with an attitude and a commitment to develop science and build human .
In the context of a society, can mean a paradigm of unity concept, values, perception, and praxis that is shared by a community, who form the view of reality, and became the basis for community residents concerned to govern themselves. Thus can be asserted, that the scientific community in the context of the paradigm is a scientific belief, which is the point of view of scientific citizen, in order to understand and treat the symptoms, research activities, or the study, and to assess the validity of research activities and its results .

Particularly in the disciplines of social science, which is a product of the paradigm of positivism and hermeneutics, not only use just a single paradigm but has many paradigm (multiparadigm). Each discipline in the social sciences, such as anthropology, sociology, or psychology, has the following scientific world of concepts, theories, methodologies, or approaches that each different from one another. Similarly, even, the same one any discipline, such as anthropology, may have a different paradigm: for example, the paradigm of cultural materialism of Marvin Harris paradigm is different from cultural relativism (which interpretive) of Clifford Geertz (see: Suparlan, 1999: 22) .


5. Visual Art as a Target of Study

In the ontological view we always face the arts, in this case more specifically the visual arts, as an integral part of human life. We can conclude that the need for aesthetic expression, universally, is closely related to the fundamental characteristics of human presence. No society that we know that culture does not accommodate the presence of art. Leang Cave-leang in Sulawesi and the Lascaux Cave in France to be one proof that art faithful present and assist human life since the beginning of life. No matter how simple human life, no one ignores the need for aesthetic expression. Another fact also shows that the ways that needs are culturally determined, consistent with its functions in a broad scope, which is integrated with many aspects of culture eat it.

Ontology biological facts can also be raised in line with the known function of the human brain that enables the association of language and emotion or vision and hearing with emotion, so that they can understand how deep emotions can be transferred into the great works of art; one of them in the form of works of art (see eg Pope, 1984).

From a biological point it is clear that certain human behavior in the minds of the lateral location. This affirmation is intended to better understand human expression in the works, and works of art forms, not merely by looking at the cultural reality, as the values, knowledge, beliefs, rules, and ways of behaving, but to appreciate " fruit wine or a delicious meal by knowing the ingredients ".

Noerhadi (1999: IV) explained that if the arts (fine art / pen. /) Is returned on several functions and criteria of a work, first of all can be traced mimetic function and catharsis. The first is the attempt to display a picture or a reflection of reality and the second is the purification of the soul through the channeling of emotions. When two thousand years later revealed the expression of function-expression of the deepest and darkest recesses of the human personality-orientation is in the scope of human romance. Both the reality and the human as a person, both of them, appear in a synthesis that was possible because of religious elan, the relationship between human faith in the supernatural reality as a theme in art. Then at the beginning of this century art as an autonomous unit or form meaningful (significant form) dominates the theory of art. Finally the art as a whole is precisely that is ready for the experience and the further deconstruction of art also appears in the pseudo-dimension (virtuality) as proposed Suzanne K. Langer, or simularcum (as a hyper-reality) in Baudrillard's view, or even replace the reality of construction symptoms .

No exaggeration to say that art is born with human beings with passion and dignity of all humanity. He can be born because koevolusi biobudaya, who had walked for centuries. Now, it can be affirmed that art was born as a biological demands. That is, the biological work of art is born because of the biological function of available system that supports the manifestation. However, its biological functions are certainly influenced by the culture. However people thought he was a biological creature, can not be denied that he lived in the cultural sphere. He communicates with the language, active art, or technology, even almost the entire neighborhood to be meaningful for human processing.

Cultural domination, or at least the influence of cultural values on the development of art can not be avoided, even he can inspire and enrich the style of works of art forms at all times. Therefore also, plastic arts and arts in general, not just the symbols that express emotions and ideas of the beauty of individuals, but it can serve as a reference (reference), or even the core of what is revealed.

Thus, can be summarized an understanding that art is a "space" for the discourse in which dwells the "mind and a sense of" creating a cultural configuration. About the mind and a sense of an abstract nature that can be individual discourse, the discourse of individuals as members of society, or the entire members of the public discourse as a kolektiva (see: Melalatoa, 1999).

The results of research in the field (see: Allison Research Index of Art & Design, 1992 in the Carole and Pirie, 1996: Havet, 1978; Rohidi, 1993 and 1999) show that there are two kinds of symptoms that come into contact with art. First, there are "symptoms of visual art" which can be observed as a product, but kolektivanya stated that it is not art or sell art works; he is not the expression of the desire for beauty. "Symptoms of visual art" is more a space ride for the mortuary beliefs, knowledge, or values. Second, knowledge, beliefs, or values to be loads of art work of nuanced beauty, which by kolektivanya also felt and recognized as a form of art expression, or beauty.

In this perspective filosuf, scientists, or researchers also participated limits of "art signs" are observed. In ancient Greek art is seen as a technique. Plato, Aristotle, Plotinus view art as an illusion and imitation. Fine art is also seen as a beauty (Ghoete, Kant, Winckelman); games (Schiller, Huizinga, Groos); expression (Tolstoy, Veron); imagination, intuition (Croce, Bergson); desire (Nithszche, Frued); or pleasure (Santayana ). Fine art is also considered only as a matter of form by Bell and Berg. Reid and more see it as Bosanquet function, abstraction, aesthetic distance, or incarnation, while Susanne K. Langer and Ernst Cassirer saw it as a symbol (see: Khoiri, 2000; Sahman, 1995).

The study above shows an ontological fact that art as part of a comprehensive art, which became part of human life both individually (including biological), social, or cultural, to show universality in one sense and pluraritasnya on the other side. Normatively also can be shown - that the discussion is to be supporting or driving the - art as a target of scientific studies with a strong empirical foundation.

6. Art Research in interdisciplinary studies

Symptoms are defined as fine art, either by themselves or by kolektivanya scientist or researcher, in essence pointing in two directions. The first direction refers to objects, or works of art, a form of expression, which is commonly referred to as intraestetik factor; the second refers to the content, background, values, knowledge, and beliefs, as well as the environment that helped paint the realization that art works , commonly referred to as ekstraestetik factor.
Fine art is a complex phenomenon, which requires the study of various disciplines of knowledge. Studies toward requiring a more fundamental theory, which allows the results of studies from various disciplines can be seated. Although various theories presented in a variety of disciplines, but still needed a metatheory which also tested to be robust insights that can make room for all the studies and research to date. Metatheory is a frame of reference is called a paradigm, which is a device characteristic beliefs and preconceptions, which includes a shared commitment in the implementation of the instrumental, theoretical, and metaphysical (see: Kuhn, 1970: 17 and 39-42). Which then needs to be emphasized is that this paradigm applies to a society with certain limits, the scientific community (Kuhn, 1977: 294-295). In this case the community of scientists in the field of visual arts.

Aware of it, strongly felt the importance of constructing a research and testing procedures to be used in methodological research developed art in the direction of increasingly complex. Development or the development of art research procedure appears to the fore in line with developments in other disciplines, such as in social science that offers a number of alternative paradigms in research, and philosophy of science that moves from position to position Newtonian to the complex.
In particular, procedures relating to this art research, methodology and research methods are conducted not covered from the fields of natural sciences, social sciences, and humanities. Procedures should responsive, to solve problems or deal with the challenges faced by the discipline of art. This is where the importance of why we should re-examine and test the procedures and practices, and in which the feasibility, its use in research. The use of an inappropriate procedure may undermine the credibility of the research steps, and do not deserve to be continued.
Assessment Gray and Pirie (1996) asserts that the study of art is not exclusive, otherwise he has even presented a characteristic eclecticism, multimetode adoption, approach to the acquisition of information, selection, structuring, analysis, evaluation, presentation, and communication. Echoes of the synthesis procedure, in fact, appear also in social science research today. Peramuan exploration and limitations of the methodologies that individual is very helpful in developing new research praxis is more promising.

The question is how different paradigms may be one, or how could a new paradigm as a revolution can co-exist with the old paradigm? Can, compiled a metatheory that can be used as methodological basis, to question the validity of knowledge about art?

In essence, combining two or more scientific disciplines into one, which can create a new methodology, it is possible as long as relevant presence in the context of the scope of the study issues. Multidisciplinary and interdisciplinary approach is the answer to the question on how best to define the problems the study and in obtaining valid data. Is not art as a matter of the study showed himself as a problem that has traditionally been outside the study, which is usually a concern of a particular discipline, and vice versa, as well art is also a symptom of a problem-assessment - which is usually a concern of many disciplines knowledge.

In other words, for art as a matter of attention has compiled a pattern that approaches or methodologies vary, it would require an approach that is interdisciplinary. This requires the concept of references and an integrated theory that made a reconstruction memungknkan deductively, so that the relationships clearly between theories that can be used as reference methodology. Therefore, a paradigm of interdisciplinary studies and the methodology itself, which is not the same as that used in the scientific disciplines of the parent.

Interdisciplinary approach can be realized as a research activity, as a course or field of teaching, or as a program of study. Study of fields are usually designed to understand or measure a problem of study beyond the traditional study of a scientific discipline, which is in accordance with its use. Study antardisplin produce theories that are relevant and useful, comprehensive solutions to the problems of the target study, which may not be generated by the study of scientific discipline to study the same problem. If the interdisciplinary study is not in accordance with the expected keguanaan, then the study will be abandoned or the results of these studies will not be used.

Selection interdisciplinary study as the study of art is not solely because besifat theoretical reasons, but because emprik and practical reasons (for this compare with multidisciplinary study *). Implementation of education in educational institutions of fine art or fine arts courses, more specifically in Indonesia, seems more interdisciplinary print. This is evident in the curricula of institutions, which are interdisciplinary, which either explicitly or implicitly appear in the field of teaching or courses organized and conducted. Courses are given, most, is the theoretical formula is taken from various scientific disciplines-in a name specific courses, which are typically taught to provide insight into the antardisipliner art and became the basis for creating works. To this can be seen in the curriculum or the institution of standardized national curriculum today.

In addition, it can also be argued that experts in the field of visual arts, in educational institutions we, the scientific activities often use a number of concepts and / or theories from disciplines other sciences; for example, 'aesthetic', history, anthropology, psychology, sociology, and even recently from the field of political science. Consideration of the use of concepts and / or theories from other disciplines is because it is considered useful or relevant in the effort to understand the issues that are complex kesenirupaan.
The takeover of the concept and / or theories from disciplines other knowledge, arranged in a single system of thought in the form of a model unit of measurement theory or explanation of the guide or methodological basis in the conduct of research, thoroughly transformed and can be interpreted as a body of knowledge study of interdisciplinary in the field of art, ie a form of art studies with a new paradigm.

Reading List

Cassirer, Ernst. 1987. Human and Culture. Translation: Alois A. Nugroho. Jakarta: PT Gramedia.
Denzin, Norman K. and Yvonna S. Lincoln. 1994. Handbook of Qualitative Research. California: Sage Publications, Inc..
Gray, Carole and Ian Pirie. 1996. 'Artistic' Research Procedures Research at theEdge of Chaos?. Aberdeen: The Robert Gordon University.
Havet, Jacques. 1978. Mian Trends of Research in the Sciences of Art: Legal Science, Philosophy. Volume Volume IA and IB. Paris: Mouton Publishers / Unesco-The Hague.
Khoiri. Inspiration. 2000. Concept Works. BC Cources task. Studio 614 I. Bandung: Master's Degree Program in Art and Design ITB.
Kuhn, Thomas. 1970. The Structure of Scientific Revolution. Chicago: Chicago University Press (2nd printing).
-------------------. 1977. The Essential Tension. Chicago: The University of Chicago.
Lavine, T. 1984. From Socrates to Satre: The Philosophy of Quest. New York: BANTAN Books.
Leksono-Supeli, Karlina. 2000. A War for fascination. In: Kompas, June 2, 2000, pp. 31.
Mahoney, M. and W. Lyddon. 1988. Rescent Developments in Cognitive Approaches to Counseling & Psychotherapy. In: The Counseling Psychologist 16. No. 2 pp. 190-234.
Miles, Matthew B. and A. Michael Huberman. 1994. Qualitative Data Analysis: Source Book of New Methods. Translation: Tjetjep Rohendi Rohidi. Jakarta: UI Press.
Noerhadi, Toeti Heraty. Recognizing the crisis on the Self Portrait of the Other. Paper Presented in Seminar on Anthropology in order to Jubelium-30 Journal of Anthropology Indonesia. Depok, May 8, 1999.
Pope, Geoffrey. 1984. Biological Anthropology. Jakarta: CV. Eagle.
Rohidi, Tjetjep Rohendi. 2000. Art in the Cultural Approach. Bandung: STISI Press.
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Master Program (Visual arts specialization): The Development of Subject Qualitative Research Methodology in the Field of Art and Design Program S2 and S3 ITB. Report to the Community Service Activities (Not published). Bandung: LPM ITB.
-------------------------------. 1993. Art Expression of the Poor: Symbolic Adaptation to Poverty. Dissertation (Not published). Jakarta / Depok: Anthropology Doctoral Program, Faculty of Graduate Studies, University of Indonesia.
Sahman, Humar. 1995. Aesthetics: A Critical Review. Semarang: IKIP Semarang Press.
Suparlan, Parsudi. 1999. Inter-Area Studies of Science. In: Bulletin of Japanese Studies. No. 9/Tahun 3, December 1999 (Fuyu-ban), pp. 17 to 29.
Van Peursen, C.A. 1985. Composition of Science: An Introduction to the Philosophy of Science. Translation: J. Drost. Jakarta: PT. Gramedia.
Wibisono, Koento. 1983. Meaning of development according to the philosophy of positivism. Yogyakarta: Gajahmada University Press.
Yudoseputro, Wiyoso. 2000. Preface. In: Tjetjep Rohendi Rohidi. "Art in the Cultural Approach". Bandung: STISI Press.

Author Biography:
Prof. Dr. Tjetjep Rohendi Rohidi, MA, Professor of Cultural Anthropology UNNES (Semarang State University), S1 graduate Education Department of Fine Arts (IKIP Bandung, now UPI), Master Program (S2) Anthropology and Cultural Anthropology Doctoral Program University of Indonesia. Now he works as Head of the High School of Art and Design (STISI) Bandung, professor of Master and Doctoral Programs Art ITB, and UI professor of the Graduate School. In addition to working as a researcher cultural issues, he also actively writing various articles / papers for the mass media and seminars.

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Indonesian Visual Art Requires Balance

For more than a decade of Indonesian art world experienced a boom, a rapidly increasing public interest and particularly enjoy buying works of art. It is undeniable that the boom was associated with the imposition of a loose money policy, and therefore the investment is indeed one of the trigger. In that period, the market's role in influencing the visual arts has increased, while the role of the academic sector, too, is absorbed by the swift currents caused by the market wave. Today, the term "market as a commander" in the development of Indonesian art has become an inevitable reality. Almost all matters relating to Indonesian art, whether it is organizing the exhibition, catalog development, publication of books, even the organization of discussions and seminars, are not independent of market interests.
This market hegemony would lead to a variety of concerns over the decline in the quality work of art because it exploited the market interest. How far the influence of market power on the creation of art become the main questions about "market discourse" lately.

ARE, if we refer to a good, mostly art exhibition held recently, both by the manager or the exhibition organizer exhibition, art gallery, as well as in the visual arts institution that is supposedly independent and respectable, it is expected to bring in money at least can close the exhibition costs. However, if you're lucky, is also expected to be profitable for the organizers. In other words, the market influence has spread everywhere.
Several parties in pretensius deny the existence of a market, and seeks to promote "alternative gallery", which is where the art exhibit that is not market oriented, but oriented to the discourse. Was determined discourse: a socio-political themes. In essence, "alternative gallery" that must be distinguished from a commercial gallery which they considered very oriented to the market. However, since the market impact was so strong, in the end what is presented in the "gallery alternative" are also attractive to a certain market share, and also the behavior (commercial?), Thus the term "alternative gallery" became very confused.
The discourse was absorbed into one of the market variables. If at first the term "market discourse", a sarcastic term for discussion and development of art created by the market, then the term "market discourse" made by the curator Rizki A Zaelani. In determining the term, Rizki claimed owed much to the two articles in the magazine revealed Word as 'dialogue'. The first is writing Gunawan Mohamad, Zarathustra in the Central Market, and ST Sunardi, Opera Without Words, which discusses ideas about the primacy of the subject Nietszche and the creation of the siege 'herd mentality' and the passion that produces market without the creation of faith.
So, in fact when he talked about 'market discourse', which meant the picture of the situation challenges (if not a 'crisis') remains a subject for critical skills, from the sinking of the pleasure to consume (even so consumerism). It also states that: "whatever, in the present-including the production of discourse-consumed and exchanged (this, taking Pierre Bourdieu's explanation). Whatever, now-including ideological and scientific research-even celebrated in what is called by theorists Arjun Appadurai culture as 'the global cultural economy', clearly Rizki.
Also mengisyarakatkan understanding that the works are laden discourse would appeal to even the existence of other markets. If the art market has provided opportunities for mainstream artists to exhibiting regularly, so it also created an alternative market that provides opportunity for the artists that have not been accepted by the market to be exhibiting, provided that their work has significance in one of the art discourse developing or developed; that's what eventually evolved as the notion of "market discourse".
If the question arises: how far the art market (the "taste makers) in determining openly or secretly, and even helped form a reference to the aesthetic of a painter, it also needs to be asked, whether the maker's taste rather than those who wrestle in pewacanaan art? While not denying that, indeed, quite a lot of artists who reference his aesthetic and to some extent influenced by market tastes, but also many artists who reference his aesthetic and also influenced "taste discourse".
In some races and regular art exhibitions are held in Yogyakarta and Jakarta, it was clear that some participants referred to the work of the finalists earlier period. The artists were imitating the superficial form of art works they reference, because there is no discourse or not grow. In addition, also found that there were several artists who create two different types of works for regular gallery and "alternative gallery", one to satisfy the market, and the other to satisfy the "taste of discourse".
The question posed tend to cornering the market, must now be extended: if the art or artists who exploit the market or discourse, or whether the market or discourses that shape and limit the aesthetic reference artists? Apparently, both the market and discourse both have the potential to dictate and direct the development of artists.
In fact, as curator Arief Prasetyo said, "the logic of the market capitalistic society it requires the presence of discourse. However, it does not mean the market will recede if the works of art produced without the simultaneous production of discourse. With or without discourse, discursive elements supported or not, capital strength remained will find a mechanism to manipulate the work of art becomes the object of his power. The problem is living a choice, between the struggle for discourse and in shaping the value of works of art, or to submit fully to the logic of the market. "
Actually what is meant by Indonesian art discourse? Apart from some trends have certain diidentifikasinya in our art, must be recognized that our art has not succeeded mewacana, because its characteristics are very different from what happened in the West. If in the West, works of art emerged from the theoretical thinking that perupanya then discussed and debated, in Indonesia are usually the work of art comes first, and may be traced the influence and development after thorough investigation. Which was hailed as our art discourse today, no more than a discourse borrowed from the West, until we had referred to as "scavengers discourse".
If for Sanento, painting business began to bloom in the decade of the 1980s in Indonesia were essentially a new business that took place without reference and without any pattern, random business that works the information poor who bought and sold, in fact, we are still very poor discourse could be a reference and source of information about our art. Discourse we still profanity.
In fact, the discourse of art that developed in Indonesia still needs to systematically. Visual discourses reflect actual discourses revolving thoughts, and this can be seen if we trace the works of Indonesian art from time to time. Sudibio works, Kartono Yudhokusumo, Widayat, Hardjiman, Sri Yunnah, and many more artists of Yogyakarta, has begun a research material about dekoratifisme discourse. The influence of Kartika Affandi, Nyoman Gunarsa, Mary Tjui, and even Made Sukadana can reveal the existence of a separate discourse. Discourse of realism / surrealism Indonesia may be traced from Sudjojono, Abdullah, Handrio, Gambiranom, until Ivan Sagito, Agus Kamal, Lucia Hartini, and Dede Eri Supria. Also needs to be further investigated the influence of visual art that flourished in Bamboo Studios Yogyakarta, especially Nasirun Danarto of work, which seemed to have absolutely no connection whatever with the studio's legendary. Since most, especially after the first-generation Indonesian artists rarely can speak let alone write their thoughts discourse is not automatically rolled, then the role of researchers and curators of art is very important in raising their discourse.
Reality "as commander of the market" is also reinforced by the absence or lack of effort to empower the institutions' non-market "(or should not influence the development of markets) such as non-commercial galleries, universities and research institutions of art, and art publishers. Surely there's some art institutions that receive funding support from foundations fund providers, such as House Foundation House and Art House. Availability of adequate funds to ensure the independence of these institutions so that institutions can conduct research well enough, some of which had been published. However, only one or two institutions that have managed to get enough support so that they are empowered and can remain independent and not influenced market developments.
Due to the influence of such a strong market, the exhibition recently held the bulk of the market initiatives. Most of the art community has also mistaken about how the curator. Because once a criticism of the exhibition without the curator and Curation process, then the gallery owners and managers feel the need to involve the curator of the exhibition they held. However, usually the owner / manager of the gallery has selected artists who are invited to exhibiting, so the role of the curator is directed to the writing in the catalog's foreword. Curator writing dual function: to bridge artists with viewers by giving an interpretation curator of the works of the artists in the exhibition, as well as providing a kind of stamp worth exhibiting these curators.
Of course, the curator thus included in the exhibition can not be expected to write a critique of the work of the exhibiting artists. Often times, while other art institutions in support of only moderate job, instead of commercial art galleries play an important role in ensuring the needs of the life of the curator. He has been involved in the automatic market mechanism art. Tempo journalists Raihul Fadjri even mention that the curators carry out functions of public relations officers gallery. Of course, although often the curators could fall into that function, not all the curators go that far. What is important, the curator should be able to maintain objectivity in assessing the work, although of course there are terkompromikan. However, he did not act as a critic in this regard. Can be expected to deliver criticism is the critic. The difficulty, is in Indonesia, job and office curator and critic forced bertumpangtindihan due to limited human resources of our art.
Exhibitions are held these days also reflects the strong influence of the market. No terberdayakannya art academic institutions to make their art curators did not carry out research on the trends which emerged in the Indonesian art. Outside the art gallery, exhibition organized many exhibitions with festivity, organized by a group of a particular artist, which in addition aim to demonstrate their actions so far, is also intended to make any money from the sale of the work. In the art gallery, usually held exhibitions together or a single work of artists who have formed a special working relationship, whether long-term contracts or contracts of short-term exhibitions, the gallery's.
Art institutions like the National Gallery of Indonesia, which is the herald of our art is considered the most neutral, in the sense of not having a special relationship with a particular gallery or a particular faction, and freed from the Bandung-Yogyakarta dichotomy. However, the agency was not independent of market influence, because the institutions have not empowered to be fully independent, so that still needs to provide opportunities for those who are considered worthy to be hire for exhibition space.
Despite having nine curators are competent enough to have a variety of backgrounds, the National Gallery of Indonesia from time to time be deemed conceded for a place berpamerannya painter "market discourse". In the art market conditions we are so strong, and the state of the National Gallery has not empowered, it was inevitable.
Although after the fall of Suharto began many art journals publishing the independent enough, to this art book publishing is still dominated by market interests. Art book publishing is associated with a system in which the owner of the painting collectors contributing to the publication of the book are arranged by paying a fee is not cheap for the placement of photo / reproduction of a painting that had terebut book. Art books are quite expensive production costs can be covered with this system, and the kolektornya no objection to contribute because it knows that the placement of paintings in a book published that will raise the value of his paintings.
Obviously, this system is more easily applied to the publication of a book about an artist who is widely collected paintings by collectors and sold on the market. That's what allows a book about artists who are relatively simple, like, Krijono, Dede Eri Supria, Erica, and Van Der Sterren been published, while the books about the pioneers of our art, Hendra and Sudjojono, yet also out. Without the existence of such a strong market, the world of art will be very poor issue, let alone a book. The situation is better, the availability of a number of books and art publications that Indonesia had a relationship with the market interest, or the art world is not much disturbed the market, but poor in books and publications.
Strong art market speculators are also invited to "play" in the field of art. Art speculators often use a variety of ways to get the most profit from the work that they controlled. The exhibition, catalog, and publishing books, including many abused. In many exhibitions, often works on display had been sold prior to the enthusiasts, which was the work of artists who exhibited were selling and the price can dikatrol. There are also fine art dealer / gallery owner who marks his own paintings displayed, so as all behavior. After the exhibition, the art dealer can offer that seems to work already done, under the pretext of buying interest to take it off again. Placement image / painting reproductions in books or other publications also frequently abused by speculators.
Worse still, if critics had also entered the arena of trade, speculation and even art. There have been several cases in which a critic wrote a discussion about art that they have turned out, and the discussion was published by the national media. It works automatically boost discussed became famous in the art community, while increasing its commercial value. Publishing books about artists also becomes a tool for traders of art, particularly art speculators, to market the artwork of painters they controlled. Auction house was used to boost prices. All this is happening in our art world.
However, keep in mind that the misuse of software to support the arts and the excesses of the role of market presence is too strong. Although many had come to enliven the euphoria, does not mean all parties in our art community carried over in the kecarut-marutan it.
***
CLEARLY, now needs to be done immediately is to balance the market forces that have increasingly become-so by empowering non-market institutions, especially the art of academic institutions, including the National Gallery. It certainly requires a political will from our government.
Government's political will is not actually require direct government involvement, for example by forming the institutions that govern the field of art. It is precisely such institutions has the potential to disrupt the mechanisms that are now running.
Government involvement, among other things can be accomplished with the fiscal policies that can stimulate the development of art institutions "nonmarket", which of course is also a nonprofit. It can be done, for example by providing a regulatory device that allows a nonprofit foundation that can implement a non-profit programs in a transparent and accountable, can receive tax-free donations from companies. In fact, the company was able to deduce the tax in accordance with the contribution they give to nonprofits of their choice.
Of course, various government agencies (such as the Ministry of Finance, Ministry of Justice, Law and Legislation, and the Ministry of National Education) and non-governmental (NGOs, foundations) are interested to be involved in the preparation of this policy. Good-for-profit policy would allow institutions of "nonmarket" other nonprofits, such as private museums and art colleges, in order to receive the funding they need in order adequately to function independently. Thus they can be empowered, so that they can implement their programs properly. Museums and art academic institutions can become art research institution in which the curators may exercise their functions to conduct research about Indonesian art independently, without depending on market trends. The curator can then be set up exhibitions, organize catalogs, and publish books freely and independently.
If empowered, the National Gallery of Indonesia no longer need to function under the Directorate of National Arts Education Department, especially the Department of Art and Culture, but it could be an independent institution that does not depend on subsidies and government budgets are also free from the need to lease space. Together, the National Library, National Archives and National Museum, the institution was a high state non-ministerial agencies, led by a Director-level as the Director General. The National Gallery does not need to fortify yourself with a nine-curator of odd, but could hire some (ideally three to five) professional curator experts in the field or a certain period in the development of Indonesian art.
The curator was conducting independent research on art related to their field of expertise, then submit it for inclusion in the gallery's exhibition program. The approval of the Director of the National Gallery, the exhibition program and then arranged to be carried out. Thus, the National Gallery is no longer just a place guarded by hired goalkeeper who always considered they conceded, but a research and educational institution art of sovereign authority and that could be a reference.
Institutions Terberdayakannya "nonmarket" will place the parties in our art community back to their proper positions. Curator no longer need to concurrently be a public relations officer of the gallery, and also do not have to pretend to be a critic. Later, gallery curator and no longer need to engage in business relationships that confuse. Parties to prepare enough introduction gallery itself without the help of writing curator. With terberdayakannya art academic institutions, criticism institutions will also grow by itself.
It also would raise the dignity of these institutions so that they can be seen again equivalent (on equal footing) with the power of art market itself. Institutions is expected to compensate for the market and a source of information and knowledge and art which plays a role in meaning and understanding of art. A good museum should be able to provide and disseminate information and knowledge of art to the public, so that people do not need to buy a work of art to be able to have it. Terberdayakannya community to enjoy and understand the values of Indonesian art is not as important.
However, until the swift current Indonesian art market has successfully balanced by empowering the "nonmarket", finally stay how we are addressing the existence of such a strong market. "For me personally as an artist," said Srihadi Sudarsono, "The most important thing is to work hard to produce good work and be responsible to the public".
Similar posed by contemporary artists, FX Harsono. According to him, in the end what matters is how an artist dealing with issues of this market. "This attitude will determine the creation of artists work, the strategies in the face of the market (not a marketing strategy), and so on. Let me how when a work is displayed in the exhibition space, the work is no longer owned by the artist. This means that the public does not have the right to interpret, but also has (if the artist wants), he explained. Furthermore he warned, "the market mechanism requires a lot of things, including the value of a work, which is different from the assessment of a critic. If an artist is not ready for the market, this market mechanism will dictate the artist not only on pricing strategies, but also on the entry of the desired value by collectors or dealers. Well, if the artist is ready, that is a stance, it is not easy playing market participants, most artists do not have the bargaining position of the right. "
Art market being so strong that today would easily be a political commodity art antarsesama actors. Whether it's curator, critic, educator, and perupanya own, each of which put forward the political justifications tend moralistic, which "easily derail the actors on a superficial view of stereotypes, like generalize the problem, see the symptoms in black and white with tunnel vision."
Clearly, the existence of such a strong market in the Indonesian art world must be faced with critical thinking, as affirmed by Arif B Prasetyo: "with the criticism, perhaps art can indeed be saved from the risk of falling into mere economic commodity. However, without criticism or ironisme even to yourself, fine art can also end up being a cheap piece of political commodity. And the second risk was essentially the same proclaiming the death of art. " Art life requires a balance of market forces and "nonmarket" both of which have encountered and observed in criticism.

Amir Sidhartha.

© C opyright 1 9 9 8 Harian Kompas Friday, August 3, 2001.

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Wayang Kulit Pakem Revolution Penetrating Palace Area Boundaries

Yogyakarta, Kompas - The proliferation of private radio broadcasting in the 1970s, followed by the emergence of alternative television at the verge of collapse New Order (New Order), led to the birth of the revolution in the art of leather puppet show. Standard are no longer confined to the territorial boundaries of Surakarta, Yogyakarta, and coastal la Timuran Banyumas and Java, but developed according to individual creativity dalang.Itu prove, standard leather puppet is not something rigid and frozen, but dynamic, melted, following the development of society . Creative mastermind, as reflected in the stage, radio, and television, tend to be a figure who can run the place and time. Since the 1970s, never again hear the bickering of the mastermind of Surakarta and Yogyakarta, because the melting of insulation-insulation space and time.

As stated in the discussion screen release of the book's Infinite Prof Dr Umar Kayam at Wisma Keluarga Alumni Gadjah Mada (Kagama) Yogyakarta, Friday (2 / 11). Umar Kayam accompanied and guided by Prof. Dr. Suminto A Sayuti (Universitas Negeri Yogyakarta), the two discussants of the Research Center for Cultural and Social Change is a book review. Both are Dr. Heddy Shri Ahimsa-Putra and Dr Faruk HT. Shown also Bambang Murtiono of Indonesian Arts College (STSI) Surakarta.

elation Order regime

In the presence of observers and a number of performing arts, puppeteer, Shri Ahimsa suggested that four basic assumptions of the standard elements of wayang kulit art experience "withdrawals", according to research results Umar Kayam years 1993-1995. First, the New Order regime as Babakan Kayam considered important in the history of Java and the history of Indonesia. During the years 1966-1990's, Java, geographically, economically, politically, and socio-cultural experience of openness to the outside world.
Second, the relatively stable Orba compared to the previous Java. Almost no social upheaval that opened the possibility of the formation of cultural trends.
Third, shadow puppets are viewed by Kayam as one of Javanese art form that can adapt to various circumstances. Puppet known since centuries X. That is, the art of puppet can survive and keep up with changes in time for centuries.
Fourth, the dominant environmental aspects of the art of leather puppet show during the New Order is a material, economic, and technology. In this era began to lead the puppet technology.
"They're increasingly accommodated through the private radio and private television. Cassettes puppets were sold everywhere, without being limited region of Surakarta, Yogyakarta, and pesisiran," said Ahimsa.
MassalisasiStandard disbursement process, he added, is also not free from the weakening of community audiences emotional attachment to the locality, and the sinking of the audience in the mass media massalisasi print or electronic. On the other hand, the bond was the mastermind with the standard are becoming depleted. It parallels the growing depletion of court influence in the community so that the puppeteers have the opportunity to appear with its characteristics.
According to Ahimsa, this phenomenon is also associated with the materialistic and aesthetic meaning of all the performing arts component. Space and time which was originally composed traditional qualitative and hierarchical, suddenly became equally. To Dalang, all that means nothing more than "tools" economic exploitation and exploration of the aesthetic.

Articles Ki Nartosabdo

Kayam standard disbursement recorded symptoms occurred in the 1970s, the forerunner, Ki Nartosabdo. Era It breaks boundaries between stage puppet performing arts with other art stage. Proved, the center no longer show color, but others. Color tends to continue to grow. The musician and singer grew bolder and wearing bright colored equipment.
Melting of the boundaries also occur in device placement and accompaniment pieces of one another. In fact, part reflected in the overall pattern of the accompaniment for all the patterns show a scene or act. For example, the show is no longer always use the classic gising-gising for the late show, but using newer gagrak. Gamelan no longer always use a barrel slendro, but pelog. Gending-one mixture of styles gendingnya Yogya and Solo.
Kayam also noted a shift in the character of the puppet show. Some of the puppet puppeteer treated as "ordinary people". The scene that was once a serious and formal, often made nyleneh and relaxed. This is where the farce emerged. (right / sig)

Saturday, November 3, 2001

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BARRIERS ACCEPTANCE OF ART EDUCATION ATTENDANCE (visual art) IN PUBLIC SCHOOLS

Abstract

There are three constraints acceptance in the presence of arts education public schools (elementary, junior high and high school). The first constraint is the lack of educators, communities, and governments to the concept of art education (way) the truth. The second constraint is the inheritance of the values the beauty of traditional art. Planting values the beauty of traditional art into one of the obstacles, because educators are faced with problems of expression that children have the basic freedom and the inheritance of the old values. The third obstacle is the political strategy of our nation 'as if' suppress the development of art education berazaskan 'freedom of expression'. This is understandable because the actual art education is liberal, so if you studied art education curriculum development since the colonial era to the present, education was deteriorating.

Keywords: arts education, creativity, art of children, inheritance, traditional art, the democratization of art, liberal

Introduction

In 1857 Ruskin published a paper entitled "The Elements of Drawing". Simple title that contains a sophisticated findings, a great influence on the world of education, especially art education.
Influence, among other things, in Italy the next 30 years is the publication of the book "L'arte dei Bambini" (Fine Arts Children) by Corrado Ricci.

But the reality, especially in our country, until now of Art Education has not experienced any significant change especially Education Strategy, Education and Education Dance Theater.

Education Strategy, Education and Education Dance Theater, may not be difficult to accept as the emergence of the Language Education, Mathematics Education, although not actually that easy to replace the word with the word education lessons. During the performance the child primary measure in the evaluation, it is also a replacement for teaching the word education is only a great impression and not to touch the real principles. Perhaps until now still many people who hesitate to accept the truth that during the child's accomplishments serve as a major benchmark in the evaluation Salama also said that education can not be used as a substitute for the lesson subject. Until now, one may evaluate the Pendididkan Arts and Physical Education and Health was placed as a standard of achievement ukurnya children. Then the question arises, if so what if it's not standard ukurnya achievement evaluation measure?

Art Education When the streets in places peneratas art as education, while the Education Strategy, Education and Education Dance Theater and then followed, in fact many factors can not be the cause, but these factors is difficult enough to be understood.

There are three factors that become barriers, namely the art of children are still largely unknown educators; inheritance values the beauty of traditional art and politics.

Art Children Still Foreign

Visit any primary school and you are likely to observe children making art painting, writing poems and so on. But you may not observe anyone Composing. Why is this? The simplest answer is that music in schools has stressed Traditionally performing and listening at the expense of Composing (Mills, 1991: 23-4).

Even the fact that more loudly lamented by Schafer (1975:228) as follows:
"But we could not spend some of our Energies in teaching to make things happen? Is this not a question worth considering? The only way we can turn the past tense subject of music ito a present tense activity is by creating. "

Why?
One of them is a tradition so strong European influence to the musical arts education disregard Composing (present tense aktivity) are no less important to their children's development especially in developing their creativity been eating an early age. This incident was caused primarily by foreign art children's music for educators.

60 new year's musical education that apply to all children who put music as a means of education as well as in prioritizing art creativity coaching. Swanwick (1991:14) states that among other things.
Throughout the 1960s, this theoretical perspective was further developed and refinised, stressing the creativyti of children rather than received traditions. In Britain during the late 1960s and early 1970s, aninfluential advocate was John Paynter. In Canada, another composer, Murray Schafer, developed a similar position; while in the USA, detailed implications for the school music curriculum were Articulated by Ronald Thomas in the Manhattenfille Curriculum Program (1970)

In the art of dance, too, just earlier than in music. New dance arts education known after World War II when Labon - inventors of dance notation - to introduce the art of dance education as stated Bruce (in Kraus, 1969.158) thus: "Laban's work has been taken most directly into the teaching of modern dance or free educational dance drama as we see if in many scholls and training colleges ".

It is easy to understood why it was that way. First of all determined by the nature of art itself is different from the other branches of art where the creation and presentation made by the artist as well as producing and recording devices.

If the music is a composer and presenter (singer or instrument player), or in a dance choreographer and dancer, in the fine arts "senirupawan" do both without having to involve other parties, especially in the creation of pure art.

If the presence of dance music and much more determined by the duration, it was not well perekamannya happen. It required a recorder which is also bound by the duration of it. Such recorders newly discovered in 1888 when Emile Berliner for the first time introduce a way to record sound on the record (Garha Oho, 1994). Truly moving image recording devices had already discovered that in 1870 when Eadweard Muybridge made a series of experiments to analyze the movement of animals and humans by placing 24 pieces along the path where the camera races. Later in the year 1880 by Etienne Jules Marey discovered "photograpic gun" similar automatic rifle that can take pictures as much as 12 to 120 pictures within a minute (Encyclopedia Americana, 1985). This fact became one of the blocks known art and the art of dance music child, because it requires the introduction of careful and thorough assessment of their work. That's what the experts need sufficient record. Prior to the discovery that of course no one else who nevertheless can record music or dance creation orsinil child. Other fine art, works of creation the old stone age alone can be recognized by modern humans as proposed Gross (1992:593) as follows:
"The first discovery in the west of Paleothic cave art occurred in 1879 when a young girl, Maria de Soutualo was wandering in the cave near her home in Altamaria, Spain. Mary found the Ceilling of grotto covered with images of large animal invivid painted colors ".

Talking about the art work of children, anyone who is interested to the drawings or paintings by young children can easily collect them and then examine the way for the first time conducted by Ruskin in 1857.
In 1857 The Elements of Drawing was published, and in this and subsequent works Ruskin first drew attention to what might be called the educational possibilities of drawing ... But some remarks of his in the Elements of Drawing inspired the Home teacher, Ebenezer Cooke, to reconsider The principles of art teaching in the schools, and theological articles which Cooke contributed to the Journal of Education, at the end of 1885 and beginning of 1886 are the first documents in a long and increasingly complicated process of research (Read, 1970:116).

Since it appears that the book introduces the art of children as recorded by Corrado Ricci, entitled "L'arte dei Bambini" (fine art children) publication of Bologna in 1887 and a year later published also in Peres' L'art rt la poesie chez I'enfant "(fine art and poetry of children) Perez Bernard souvenir.
Since that happened reform in art education that began in Western Europe, which places art as a tool of education.

Indonesia's influence with the emerging formal education in 1975 when comprehensive curriculum for elementary, junior high and high school education includes art as a subject which includes Visual Arts Education, Music Education, Dance Arts Education and Arts Education Drama. Unfortunately the update is so far left no trace of the means for the public institution for the arts for children - the key to understanding the art education - is still foreign to most educators, even gradually Art Education downsizing victims GBPP content.

Values inheritance Traditional Art

Can not be disputed that values the beauty of traditional art into the cultural heritage of previous generations we need to preserve. Even more so for our nation's relatively young age, which still need to introduce the nation's personality traits to the state / other nations. But Should this effort be given early to children, while they are still in the world of art that obviously different from the adult world of art?

Undeniably, though not entirely appropriate that the values of beauty that can be transmitted to a child. That way we can draw the assignment URLs for kindergarten by using screen printing as a pattern. With the instrument can produce kindergarten drawings which form in accordance with the wishes of teachers such as silk screening konturnya dipolakan with it.

Until now, efforts such dikiaskan still growing, especially in dance education. Perpetrators of such teaching is not to feel guilty, because in fact what he wants can be realized, the more so, and especially since he had not known about dance world of children.

What is described above was not only happening in our country alone. Compare this fact with what is happening in the UK and other countries that use English as his linguafranka like the United States and Australia. Swanwick (1991:10 - 11) presented the case.
Perhaps the oldest and best estabkished theory of music education is that which emphasizes that puplis are inheritors of a set of cultural values ang practices, needing to master relevant skills and information in order to take part in musical affair. Schools and collages can be seen to be important agents in this process of tranmission. According to this theory, the task of the music educator is primarily to initiate students into recognizable music traditions. This is position that until recently was well established and generally accepted.

There was no denying that the effort could be carried out, especially to children musical talent. However, it does not necessarily apply to all children, and art education should apply to all children as presented Mills (1991:3) so. "In short, music is an active subject consisting of the activities of Composing performing and listening; for children, for all teachers, fun".

Therefore Schafer (1969:228) complained about it as stated as follows:
The big problem with education is one of tense. Traditionally Education deals with the past tense. You can only teach things that have already happened. (In many cases they happened a very long time ago). It is the tense of questions that has kept artists and institutions apart, for artists, though acts of creation, are Concerned Whit the present and future rather than the past. Education is neither news nor prophecy, neither present nor future. To perform, to Interpret music is to engage in a reconstruction of the past, which may certainly be a desirable and useful experience.

If the inheritance of values likened the beauty of art as a relay race, if we want to win the race it would stick to estafetnya we'll continue the party who has been able to run fast and talented as well.
In connection with the example that would compete with who? Who should receive the baton?

Politics

If we dare to be frank, this justifies our country democratic countries?
For those who are now aged over 60's and dare express an honest, he would declare true, but only lasted a minute. Apparently the concept of democracy planted by the first President to come too early to apply to people who long ago colonized and has a tradition of small kingdoms, while the stage of education is still very heterogeneous. Our country only until the early 50's standing as a democratic state. Next to the restrictions on the number of parties may also boasted that the motion is limited space, becomes more noticeable loss of the democratic character of our country. People, especially the clever, feel the lack of it, but whatever resources they can not do much.
In the education world is more aware of these circumstances by those involved as well as great attention to art education.
Out of place in this paper the author provides assessment, except to show the development of art education decreases when we compare the syllabus for arts education since the Dutch colonial era until the end of the New Order era.

Toward the end of Dutch colonial art education, which at that time classified into expressievak (expression of subjects) included only two subjects, namely drawing and arts, or singing voice. In addition there are also lessons that also crafts occupied as a subject in school curricula People.

How's attention to the Dutch as colonial subjects crafts. Adjat Sakri (in "Sacred Jasmine Studios from 1974 to 1994") in connection with, among other things states that:
In the year to two dozen R Adolf, a Dutch high officials in Indonesia, trying to revive the purpose being to draw lessons in order to improve the quality panikria Indonesia. He attributes to draw lessons with craft lessons. Because he saw the natives have the creativity, he gave freedom to the students to create their own ornaments with plants derived from. Figure ornaments made in drawing lessons were then applied to the items used in craft lessons. Up to now how to make jewelry by Adolf is still taught in our schools but not implemented as it was intended originally.

In the Japanese colonial period no significant changes. At that time the Dutch heritage in the tradition of drawing and singing lessons resumed completely.

In the early days of independence the government had not yet had time to consider arts education. Therefore the way pioneered by the Dutch who passed by the Japanese still continued until the early 60's.
In 1964 a new curriculum was born based on the grouping system, or five courses covering Wardhana moral development, intelligence, emotional, skill, and physical development of each is a complete content and complete filling.

Education Wardhana art belonging to the emotional development / artistic voices that include art, painting / icons, dance and literary arts / drama. In the four primary subjects that might be considered as a subject are shown in class one and two are given for two to four hours of lessons and subjects in grade three to six are given over four hours of lessons. Since this is a share of arts education a very limited time.
In the New Order era curriculum change in elementary art education began to be introduced to the contents and allotted time to continue the determination of Curriculum 1964. That is what is known as Curriculum 1968.

In 1975 the overall arts education became part of the curriculum for elementary, junior high and high school. In 1984 the curriculum was completed. In art education does not mean much change, except for his name to Art Education.

Four years before the end of the New Order rule, was born in 1994 whose name curriculum for basic education level became Handicraft and Art of a name by some circles is considered ambiguous. Art education in the curriculum was more or less allotted time, especially in high school who was given only a single class for 2 hours of lessons a week for four sub-subjects.

If we compare the development of art education since the Dutch colonial period until the New Order era, in fact its growth decline even become victims of downsizing GBPP content. Why?
One of the most appropriate answer is that arts education is a liberal education.

Bibliography
Adjat Sakri, 1994, issue of Art Education, Yogyakarta: Aquarius Offset
Encyclopedia Americna, 1985, Connecticut: GlorierIncorporate
Gross, Danirl R, 1992, Discovering Anthropology, London: Mayfield Publising Company
Kraus, Richard, 1969, History of the Dance in Artt of Education, New Jersey: Prentice Hallm Inc
Mills, Janet, 1991, Music in the Primary School, Cambridge: Cambridge University Press.
Oho Garha, 1994, the Veil Barrier Music Children, Bandung: General Thoughts People's Daily published March 20, 1994
Read, Herbert, 1970, Education through Art, London: Faber and Faber
Schafer, R. Murray, 1976, Creative Music Education, New York: Schimer Books
Swanwick, Keith, 1991, Music, Mind and Education, London: Routledge

by: Oho Garha

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